Art Guide Australia — March/April 2023 by Art Guide Australia

C ON T E N T S

Exhibitions Editorial Exhibitions Exhibitions listings Victoria New South Wales Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory Maps

Newell Harry

Small (oldish) works on paper 3 March–1 April 2023

Roslyn Oxley9 Gallery 8 Soudan Lane Paddington NSW 2021 roslynoxley9.com.au

roslynoxley9.com.au

ROSE NOLAN WORKING TITLES : WORKING MODELS

18th March - 15th April Photo: Christian Capurro 185 Flinders Lane, Melbourne, 3000. mail@annaschwartzgallery.com www.annaschwartzgallery.com

annaschwartzgallery.com

acca.melbourne

artgallery.wa.gov.au

A WORLD EXCLUSIVE EXHIBITION

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H O TA . CO M . A U

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GEOFFREY BARTLETT

35 Derby Street Collingwood VIC 3066 Open 7 days 10am – 6pm T 03 9417 4303 melbourne@australiangalleries.com.au

Drawings and sculpture 7 – 25 March 2023

australiangalleries.com.au Image: Maquette for ‘Embrace’ 2022 bronze with timber base 41 x 27 x 13 cm edition 6

australiangalleries.com.au

AU S T R A L I A N GA L L E R I E S MELBOURNE

Sophie Lampert Anon.

25 March – 7 May 2023 www.orange.nsw.gov.au/gallery Sophie Lampert, The things we find in the stars, 2022, found objects, velvet, glass beads, 143 x 60 x 60cm. Photo: Mim Stirling

orange.nsw.gov.au/gallery

Out B o

of d s

E x p l o r i n g the limits of V i d e o g a m e s Open until 23 April 2023 acmi.net.au acmi.net.au

sheppartonartmuseum.com.au SAM-AshKeating_ArtGuide_FP-FA.indd 1

30/1/23 3:14 pm

TAI SNAITH HIERARCHY OF NEEDS

11 MARCH – 7 MAY

Hierarchy of needs is an immersive exhibition by Melbourne artist and author Tai Snaith. Celebrating wild and interesting animals from around the world, this playful and educational exhibition explores the important roles these creatures play in earth’s biodiversity.

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton, Victoria Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

For more information bayside.vic.gov.au/gallery Image credit: Tai Snaith, Cruising with the Capybara 2022 (detail), gouache and ink on cotton rag, 87 x 67 cm. Courtesy the artist.

@baysidegallery

4017

bayside.vic.gov.au/gallery

fantastic forms 1 APRIL - 18 JUNE

Merric Boyd Nabilah Nordin Stephen Benwell Rubyrose Bancroft

Nabilah Nordin, Split Spike, 2022, mixed media. Image courtesy of the artist.

bundanon.com.au

Tim Fairfax AC

portrait.gov.au

2023 SAMSTAG MUSEUM OF ART

— 2023 PROGRAM

Images —Bruce NUSKE, ceramics, 2022. Photograph by Grant Hancock.

EXHIBITIONS / COMMISSIONS / TALKS / EVENTS / PODCASTS / PUBLICATIONS

Featuring new work by James Newitt, Emily Wardill, Bruce Nuske, Khai Liew, Sebastian Collen, Kristian Coulthard, Sasha Grbich, Antony Hamilton, Kyoko Hashimoto and Guy Keulemans, John R Walker and Amrita Hepi.

18 March – 17 July 2023 Curated by Dr Stephen Jones

McClelland 390 McClelland Drive, Langwarrin Open Wednesday–Sunday 10am to 4pm mcclelland.org.au

CURATED BY DR LÉULI ESHRĀGHI Regina Pilawuk Wilson; Vicki West; Sonja Carmichael and Elisa Jane Carmichael; The Unbound Collective: Ali Gumillya Baker, Faye Rosas Blanch, Natalie Harkin, Simone Ulalka Tur; Jenna Lee; Abdul-Rahman Abdullah; Hoda Afshar; Elyas Alavi; Torika Bolatagici; Kirsten Lyttle; Phuong Ngo; Bhenji Ra; David Sequeira; Sancintya Mohini Simpson; and Leyla Stevens.

1 April – 16 July 2023

twma.com.au

IMAGE: Abdul-Rahman Abdullah, Tanpa Sempadan 2023 (detail), carved wood and glass, 35 x 270 x 115 cm. Courtesy of the artist and Moore Contemporary. EXHIBITION SUPPORTERS

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Geelong Gallery

JamFactory ICON Tom Moore: Abundant Wonder

Presenting partner

Government partners

Government of South Australia

Visions of Australia

Department of the Premier and Cabinet

Geelong partners Creative Futures Design Fund

Will & Dorothy Bailey Charitable Trust

Tom Moore Circus Fledging 2019, hot joined blown and solid glass Photographer: Grant Hancock

jamfactory.com.au

25 February— 16 April 2023

Free entry

Friday 24 February – Sunday 14 May

Image: Andrea J. Smith, Golden Pears, 2005. Oil on canvas. Mildura Arts Centre Collection.

MILDURA ARTS CENTRE 199milduraartscentre.com.au CURETON AVENUE MILDURA 03 5018 8330

milduraartscentre.com.au milduraartscentre.com.au

Marian Drew rock fruit flower 21 April - 27 May 2023

onespace.com.au

onespace.com.au @onespace_au

mprg.mornpen.vic.gov.au

Australian Painting & Sculpture 1 - 22 April

CHARLES NODRUM GALLERY www.charlesnodrumgallery.com.au 267 Church Street Richmond

(03) 9427 0140 Victoria 3121

Godfrey Miller (1893 - 1964), Still life arrangement on table, c. 1936-40, London, oil and pencil on canvas on board, 41 x 52cm

charlesnodrumgallery.com.au

March/April

2023

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Tiarney Miekus WEBSITE AND SOCIAL MEDIA COORDINATOR

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CONTRIBUTORS ISSUE #142

STOCKISTS

Sophia Cai, Steve Dow, Briony Downes, Sally Gearon, Emily Johnson, Jesse Marlow, Louise Martin-Chew, Tiarney Miekus, Giselle Au-Nhien Nguyen, Ellinor Pelz, Autumn Royal, Barnaby Smith, Andrew Stephens, Isabella Trimboli.

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

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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: Michael Cook.

Michael Cook, Resort, 2023, from the series Fake.

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

Clarice Beckett: Atmosphere Sophie Lampert: The Seed Lies, Magicians and Blind Faith Clare Longley Madeline Simm: Blue Skirt Waltz Catherine Truman: The Arrangements: Assembling Nature James Webb: Prayer Black Sky Dawn Beasley: Botanically Porcelain: The Third Installment: Seed Geoffrey Bartlett F E AT U R E

The Mulka Project: Archives of the Future Michael Cook: What We Decide To Value INTERV IEW

Peter Tyndall F E AT U R E

Andy Warhol: Disguise and Revelation S T U DIO

Sarah crowEST F E AT U R E

Melbourne Now: Art of Now 20 Questions: Leyla Stevens OPI N ION

Never Mind the Nepo Babies—Here Come the Crony Pals F E AT U R E

The Gaze Is Female Teho Ropeyarn: Lines of Connection Should We Dream of Electric Sheep?

Issue 142 Contributors SOPHI A CA I is a Melbourne-based curator, arts

TI A R NEY MIEKUS is the editor-in-chief of Art Guide

STEV E DOW is a Melbourne-born, Sydney-based

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices. arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, The Guardian, 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.

SA LLY GEA RON works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing.

EMILY JOHNSON is a Barkindji, Latji Latji, BirriGubba,

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

JESSE M A R LOW is a Melbourne-based photographic

artist. He has exhibited widely both here and overseas. He is represented by M.33 and his third monograph Don’t Just Tell Them, Show Them was published in 2014.

LOUISE M A RTIN- CHEW is a freelance writer. Her

most recent book is Margot McKinney: World of Wonder, published by Museum of Brisbane, 2022. Last year her first biography, Fiona Foley Provocateur: An Art Life (QUT Art Museum, 2021) won the 2022 Best Book Prize (joint), AWAPA, Art Association of Australian and New Zealand.

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. Australian writer and critic based in Naarm/Melbourne.

ELLINOR PELZ is an independent curator and writer

currently working at NGV (Contemporary) in Naarm/Melbourne. Recent projects include curating at Mornington Peninsula Regional Gallery and STATION Melbourne, and contributing to NGV Magazine and the Triennial 2023 publication.

AUTUMN ROYA L creates drama, poetry and

criticism. She is the founding editor of Liquid Architecture’s Disclaimer journal and interviews editor at Cordite Poetry Review.

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.

ISA BELLA TR IMBOLI is a critic, essayist and

editor living in Melbourne. Her writing on film, literature and art has appeared in publications such as Metrograph Journal, The Sydney Review of Books, The Saturday Paper, The Monthly, and The Guardian.

A Note From the Editor The second I saw Michael Cook’s latest photographic series Fake—an image from which adorns our current cover—I was stunned. It’s not just their impeccable staging, or their near-surreal blend of high materialism against the endurance of Country, or their personal resonances with Cook’s own life, but also the story they tell of a family travelling through Australia, coming to consider what they value, and whether a person can change one’s values— something unpacked in our profile on the artist and his latest work. The concept of value pervades art in all kinds of ways. Our feature on the exhibition A Female Gaze considers how the male gaze has been overvalued throughout art history—and in wider life—and how the work of women artists is inherently, yet not always explicitly, political. Our interview with Peter Tyndall, a conceptual painter with a 50-year practice, gets to the core of how we think about and look at art, while a reflective essay on Andy Warhol’s Polaroids considers what the iconic pop artist valued—and how much his ceaseless photographing was both a determinant of, and escape from, his loneliness. Sarah crowEST takes us into her temporary studio at Billilla Mansion in Melbourne, showing us how sustainability is at the core of her work—and alongside 200 other Victorian creatives, crowEST is showing in Melbourne Now. Celebrating local art at the Ian Potter Centre: NGV Australia, Melbourne Now spans almost every medium imaginable, and so we asked five exhibiting artists—Amalia Lindo, Anu Kumar, Christian Thompson, Jessie French and Mark Smith—to tell us about the work they’re exhibiting. And while we should celebrate communities of artists, how much should we weigh the worth of friendship in the arts? Trusted and genuine friends and colleagues are vital, but, as Sophia Cai asks, does that mean your friends should also be your curators, collectors, profilers, show essayists, reviewers, installers and co-exhibiters? These questions, and many more, weave throughout our March/April issue. Tiarney Miekus Editor-in-chief, Art Guide Australia

“The concept of value pervades art in all kinds of ways . . .” 29

Previews W R ITERS

Briony Downes, Sally Gearon, Giselle Au-Nhien Nguyen, Ellinor Pelz, Autumn Royal, Barnaby Smith, Andrew Stephens.

Geelong Atmosphere Clarice Beckett Geelong Gallery 1 April—9 July

Working en plein air on a small scale, the modernist, tonalist painter Clarice Beckett (1887 – 1935) possessed a remarkable ability to capture not only the likeness of a place, but also how it felt to be there. Looking at her Clarice Beckett, Across the Yarra, c. 1931, oil on paintings, one can almost feel the misty rain clinging to cardboard. national gallery of victoria the suburban streets of Melbourne—where she lived and bequest of harriet minnie rosebud salier, 1984. worked—and smell the fresh, salty air billowing in from Port Phillip Bay. Curated for Geelong Gallery, Atmosphere covers Beckett’s work from 1919 to the early 1930s and focuses on locations around Victoria, with natural phenomena a key subject. “Compared to the grand landscape narratives being painted by her tutor Frederick McCubbin (1855 – 1917), Beckett focused on everyday locales,” says Atmosphere co-curator Lisa Sullivan. “They were places she knew and this connection to place comes through in the way she painted—there was a familiarity and lightness of touch that enabled her to respond to fleeting environmental conditions like rain, sunlight and mist.” Central to the exhibition is a series of paintings Beckett completed during a six-month stay at Naringal, a sheep station in rural Victoria. Vastly different from the coastal environments she was accustomed to, the farmhouse at Naringal and its surrounding landscape allowed Beckett to experiment with new tones and textures. “Beckett had an economy of means in the way she blurred tones together,” Sullivan explains. “She really transformed the way we see the Australian landscape by conveying so much about a landscape in a very direct way. “We often apply that thinking to the early Australian Impressionists working in the 1880s, but I think of artists like Beckett, Grace Cossington Smith, Godfrey Miller, Fred Williams, Rosalie Gascoigne and Emily Kame Kngwarreye— those artists have all shaped how I see the Australian landscape in an enduring and long-standing way.” —BRIONY DOWNES

Clarice Beckett, Spring morning, 1925, oil on canvas laid down on composition board. benalla art gallery collection. ledger gift, 1988.

Orange The Seed: Sophie Lampert Orange Regional Gallery 25 March—7 May

Sophie Lampert uses art to centre the extraordinary lives and work of prominent women, from science to art to ancient times. As curator Lucy Stranger puts it, Lampert creates “soft sculptural works which explore the lives and atypical vocations of a number of women throughout history, whose brilliant careers in unusual fields defied both their gender and the social norms of the times”. And it’s these works which will be showing for The Seed at Orange Regional Gallery. Sophie Lampert, Julia and the Sun, 2022, found The Seed offers recent National Art School graduobjects, faux fur, glass beads, velvet, sequins, 50 x ates a chance for their first solo exhibition. Lampert is 40 x 15 cm. photogr aph: mim stirling. using the opportunity to depict historical women ranging from the German naturalist and scientific illustrator Maria Sibylla Merian, whose work on the metamorphosis of the butterfly made a significant contribution to the field of entomology, to one of the first female astrologers, Elisabeth Hevelius. The astrologist, along with her husband Johannes, contributed to the founding of lunar topography—but Hevelius was not awarded the same acclaim as her spouse. As Lampert says, “These women were doing amazing things, and at the time they were recognised, but they’ve since been written out [of history] or forgotten.” Each soft sculpture represents one of the “quiet achievers” Lampert pays tribute to, but it is the women’s work she focuses on, not their physical selves. The resulting abstract forms are intentional, compelling the audience to “focus on what they did, not what they looked like”. For example, the sculpture for Hevelius is intricately embroidered with the constellations she helped discover. All highly detailed and lavishly upholstered in black velvet and glittering beads, Lampert’s sculptures further pay homage to spiritual modernist Hilma af Klint, Pythia (also known as the Oracle of Delphi), Italian composer Francesca Caccini, and feminist philosopher Julia Kristeva. —SA LLY GEA RON

Brisbane Lies, Magicians and Blind Faith Queensland Art Gallery 4 March—30 July

David Griggs, Frog boy’s dissertation into a new karaoke cult, 2008, synthetic polymer paint on sewn canvas with aluminium frame, wood and medium density fibreboard, rope and projected DVD, 34.54 minutes, colour, silent, 730 x 860 x 620cm (installed); tent wall: 286 x 2520 cm. purchased 2008 with funds from the queensland government’s gallery of modern art acquisitions fund and with the assistance of the melbourne art fair foundation. collection: queensland art gallery | gallery of modern art. © david griggs.

When curator Reuben Keenan began envisioning an exhibition of artistic exchanges between the Philippines and Australia, he not only imagined the showing of art, but a display that “serves as an argument for cultural policy that sparks a new kind of dynamism”. Lies Magicians and Blind Faith was soon born, celebrating not only a unique period of artistic exchange between the Philippines and Australia in the 1990s and 2000s, but the larger dialogue between the two nations. While the show features both Australian and Filipino artists, highlighting their artistic and personal connections, it’s inevitably marked by history. “On one hand you had a country [the Philippines]

where new forms of expression were flourishing after decades of dictatorship and oppression,” explains Keenan. “And on the other you had institutions in Australia actively supporting artist-to-artist dialogue. “[There was also] a strong sense among the artists of pushing away from the cultural and economic hegemonies of Europe and the United States. Artists were challenging the legacies of colonialism and drawing on a range of influences, from street signs to folk art.” The exhibition shows this. Key works include a collaborative painting by Nunelucio Alvarado and George Gittoes, King of the Beasts, 1993, and a piece by the late Santiago Bose, The Fatal Shore, 2000 (an artist book by Bose gives the exhibition its name). The centrepiece is a large-scale installation, Frog boy’s dissertation into a new karaoke cult, 2008, by Australian artist David Griggs, who lived in Manila for a decade. “David’s work is a circus tent made up of canvases painted with images of Philippines life. He was inspired by the hand-painted billboards that are still in use. It’s also inspired by working closely with [leading Filipino artist] Manuel Ocampo, and by vernacular culture in the Philippines.” And although historically motivated, the show is not only about the past but centres ongoing artistic synergy. –BA R NA BY SMITH

Melbourne Clare Longley

ReadingRoom 24 March–22 April

In 1966, American pop artist Robert Indiana created Love, an iconic image in which the word “love” appears in red letters on a blue and green background. Since then, it’s been reproduced ad nauseam in painting, print and sculpture, and even Indiana confessed his ambivalence on its commercial success: “It was a marvellous idea, but it was also a terrible mistake.” Enter Melbourne-based artist Clare Longley and her experimental painting practice, which repositions such romanticised imagery from a queer perspective. Longley’s appropriation of Indiana’s Love, showing at Clare Longley, Errs (after Love), 2022, oil on canvas, ReadingRoom, involves a large-scale painting of the word 170 x 150 cm, studio installation view with detail of “errs”, meaning to be mistaken or incorrect. By recreating work in progress. image courtesy the artist and Indiana’s work with the different word, Longley is sugreadingroom, na arm / melbourne. gesting an ‘error’; the error being how commercialisation obscured Indiana’s intention to show the fragility of love. Indiana’s Love has a rich history of appropriation, notably by General Idea in 1987 and Juan Davila in 1988, and Longley’s particular appropriation looks at conventional depictions of love. “It’s a response to what feels like such a formal proclamation of what love looks like. Indiana’s work has become a form of merchandise and has influenced how love is represented in popular culture,” says Longley, who’s reclaiming the intimacy of the word. Known for paintings interrogating images of cherubs, flowers and gardens, Longley will also exhibit works of abstract symbolism, with the spiral pattern a significant motif. This references the curlicue designs in Art Nouveau, environmental cycles, and the double helix. In one painting, there are two intertwined spiral staircases referencing emotional tension. As Longley explains, “Love is often spoken about as being uplifting or an ascension and something heavenly, but people also use the expression ‘falling in love’. The stairs are a way of exploring a space that’s a threshold where you’re moving from one spot to another and not a place where you pause or stay still.” —AUTUMN ROYA L 33

Sydney Blue Skirt Waltz Madeline Simm CHAUFFEUR 9 March—1 April

“The fog that keeps my words at bay is a sieve, and the colours move through it.” As Madeline Simm poetically explains, her practice interconnects her meandering thoughts with swathing applications of paint. Although created within the parameters of the canvas, Simm’s colourful, abstract paintings do not offer easy resolution. Instead, they deliver a series of what Simm calls “problem creating and solving opportunities”, which she paints her Madeline Simm, Sunlight, 2022, oil on linen, way into, and out of. 25.5 x 25.5 cm. The Melbourne-based artist’s inaugural solo exhibition, Blue Skirt Waltz, presents new abstract paintings that reference scenes and moods—things like windows, the microscopic surface of a textile, or a blooming garden. As if dancing forward, right, left and backwards—as the title suggests—Simm’s paintings are filled with circular motions, both formally and through her brush marks. Through various opacities and depths, the artist, as she explains, “forms a series of conversations through colour pairings that allow for endless possibilities and potential”. While abstract painting is a field conventionally void of narrative, many paintings in Blue Skirt Waltz reference ideas like the patterns of found fabric and textiles, lively colour palettes from gardens, and window-like forms; recurring symbols in the artist’s practice that evoke daydreaming and voyeurism. As Simm says, “I’m interested in how painting can be explored through its history as a traditional medium, yet at the same time it can reference something secret or sentimental, and therefore uniquely mine.” Simm’s painted arrangements and rhythmical thoughts entwine and overlap to investigate “painting as information”, encouraging open interpretation. Like one’s mood being affected by the sight of a sentimental item of clothing or their favourite flower, Blue Skirt Waltz encourages wonder. —ELLINOR PELZ

Adelaide The Arrangements: Assembling Nature Catherine Truman Carrick Hill 1 March—28 May

Catherine Truman, After Hans, 2022, object found and gifted bones-kangaroo and dairy cow, wood, felt, 45 x 43 x 30 cm. photogr aph: gr ant hancock.

Gardens tell us a lot about the natural world and the ways in which humans respond to and shape their surroundings. Through the making of gardens, social concerns become known, as does the tension between the constructed and natural. Catherine Truman, an artist who works between science and art, spent a year researching at Adelaide’s historic Carrick Hill estate, emerging with a body of work that speaks to this relationship, while also acknowledging the colonial history of the site. “Because of the intimate, domestic setting of the house, I’ve been able to really look

at these aspects of how we accept the science [of the environment] in our daily lives,” she says. The Arrangements: Assembling Nature probes the space between nature and humans. Some of the more sculptural works use real plant and animal matter, such as branches and bones, to create domestic objects. Others mimic nature with synthetic materials, but are presented under domes, appearing as though in a science museum. What is real, and what is artificial, is often indistinguishable. “I was thinking about the way that we bend nature to our needs,” Truman says. “It’s very much a domestic set of objects that brings the outside in to remind us that nature has affected the way we have been in our lives, and the choices we’ve made.” While some of Truman’s findings and presentations are damning about the impact of humans on the natural environment, she hopes visitors will take away an optimistic message, as she has. “I hope it generates positive conversations and hope for the future,” she says. “I’m thinking about the bigger issues that are all-pervasive, and to be able to express them on an intimate level is a very potent way to practise as an artist.” —GISELLE AU-NHIEN NGU Y EN

Hobart Prayer James Webb

Tasmanian Museum and Art Gallery Until 9 March When James Webb launched his multi-channel installation Prayer in Capetown in 2000, he had no inkling of the enduring scale it might achieve. Back then, working in James Webb, Prayer (Johannesburg), 2012. advertising, he was thinking about the effects of photogr aph: anthea pokroy. apartheid and imagined a work in which many voices could be heard together, yet independently. There have since been many iterations of the site-specific work in which people from various faith groups are recorded in prayer: now it’s Tasmania’s turn. The South African-born, Stockholm-based artist, who recently exhibited a retrospective of the various versions, says each version becomes a time capsule. Visually, Prayer manifests as a long red carpet with audio speakers hooked up nearby. Attendees remove their shoes and must kneel close to each speaker to hear the prayers; playlists differ between each listening post. There is the overall experience of hearing many prayers at once, contrasted with hearing a specific prayer when closer to one of the speakers. “Someone described it as a little like listening to a religious cocktail party,” Webb says. “I am always struck by the incredible humanity, generosity and connection when someone allows me to do something as intimate as an audio recording of prayer, of their personal and religious beliefs. There would be nothing, an empty, silent piece, without them being involved.” Webb says the prayers in the work are incredibly diverse: from formal and classical prayers, to those made up on the spot, to those seeking help or (in Chicago) hoping for gun violence to abate. “One of the most heartbreaking and amazing was someone [in Sweden] saying, ‘Thank you God for letting me wake up sober this morning.’” But all the prayers, he says, are gathered under the umbrella of vocal worship. —A NDR EW STEPHENS

Perth Black Sky

Lawrence Wilson Art Gallery (for Perth Festival) 11 February—22 April

The night sky tells many stories. Stretching above us, it is a witness to life and history. For Indigenous Australians, it is also a symbol of sovereignty—the black on the Aboriginal flag represents the sky. Taking over the entirety of the Lawrence Wilson Art Gallery, Black Sky asserts this sovereign vision. “This cultural continuity Tracey Moffatt, Up in the Sky # 18, 1997, photoand cultural resistance comes through all the works graphic series of 25 prints, edition 50 of 60, really strongly,” says co-curator Jessyca Hutchens. 75.5 x 105 cm each. cruthers collection of Hutchens worked with fellow Berndt Museum women’s art, the university of western austr alia, curator Michael Bonner, as well as Lee Kinsella from copyright and courtesy of the artist and roslyn oxley9 gallery, sydney. the Cruthers Collection of Women’s Art, to bring this exhibition to life. Though it primarily consists of new commissions, the show also includes existing work from significant Indigenous artists such as Julie Dowling and Tracey Moffatt. Moffatt’s 1997 photo series Up in the Sky will be shown as a full set of 25 prints—a rare event that Hutchens says is “really special”. Black Sky was born from an idea between Hutchens and Bonner for a show centring on Indigenous cinema, and while it has expanded beyond that, its origins can still be felt. There’s theatre in collective Tennant Creek Brio’s immersive multimedia work, and mining maps painted over by Joseph Williams, who also curated the show. “There’s something really cinematic about these works,” Hutchens confirms. The artists’ relationships to their heritage are communicated through their works, suggesting a wider cultural significance of the sky. “A lot of the works for us are about sovereignty, and maybe even thinking of the expanses of the sky up into the universe as a beautiful way to picture Country as well—not just the land, but extending far beyond,” Hutchens says, adding this final question: “How does the sky link to this bigger issue of manifesting and visualising sovereignty?” — GISELLE AU-NHIEN NGU Y EN

Darwin Botanically Porcelain: The Third Installment: Seed Dawn Beasley Northern Centre for Contemporary Art 1 March—30 April

Dawn Beasley, Botanically Porcelain, 2021-22, (detail), porcelain with slip-trailed details and 18ct gold lustre. Installed dimensions variable.

Last year, Darwin-based artist Dawn Beasley debuted one thousand ceramic pods for the Australian Ceramic Triennale in Alice Springs. Soon after, she exhibited a garden-like collection of lotus-inspired sculptures at the Godinymayin Yijard Rivers Arts and Culture Centre in Katherine. Now, she’s showing the third and final installment of her stunning three-part multimedia project, Botanically Porcelain. “I love that the exhibitions have grown as they worked their way through the Territory,” says Beasley, who uses native flora as a springboard for her art. “Each location has had its own impact on the aesthetic choices made at the installation stage. In Alice Springs, the work was set

against a red desert-inspired floor plinth and was very connected to the Olive Pink Botanic Gardens. In Katherine, the stark whiteness of a traditional gallery space separated the work from the natural influences and made an interesting statement about human connectedness to nature.” Blooming upwards from the floor, at times Beasley’s delicate white ceramic forms appear like gold-encrusted fungi stretching up to find the light. Some forms are squat and bulbous, while others are thin and elongated. Collectively, they appear at once familiar and alien. Yet despite their visual differences, each allude to an earthy, natural world. In contrast to the previous iterations of the series, much of the final installment, titled Seed, is under low lighting, its mass of objects recalling seed pods and fruit-like forms found in dimly lit undergrowth and quiet natural spaces. “Nature is the reference point for all of my work,” Beasley explains. “Everything starts with sketches of natural forms. As my work moves from 2D to 3D, I move away from realism, searching for forms that speak of the botanical without being species specific. This plays on the human habit of finding recognisable forms within the abstract, so viewers will find references to natural forms relevant to their own experiences.” —BR ION Y DOW NES

Melbourne Geoffrey Bartlett

Australian Galleries Melbourne 7—25 March Geoffrey Bartlett’s new exhibition at Australian Galleries Melbourne sees the renowned sculptor’s career, in many ways, come full circle. Bartlett’s first ever exhibition, in Melbourne in 1976, prominently featured drawings Geoffrey Bartlett, Drawing No. 24, pastel, water alongside sculpture. For this show, he revisits this colour, charcoal, pencil and acrylic paint, 35 x 55 cm. combination—but now, as he says, the drawings are photogr aph: emily bartlett. “taking centre stage, with sculptures acting as support”. The focus on drawing allowed Bartlett to take a less deliberate approach than with his sculptural practice, arriving at something akin to improvisation. “What is interesting for me about these 48 drawings is they begin with no preconceived idea,” he says. “I begin quite literally with a blank page, with no idea of where it will lead. They have a separation from my sculptural practice, however they have a strong sculptural personality.” These drawings might seem abstract to some, yet Bartlett describes them as having a “clear figurative reference . . . merging human form with animal and organic forms”, that are “placed in landscapes for context”. The sculptures in the exhibition have a similar feel: figurative, yet unfamiliar. And with these, Bartlett is again looking back. These pieces, he says, “pay homage to artists who influenced me in the beginning of my career”, including Pablo Picasso, Henry Moore and Alberto Giacometti. Another key influence is the late Australian sculptor, Robert Klippel. “The sculptures are of a very small scale,” says Bartlett. “I have attempted this on many occasions previously, after seeing the small works of Klippel in his studio many years ago. In the past I have had little success, but with new techniques I finally achieved an outcome I am happy with.” Alongside these new sculptural works, all created in the last three years, is a Bartlett sculpture from 1993, Nude Descending the Staircase, the inclusion of which completes the theme of a venerated artist taking stock of his creative life. “It is a sculpture I have revised in recent times, however it retains all of its original intentions.” –BA R NA BY SMITH

Archives of the Future Based in North East Arnhem Land, The Mulka Project is centred on sustaining Yolŋu cultural knowledge—and now their exquisite 60-metre projection will be displayed at the National Gallery of Australia. W R ITER

Louise Martin-Chew

The Mulka Project, Djarraṯ awun, 2023, commissioned for the Enlighten Festival, National Gallery of Australia, Kamberri/Canberra.

“You can’t overestimate watching films in Yolŋu language about you, your culture, your language and your life. It is epic.” — W I LL S T U BB S

The Mulka Project, Djarraṯawun, 2023, commissioned for the Enlighten Festival, National Gallery of Australia, Kamberri/Canberra.

Once upon a time, the archive was quiet; an array of shelves housing documents sorted into discrete and labelled boxes. While The Mulka Project was founded in 2007 to “sustain Yolŋu cultural knowledge”, its archival function has been characterised and extended by digital media, video and moving image— making it a busy, popular place, at the centre of its community in Yirrkala, North East Arnhem Land. A collective of practising multimedia artists, The Mulka Project looks to the past while capturing and engaging the present. This simultaneous archival and forward-looking process is at the innovative heart for which the collective, that’s part of the BukuLarrnggay Mulka Indigenous Art Centre, is known. While creating artworks as a collective, the group is ultimately centered on collecting and producing cultural recordings for intergenerational sharing, alongside caring for iconic cultural objects— but they’ve recently segued into the digital realm for their archives and inspiration. As Buku-Larrnggay coordinator Will Stubbs explains, it’s now “a whole new toolset of artistic practice. The way things are being documented now sees film experience and digital knowledge naturally carried across into art practice. Art is everything here. The tools being used to document culture see the lines blurred between art and documentation.” Mulka means “a sacred but public ceremony, and to hold or protect”, with the current creative director Ishmael Marika describing its aim to “bring knowledge of the past to the present, to preserve it for future generations and to understand what meaning it has in the present day and age”. Its successes are many, with a long list of art, music and film awards, as well as inclusion in high profile exhibitions like the 22nd Biennale of Sydney: NIRIN in 2020, and Tarnanthi Festival in 2017 and 2019. Many of the Mulka team are individual art award winners themselves, including Gutiŋarra Yunupingu, whose video work Gurruṯu’mi Mala – my connections took out the Telstra National Aboriginal and Torres Strait Islander Art Multimedia Award (NATSIAA) in 2019. And the recently deceased Mr Waṉambi, who was the cultural director of the Mulka Project from 2007 until 2022, and an incredible artist in many media. He won the NATSIAA 3D Award in 2018 for his film Destiny. With its growing profile and art world successes, Stubbs observes how The Mulka Project is now a staple of the arts centre. “It was set up to serve a purpose but has developed well beyond that role,” he explains. “It is still used as the place to go for ceremony—we have hundreds and hundreds of hours of ceremony. And there is a space here, Yalu (bird’s nest) which has 10 iMacs which default to the archive. It’s the main place people go for banking and Facebook, but 90% of the time, people are going through the archive. After school it is pumping with kids, watching archival films. It is very much the media of the community, delivered like Netflix to the Yolŋu; broadcasting the archive. You can’t overestimate

watching films in Yolŋu language about you, your culture, your language and your life. It is epic.” The Mulka Project is now heading to the National Gallery of Australia for the 2023 Enlighten Festival with a commissioned sound-based projection featured on the building’s 60-metre façade. Titled Djarraṯ awun, the piece refers to the movements of natural light over the diurnal cycle, and portrays elemental forces in an immersive projection. Centred on the elements of walu (sunlight), makarran (lightning), and gurtha (fire), the projection will include an atmospheric soundscape of songlines—the Aboriginal walking routes that are sung to the landscape—performed by senior Elders. These are layered with archival recordings mixed by Mulka studio engineer, Arian Pearson. The projection’s visual elements include composite video drawn from new footage and imagery, which is layered with 3D animation developed by the Mulka team. The narrative begins with a campfire at sunrise over the northern coastline. The sounds of the sea meld with Yolŋu voices, as the images scan over people gathering oysters before the vista expands to include men with spears wandering in the distance, calling for stingray, mud crabs and fish. The gathered food is placed on the fire and begins to cook with rising smoke obscuring the sunset and engulfing the façade of the NGA, before it transforms into storm clouds (warumuk wangupini). The moon rises to illuminate the clouds, which roll across the building as lightning begins to strike. The songlines of thunder man Bunuwal emerge from the soundscape as the lightning builds, finally striking a column of the building with a flash—and then the singing stops. Sparks stimulate a grass fire that begins at the base of the column to spread into gadayka (stringy bark forest). Children’s voices emerge to sing to the fire as it runs across the building and finally peters out, with a solitary campfire burning as the sun rises, completing the cycle. Marika explains that sharing Yolŋu songlines, narratives and culture allows global longevity. In March 2022 he told the ABC that “songlines [have] been carried from the ancestors, been passed on to great-great-grandfathers to, you know, grandfathers, to fathers and to us. We want more of my clan and our tribes to show themselves to the world.” This pride is palpable in the Yirrkala community. The artist Mr Waṉambi told me in 2018, “For Aboriginal art, I like them [the audience] to understand that art has been continued for many years and is real; not play.” The opportunity to experience a slice of this reality in Canberra, which has been created from a remote place that few may otherwise experience, makes Djarraṯ awun even more compelling.

The Mulka Project: Djarratawun National Gallery of Australia (Canberra ACT) 3 March—19 March

What We Decide To Value Known for his photographic explorations of history, culture, and family, Michael Cook’s latest images tell the story of a travelling family—and how they begin to question everything around them. W R ITER

Andrew Stephens

Michael Cook, Broken Down, 2023, from the series Fake.

“They are celebrating that they have found a deeper connection back to Country, culture and themselves.” — M ICH A E L C O OK

Michael Cook’s photographic exploration of his heritage and family influences is a fascinating exercise in contemplating the nature of identity. As an Aboriginal child raised in an adoptive family with five older siblings, he’s had much material to contemplate, alongside investigating political ideas, consumerism, and the fabric of contemporary Australian society. While Cook has always known he was Indigenous, he says his ability to “feel” Aboriginal has developed and evolved over his decades-long practice. His non-Indigenous adoptive mother was an activist in environmental issues and Indigenous rights, and always encouraged his learning about his heritage. In the late 1990s, he reconnected with his biological mother and they developed a wonderful relationship, deepening his experience of his heritage. Cook’s latest body of staged photographs, titled Fake, continues the trajectory of his earlier output: there is an overarching theme concerning a set of characters caught within a loose narrative. The most known of these works, Cook’s Majority Rule series, 2014, creates surreal-feeling scenes, imagining if Australia’s population were 96% Indigenous and 4% white. Fake, however, is a different kind of inversion. The story presents an Aboriginal couple and their white adopted child travelling through Australia—all of them slowly dispensing with their high fashion and consumer items as they gradually acclimatise to their environment, questioning what should be valued. “Fake is very polished and there is a lot of fine detail in it,” says Cook. “Part of the idea with it is to look

at what society expects ‘success’ to look like. I am not judging, but [rather] asking people to examine their own beliefs and whether the way they are living is what they really want, whether what we class as being successful—materialistic possessions—is all there is.” Cook, who worked as a commercial photographer for about 20 years before he followed a persistent urge to explore fine arts, says he loves high fashion and was “the worst consumerist” when he was younger. “But at least I now understand, when I purchase something, the psychology behind why I am doing it. I grew up in a family where we questioned a lot of things. My mum used to fight for Indigenous rights, was on the council, and stopped high-rise development and so on, so I was always brought up to question and not believe in the hierarchy; to think outside the square.” In Fake, consisting of 12 photographs, the portrayed family begins with full-blown materialism: flash cars, fancy luggage, expensive designer clothing and ridiculously priced handbags. They start at Cook’s version of an elite hotel in the outback and ride Segways, two-wheeled transporters, through the desert. By the final shot, the family members have started to discard their clothes and possessions. “They are celebrating that they have found a deeper connection back to Country, culture and themselves,” says Cook. “You could say that this reflects my journey in life, and a realisation of what is important and enduring in this world.”

Michael Cook, Salt Lake, 2023, from the series Fake.

Appearing in most of these images is a peacock. Cook grew up in a bird sanctuary and one of his jobs each afternoon was to feed the birds, which included a peacock and pea hens. He says the family in Fake feel privileged enough, when they check out from their hotel, to take the peacock with them. “It is with them for the rest of the trip.” While Cook explains the child in the imagery references and mirrors his own childhood experiences, he feels that that time in his life can now be seen as part of a larger investigation of identity; how art can encourage viewers to question themselves. When he had his first visual art shows in the early 2010s—after he was encouraged by his partner to actively explore his ideas—he was still questioning his identity and felt he didn’t have the “right” to be discussing Indigenous issues in his work. But when he was working on his Mother series (launched at Art Basel in 2016) he began to realise there were many different types of Aboriginal identity and thousands of different stories.

“My story is my story, and no one can tell me different,” he says. “I have every right to tell my story as it is, and see Australian history in my own way. I am reasonably good at creating it [history] from my own point of view, because I ask a lot of questions of myself and society in general.” Thus emerged his Invasion series, 2017, in which terrified (Anglo) Londoners are portrayed fleeing an invasion by Aboriginal-themed flying saucers, with Indigenous fembots and laser-shooting possums. “I was trying to imagine how Aboriginal people felt when they saw Europeans for the first time,” he says. “It [Invasion] is far-fetched.” But, like Fake, it is deeply affecting in the way it uses a light veneer of humour to take us deeper into far more serious considerations about a disturbingly harsh history.

Fake Michael Cook

Jan Murphy Gallery (Brisbane QLD) 28 March—22 April

Interview

Peter Tyndall For over 50 years, Peter Tyndall has relentlessly explored what it means to look at art. Coming to prominence in 1970s Melbourne, his conceptual approach to painting is defined by the repetition of one image: an empty rectangle suspended by two lines, akin to an empty picture plane hanging in a gallery. With an extraordinary retrospective currently showing at Buxton Contemporary—which canvasses Tyndall’s earlier works through to his scenes of people looking at art, and his textual paintings—Tyndall talks about seriousness and humour, and how he looks at a work of art. W R ITER

Tiarney Miekus

right Installation view of Peter Tyndall exhibition, Buxton Contemporary, the University of Melbourne, 2022-2023. courtesy anna schwartz gallery, melbourne. collection: the artist and anna schwartz gallery melbourne. photogr aphy by christian capurro.

“I’ve always found humour both pleasurable and a way of breaking open things which are hard to break open; seriousness upon seriousness sometimes has its limitations.” — PE T E R T Y N DA LL

TI A R NEY MIEKUS:

Your retrospective clearly captures a repeated shape throughout your work from the 1970s to now, which is a minimalist representation of a hanging picture, whether it’s singular, in a geometric grid, or even the exhibition hang itself. What compelled you to the image of an empty picture plane? PETER TY NDA LL:

Early on [in my practice] I said to a friend, in a moment of lightheartedness, “If I put a line between this inside rectangle and this outside rectangle, we’d have the image joined up to its own object, or the object to its own image.” And if I put a frame around that and I hung that in a gallery, then that would be an image of interconnectedness. It was in that moment, in that work, that I understood in a profound way that everything was not a thing-in-itself, but part of a boundless interconnection. Previously with the [earlier] abstract works, I’d been working within a rectangular format, which is the usual for painters. And I’d reduced the content of that rectangle down to an emptiness that many artists around the world had come to in the 1960s or 1970s. We can go back much earlier to Malevich and others with black and white rectangles. Many felt this was an end point in representation, but it was when I was able to see that there’s something interesting about an empty rectangle as an image and joining that up to the object [the actual hanging artwork]. And I know this can sometimes sound confusing! But it sets up a meta scene that has something to do with the difference between an object and its image in the same way as with language: we can observe the difference between a word and its object. In that breakthrough I had rejoined the world. Or recognised that the world wasn’t composed of separate entities; it’s flowing, flexing.

That touches on two facets of your work; when you began painting it was just before postmodernism was coming to Australia, during a conceptual turn. But you later developed an interest in Buddhism. It sounds like you’re describing a meeting of the two? PT

I’m seeing that connection to Buddhism retrospectively now. In my first of two years of architecture studies, I encountered John Cage’s double LP, Indeterminacy. He would tell little Zen stories and David Tudor would play fragments of piano music. But they recorded without either being aware when the other was playing or speaking; that was part of the indeterminacy. So, I encountered Cage and Zen and that notion of things being unfixed, very early on. And I quickly went out and bought all the John Cage books I could get. While that was then in advance of any art practice of mine, I can see in retrospect those ideas being quite foundational. You mentioned post-modernism—I don’t think I heard that word until the late 70s. It was before appropriation art was a thing, or before post-modernism was a thing—but many of my paintings would later fit that category. I came to that through my own attempt to deal with a constant emptying [of the canvas frame] but while recognising what kept flowing in through my own projections and my own connoisseurship—and as someone who didn’t do art in secondary school, nor went to art school, and who was still learning about art as an escapee from architecture. I was self-teaching and discovering without a great degree of guidance. TM

You were also coming up in a cultural moment with artists and friends like John Nixon and

Installation view of Peter Tyndall exhibition, Buxton Contemporary, the University of Melbourne, 2022-2023. courtesy anna schwartz gallery, melbourne. the artist and anna schwartz gallery melbourne and museum of contempor ary art. photogr aph: christian capurro.

Jenny Watson, many of whom had firm ideas about conceptual art. How much would that have influenced your early work? PT

Yes, there was a group of us in Melbourne, and there was another group in Sydney that I contacted later. But in Melbourne there was John and Jenny, who were a couple then, and Howard Arkley and Elizabeth Gower—the five of us met early on, at the beginning when we were all young artists. We spent a lot of time together, would go to openings together, discuss work. We were all very serious and ambitious. I think that’s what we recognised in each other. I was perhaps more exploratory, and in some senses still am. With John, he saw that Australian art history needed a comparable intervention such as Constructivism had made in European history. And through our tyranny of distance, and for whatever other reasons, we were uninformed about certain [artistic] ideas. And it feels to me as if John thought, “Well, let’s redo that history in Australia.” It’s a very, very interesting project. But he and I were very different artists: we both had a reform project, but mine wasn’t initially so apparent and came from my own intellectual critiques of the separate individual as opposed to the community and social realm. And for males in Australia at that time, we had conscription to deal with. At the age of 20 we were all up for possibly going to Vietnam, so we were politicised. There was a general seriousness. But also, there was a heck of a lot of fun going on through music and other things, but one couldn’t avoid the political. TM

I once interviewed you about John Nixon, and we talked about the word serious. And afterward you sent me an early artwork of yours which had the

line, “If you’re really serious you should be laughing.” I still feel like it summarises your work so well, the comedy and philosophy. What’s the link, for you, between humour, seriousness and art making? PT

It’s true, it was a core line. I remember when I was driving from Bendigo to Melbourne one time, and that line popped into my head. I actually stopped the car and wrote it down because it did seem summary. I’ve always found humour both pleasurable and a way of breaking open things which are hard to break open; seriousness upon seriousness sometimes has its limitations. And I suppose I’m almost falling into the trap now of explaining humour, which we should take as a given. But I used to listen to things like The Goon Show on ABC radio [a BBC program] for example, and I’m perhaps more inclined to that happy deconstruction or happy critique than the brow-knitted, serious type. I guess that’s just a personality inclination. TM

Throughout many of your works, particularly the later works, is the repeated title: detail A Person Looks At A Work of Art/ someone looks at something... LOGOS/HA HA. You’ve built on that since the 1970s. How did that evolution come about? PT

In November 1974 I came up with the pictorial image [of the empty rectangle with its lines of connection], but the title has taken a long time to evolve, going through various stages. From the first of my breakthrough paintings in the early 70s, I was starting to understand the role of the observer or the viewer, but with the titles I was calling that first group Untitled Painting #1, #2, etcetera.

Artist Peter Tyndall, Peter Tyndall exhibition, Buxton Contemporary, the University of Melbourne, 2022-2023. courtesy anna schwartz gallery, melbourne.

And within a year, quite quickly, I’d done several hundred drawings of a fundamental scene with a suspended projection space and someone looking at it. And I would sometimes make a little jotting on the back of the drawing: a person looks at a work of art, or a man looks at a work of art, or a woman, or a child. After a while I settled on “a person”, and then refined that to “someone looks at something”. But that might have taken me two or three years to get to that point. Then, in the late 70s, I started thinking about the line “detail” and realising what a small word it was, but also the implications of that at the start of the title—how huge that is. If someone is in an art gallery and looking at a work of art, a painting for instance, they refer to the title for some information—that’s the usual scenario. And traditionally, the artist is expected to provide a title. So, I thought, that’s an important opportunity to intervene between the art object and the information realm that the viewer finds themselves in. And a detail is a continuous part of something larger, so by implication it’s part of boundlessness until one provides an edge that says this is what it is. It’s a complex situation where you have an awareness of being part of something much larger, and that leads to a questioning. TM

A questioning of . . . ? PT

Well, yes, exactly! Of what? I think that is the answer. It’s the fundamental question, which you sometimes find in Zen statements: “What is this?” TM

When you’re looking at an exhibition of another artist’s work, are you having this meta thought process? Or do you look more plainly? PT

Both. In the early stages when I was aware of interconnectedness, I remember finding in a catalog from an exhibition in England [Tantra at Hayward Gallery], a Hindu object of a silhouetted figure. But the inside was empty, cutaway except for two hanging hooks. And it said, “Supreme Goddess as Void, with projection-space for image.” So, I’ve taken quite a lot of my language from that. And this was realising that my breakthrough might be a breakthrough perhaps in Western art to some extent—but for half of the world, this was part of a meditation practice. But going back to your question, I’m not at all dismissive [of other art]. It was me trying to work out where my breakthrough positioned myself and my work. I understand that within the relativity of image making, to some extent all art is folk art. I’m appreciative of the differences and the achievements of a huge number of artists in the world, and enjoy and appreciate their work at a relative level while also understanding small advances and achievements, and my own delight in colour and form and so forth. But, at the same time, understanding that they are inherently empty: that the cultural formations of the

artwork are flowing most significantly through my own projections. This brings me back to a constant self-interrogation about the state of real—what is real? TM

In terms of other people’s projections onto your work, there’re critics who see it from cynical to earnest. Where do you feel you sit? PT

I’m not cynical. I’m always respectful of everybody’s best efforts. I’m earnest, yes. Those I admire go from hard edge philosophers through to The Goons—the opportunity for wisdom is everywhere. I’m more like an anthropologist that is neutral and interested. TM

A recent profile of you mentioned that you were a dreamer as a child and were highly attuned to people having separate thoughts to your own. Have you thought about where that early self-reflexivity stemmed from? PT

Well, I’ve always wondered, because we don’t know what others are thinking—was that unique to me or not? That was at the age of four or five, that meta thinking. Now, thinking about it, I had a Catholic upbringing in the 50s which included going to confession and being instructed in “examining one’s conscience” as a regular formal matter. I’ve wondered whether that might have made some difference because of its formality in examining thought, word, and deed. It’s not just an examination of conscience, but of consciousness itself. It’s so strange thinking back to those times because it was so conservative and traditional, with Latin mass and all of that. And with Buddhism, a word like awareness, or even the notion of self, is part of the formal teaching as well. Whether one set me up for the other, I don’t know. TM

For someone whose work focuses on the viewer and context, during your practice the internet and social media have become dominant ways that many people look at art. Has that meant anything for your work? PT

I suppose I haven’t had to do it [social media and blogging], but I’ve been inclined to because I wish to engage with others. Since it’s a phenomenon in our time, I accept it just as another form of the same thing: a computer screen in one sense is no different to a canvas. We are still dealing with images and a history of images. We are still dealing with language. I remember years ago answering something with, “The only difference is the difference.”

Peter Tyndall

Buxton Contemporary (Melbourne VIC) Until 16 April

Disguise and Revelation During his lifetime, Andy Warhol took more than 40,000 Polaroids. These are now showing across Australia, alongside images of Warhol himself, in all their glamour, intimacy, desire and loneliness. W R ITER

Isabella Trimboli

Bob Adelman, born Brooklyn, New York, United States 1930, died Miami Beach, Florida, United States 2016, Andy Warhol on the red couch at the Factory, 1964, New York, pigment print. courtesy of bob adelman estate. 52

Oliviero Toscani, Andy Warhol, 1975, New York, United States of America, pigment print on paper, 40 x 50 cm. public engagement fund 2021, art gallery of south austr alia, adelaide. © oliviero toscani.

There are innumerable pictures of Andy Warhol, almost all of which convey various degrees of discomfort. In a portrait by Helmut Newton, the artist sits on an armchair, holding various tape recorders, swaddled in a giant black scarf that looks as if it might choke him to death. When Robert Mapplethorpe photographed Warhol near the end of his life, he was rendered a ghoulish deity; his silver wig and sickly skin blending into the halo that surrounded his face. Even in his self-portraits, he couldn’t get comfortable. He always looked startled, nervous, stilted; a little afraid of what the camera might reveal, especially to himself. From 1971 to 1987, Warhol took nearly 40,000 Polaroids. A minuscule portion of these photographs, and photograph-inspired works, are on display at two Australian exhibitions: Andy Warhol & Photography: A Social Media at the Art Gallery of South Australia and Pop Masters: Art from the Mugrabi Collection at the Home of the Arts (the latter of which includes a host of pop artists). Warhol’s Polaroid photography was one of his many mediums—but also a compulsion. It was a method to get close to, and, in some way, cannibalise icons he worshipped or figures he was enchanted by. But it also created a necessary wedge that divided him from others; many accounts of Warhol in the 70s

and 80s describe the artist alone at parties, hiding behind his camera or recorder. The Polaroids also served a practical purpose: they were the basis for his portrait painting and silk-screens. His process involved taking around 50 Polaroids of a subject, picking out the best image, and printing a silk-screen. His camera of choice was the ‘Big Shot’, a rudimentary hunk of plastic, that promised to produce portraits that the photographer “couldn’t mess up”. Warhol liked this ease, but also the camera’s washed-out, softening effect, which he said could dissolve any imperfections. In his Polaroids, he made female celebrities look like embalmed dolls, partly caused by his habit of slapping white powder onto his sitter’s faces, disguising their suntans and wrinkles. There’s Liza Minelli, with her big doe-eyes, turning her head to face Warhol’s lens. There’s Debbie Harry, a glorious vision of cheekbones and pink eyeshadow. Dolly Parton is rendered as a frozen barbie doll, with a giant peroxide wig to rival Warhol’s own. I love these images, partly for their emphatic portrayal of glamour and death, but also the fantasy they provoke: that immortal fame and outsized beauty can be achieved simply through arrangement and presentation.

“It was a method to get close to, and, in some way, cannibalise icons he worshipped or figures he was enchanted by.” — IS A BE LL A T R I M B OL I

But is it pure fantasy? Warhol, the ultimate self-made cipher, understood intimately the power of display. His life followed the trajectory of a grim fairytale: a feeble child who transformed into a lonely, worshipped art star. For public consumption, he hollowed himself out: he desired to produce work like a machine (indifferent, devoid of emotion) and often evaded explaining himself and his work. He let the gaps speak for themselves. Like a kid’s colouring book, you could fill them in with whatever you wanted (and people have certainly tried: ‘Pinning Down Andy Warhol’ remains a cottage industry). His best celebrity images, be it quick Polaroids or giant silk-screens, share the quality that pervaded his persona: an affinity with surface pleasures, along with an embrace of the void. This muddle of flesh and emptiness also extended to his depictions of the male body. Throughout his Polaroids was a legion of muscles, asses and genitalia. It is another compulsion: in his book Popism, Warhol details how male guests at The Factory were asked to take their pants off so he could photograph their genitals. This urge stretched back to his days as a commercial artist in the 50s, where he had sketching pads filled with drawings of male genetalia, some with hearts and little bows on them. I mention these anecdotes because Warhol is so often treated with dull, hallowed seriousness, but what made him brilliant was often his great impishness—he was never afraid of indulging in the strange pull of sexual fascination, with the camera performing a proxy intimacy that seemed lacking in his own life.

These nude Polaroids severed the butt and torso from the rest of the body, through crops and close framing. They are imbued with both lust and envy. He was relentless in capturing the young, hot male figure, though, as he once remarked, he saw nudity as a “threat” to his existence. Only later in his life would he allow others to capture his body with a similar, scrupulous gaze, through a portrait by Alice Neel and in photographs by Richard Avedon. In critic Wayne Koestenbaum’s great, cutting study of the artist, he writes how in Warhol’s work, masculinity was treated as vacuous and regularly depicted as caricature. Yet Warhol’s art that skirted the border of pornography is some of his most sublime; intimate flesh, relaxed or in motion, explored in its totality. “Warhol’s art was the sexualised body his actual body largely refused to be,” writes Koestenbaum. What is contained in his Polaroids is that unavoidable, aching question of desire that stretches across sex and celebrity: do we want to be this person, or do we want to be with them? Warhol knew the answer was never just one or the other.

Andy Warhol & Photography: A Social Media Art Gallery of South Australia (Adelaide SA) 3 March—14 May

Pop Masters: Art from the Mugrabi Collection Home of the Arts (Gold Coast QLD) Until 4 June

Studio

Sarah crowEST “I pretty much have a no-waste studio practice . . . there’s this endless soup of resources around me.” — S A R A H CROW E S T

PHOTOGR A PH Y BY

Jesse Marlow 56

AS TOLD TO

Giselle Au-Nhien Nguyen

Sarah crowEST’s multidisciplinary practice blends a range of materials and techniques to create layered works with oscillating, fragmented forms; both geometric and soft, visual and textual. Of particular brilliance are her “strap-on paintings”—large, wearable objects on stretched cloth that can be exhibited on a gallery wall or worn, blurring the line between fashion and traditional art forms. Ahead of her inclusion in Melbourne Now and her solo at LON Gallery, we caught crowEST in the final days of her year-long residency at Brighton’s historic Billilla Mansion in Melbourne, where she talks through the importance of sustainability to her practice.

PLACE

SA R A H CROW EST: I’ve been here for nearly a year.

It’s one of the studios offered by Bayside Council for free for one year to various artists. There are a few outbuildings where the other studios are, but I’m the only one that’s in this mansion. This is a perfect studio for sitting and doing little paintings because it’s got this beautiful light on two sides. I was at Shakespeare Grove Artist Studios for four years—that was great because I had a really massive seven-metre-long wall that I could pin up my huge canvases to, and work really large. I’m always synchronising the body of work that I need to be doing at the time with the actual studio that I can access. Preparing for the next period when I will probably work at home before I find my next studio, I’m moving more towards painting at smaller scales. PROCESS

SA R A H CROW EST: I spend a fair bit of time freely

making things and not feeling like I have to be too constrained by a conceptual outline or imperative coming from elsewhere. I make a lot of work, and I accumulate stuff. I fold things from the past into what I might be doing now. I’ve made quite a few bodies of textile work or groups of paintings that I’ve never even exhibited, just because I’ve moved on to another thing before I’ve had a chance to put them out there or talk about them. I roll things up and put them away, and then I rediscover them later. I think when you have a love of making and a very material practice, almost everything you do suggests other things, so it gathers its own momentum.

I pretty much have a no-waste studio practice. I’ve got all these things that are previously made or half-made, or things that I can pull apart and remake and recycle—so there’s this endless soup of resources around me. I’ve always been very much of the view that it’s more the form or the process that should carry the real meaning, rather than the subject or the content of the painting. That’s why I’ve developed this way of working with these sorts of materials that can be reused, and the no-waste and constant recycling is a fundamental part of it. I use a lot of found materials. I’ve been using acrylic paints, which I’d like to phase out from my practice because they’re plastic. When I’ve been in various studio situations, other artists just chuck things out and I gather them up. I did some big wall paintings in the city during the lockdown, and I’ve got big cans of paint that I bought for that, which I’m still using. In fact, I used it for all the Melbourne Now stuff. Some of the materials I’ve got will probably last me until I die, and there’ll still be some left over. PROJECTS

SA R A H CROW EST: I started making the strap-on

paintings around 2012. I was using the canvas for painting and I needed something in the studio [to hold it], so I just put some straps on a tile, and that was the start of it. Because it was a rectangle, they all have these tabs on them so they can also work as a hanging painting, which is why I call them strap-on paintings. It really interested me. On the surfaces of these I’ve tried to be quite rectilinear—with the text and the pockets and the straps,

everything’s very straight—but as soon as you put them on the body, it all starts breaking up and going in angles. I think that’s a metaphor for everything that happens in the world: this imposition of control, then the way it breaks down and finds its own levels and waves and eruptions and destruction. There’s a backwards and forwards between them being something that straps onto the body and something that goes on to the wall. The Melbourne Now work is going to be a couple of flat paintings, and then a couple on pegs that people can try on. There’s an interest in architecture that always emerges in my work. In this case, when I was first thinking about what to do [for Melbourne Now], I went to the Ian Potter Centre: NGV Australia at Federation Square and whenever I go in there, especially when I go up those escalators and stairs, it’s always amazing angles and pieces. I like the work I do to have some relation to the site, if I’m working on a commission like that. It was these points, these triangles, these angles,

and I never use triangles—I’ve almost got a phobia about them—but I thought, “I’m going to disrupt my process, and I’m going to see what I can do with these angles.” These are actually some of the elements that I’ve sort of exploded. It’s much more about the feeling of them that I get from the architecture than going in and actually transcribing it, but they’ve all got these quite degraded and stained and blotched little graphic elements.

Melbourne Now

Ian Potter Centre: NGV Australia (Melbourne VIC) 24 March—20 August

Sarah crowEST

LON Gallery (Melbourne VIC) 1 March—25 March

Art of Now Ten years ago, the National Gallery of Victoria launched Melbourne Now, where the Ian Potter Centre: NGV Australia turned inward, showing Victorian gallery goers the important, brilliant art being made in their state, at that moment. Now it’s back with over 200 Victorian-based artists, designers and creatives, spanning almost every medium imaginable. We asked five of the exhibiting artists—Amalia Lindo, Anu Kumar, Christian Thompson, Jessie French and Mark Smith— to tell us about the work they’re showing.

Amalia Lindo, Anu Kumar, Christian Thompson, Jessie French and Mark Smith

Christian Thompson, New Gold Mountain (Xin Jin Shan), 2021, c-type prints, 240 x 240cm, 4 x 120 x 120 cm. Courtesy of the artist and Yavuz Gallery, Singapore and Sydney, and Sarah Scout Presents, Melbourne.

Christian Thompson:

Taken from my 2021 series New Gold Mountain, my sound work Burdi Burdi (fire fire) is from a body of work I share with my grandmother Harriet Woods (Woods an anglicisation of Lam/Lem/Lim) and our Southern Chinese-Australian gold rush heritage. Made during pandemic lockdowns, fire and gold became important symbols for me. As a society, our collective fire was dimmed after enduring some pretty challenging times in these last few years, so for me Burdi Burdi (fire fire) is about the fire within—galvanising resolve and persevering through, finding your fire and becoming strong again. The references to gold come from our gold rush heritage but gold is also highly regarded and meaningful in Chinese culture. I wanted to use colour for the install to create this feeling of opulence and warmth, a place to listen to language and sound while fully immersed within this space, bringing together my Bidjara and Southern Chinese heritage. The world moves so fast these days, too fast. Burdi Burdi will be a quiet and meditative space to reflect on our collective and personal histories; a transportive space into different threads and narratives of our recent past. I’ve been working in sound for over 20 years, and one of the remarkable things about sound for me is its infectiousness and immateriality. It’s at the core of human experience in the way that it stays with you.

Amalia Lindo, still from Telltale: Economies of Time, 202223, 12-channel video, 12-channel panned audio, 6 hours 55 minutes, dimensions variable.

Amalia Lindo:

In recent years, I’ve discovered how much I value artistic collaboration, whether with creatives, academics, or, in the case of Melbourne Now, a group of globally distributed human ‘crowdworkers’. The 12-channel video installation Telltale: Economies of Time is a collaboration between myself, data scientist Dr Timothy Lynam, sound designer Dean Schrieke, and approximately 1,820 anonymous human crowdworkers contracted on the Amazon-owned crowdsourcing platform, Mechanical Turk (MTurk). Amazon’s MTurk provides tech companies with cost-effective access to a 24/7 human workforce for tasks like content moderation and data management. By completing digital microtasks involving tagging, analysing and classifying images or text, MTurk workers are routinely contracted to teach artificial intelligence (AI) algorithms how to see, name and know our world. Between March 2022 and March 2023, I commissioned MTurk workers to submit a short video in response to the video submitted by the worker who completed the task before them. The result is an unfolding chain-mail-style narrative, presented as an immersive visual and sonic experience that reflects the collaborative and social nature of AI through the lens of its ‘invisible’ contributors. As a durational and collective exercise, this project operates as a telltale for the evolution of the algorithm—an economic process that has divided human time, space and labour throughout recent history.

Anu Kumar, Untitled, photograph.

Anu Kumar:

This photograph is from a larger body of work titled Ghar, meaning ‘home’ in Hindi. Ghar is the culmination of over seven years of making images in my birthplace of Kavi Nagar, India. This project began as a visual articulation of my curiosity; capturing moments slowly on a medium format camera in pursuit of understanding my Indianness. Pictured is my Mami Ji (aunt) cutting a pomegranate in the Aangan (centre courtyard), a common occurrence in our Kavi Nagar home. Mami Ji has an Om tattoo on the front of her right hand, a remnant of her teenage rebellion. She often cuts fruit as a midday offering, a daily gesture of love in many Indian households. I spend most of my time in the Aangan. It’s the central point of our house where all the members of our family congregate for various rituals; morning chai, fruit and veg preparation, where my uncle parks his bike, and where we lounge in the sun passing the midday hours. Looking at this image reminds me of the soft but significant moments that punctate my days in India.

top: Mark Smith, Control, 2022, material, stuffing, thread 24 x 170 x 17 cm. bottom: Mark Smith, Happenstance, 2022, material, stuffing, thread 28 x 300 x 15 cm.

Mark Smith:

I often begin my soft sculpture, text works by choosing a particular word that I find evocative. I’m interested in eye-catching fabrics. For example, the bright pink of the work CONTROL, showing for Melbourne Now, is important because of the allure of first impressions, then comes the imagined narratives it may produce. Creating letter sizes and pattern stencils, and then buying amounts of fabrics, is extremely mathematical. I also became interested in ‘happenstance’, which is defined as coincidence. Straight away I find this arouses feelings of curiosity and perceived narratives—which links to an ambiguous visual effect of creating the word in sequined material. Prompting a viewer to think, study and contemplate—therefore broadening and opening the mind—is a particular aim for me (another of the pieces in Melbourne Now is called LOOK and it will be placed between two spaces in the gallery for this reason). The words ‘control’ and ‘happenstance’ have an interesting relationship. During life, I think it is natural to try to control certain happenstances, whatever the situation or context may be; it’s the human endeavour to perfect circumstances to your liking. The hand-sewn characteristic of these words makes them reminiscent of the randomness of life, where the ambiguous and imperfect call for the cultivation of patience. Yet the ‘L’ at the end of CONTROL falls away, giving rise to thoughts of uncontrol.

Jessie French, Ghost in the ‘cene, 2023, algae-based material developed by the artist, mineral pigment, Athrospira platensis microalgae pigment, charcoal, waxed thread, aluminium tape, steel wire, 70 x 20 x 20 cm. photogr aph: pier carthew.

Jessie French:

Vessels are holders for things. Arteries that keep us alive. Carriers for water. Vehicles for stories. What keeps us afloat in turbulent seas. In the 1967 book The Ghost in the Machine, Arthur Koestler explains humanity’s destructive tendencies both individually and collectively. British philosopher Gilbert Ryle coined the phrase ‘ghost in the machine’ to critique the separation of mind and body. These became touchstones. Ghost in the ‘cene, my largest vessel to date, takes issue with humanity’s pollution on planetary timescales. We use materials for momentary convenience which will become fossils of our plasticene epoch. They will one day represent ghosts in the rock, marking a time when these materials were produced. This is global to bodily; microplastics have been found on the top of Mount Everest and in human breastmilk. More than half the hazardous chemical ingredients in plastics are known to accumulate in our blood. These materials hoard in unthinkable places in time and space. My vessel is a placeholder of one moment of time: made of algaebased material, it supplies hope for what our material lives can be. It can disintegrate and be remade infinitely. Such a shapeshifting material captures a world in transition, where the destructive permanence of petrochemicals and plastics is reimagined through the soft strength of algae. It is a memory of the future; what we make of the time ahead we leave for those who come after we are gone.

Melbourne Now

Ian Potter Centre: NGV Australia (Melbourne VIC) 24 March—20 August

20 Questions

With Leyla Stevens Leyla Stevens is an Australian–Balinese artist and researcher who works with photography and moving image. Having won the 66th Blake Prize in 2021, her art focuses on little-known histories, bringing these to light, while also centring cultural politics and rituals. Ahead of exhibiting in the TarraWarra Biennial 2023: ua usiusi faʻavaʻasavili, Stevens talks about creating from history. W R ITER

Tiarney Miekus

Leyla Stevens. courtesy of the artist.

Your first art love?

I have many, but I do really remember seeing for the first time Hiroshi Sugimoto’s seascapes up close.

You work between Bali, Indonesia and Sydney— what does that crossover give your practice?

It’s the crossover space that I’m interested in—the friction, connection and creativity that comes from operating between disparate cultures.

Are there any contemporary Balinese or Indonesian artists you particularly admire?

For a long time I have looked to FX Harsono as an inspiration. The durational performances of Melati Suryodarmo are incredible—start with her iconic Butter Dance. And contemporary Balinese artists Citra Sasmita and I Made Djirna.

Your main mediums are moving image and photography—what drew you to these? Initially it was through a keen teenage interest in analogue film and spending hours in the darkroom. Now I find the image such an important site for critical enquiry into the way we remember the past and sustain narratives.

Are there any cameras you particularly favour?

I now mostly work with digital film cameras, but the camera I will never give up is my medium format Hasselblad camera. It affords a level of secrecy when taking an image—something about looking down into the viewfinder and being able to carry it at chest level means you can move discreetly.

Your work looks at archives and history, creating pieces that shift between documentary and speculative fictions. How are you working with history and representation? Archives and official histories often present as neutral or self-evident but when challenged, reveal themselves to be determined by discursive systems of power and desire. I’m interested in how the past is remembered, and locating who has been made absent from established canons. For example, in recent projects I find ways to recuperate the presence of female artists in Bali’s traditional arts, who are often misattributed in collections as assistants or remain anonymous.

In 2021, you won the 66th Blake Prize for Kidung/ Lament, a three-channel video which looks at Bali’s history of political violence. The work focuses on Indonesia’s 1965 anti-communist massacres, in which more than 500,000 are said to have been killed (with 80,000 in Bali alone). How did you come to making work about this? I had been aware of this history for some time but in an uninformed way and had never really connected these horrific stories I would hear, mostly through international media and artist-led activism projects, to my own experience of Bali. It wasn’t until family members and people closer to me started to share their stories from this time that I started to realise how ‘1965’ is this collective and intergenerational concern in Bali—descendants of victims are living alongside descendants of perpetrators. I was also interested in how 1965 histories in Bali have been supressed by this sustained imagination of Bali as a peaceful paradise. We see this in the lack of state led accountability around 1965 abuses, but more literally, we can map how sites of 1965 trauma are lying buried underneath tourist topologies.

The work is framed on the pohon beringin or banyan tree, which marks an unacknowledged mass grave site from the massacres. What does it take for a site, moment, or symbol to capture your interest for an artwork?

That banyan tree was interesting to me as it is this highly visible landmark that signals an unseen presence. A lot of the work I made in response to that site was concerned with this question of visibility and understanding this history through its spectral and immaterial traces. My research interest is usually instigated by these moments or symbols that conceptually feed into the final artwork. They aren’t obvious symbols, more like fragments or small anecdotes recorded in the margins of official records. I like this approach as it allows me to represent things in an indirect way, such as understanding a banyan tree as a living witness to these events.

Leyla Stevens, Kidung/Lament, 2019, three-channel video, stereo sound, 10:58 mins. courtesy of the artist.

Leyla Stevens, Groh Goh (Rehearsal for Rangda), 2023. courtesy of the artist.

When your work deals with trauma and history, how do you handle the deeply emotional side to your practice?

This is a good question, and maybe why in my more recent work I’ve shifted to less trauma defined histories. There is an emotional toll to working with traumatic pasts and there is a lot of responsibility when navigating trauma that is not your own. One reflection is that I work towards a reparative engagement with these histories, such as staging a lament or providing alternative forms of memorialisation. Hopefully the work is also not only concerned with excavating hidden histories, but also presenting the possibility of healing and reparation.

You often use multi-channel video installations— what do multiple channels allow, versus one channel?

It frees you up to make a non-linear narrative with multiple images unfolding and coinciding. Also it very quickly introduces connections between things that appear disparate, and this can be a powerful method when redressing how histories are usually told.

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

Agnès Varda, she would have made filmmaking fun. And this is a bit random and outside of the arts, but David Attenborough. My secret desire is to make a nature documentary that is anti-spectacle and plays out like a piece of New Wave cinema. It would be so boring and beautiful.

Best colour to create with? Black and white.

Order or chaos?

Naturally I go for order, but in reality I’m always working through the mess.

Quick advice for young artists? Find and build your community.

Best time of day to create? Dawn/dusk for the light.

Beauty or politics?

Everything is political! Including beauty.

The most interesting thing someone has said to you about your work?

I can’t remember an exact quote, but I get a lot of responses from people outside of the art world that my work really moved them, and I like that my work can speak to multiple audiences.

An art experience that’s stuck with you?

Going through the collection of Kamasan paintings at the Australian Museum which was established by Anthony Forge who carried out anthropological research in Bali in the 1970s.

I understand you’re creating new work for the 8th TarraWarra Biennial—can you talk through this?

I’m making a new film project on Rangda, who is Bali’s witch widow matriarch. She is regarded as a feared and dangerous force associated with trance and black magic. But she is also a powerful protector who, in dualism with the Barong, is necessary for spiritual balance. Rangda is most often cited through the Calonarang theatrical drama, which originally came from classical Javanese scriptures. The Calonarang play has been an important text for feminist thought in Indonesian literature including versions written by seminal authors such as Toeti Heraty and Cok Sawitri. My approach has been to connect with Rangda’s lineage through performance traditions, where she is normally performed by men. A key scene is a rehearsal showing a group of female dancers learning and sharing knowledge on how to perform and embody Rangda. The other major scene was made in collaboration with Naarm-based musician Karina Utomo, who connects Rangda through a contemporary metal performance.

The Biennial looks at connections between the people of Australia, Asia and the Great Ocean. How do you see your practice aligned within this? One idea I really connect to in Léuli Eshrāghi’s curatorial vision is the centring of ancestral and matrilineal knowledge as a way of mapping interconnections across island and ocean cultures. For me, Rangda is a kind of deviant force, her disciples are known to have the power to shapeshift. And conceptually I think of my work as shapeshifting Bali’s art canon through a matrilineal lens.

TarraWarra Biennial 2023: ua usiusi faʻavaʻasavili

TarraWarra Museum of Art (Healesville VIC) 1 April—16 July

Never Mind the Nepo Babies— Here Come the Crony Pals The art world is an enterprise famously built on personal networks—but that doesn’t mean your best friends should also be your curators, collectors, profilers, show essayists, reviewers, installers and co-exhibiters. W R ITER

Sophia Cai

At the end of 2022, the term ‘nepo baby’ took the Internet by storm. Short for ‘nepotism baby’, it speaks of children who are perceived to benefit positively from their parent’s fame and connections throughout various industries. While discussions of nepotism in the media landscape aren’t new, the story took on a fevered intensity, aided by viral TikToks and a widely shared New York Magazine cover story that visually highlighted the familial connections of Hollywood stars through a flowchart. Suddenly, celebrities found themselves under intense scrutiny as the myth of meritocracy became widely contested. While all this was happening, I pondered whether the ‘nepo baby’ discourse would enter the arts industry—another domain where inherited wealth and/or powerful personal connections can make a significant difference in one’s career. There are some well-known nepo babies in the art world, like Peggy Guggenheim, the daughter of the prominent New York family and the niece of Solomon R Guggenheim, who founded the Solomon R. Guggenheim Foundation which supports a myriad of art endeavours, including the worldwide Guggenheim museums. Closer to home, there are of course many artists and art world figures whose parents no doubt played some role in their interest and current position in Australian art. Yet nepotism is often used as a stand-in for another occurrence that is similarly widespread in the arts: cronyism. While nepotism speaks specifically to favouritism due to family connections, cronyism refers to favouritism between friends. Although most people might agree that outright nepotism is ‘bad’,

cronyism is more widely accepted as a form of social currency, the inevitability of having friends in the arts, or a display of one’s network. In my 10 years of experience, I have seen firsthand how cronyism plays out in the arts, both intentionally and unintentionally, from artist-run initiatives to major institutions. In a field of limited opportunities where you are often competing against your peers (if not friends) for grants, exhibitions and residencies, the mixing of personal and professional relationships can be tricky to navigate—and even harder to identify. What makes the arts a unique space to tackle friendship favouritism is the arts’ deep investment in personal relationships built on mutual values and desires, where artists and arts workers instinctively seek out likeminded peers. Without overly romanticising artistic work, what makes creative labour special is how it’s often self-determined and focused on self-chosen themes, ideas and values. This self-determination, which makes each artist unique, is also one of the reasons why artists can operate as ‘brands’ as much as institutions can, functioning as micro-influencers (with or without the major brand deals). On one hand, I recognise that there is often nothing wrong with supporting your friends through work, uplifting peers from a shared community through opportunities that are meaningful. I also recognise that curators and industry experts, particularly First Nations or other racialised folks, play an important role in establishing cultural safety and establishing trust between an institution and the artist. In this way, there is a professionalisation of

Strings by Emily Johnson.

genuine interpersonal relationships, where the trajectory of curators and artists can be closely connected with who you represent or champion in your work. When artmaking is often a solitary activity, these are forms of genuine community building. My concern about cronyism is when this aspiration for community building creates a clique instead. By this I mean when artists, curators, critics, and other industry peers create an exclusively closed loop of opportunities, without making space for new voices. The danger of working only with your friends is also, of course, that you may not be able to maintain a critical distance from each other’s work—which might have long-lasting ramifications on professional development, and the friendship itself. This issue can become compounded when you operate (like I do) within the territory of ‘slashies’— working as a curator/artist/writer, where issues of accountability and conflicts of interest are too easily swept under the rug as a widespread industry norm. An example of this might be an artist/writer profiling an exhibition, knowing that the artist/writer they are profiling is a personal friend and someone who will later “return the favour” by writing about their work. This makes for bad professional connections, and also bad friendships, because it adds a level of

transaction to your expectations of each other. I like to maintain firm boundaries, and I appreciate when I know people want to be my friend because we have things in common outside of work, not because they want me to curate or write about them. If we have opportunities to work together, the friendship we already have is an asset, not its sole reason. I’ve realised that more and more while I care about my work and am deeply invested in it, it is separate to my life as a person. I have recently started changing how I undertake both freelance curating and writing work to try to hold myself accountable to this standard. This includes not working with any single artist on more than two consecutive exhibitions, and ensuring that for every exhibition I review by an artist I know, I actively seek out exhibitions where I write about artists I do not. I feel more comfortable advocating for artists in spaces where I am one voice of many, not the sole decision maker. While this is far from perfect, and I do not yet know how it’ll play out, I hope that it can make these murky intersections easier to navigate. The ideal outcome, of course, is working in a world where success is based on what you do, not who you know. Not all of us are ‘nepo babies’ or ‘crony pals’.

The Gaze Is Female The male gaze has infiltrated art history—and life in general. Now, six women artists are centring their own perspective in A Female Gaze. W R ITER

Sally Gearon

The idea that all women’s work is intrinsically feminist has been historically transient; ebbing and flowing with each political wave over time. But now, more than ever, with increased focus on bodily autonomy, the surging cost of living further emphasising the wage gap, and the recognition of true intersectionality, the personal is once again proving itself inherently political. When MARS Gallery director Andy Dinan approached the women artists in A Female Gaze, the only brief given was the title of the show. “I simply asked each artist to interpret the phrase how they saw fit within their own practice,” she explains. “I want their work to be true to their own voices and I want their work to scream or whisper as they wish.” The voices heard are those of six female artists: Jo Bertini, Sis Cowie, Eliza Gosse, Dani McKenzie, Marisa Mu, and Lucy Roleff. Though predominantly all painters, Eliza Gosse is also presenting work cut from carpet tile samples, a medium fitting within the architectural and domestic scenes she depicts. Her piece, Marion’s Welcome Mat, is inspired by influential mid-century interior designer Marion Hall Best, and the way Best carved out a space to exist professionally and creatively in Australia throughout the early half of the 20th century—a time when the industry was ostensibly male dominated. For Gosse, it’s about “paying tribute to women in the arts who paved the way” and enabled her to create today. Dani McKenzie’s practice is, in a similar vein, architecturally and domestically focused at first glance.

“My work examines aspects of everyday life within the city, what it means to be a stranger living among strangers,” she explains. Through her flaneuse-like gaze, McKenzie is painting her local florist, Effie Rose, whose St Kilda store has been depicted in McKenzie’s work before. “I walked past the store for years, casually glancing inside, and always thought it was beautiful,” says McKenzie. “One day I messaged her [Rose] and asked if I could paint it, and thankfully she agreed. The first painting I made was exhibited at MARS Gallery in 2022. It was painted from the perspective of a passer-by, from the outside of the store, with Effie working after hours inside, and her little pug companion sitting on the front doorstep. This is the second, and last, painting I will make of the store. Rather than being an outsider looking in, here the viewer is invited inside to engage more directly with the florist in her everyday environment.” All the artists I spoke to, while varied in their subjects, had a similar perspective on their interpretations of the theme; that while their work may not be explicitly feminist, their female identity could not, and should not, be extricated from their art. Womens’ perspectives of the world have been historically lacking, so every perspective presented today adds to a greater representation within the arts. As the Guerrilla Girls stated, “You’re seeing less than half the picture without the vision of women artists and artists of colour.”

Eliza Gosse, She'll Be Happier With A Hoover, 2022.

Lucy Roleff, Abalone Shell on a Windowsill, 2022, oil on linen, 25 x 32 cm.

Jo Bertini, Land of Journeys End, oil on Belgian linen, 122 x 162 cm.

“When you work, as a woman, it’s a political act.” — JO BE R T I N I

Sis Cowie, 2022.

In an environmental shift in the show, Jo Bertini has spent decades travelling the world, sleeping under the stars, and painting the deserts she visits. She spent 10 years working as an expedition artist in Central Australia—and was one of the first female artists to do so. She describes how typical historical depictions of this landscape have an atmosphere of futility and desolation, focusing on a lack of resources or the inability to be farmed. The conventional Western gaze sees the desert as land to be conquered, and made useful. As Bertini explains, “In my experience, and often the feminine experience, particularly as I work with Indigenous communities, there’s a different approach to landscape. It’s much more about the land being a motherland, a nurturing place, a place of peace, and stillness, and sanctuary. It has its own purpose and usefulness above and beyond human needs.” It is not, however, Bertini’s intention to overtly politicise landscape, and she does not perceive her

art as an expressly female depiction of the desert. She describes the strongest reactions to her work being the how rather than the what. A woman living in remote communities, without access to a shower or a toilet, menstruating out there in the desert alone, is not very ‘ladylike’. For many female artists, the most feminist thing about their work is not the work itself but the fact that they created it. Bertini describes being an artist as a compromise for many women, who still undertake most of the domestic labour regardless of their professional situation: “When you work, as a woman, it’s a political act.”

A Female Gaze

MARS Gallery (Melbourne VIC) 1 March—25 March

Lines of Connection With a poignant blend of traditional culture and contemporary aesthetics that’s seen his printmaking in the 2022 Biennale of Sydney and Tarnanthi Festival, Teho Ropeyarn’s latest work looks at his mother’s story—and is showing for The National. W R ITER

Briony Downes

Within Teho Ropeyarn’s recent vinyl-cut prints, you’ll find the Cape York Lily—a native turmeric plant belonging to the ginger family. Growing prolifically in the tropics of Far North Queensland, it’s known for possessing glossy elongated leaves and blooming purple bracts dotted with delicate yellow flowers nestled in the centre. For Ropeyarn, the Cape York Lily “reminds me of family, especially out camping on Country around Injinoo. It represents my family and lifestyle, camp sites on Country, weather and the wet season.” Injinoo is a remote coastal community in the Northern Peninsula Area (NPA) of Cape York and it is there Ropeyarn spent most of his childhood learning from his Elders and being on Country. Injinoo culture and language, alongside Ropeyarn’s family and their interconnecting stories, are integral to the artist’s practice, in particular his ancestral lineage on his father’s side. But recently, in works like Them lily grow everywhere collecting rainwater, 2022, and Wintinganhu (sister-in-law), 2023, it is Ropeyarn’s mother’s story that is the focus. In Wintinganhu, a large-scale sculpture of a floral wreath, Ropeyarn embodies his mother’s experience of marrying into his father’s family in northern Cape York, and her taking on an important cultural role relating to Torres Strait funerary practices, reserved specifically for in-laws.

“In-laws take a leading role each time there is a passing, from handling the deceased and organising the logistics while the family mourn,” Ropeyarn explains. “The idea of the wreath is about healing, celebrating my mum and the role she has played over the years. The wreath is accompanied by individual up-side-down Cape York Lily flowers in red—a conceptual reference to Country and tears— and an audio projection with my mum telling her story.” Wintinganhu is part of Ropeyarn’s contribution to The National 4: Australian Art Now at Carriageworks in Sydney, joining work by 53 artists and collectives across four venues, including the Museum of Contemporary Art, Campbelltown Arts Centre and the Art Gallery of New South Wales. With intergenerational communication a central theme, Ropeyarn brings together his contemporary experience of everyday life with traditional oral histories passed down from his Elders and written history from colonial archives. Possessing both Aboriginal and Torres Strait Islander ancestry—his clan groups are Angkamuthi and Yadhaykana and he maintains connections to Badu, Moa and Murray Island in the right: Teho Ropeyarn, This one Cape York lily flower, 2022, vinyl-cut print on paper, 100 x 62 cm, 2AP + Edition of 20. photogr aph: michael marzik. courtesy of the artist and onespace.

Teho Ropeyarn, Ipi (water, rain), 2021, vinyl-cut print on paper, 150 x 203 cm, 2AP + Edition of 5. photogr aph: louis lim. courtesy of the artist and onespace.

Teho Ropeyarn, Them lily grow everywhere collecting rainwater, 2022, vinyl-cut print on paper, 100 x 100 cm, 2AP + Edition of 20. photogr aph: michael marzik. courtesy of the artist and onespace.

“I had to fuse contemporary interpretations of two cultures to create a style that celebrates my heritage and at the same time, establish an artistic identity for my practice.” — T EHO ROPE YA R N

Torres Strait; Woppaburra people (Great Keppel Island) and Badtjala people (Fraser Island)—Ropeyarn has spent much of his artistic career blending his knowledge of both cultures to preserve important elements of his heritage for future generations. Ropeyarn’s interest in art began in childhood with a love for drawing. At school in Bamaga near Injinoo, he branched out into printmaking and ceramics. It was at art school at Sydney’s COFA (now UNSW Art & Design) that Ropeyarn began to develop his current way of working. “I had to fuse contemporary interpretations of two cultures to create a style that celebrates my heritage and, at the same time, establish an artistic identity for my practice,” he says. Influenced by Torres Strait carving techniques, printmaking became a good fit for Ropeyarn, easily adapting to the tropical climate of Far North Queensland and connecting to his early love for drawing. He cites the work of Torres Strait artists Laurie Nona, Dennis Nona and Alick Tipoti as key inspirations. “With printmaking you have precise clean lines, sharpness and composition. I enjoy the process. It is structured, technical and methodical, and I like the stages of creating a work. Paper, I believe, has this nature of absorbing the image and holds it in a way where painting doesn’t.” The movement of water features heavily in Ropeyarn’s carved designs with bodies of fresh and salt water represented by juxtapositions of flowing and angular patterns. As a descendent of the Seven Rivers people of Angkamuthi, among Ropeyarn’s subjects are the Jardine, MacDonald, Skardon, Doughboy, Ducie and Jackson Rivers and Crystal Creek, all of which flow into the Gulf of Carpentaria and Arafura Sea. His totems are uyinthayn (freshwater turtle), ikamba (crocodile) and akaymu (dingo),

and references to these can be found in earlier works like Athumu Paypa Adthinhuunamu (my birth certificate), 2022, which was included in the 23rd Biennale of Sydney: rīvus. Also in rīvus (and again in Tarnanthi 2022 at the Art Gallery of South Australia) was Ayarra (rainy season), 2021, a vinyl-cut print depicting a circular red river, curling its way across the paper while a dark cloud hovers above. Within each form are detailed linear patterns influenced by ceremonial body markings, dreaming sites and a deep connection to Country. Coursing through the red river are endlessly flowing currents filled with visual references to termite mounds, beach palms and tropical pitcher plants, while the cloud above undulates with a mass of vertical feather-like patterns to represent impending rain. As Ropeyarn illustrates, from the wet season rains to the rivers and the coastlines, water is an essential part of Injinoo life. Aiming to bridge the gap between traditional knowledge, language and contemporary life, Ropeyarn concludes, “I hope my work evokes a great sense of healing through scale, colour, and presentation and that viewers take away a small understanding of one aspect of our culture from Northern Cape York and the Torres Strait. An understanding of cultural practices that are alive and well today that no one would know about, and the deeper respect for cultural protocols that play a major part in our lives.”

The National 4: Australian Art Now Carriageworks (The National is also showing at

Museum of Contemporary Art, Campbelltown Arts Centre and Art Gallery of New South Wales) (Sydney NSW) 30 March—25 June

Should We Dream of Electric Sheep? Green energy is not an uncomplicated, naturally ethical idea—as the new exhibition We Are Electric: Extraction, Extinction and Post-Carbon Futures shows, by merging research and art. W R ITER

Steve Dow

Green energy promises a decarbonised future, beyond the burning of fossil fuels. Yet some prevailing technology can do harm, too. Consider, for instance, the extraction of lithium to power batteries in a world hungry for solar panels, electric vehicles, and mobile phones. One ton of lithium can require two million litres of water, in a process of burning off until only the mineral is left. Much of the material is extracted from the “lithium triangle” in Argentina, Bolivia and Chile, often at the expense of Indigenous communities left with contaminated soil, biodiversity loss, river salinity and toxic waste. Canadian-born, Los Angeles-based artist Elise Rasmussen says her work in the Valley of the Moon, a 16-millimetre film transferred to 4K video, examines what is “gained and lost in the name of technological progress”, focusing on Chile’s Atacama Desert, where copper, lithium and rare-earth mineral mining has “taken an environmental toll on an already fragile ecosystem”. The film, created in 2022, will feature alongside work by more than 20 artists in We Are Electric: Extraction, Extinction and Post-Carbon Futures at the University of Queensland Art Museum, and it includes scenes of lithium mining in Atacama and of Elon Musk’s Tesla Gigafactory, a lithium-ion battery and electric vehicle component factory in Nevada in the United States.

Rasmussen’s film is “a really incredible work that problematises green energy futures, thinking through how potentially we’re reproducing extractive, environmentally desecrating actions”, says curator Anna Briers. “It binds together these two sites [the lithium mine and Musk’s factory] in a really interesting way. It’s the tension between ecological care and economic growth.” In the wider exhibition, energy is portrayed in many forms, from the cellular level within bodies to the bigger picture connecting humans. Blue Mountains-based collaborators David Haines and Joyce Hinterding are exhibiting their video Encounter with the Halo Field, 2009-2015. It makes visible the sea of electromagnetic waves that surround us, resulting in a choreographed series of movements with fluorescent tubes. Further on, a large-scale immersive installation, newly commissioned from Sydney-based artist Michaela Gleave, will take data from geomagnetic listening stations, “sonifying” that data to allow audiences to “listen to the energy of the earth in real time”. Viewers will watch a curved, sevenmetre screen while reclining on plush, hand-dyed, magma-shaped beanbags. Briers says the aim is to speak to “sympathetic vibrations, being in tune with planetary energies”.

Elise Rasmussen, In the Valley of the Moon, 2022, still from 16mm film transferred to 4K, colour, 4 channel sound, 4:3. courtesy of the artist, los angeles, usa.

Haines & Hinterding, Encounter with the Halo Field, 2009-2015, still from single-channel video, sound. commissioned in 2009 by the austr alian network for art and technology and art monthly austr alia with support from the austr alia council for the arts. reshot for high definition in 2015. courtesy of the artist and sar ah cottier gallery, sydney. photogr aph: the artists.

“It’s the tension between ecological care and economic growth.” — A N N A BR I ER S

Works by Indigenous artists Megan Cope, Jack Green and the late Mavis Ngallametta advocate the importance of Indigenous land management in a decarbonised, post petro-capitalist future. A painting by Ngallametta, a Kugu-Muman/Kugu-Uwanh woman, for instance, references backburning and rebirth after bushfire. Quandamooka woman Cope’s installation Untitled (Death Song), commissioned for the 2020 Adelaide Biennial, responds to sand mining on Minjerribah (North Stradebroke Island) and copper and uranium mining at Olympic Dam, north-west of Adelaide, as well as extinction narratives. Made of violin, double bass and cello strings tautly woven around blasted rocks and disused oil drums, the work is played by musicians to mimic the ground-dwelling, bush-stone curlew bird, whose cry is a harbinger of death on Minjerribah. Meanwhile Green, a senior Garrwa man from the southwestern gulf of Carpenteria, paints about fracking in the Northern Territory, advocating for the return of Indigenous custodianship of Country. “His work has actually been used in real-world contexts in legal settings, as evidence of environmental and cultural desecration of country,” says Briers. In addition, The Institute of Queer Ecology, an academic and artistic United States-based collective that theorises queer utopian futures, is presenting a three-part video work, taking as its departure point the metabolism of a caterpillar and calling for “radical transformation” through the metaphor of a butterfly.

Their goal is to destabilise the presumption of human superiority over nature. Can art play a persuasive role in the adoption of greener technology—and is art used in the service of protest still art? “No one wants to instrumentalise art, because that wouldn’t make very good art,” says Briers, who believes artists nonetheless have a particular role in provoking discussion. “The Art Museum is a forum for conversation and critical thinking, and situated in a university context, that affords us access to really important research and discourses.” One such study is the Net Zero Australia project (NZAu), a collaborative partnership launched in 2021 between the University of Melbourne, University of Queensland, Princeton University and management consultancy Nous Group, which will present the costs and benefits of five pathways to net-zero emissions by 2050. Overseen by a steering committee chaired by Australia’s former chief scientist Professor Robin Batterham, the study is funded by various energy companies. “Part of what the museum can do is bring these conversations into the museum and entangle them with the artistic works,” says Briers, “but obviously still maintain the integrity of those works.” We Are Electric: Extraction, Extinction and Post-Carbon Futures University of Queensland Art Museum (Brisbane QLD) 14 February—24 June

Chris Siu, from the series Hong Kong, From Then We Keep Living, 2022

The Nexus Arts Gallery showcases emerging and established artists from diverse cultural backgrounds working across a range of mediums in a contemporary context. Lion Arts Centre Corner North Tce & Morphett St Kaurna Yarta Adelaide SA 5000

(08) 8212 4276 info@nexusarts.org.au nexusarts.org.au

nexusarts.org.au

tamworthregionalgallery.com.au

19karen.com.au

maas.museum/powerhouse-museum

Image credit: Nafea e te fa‘aipoipo? When will you marry? (After Gauguin), 2020 by Yuki Kihara from Paradise Camp series. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand.

NATURAL RESERVE

ZADOK BEN-DAVID

ANNANDALE GALLERIES 22 MARCH – 6 MAY

annandalegalleries.com.au info@annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 11am - 4pm Wed - Sat East and West, 2021 Hand painted stainless steel, perspex box, L150cm x H50cm x D13cm (details) annandalegalleries.com.au

Australian Design Centre and Tjanpi Desert Weavers present

Mutukaku Ngura Motorcar Country 30 March – 24 May 2023 Nine First Nations artists ingeniously combine cultural weaving practice with recycled car seat frames.

101-115 William St, Darlinghurst

australiandesigncentre.com Image: Bridget Baker, Mutukaku Ngura – Motorcar Country (489-23), 2022. Photo: courtesy of Tjanpi Desert Weavers.

australiandesigncentre.com

qm.qld.gov.au

rmitgallery.com

The Art Project by Emilya Colliver

Art Pharmacy’s founder, Emilya Colliver, has just released her second book The Art Project: A Handbook For The Public And Private Sectors.

– Artist briefs – Budgets and contracts – Artwork installation – Marketing and publicity campaigns – Documenting artworks Art Pharmacy is a full-service art and culture consultancy implementing creative projects for the public, corporate and private sectors. We are committed to creating meaningful and impactful change in local communities and making culture accessible to everyone, everywhere. artpharmacy.com.au

Get in touch → 1300 776 042 @artpharmacy info@artpharmacy.com.au

Learn how to master:

art-museum.uq.edu.au

janmantonart.com

bunjilplace.com.au

2 April 5 June 2023

BUNBURY BIENNALE CULTURE

NATURE

Alex Winner / Pauline White and Julia Sutton / Louise Wells Sarah Thornton-Smith / Louise Tasker / Sally Stoneman Helen Seiver / Helen Robins / Fiona Rafferty / Perdita Phillips Lori Pensini / Sherry Paddon / Susan Hauri-Downing Holly O’Meehan / Annemieke Mulders / Paul Moncrieff Rob Kettels / Sarah Keirle / Pablo Hughes / Jillian Green Miik Green / Fiona Gavino / Elizabeth Edmonds / John Eden Ian Dowling / Ian Daniell / Allan Kaprow / Stelarc / Erin Coates Acid Springfield and Honey Fingers / Amy Youngs / Rizzy

64 Wittenoom St, Bunbury WA 6230 Wednesday to Sunday, 10am to 4pm. Entry is always free 08 9792 7323 / artgallery@bunbury.wa.gov.au www.brag.org.au @ b ra g wa Image: Erin Coates, Heavy Metal Skull (from the series Swan River Dolphin Bones), 2021, graphite on paper, 76 x 59cm. brag.org.au

David Umemoto: Fictions

The Front Room proudly presents Fictions, by David Umemoto. The series comprises six unique commissioned sculptural works which stand at towering proportion, made from raw concrete. Each of the works is created with intricate detail and practised precision that echoes the vocabulary of architecture and in doing so, reveals David’s background and formal training.

Showing 01.03.23 – 06.04.23

The monochromatic, monolithic structures are presented as objects that bridge architecture, design and art.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121 +61 3 9063 1222

thefrontroomgallery.com.au

Selma Coulthard, Peterman Ranges, 2022, Watercolour on paper, 66 x 102cm

SELMA COULTHARD HUBERT PAREROULTJA 2 – 18 MARCH

nandahobbs.com

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

leonardjoel.com.au

18 March – 25 June 2023 Art and design of Australian identity and style Exhibition organised by Bendigo Art Gallery in partnership with the National Gallery of Victoria. bendigoartgallery.com.au

Ken Done, Sydney Sunday (detail) 1982, oil and acrylic on canvas. Collection of the artist.

bendigoartgallery.com.au

@bendigoartgallery

themilladelaide.com

canberraglassworks.com

lesterprize.com

25 March – 6 May 2023 IMAGE: Adrian Lazarro Acknowledge me 2022, digital image © Copyright the artist, Represented by Arts Project Australia

artsproject.org.au

Ingkerr-enheng [ing-gudda-gun]

Arlpwe Arts and Culture Centre Emerging Artist Group Show

23 March – 4 April 2023 311 Smith Street, Wurundjeri, Fitzroy Phone +61 3 9913 8598 moderntimes.com.au @moderntimesau

Sarah Nabangardi Holmes, Sandy Hills, Acrylic on Canvas, 2022, 1215 x 560mm

moderntimes.com.au

CONTEMPORARY

WEARABLES

Biennial Jewellery Award & Exhibition

ENTRIES OPEN

To enter: www.tr.qld.gov.au/trag Up to $15,000 available for acquisitions 2023 Awards are: Award Winner $6,000 Runner up $3,500 Student Award $1,500

2021 Award Winners Sophie CARNELL and Sarah RAYNER I Florilegium… traversing the poetry of plants 2020 42 brooches: hand carved porcelain with terra sigillata, sterling and fine silver 26 x 375 x 8cm I Toowoomba Regional Art Gallery – Toowoomba City Collection 2387 I © Sophie Carnell and Sarah Rainer

Toowoomba Regional Art Gallery

531 Ruthven St, Toowoomba QLD 4350 P 07 4688 6652 I E art@tr.qld.gov.au W www.tr.qld.gov.au/trag I FREE ENTRY Gallery opening hours are available on the website. tr.qld.gov.au

A solo exhibition by wãni toaishara (b.1990 in Bukavu, D.R. Congo). Opening: Wed 29 March, 6.30 – 8.30pm Exhibition: 30 March – 28 May, 2023 Performance: Fri 12 & Sat 13 May

wãni toaishara, do black boys go to heaven (detail), 2021, photograph. Image courtesy of the artist.

the uncanny and the magnificent is a solo exhibition featuring a full range of new and prominent works from the artist’s career to date and establishes a narrative arc of his expansive vision for the first time.

177 Watton Street, Werribee 3030 Bunurong Country #deepwest wyndham.vic.gov.au/arts wyndham.vic.gov.au/arts

JULIE FRAGAR BIO GRAPH 1 MARCH — 27 MAY 2023 UNIVERSITY OF THE SUNSHINE COAST ART GALLERY CURATED BY JONATHAN McBURNIE

Art Gallery UniSC Sunshine Coast 90 Sippy Downs Drive QLD usc.edu.au/art-gallery Julie Fragar The Single Bed 2017. Oil on board, 135 x 100cm. Collection of Griffith University Art Museum. Purchased 2017. Courtesy of the artist. Photo: Carl Warner.

usc.edu.au/art-gallery

A Perc Tucker Regional Gallery Touring Exhibition

Ken Done The Joy of Colour 4 March—25 March Subiaco

Ken Done, ‘Looking at a Parrot Fish’ 2023, Acrylic and oil crayon on card, 30 x 41 cm

23 in 23: Women of the West 23 Invited Artists 6 March—27 March West Perth

Roslyn Hamdorf, ‘Waychinnicup’ 2023, Oil on canvas, 96 x 162 cm

Stephen Glassborow Clay to Bronze 28 March—16 April Subiaco

Stephen Glassborow, ‘Alice Springs’ 2023 ed. A/P, Bronze, 76 cm high and ‘High Chair’ 2023 ed. A/P, Bronze, 60 cm high Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

lintonandkay.com.au

LAUNCH / SATURDAY

March / 6:00 PM 18 MAR / 23 APR

JEMIMA LUCAS Lamentations of a body no longer your own

STOCKROOM

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

Lamentations of a body no longer your own (detail), 2022 Bronze ox tongue, engine coolant, rope, mild steel petri dish, forged and beaten mild steel bollard, stripped mild steel fixing stockroom.space

DU-SSA_ArtGuide_FP.indd 1

deakin.edu.au

17/2/23 9:18 am

FIRE AND ASH The Woodﬁre Pottery of Arthur and Carol Rosser ARTSPACE MACKAY | 19 MAY TO 13 AUGUST 2023 www.artspacemackay.com.au

IMAGE: Arthur ROSSER Salt glazed wood ﬁred tea pot c. 1995, ceramic, salt glazed, wood ﬁred, 23 x 17.5 x 15.5 cm. Mackay Regional Council Art Collec�on, gi� of Pioneer Po�ers Inc. 2005. Photo: Jim Cullen Photographer.

artspacemackay.com.au

araluenartscentre.nt.gov.au

theriddoch.com.au

SWAN HILL Rural City Council

marcoluccio.com.au

ArtGuideAd_0223_outline.indd 1

zartart.com.au

7/2/2023 2:0

lindenarts.org

A–Z Exhibitions

MARCH/APRIL 2023

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

CONSERVATION |

EDUCATIONAL WORKSHOPS

SCULPTURE CASTING

PROJECT MANAGEMENT

8 Spring Street Fitzroy VIC 3065

meridiansculpture.com info@meridiansculpture.com

meridiansculpture.com

(03) 9417 6218 @meridiansculpture

VICTORIA

ACAE Gallery

ACMI

acaearts.com.au

acmi.net.au

Australasian Cultural Arts Exchange 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information.

Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Open daily 10am–5pm. See our website for latest information.

We are dedicated to developing cultural exchanges throughout the Australasian region and its near neighbours. Primarily focused on the visual arts, our program looks to a range of cultural interests and expressions; it is not limited by contemporary art alone. We invite you to join us as we present new and exciting projects from Australia, Asia and the Pacific.

ACMI is your museum of screen culture. Navigate the universe of film, TV, videogames and art with us. Located in the heart of Melbourne’s Fed Square, ACMI celebrates the wonder and power of the world’s most democratic artform – fostering the next generation of makers, players and watchers. ACMI’s vibrant calendar of exhibitions, screenings, commissions, festivals, and industry and education programs explore the stories, technologies and artists that create our shared screen culture.

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

Callum Morton, Inside Out, Graphic. 11 February—15 April Inside Out Callum Morton

Elmira Ng. 3 March—1 April 100 Children At Play Elmira Ng Elmira Ng presents recent ceramic sculptures and works on paper.

The Grannies (2019), visuals from Red Dead Redemption 2, Rockstar Games (2018). Installation view, ACMI (credit: Phoebe Powell). 8 December 2022—23 April Out of Bounds: Exploring the Limits of Videogames Goldie Bartlett, Andrew Brophy, Ian MacLarty and Kalonica Quigley Out of Bounds follows a group of Melbourne-based artists (Goldie Bartlett, Andrew Brophy, Ian MacLarty and Kalonica Quigley) known as The Grannies as they break ‘out of bounds’ in Rockstar Games’ hit action-adventure videogame Red Dead Redemption 2, travelling beyond the authored limits of the game’s virtual world and into the increasingly broken and abstract space beyond. Rather than being driven by the desire to dominate or ‘win’, their adventures are driven by creative curiosity, presenting play as not just an end in itself, but as a form of artistic practice.

Angie Pai.

Alcaston Gallery

6 April—21 May Why You Like This Angie Pai

alcastongallery.com.au

In her new body of textile works and video works, Taiwan born artist Angie Pai reflects on ancestral values and inheritances through the lens of Asian philosophy and spirituality.

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment. See our website for latest information. 1 February—10 March All About Art 2023 Annual Collectors’ Exhibition

Rose Nolan, AA Hydrotherapy Pool, 2022, acrylic paint, found packaging, 29 x 29 x 22.5 cm. Photography by Christian Capurro. 18 March—15 April Working Titles : Working Models Rose Nolan

Art Gallery of Ballarat artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. 4 March—30 April Pliable Planes: Expanded Textile and Fibre Practices. A UNSW Galleries Touring exhibition. Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović, Katie West 18 February—16 April Next Gen 2023 VCE art and design students from the Ballarat region. Until 15 May Passion & pride: Gifts of the Gallery Women’s Association 121

SHE OF MIND AND BODY 7 February – 31 March With a legacy of over 20 years, SHE celebrates women artists and challenges historical views of women.

9 BY 5 EXHIBITION 18 April – 23 June A national exhibition exploring creativity and diversity on 9 by 5 inch boards.

greaterdandenong.vic.gov.au/arts 9706 8441 Walker Street Gallery and Arts Centre Cnr Walker and Robinson streets, Dandenong greaterdandenong.vic.gov.au/arts

VICTORIA Art Gallery of Ballarat continued...

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

a creative arts school for neurodiverse adults and adults living with a disability. 8 May–23 June 28th Annual Mayoral Art Exhibition The 28th Annual Mayoral Art Exhibition is a fundraiser in support of the Bone Marrow Donor Institute, Croydon branch. The 2023 exhibition theme, Interior | Exterior, is explored through a range of mediums including painting, drawing, sculpture and photography. From architecture to open space or with portraits, depicting an outer appearance to capture an inner self, artists are invited to explore interior and exterior worlds. The exhibition is generously sponsored by Maroondah City Council and the Ringwood East Community Bendigo Bank.

Ararat Gallery TAMA araratgallerytama.com.au Ebony Gulliver, Suspended animation, 2022 (detail), synthetic polymer paint on paper. © Ebony Gulliver. Until 13 March Thinking body, feeling mind Ebony Gulliver

Nadine Christensen, Hang in There, 2018. Acrylic on sustainably farmed hoop pine with cedar stretcher. Artspace at Realm: 25 March–21 May Yours: The Maroondah City Council Art Collection Maroondah City Council Art Collection is a resource of culturally and aesthetically significant works of art that enriches the community through interpretative display. This exhibition presents highlights from the collection, which represents the region’s long-standing involvement in the visual arts, comprising of over 450 works in a variety of media including painting, works on paper, sculpture, photography, ceramics and glass.

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. Please check gallery website for opening updates.

Installation view, The Lady Barbara Grimwade Collection. Photograph: MDP Photography and Video. Until 19 March The Lady Barbara Grimwade Collection Until 19 March Carole Mules

Seiko Hoashi, Setsugekka, 2021, synthetic polymer paint on canvas. © Seiko Hoashi. 16 March—7 May Epigraph Seiko Hoashi

ArtSpace at Realm and Maroondah Federation Estate Gallery artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm.

Anthony Chirumbolo, Wild Wombat, 2022, mixed media. Maroondah Federation Estate Gallery: 8 May–23 June On the Wild Side Your DNA Creative Arts On the Wild Side is a group exhibition by artists from Your DNA Creative Arts,

Liz Williamson, Weaving Eucalypts Project, (detail), 2020-22, silk dyed by artists in Australia, Bangladesh, India, Indonesia, Malaysia, New Zealand, Pakistan, Sri Lanka and South Africa with locally sourced eucalyptus leaves, bark or twigs; dyed silk handwoven as weft into a linen and cotton warp. Courtesy of the artist, Sydney. Photograph: Ian Hobbs Until 18 June Liz Williamson - Weaving Eucalypts Project: A UNSW Galleries touring exhibition 123

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

ACCA → Photograph: Gregory Lorenzutti.

Arts Project Australia

Tues by appointment. See our website for latest information.

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.

Australian Centre for Contemporary Art (ACCA) 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.

Cyrus Tang, Tree Study – 6, 2022, pigment print, edition of 5 + 2 AP, 80 x 80 cm. Adrian Lazzaro, Acknowledge Me, 2022, digital image. Copyright the artist. Represented by Arts Project Australia, Melbourne. 25 March—6 May Acknowledge Me Acknowledge Me combines the abundant elegantly punk materiality of Adrian Lazzaro’s vast practice with the electric free-jazz hum of Will McConnell’s sizzling texta drawings, the eerily endearing gloopy charm of Matthew Gove’s Ghostbusters ceramics and an emergent echo upon the windows by inimitable fan artist, Katherine Botten. Curl up in the soft area and immerse yourself in the biting social commentary of Lazzaro’s tactile scrapbooks. Expect utmost relevancy; Mr Bean, National Scissors Day, Communist Tissue Boxes, Stigmardi-gras, and much, much, much, much, more. Curated by Caroline Wylds & Adrian Lazzaro.

8 February—5 March Nature Knot Honey Long and Prue Stent, Marina Rolfe, Cyrus Tang 8 March—15 April Once were forests Janet Laurence

ARC ONE Gallery arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm, 124

John Young, Spectrumfigures XXII, 2022, oil on Belgian linen, 160 x 126 cm. 19 April—20 May Spectrumfigures John Young

Mimi Ọnụọha, These Networks in Our Skins, 2021, installation view, Australian Centre for Contemporary Art, Melbourne. Courtesy the artist. Photograph: Andrew Curtis. Until 19 March Data Relations Zach Blas, Tega Brain & Sam Lavigne, Lauren Lee McCarthy, Machine Listening, Mimi Onuoha, Winnie Soon; plus Data Relations Summer School. Curated by Miriam Kelly and coordinating Curator Shelley McSpedden. Data Relations features artist-led projects that lyrically wrestle with some of the key issues and challenges of our contemporary data-driven society. The exhibition includes major newly commissioned and site-specific installations, along with a new digital project, by Australian and international artists who critically and speculatively engage with the ways in which the data economy and related technological developments manifest in inter-personal and wider social relationships. The exhibition will be accompanied by a Data Relations Summer School, with guest artists, academics and technologists presenting interactive workshops, performances and talks, and a new Data Relations digital

VICTORIA publication, ACCA’s inaugural free online project featuring newly commissioned essays, conversations and material related to the exhibition projects. 25 March—2 April Lucy Guerin: NEWRETRO Artistic Director: Lucy Guerin; Curator: Elyse Goldfinch. Drawing on twenty-one existing dance works from the past twenty-one years, NEWRETRO is a major durational performance installation by leading contemporary choreographer Lucy Guerin. It takes the form of a site-responsive choreographic work and installation occupying ACCA’s galleries. NEWRETRO reconstructs fragments retrieved from Lucy Guerin Inc’s back-catalogue and relearnt by an ensemble of twenty-one dancers. The work’s score is both retrospective and speculative, condensing choreography from different time periods into the same temporal space, creating a living archive of new, corporeal gestures. Capturing the physical imprint of several generations of dancers, NEWRETRO frames the material of the body within an embodied relationship to architecture and the subject. The performance unfolds over an extended three-hour duration, inviting audiences into a space at once intimate and spectacular.

Octora, work in progress, 2022, AIR program.

Geoffrey Bartlett, Study for ‘3 windows’, 2022, bronze, 47 x 23 x 13 cm. 30 March—22 April Erwin Fabian Melbourne Stock Rooms: 7 March—25 March Kit Hiller

A Lucy Guerin Inc production, presented in partnership with the Australian Centre for Contemporary Art (ACCA).

Constructed as a cartographic installation that charts the paradoxical and contradictory impulses and trajectories in Mithu Sen’s work. It explores the ways in which language, drawing, media and performance are employed by the artist to create complex artworks which resist definitional categories and elide institutional power structures related to patriarchy, nationalism, caste and class, race and gender, and geo-political location.

Bayside Gallery 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.

22 April—18 June MITHU SEN: mOTHERTONGUE Curator: Max Delany Continuing the ACCA International series of annual solo exhibitions by influential artists on the international stage, bringing a major solo exhibition featuring new commissions and existing work by New Delhi-based artist Mithu Sen (Born in West Bengal, 1971).

at any stage of their career, this program provides dedicated time and space for artists to work in a contemporary and dynamic studio setting. Alexi Freeman, Paula do Prado, Kris Coad, Melanie Cobham, Isabele Deakin, Matthew Gove, Octora, Victoria Managniello (USA).

Rosalind Atkins, The forest that sustained her; beta, 2022, engraving, 57.5 x 78 cm. 7 March—25 March CONNEXION Rosalind Atkins 30 March—22 April Peter D Cole, Helen Cole and Oliver Cole

Australian Tapestry Workshop austapestry.com.au

Australian Galleries australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am–6pm. See our website for latest information. 7 March—25 March Drawings and Sculpture Geoffrey Bartlett 7 March—25 March Marking Time Hertha Kluge-Pott

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm. The Australian Tapestry Workshop (ATW) is a centre of textile excellence, specialising in the creation of contemporary tapestries in collaboration with living artists, designers, and architects. 9 March—12 May 2022 Artists in Residence Group Show The 2022 Artists in Residence Group Show is a celebration of the artists who resided at the ATW in 2022. Open to artists worldwide working in any medium and

Tai Snaith, Cruising with the Capybara, 2022, gouache and ink on cotton rag, 87 x 67 cm. Courtesy of the artist. 11 March—7 May Hierarchy of needs Hierarchy of needs is an immersive exhibition by Melbourne artist and author Tai Snaith. Celebrating wild and interesting animals from around the world, this playful and educational exhibition explores the important roles these creatures play in earth’s biodiversity. 125

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Brunswick Street Gallery

20 April–7 May Ootheca Khaled Chamma

brunswickstreetgallery.com.au

Tracks Ruby Bovill

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

Dark Pasts Callum Watson Anatomy of Space Spencer Mu Opening Event Friday 21 April, 6pm–8pm.

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

Jonathan Walker, Untitled, 1991-92, oil on linen, 172 x 172 cm. Courtesy the artist's estate. 11 March—7 May Jonathan Walker: Capturing details usually screened Working across the fields of abstraction and representation, Jonathan Walker’s work is distinguished for its observational rigor that translates the subtleties, vibrations and inconspicuous details of everyday visual experiences into paintings. Curated by Dr Ry Haskings, Capturing details usually screened includes a selection of works from Walker’s substantial 40-year career.

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

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

Image courtesy of Liz Wickramasinghe. 9 March–26 March Painting Pattern Zoe Sernack, Ana Anderson, Sarah Rowe, Madi Young, Maia Green, Sue Wearne, Lara Karasavvidis, Amie de Hoog, Chris de Hoog and Liz Wickramasinghe (also curator). Sensory Memory Heidi Lai

A1 Salon attendees viewing salon hung artworks. Photography credits: Jorge de Araujo.

Eat it before it Melts Kayla May

15 March—24 June A1 Darebin Art Salon 2023

Contiguous Forms Liam Haley Age of Scopa Rafal Liszewski

Bunjil Place Gallery

Opening event Friday 10 March, 6pm–8pm.

bunjilplace.com.au

30 March–16 April Mapping Extinctions Linda Knight

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

Opening event Friday 31 March, 6pm–8pm. Ken Done, Sydney Sunday, 1982. 96 x 192 cm, oil and acrylic on canvas. Collection of the artist. 18 March—25 June Australiana: Designing a Nation Various Australiana: Designing a Nation surveys the iconography of Australiana in art and design through key chapters in our history through to the present day, identifying a distinct tradition that has reflected—and changed with—popular notions of Australian identity and style. Encompassing the rich expressions of culture and connection to Country of First Nations artists and designers, to explorations of national and personal identity by others, Australiana illuminates a local vernacular. Through the use of native materials and motifs, playful remixes of popular culture, and incisive reflections on nationalistic sentiment, the visual language of Australiana celebrates—and interrogates—who we are. 126

Giorgia Bel, Mirroring White Gum, acrylic and oil pastel on canvas, 91 x 91 cm, framed in Tasmanian oak. 20 April–7 May Warm Dormancy Giorgia Bel and Loralee Jade

Sheena Wilfred (Ritharrngu/Kriol), woven by Chris Cochius, Pamela Joyce & Cheryl Thornton, Bush Foods, 2015, wool, cotton, 1.84 x 2.15 m. Photograph: Jeremy Weihrauch. 11 March—23 April Woven Together: Contemporary tapestries from the Australian Tapestry Workshop

VICTORIA

Burrinja

Dandenong Ranges Open Studios Group Exhibition.

burrinja.org.au

The annual Open Studios group exhibition is designed to produce a cohesive and diverse range of artwork to showcase the creative energy and skill of each artist. Asking each studio to contemplate what it means to “Transcend”. The Dandenong Ranges Open Studios Group Exhibition offers compelling takes on nature, community, spirituality, interior worlds and more. Be captivated by inspiring moments of reflection and renewal, magic and escapism, comfort and calm. In its 20th year, the show includes works from each of 43 participating studios and will delight visitors from all walks of life.

cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. 18 February—1 April The Wave Amanda Bartholomew & Rebecca Johnson An exhibition celebrates which the lifelong friendship of the two artists as they burst into the world amidst the smoky haze of what was the Melbourne counterculture scene of the 1980s.

Midori Mitamura, Untitled. 3 March—25 March Midori Mitamura and Ry Haskings 31 March—22 April entropical Group show

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

Tahlia Heitmann, Presence 2, 2022, digital print. 4 March—18 March Creative Showcase Yarra Ranges VCE Students The Creative Showcase is an annual celebration of the creative talents of our emerging artists and their work. Courtesy of CAVES. 28 April—20 May Performances 4 week program of performance based practice. Artists to be announced.

Peter Tyndall. Courtesy Anna Schwartz Gallery, Melbourne. Private collection. Location: Cnr Southbank Boulevard & Dodds Street, Southbank Victoria, Australia. 9 December 2022—16 April Peter Tyndall

Natalie Wijeyeratne, Us, 2022. 15 April—27 May Soft VS Edgy Natalie Wijeyeratne Soft VS Edgy is a new collection of original acrylic paintings exploring the nature of Passivity / Growth / Loud and Quiet Expression / Surrender / Directness / Starkness of reality / Sensuality; and the way these themes emerge both visually on the page and metaphorically in relationship to one’s self and others. 31 March—13 May Transcend

This is the first major retrospective exhibition of one of Australia’s most influential artists, Peter Tyndall. Maintaining a rigorous studio practice spanning 50 years, Tyndall’s expansive works contemplate the fundamental questions about the construction of meaning.

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

Centre for Contemporary Photography ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm. 27 January—9 April The Quickening: Ying Ang With a multifaceted and layered approach to imagery and process, The Quickening by Ying Ang documents the transformational experience of pregnancy and early motherhood. Haunting pictures captured on baby monitors are juxtaposed with soft photographic studies to convey the transition into motherhood, capturing feelings of anxiety, depression, and claustrophobia, as well as joy and tenderness. 27 January—9 April Getting to Borroloola: Miriam Charlie In Getting to Borroloola, Yanyuwa Garrwa artist Miriam Charlie captures her return 127

Ryley Clarke Off the Well Worn Path Exhibition Runs 21 February- 4 March 2023

Image: My Great-Grandfathers Bedroom, 2021, photograph on Platine Fibre Rag, 84.1 cm x 118.9 cm

fortyfivedownstairs.com

VICTORIA CCP continued...

Charles Nodrum Gallery charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm. sentient relationships of city life, celebrating curious encounters and beguiling coincidences selected from the City of Melbourne collection. Featuring work by Hossein Valamanesh, Laresa Kosloff, Sonia Kretschmar and Miles Howard-Wilks.

CLIMARTE Gallery

Miriam Charlie, Getting to Borroloola, 2022. © Image courtesy of the artist / N.Smith Gallery. to her hometown in the Northern Territory. The instantaneity of the Polaroid process gives Charlie complete agency over her image-making, and she depicts both intimate, off-hand familial moments and the vast expanse of the landscape, as witnessed during her journey.

climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon–5pm. Tom Alberts, Saint-Jean-Cap-Ferrat, 2020, oil on linen, 61 x 50 cm. 4 March—25 March Tom Alberts

Julian Meehan, Climate Guardians, COP 26, archival print.

Noel Counihan, Unemployed, 1961-63, oil on board, 68.5 x 119 cm. 1 April—22 April Australian Painting and Sculpture Odette England, from the series Dairy Character, 2021. © Image courtesy of the artist. 27 January—9 April Dairy Character: Odette England Through a combination of recent photography, family snapshots and found imagery, Odette England chronicles and reflects on her experience growing up on a dairy farm in rural south Australia. 27 January—9 April Behind Glass: Lisa Sorgini While capturing the unique experience of lockdown during the COVID-19 pandemic, Lisa Sorgini’s Behind Glass offers a broader exploration of motherhood as framed through the domestic space. Mothers are captured through glass, separate and detached, and thus the series brings into view the collective maternal experience, one which can remain widely unseen.

15 March—22 April Revolt Melissa Corbett, Jamie Perera, Mark Edwards, Olga Dziemidowicz, Simon Rigg, Tharshiv Suresh, Jahan Xanlu, Julian Meehan, Richie Hart, Climate Guardians-ClimActs Creative Producer: Gomathi Suresh.

City Gallery melbourne.vic.gov.au/artsand-culture/city-gallery Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne 3000 [Map 2] Mon to Fri 9am–5pm. Entry is free. See website for exhibition information. Located at Melbourne Town Hall, the City Gallery presents free, quarterly exhibitions on city life, past and present. Specialist curators - often working in collaboration with artists and filmmakers - offer intriguing views of Melbourne life.

Pia Johnson, The Weight of Fallen Trees #2, 2021, archival inkjet print.

24 April—9 July Experimental Relationship: Pixy Liao

15 March—26 July Desire Lines

26 April—28 May Wind Polly Stanton & Byron Dean, Philip Samartzis, Gretel Taylor & Gulsen Ozer, Pia Johnson, Kent Morris,Vicki Couzens, Marnie Badham, Tammy Wong Hulbert, Ai Yamamoto & George Akl and community.

I Loved You: Works From The White Rabbit Collection

Curated by Irish artist Sean Lynch, Desire Lines explores emotive and

Curatorial Team: Pia Johnson, Marnie Badham and Tammy Wong Hulbert. 129

dibresciani.com

VICTORIA

Craft Victoria craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. 2 February–25 March Morph Mark Douglass A series of bold and colourful silveredglass sculptures exploring light, reflection and perception. 11 March–29 April Fresh! 2023

Marta Oktaba, Untitled drawing, 2022, ink on paper. Promotional image only, image © and courtesy of Marta Oktaba.

Craft’s annual exhibition celebrating the next wave of Victorian graduates in contemporary craft and design, and 2023 marks its 30th year.

C. Gallery cgallery.com.au 66 Gwynne Street Cremorne, VIC, 3121 03 9421 2636 Mon to Fri 10am–5pm, Sat by appointment. See our website for latest information.

Image courtesy of the artist. 9 March–27 April FLORA Jeremy Anderson, Ben Mazey, Michael Gittings, Ruth Allen, Claudia Lau, Miranda Skoczek

Ⓒ Nyapanyapa Yunupiŋu, courtesy of Buku-Larrŋgay Mulka Centre. 24 March–5 May Facing East: Masterpieces from Buku Facing East features a selection of works from Buku-Larrŋgay Mulka Centre at Yirrkala. ‘Buku-Larrŋgay’ means ‘sunlit face’ and Yirrkala is located at the easternmost tip of the Top End, facing the dawn. Eight of the fourteen artists represented in this collection - which was assembled by a Melbourne couple over ten years - are winners in the National Aboriginal and Torres Strait Islander Art Awards. Six have won multiple times. Three have won the prestigious overall first prize. Five of those artists who have not won are still alive, with every prospect of being recognised in the future. Two of the artists, Noŋgirrŋa Marawili and Nyapanyapa Yunupiŋu, have had their own solo retrospective exhibitions in a major institution.

Divisions Gallery arts.pentridgecoburg.com.au/ divisions-gallery Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thur to Sun 12noon–6pm.

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

dlancontemporary.com.au

221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 11am–5pm during exhibitions. Closed public holidays. See our website for latest information.

Wurundjeri Country 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.

13 February—5 April Art School Confidential Deakin University Art Gallery presents Art School Confidential – an exhibition by current lecturers and teaching staff from Deakin University’s School of Communication and Creative Arts, featuring artworks they made whilst attending art

D’Lan Contemporary

school. Curated by James Lynch, the exhibition celebrates creative discoveries in all their varied forms and the importance of a creative education experience with artworks by Bradley Axiak, Wendy Beatty, Cameron Bishop, David Cross, Simon Grennan, Victoria Holessis, Penelope Hunt, Ilona Jetmar, Katie Lee, Sean Loughrey, Sorcha Wilcox, Annie Wilson and many more. The exhibition explores the histories of artistic endeavours at the university and the transit of artistic practices over time.

Em Jensen, Dust from a distant sun, 2019, photography, 29.7 x 42 cm. Model: Dominik Shields. 24 February—26 March Gems: So Far Belle Formica, Brigit Annie Lambert, 131

ar t g ui d e .c o m . au Divisions Gallery continued... Carly Candiloro, Claudia Fletcher, Eliza Freeman, Ellen Muller, Emma Sjaan Beukers, Em Jensen, Esther Sandler, Freya Alexander, Holly Gregory, Isabella Kottek, Monica Tran, Nani Puspasari, naomi meg, Nea Valdivia, Niesha Feng, Sarah McDonald, Savi Ross, Scarlet Sykes Hesterman, Stephanie Hicks, Vonne Beyer & more. Curated by Tegan Iversen. In this group art exhibition, we asked twenty-four Naarm-based women and non-binary artists who have featured in the pages of Gems zine* to present work each representing a theme of a previous issue. *A zine is a self-produced, published and distributed small handmade book or magazine.

Jeannie and Katie Walatinna, Ngura (Country), 2022, acrylic on linen, 152 x 198 cm. Courtesy of the artists and Iwantja Arts. colour, the paintings pay homage to the artists’ Country and celebrate International Women’s Day. Exhibiting artists include Jeannie & Katie Walatinna, Julie Yatjitja, Priscilla Singer, Trish Singer and Rosalind Tjanyari.

Mark McCarthy, Significant Other, 2022, oil on linen, 40 x 60 cm. 31 March—30 April Whence it came Jordan Wood, Marina Mason, Kate Rohde, Mark McCarthy, Joshua Simpson, Georgia Harvey, Valentina Palonen, Saskia BunceRath, Marion Abraham, Aylsa McHugh Whence it came includes ten artists whose practices hark back to early creatures, stories and times. Touching on both myth and history, Whence it came is an eclectic and playful look at many points of origin.

Everywhen Artspace everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Tues 11am–4pm. See our website for latest information. Contemporary Australian art gallery established by art writers and gallerists Susan McCulloch OAM and Emily McCulloch Childs. Presenting fine quality art by leading Aboriginal artists Australia-wide, the gallery is known for representing the work of high-level, established artists, discovering, promoting, and supporting the work of exciting new talents and elevating the art experience by an educative exploration of the works on show. 10 March—28 March Ngura Wiru (Beautiful Country) Women artists from Iwantja Arts In partnership with Iwantja Arts Vibrant new works from the women artists of Indulkana in SA. Singing with 132

Jock Mosquito, Men’s Business on Bungle Bungle Country, 2006, ochres on canvas, 100 x 140 cm. Courtesy of the artist and Red Rock Art.

Kenneth Kronberger, Funky Fresh Discotheque, 2021, cardboard, prefabricated models, rotating mirror ball, LED lighting, animated film and sound, 31 cm x 31 cm x 23 cm (scale: 1:12). Courtesy of the artist. Kronberger’s new work and PhD examination exhibition integrates these seemingly incompatible imagined formats, creating his own metamorphised ‘worlds’ and fantastical illusionistic spaces. This exhibition constitutes the visual outcomes emerging from a practice-led Doctoral research project at the Institute of Education, Arts and Community, Federation University, Australia. Kenneth Kronberger is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University.

8 April—2 May West meets East Significant ochre paintings from the Kimberley’s Red Rock Art and glowing acrylics from the Central Eastern Desert’s Utopia region in a vibrant exhibition of two very different styles of Aboriginal art. Exhibiting artists include Jimmy McKenzie, Jock Mosquito, Lloyd Kwilla, Nancy Noonju, Nellie Gordon, Ned Johns, Barbara Weir, Belinda and Janet Golder Kngwarreye, Bernadine Kemarre, Charmaine Pwerle, Jeannie Mills Pwerle and Selina Teece Pwerle.

Federation University Post Office Gallery 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 12noon–5pm, Tues by appointment. 22 February—17 March Behold The Animated Diorama! Kenneth Kronberger Through an investigation into the historically intriguing, silent and static miniaturised world of the diorama and the contemporary art of animation, Kenneth

Julie Reed-Henderson, Unspeakable Loss, 2021, digital print, 99 x 73 cm. 31 March—21 April SCOPE23: Arts Academy Lecturers, Teachers & Honoraries An important Federation University, Arts Academy annual exhibition, SCOPE showcases new work by lecturers, teachers, research associates and research fellows from the university’s Gippsland and Ballarat campus, who, as educators and researchers, also sustain an ongoing rigorous artistic practice.

VICTORIA

Fiona and Sidney Myer Gallery 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.

and gaze are shaped by centuries of supremacy. The work reflects whiteness as a structural norm, the hierarchical order that makes it possible to reject cultural expressions of others – or to appropriate them. Courtesy of the artist and Gladstone Gallery.

Flinders Lane Gallery 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–5pm. 7 Feburary—4 March Lives of Their Own A group exhibition exploring the deeper narratives housed within intimate objects. Featuring new still life works by FLG artists Margaret Ackland, Julie Davidson, Chelsea Gustafsson, Bronwyn Hill, Michelle Molinari, Hobie Porter, Michael Simms and guest artist Christine Webb. 7 March—25 March Seeking Silence Amber-rose Hulme

Masato Takasaka, Self Portrait (Nonobjective composition), 1998, mixed media, variable. Courtesy of the artist

7 March—25 March Romantica Gina Kalabishis 28 March—22 April High Fade Zac Koukoravas 28 March—22 April Meanwhile Jay Kochel 25 April—20 May Exploring the Labyrinth Jon Eiseman 25 April—20 May Imagined Worlds A group exhibition celebrating the fantastical, the surreal, the utopian and dystopian. Featuring new work by FLG artists Jacob Leary, Stuart McLachlan, Kendal Murray and guest artists Brad Gunn and Simon Cartwell.

Footscray Community Arts footscrayarts.com 45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. 14 January—26 March Hidden Footscray David Hourigan, Deb Bain-King, Jody Haines, Kerrie Poliness, Jason Waterhouse, Felicity Watson and John Weldon.

3 March—1 April It’s not you, it’s me It’s not you, it’s me is an exhibition of self-portraiture by the staff of VCA ART. Including painting, drawing, sculpture, video, photography, it presents diverse approaches to the idea of self-imaging.

Delve deep enough beneath the cosmopolitan charm of Footscray, you can find hidden stories of lost heritage, unknown traditional cultural practices, forgotten memories and more.

Gina Kalabishis, Salmon Rocks, 2022, oil on board, 41 x 33 cm.

Arthur Jafa, The White Album, 2018, video still. © Arthur Jafa. Courtesy of the artist and Gladstone Gallery.

Scotty So. Courtesy to the artist and MARS Gallery.

7 April—13 May Unrest Arthur Jafa

14 February—6 April These Bodies of Video Works Scotty So These Bodies of Video Works by Scotty So is a solo exhibition which explores the relationship between performance and the performer’s body through the mediums of video and objects. These new video works incorporate So’s practice of drag performance as well as his recent experience of learning to sing as a countertenor.

Unrest brings together two of the 21st century’s most powerful works of art. Arthur Jafa’s Love is the message, the message is death 2016, collages Jafa’s own footage with internet video samplings from a range of sources. ‘These images traverse the twentieth century, focusing on the lives of Black people set against the backdrop of systemic racism and White supremacism.’ In Jafa’s The White Album, ‘the flow of seemingly disparate video clips conveys a charged, raw, yet occasionally tender, image of white visual culture. It is a portrayal of a group of people, which takes its status for granted and whose identity

14 February—6 April Do Your Worst Yuchen Xin Zac Koukoravas, High Fade V1, 2022, acrylic and enamel paint on acrylic panels, 125 x 125 cm (detail).

Do Your Worst by Yuchen Xin explores curious perceptions of the world and the absurdities of everyday life. Through the reconstruction of found objects from 133

ar t g ui d e .c o m . au Footscray Community Arts continued...

Ryley Clark, My Great-Grandfathers Bedroom, photograph printed on Canson Platine fibre rag, 84 x 119 cm.

21 February—4 March Off the Well Worn Path Ryley Clarke Photography. Yuchen Xin, Learn to Smile, 2022. second-hand shops, dollar shops and urban environments, Xin finds personal history in each item, demonstrating the magic of the uncanny and thereby building strange narratives that aim to question our identity. Individual hand formed objects are placed together to inhabit the space as one collective installation, mimicking a domestic landscape that suggest an idiosyncratic sense of ‘home’.

fortyfivedownstairs fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm.

7 March—18 March The Portable Park Gretchen Kaye Paintings. Gould: Elizabeth Acknowledged Bronni Krieger Paintings and drawings.

21 March—1 April The Portable Park Gretchen Kaye Paintings. Urban Abstract Pamela Reid

Al Poulet, Untitled (Iris), 2022, acrylic on canvas, 209 x 308 cm. 5 April—30 April (Untitled) Inner Horizon Al Poulet

Frankston Arts Centre thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. See our website for latest information.

Drawing.

4 April—29 April CUOROSENSA: A Reverse Archaeology Marco Luccio Printmaking.

Fox Galleries foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon and Wed to Sat 10am–6pm, Sun 11am–4pm. Open by appointment Tuesday. See our website for latest information.

The Big Picture Fest, artist, George Rose. 2 March—1 April Cube 37–Cube Gallery: Gallery Takeover The Big Picture Fest A retrospective look at some of The Big Picture Fest artist’s studio work. Discover the artistic personalities of the street art festival artists, past and present, by seeing that their artistic skills are not limited to just the outside walls. Ghostpatrol, MORANO, LucyLucy, Abbey Rich, Katira, Hayden Dewar, Olana Janfa. Opening Event & Artist Welcome: Tuesday 21 March, 6pm. Registration Essential 03 9784 1060 or thefac.com.au.

Kashi Ruffilli-O’Sullivan, Ghost, 2023, oil on canvas 120 x 150 cm.

21 February—4 March Symptoms of Mortality Kashi Ruffilli-O’Sullivan Painting / works on paper. Can’t See for Looking Oliver Bradley Painting / works on paper. 134

Eddie Botha, We Are Target, 2022, indian ink on mixed media board, 100 x 100 cm. 8 March—2 April Target Aim, Hit Miss Eddie Botha

Matthew Parsons, City Hatters, (detail), digital photograph. 2 February—22 April FAC–Atrium Gallery:

VICTORIA Hidden Matthew Parsons The digital camera can see and interpret in ways that we cannot. These works use photographic techniques which allow us to discover a world hidden to the human eye. A world of gesture, colour and contemplation. 3 April—24 April Cube 37–Cube Gallery: The Soul’s Garden Maureen Venville Maureen’s use of colour and composition in The Soul’s Garden series is inspired by her practice of Raja meditation. An open eye meditation for the mind, integrated with the act of painting to deal with the artist’s recent challenge of isolation. Opening Event: Thursday 6 April, 6pm. Registration Essential 03 9784 1060 or thefac.com.au.

Elio Sanciolo, OPUS 125, (detail), oil on canvas, 168 x 180 cm.

2 February—22 April FAC - Mezzanine Gallery: Landscape Under the Skin Maria Peña

Matilda Davis, sangius lacte aqua, 2018, oil on canvas, 40.5 x 30 cm.

The most recent work by Colombian-Australian artist Maria Peña invites us to make a human - nature gaze, to think and to see ourselves as a leaf, as an infinite texture, as a single form with the earth.

Group Exhibition

9 March—8 April The Bad Gardener

4 March—3 April Opus Elio Sanciolo

2 February—22 April FAC–Curved Wall Vibrant Threads: Contemporary Works by the Karen Tapestry Weavers: Mu Naw Poe, Paw Gay Poe, Shuklay Tahpo & Cha Mai Oo An ongoing project gives these women agency and empowerment, not only to communicate their cultural heritage through the shared language of weaving, but also to create a sense of belonging in a new place after lost lives and homelands.

Ted May, Electricity Bill, (detail), oil on canvas, 183 x 198 cm. 8 April—30 April Good Confusion Ted May

2 March—22 April Cube 37–Glass Cube Gallery, view from the street at Cube 37 day and night: Walking Among Trees Marynes Avila Multi-award winner, Argentinean born, Australian artist Marynes Avila brings the beauty of Frankston City Council’s flora into our Cube 37 Glass Gallery in this captivating multisensory installation intersecting art and science. Opening Event for Ventana Arte: Vibrant Threads, Landscape Under the Skin and Walking Amongst Trees: Sunday 5 March, 11am. Registration Essential 03 9784 1060 or thefac.com.au.

FUTURES

Nicholas Currie, Swimming IV, 2022, pigment, oil and ink on canvas, 182 x 140 cm. 13 April—13 May Candles with Paintings of Dogs Nicholas Currie

Gallerysmith gallerysmith.com.au

Geelong Art Space geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Please check our website for opening hours and latest information.

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

futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0450 103 744 Thu to Sat 12noon–5pm. FUTURES is a new commercial project space conceived by Steven Stewart and Zara Sigglekow with the express purpose of exposing important work of contemporary artists in the city of Narrm/Melbourne.

Gallery Elysium galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only.

Rachael Wellisch, Surface Yield, handmade paper from indigo dyed textile waste, hardwood frame from salvaged floorboards, 15 x 23 x 5 cm. Courtesy of the artist and Geelong Art Space. 135

ar t g ui d e .c o m . au Geelong Artspace continued... Until 29 April paper A group exhibition featuring works created by local and regional contemporary artists and craft makers together with those from further afield.

Geelong Gallery 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.

disability, age, gender, and sexuality were challenged, allowing each of the students to reflect on and express their unique identities. A Geelong Gallery and Back to Back Theatre exhibition. 1 April—9 July Clarice Beckett—Atmosphere Geelong Gallery presents an exclusive in-focus, thematic survey of the work of Australian artist Clarice Beckett (1887– 1935). This much anticipated exhibition will present key works from across Beckett’s oeuvre from 1919 to the early 1930s, providing a critical representation of this enduringly enigmatic modernist artist’s atmospheric depictions of light, climate, and bayside Melbourne. A Geelong Gallery ticketed exhibition.

Gippsland Art Gallery gippslandartgallery.com Port of Sale, 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 gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tues to Sun 11am–5pm.

Tom Moore, Cyborg Symbiosis, 2020, hot joined blown and solid glass. Photographer: Grant Hancock. Until 16 April JamFactory ICON Tom Moore: Abundant Wonder Tom Moore is one of Australia’s leading glass artists and over the course of his career has carved out a singular voice within Australian glass art making. Although working in the ancient craft of blown glass, Moore’s images, narratives and settings are distinctly contemporary. A JamFactory touring exhibition | Free entry.

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

Adrian Mauriks, Flame, 1982, timber, paint and gold leaf, 104 x 25 x 25 cm. Collection Gippsland Art Gallery. Donated by the family of the artist, 2022. © The estate of the artist. Ryan Presley, The Dunes (How good is Australia), 2021, oil, synthetic gold and 23k gold leaf on poly-cotton, 364 x 152 cm (diptych). Courtesy of the artist and Milani Gallery, Brisbane. Gertrude Contemporary:

4 March—21 May Gifted 2

11 February—2 April Fresh Hell Ryan Presley 11 February—2 April Nyctinasty Hayley Millar Baker

Tamara Searle and Gemma-Rose Turnbull, Claudia, Portrait , 2021, colour photograph. Courtesy of Back to Back Theatre. © Tamara Searle, Gemma-Rose Turnbull and Claudia. 18 March—16 July Portrait Back to Back Theatre Portrait is a participatory photographic project created by Tamara Searle (Back to Back Theatre) and photographer Gemma-Rose Turnbull with students in local Nelson Park and Barwon Valley schools. This long-term project was created with a foundation of self-determination, in which existing photographic representations of 136

11 February—2 April Octopus 2023 – The Field Curated by Tamsen Hopkinson Gertrude Glasshouse: 3 February—4 March Glasshouse/Stonehouse Residency: The drunkard’s cloak Gavin Bell, Jarrah de Kuijer and Simon McGlinn 10 March—1 April Amrita Hepi 13 April—15 April The Line is a Labyrinth Brooke Stamp 21 April—19 April Catherine Bell

William Blamire Young, Nunc Dimittis, c.1924, watercolour on paper, 48 x 62.8 cm. Private collection. 4 March—21 May Sunlight & Shadow 4 March—21 May Plein Air Artists: Robert Maclaurin and Kynan Sutherland 4 March—21 May Tammy Honey: Mapping Place 4 March—28 May Ken Roberts: Family Secrets Ongoing and Evolving The Art of Annemieke Mein

VICTORIA

Glen Eira City Council Gallery gleneira.vic.gov.au/gallery 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. See our website for latest information. Until 12 March International Baccalaureate Visual Arts Exhibition Until 12 March Rocks and Trees Marley James Wright 17 March—30 April Colour Glen Eira Artists Society

Mark Slater, Milky Way Cascade, 2013, digital print, 45 x 30 cm.

17 March—30 April Diamond Anniversary Exhibition – 1963 to 2023 Glen Eira Cheltenham Art Group.

3 March—9 July Through the Viewfinder Celebrating 70 Years of the Wodonga Albury Camera Club

17 March—30 April Waterverf Nina Waterval

Hamilton Gallery hamiltongallery.org 107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information. Hamilton Gallery presents a range of exhibitions, programs and events that stimulate understanding, awareness and enjoyment of the visual arts. The gallery, which is managed by the Southern Grampians Shire Council, is the most significant public cultural facility in the region.

Catherine Opie, Bo, 1994, c-type print, 152.4 x 76.2 cm. © Catherine Opie. Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong, London, and Seoul. 1 April—9 July Catherine Opie: Binding Ties 8 April—3 September Paul Yore and Albert Tucker: Structures of Feeling

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

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

Heide Museum of Modern Art heide.com.au Ponch Hawkes, 500 Strong, 2019-2022, black and white photograph compilation. Courtesy of the artist.

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

10 December 2022—19 March 500 Strong : Ponch Hawkes

Until 13 March Barbara Hepworth: In Equilibrium Until 19 March Animal Instincts: Moya McKenna and Albert Tucker 11 February—30 April Murray Walker: Walk of Life

John Dermer, porcelain, salt glazed, 30.5 x 27 cm. 10 February—7 May A Life in Clay John Dermer

In 2018 renowned photographer Ponch Hawkes embarked on a project to photograph 500 Victorian women. Challenging the notions of what real women look like, 500 Strong celebrates older women’s health, body image and wellbeing. Diverse women over the age of fifty from Horsham and across the state volunteered to be photographed in the nude. Curated by Jane Scott, this exhibition is both irreverent and playful. 137

bill gregory SeleCTeD WorKS 2007-2022 MarCH 2023 loT 19, CaSTleMaiNe

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VICTORIA A retrospective of the creative work of textile artist Gail McCall to celebrate her 80th birthday. Gail is the founder of the Textile Art Community in Banyule, now known as TACAS. Gail is a talented artist and environmental activist.

Horsham Regional Gallery continued...

21 April—14 May Going Deeper Curated by Amy Kennedy

Bill Henson, Untitled 3, 2018–19 from the series Untitled, 2018–19. Monash Gallery of Art, City of Monash Collection courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney). 11 March—25 June The light fades but the gods remain Bill Henson The light fades but the gods remain is a major exhibition showcasing two key series by Bill Henson, one of Australia’s most eminent artists. These explore the suburb of Glen Waverley, where the artist grew up. In celebration of MGA’s 25th anniversary, Henson was commissioned to revisit the suburb of his childhood and to produce a new body of work reflecting upon his earlier series Untitled 1985–86, known by many as ‘the suburban series’. An MGA travelling exhibition. Curator: Pippa Milne, MGA Senior Curator.

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

Debris Facility, CVIC-LEVEL, detail, 2020, plaster, cyanotope, chainmail, steel, perfume, lasers. 3 February—23 April Knot Locked: Debris Facility Debris Facility Debris Facility draws from queer architectural theory alongside industrial waste research to make installation, sculpture, and print works. Knot Locked is an installation that entangles the processes and history of waste management (within the Debris Facility and at Incinerator Gallery) with ‘knit lock’ bricks as designed by Marion Mahoney and Walter Burley Griffin, the architects of the Essendon Incinerator. 3 February—23 April Infinite Pleasures Arben Dzika, Arthur Nyakuengama, Corin Corcoran, Eilish Hazell, FAFSWAG, Kieran Butler, Roshan Ramesh and Tom Bourke.

Bringing together the art and writing of 33 visual artists that met online in 2020, during COVID lockdown. This exhibition will showcase ceramics, painting, printmaking, sculpture, textiles, drawing, alongside the writing of each artist. For the full list of artists, please visit the website. This exhibition and programs are proudly supported by a Banyule Arts and Culture Project Grant. Opening event Friday 21 April, 6pm–8pm. 27 March—16 April Mungga Artist Studios Peter Sward Artist-in-Residence Peter Sward is a local self-taught artist, working mainly with oil paints. During his time in residence, Peter is keen to run workshops to show people how they too can create a simple landscape painting with oil paints. Check the website for details closer to the date.

Infinite Pleasures explores the arcs, beats and spaces that house LGBTQIA+ communities. Infinite Pleasures is presented through Midsumma Festival’s keynote program, Safe(R) Spaces.

Ivanhoe Library and Cultural Hub banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 1 February—28 March Naked Force – the Art of Edward Heffernan Curated by Michael Currie in Collaboration with Jutta Pryor.

J Davies, My Bed, After, 2020, analogue photograph. 3 February—23 April The Sentimentality of Something Unseen J Davies The Sentimentality of Something Unseen is a photographic exhibition of new and archival works by artist J Davies that explores both the sensual and the sensuous experiences of queerness. From erotic embraces of candid couples to lived-in and loved-in beds, from cinematic sunsets to heaving, hazy dancefloors and images of decay and destruction, J Davies invites their audience to experience the world through their eyes. The Sentimentality of Something Unseen celebrates holding on to the lingers of love in whatever form feels appropriate.

Edward Heffernan (OAM,1912-92) was a noted Heidelberg artist, who won the City of Heidelberg Art Prize at the opening of the Heidelberg Town Hall in 1937. This selective exhibition of Heffernan’s artworks is curated from the perspective of his nephew Michael Currie, a musician and composer. 12 April—4 June Art Gallery 275: A Gift of Fire Avis Gardner, Mim Johnson, Amy Kennedy, Irianna Kanellopoulou, Lene Kuhl Jacobsen This exhibition is a showcase of ceramic art in Banyule. The artists in this exhibition are all ceramic artists who live in Banyule. Opening event Friday 21 April, 6pm–8pm. 25 March—16 April RETRO 80 Gail McCall

Sample materials by Claire Ellis. 21 April—14 May Mungga Artist Studios Going Deeper Studio Residency Artist-in-Residence As part of the Going Deeper exhibition, two of the exhibiting artists will also be in residence, sharing their practices, engaging with our community. Artist Studio 1: Claire Ellis Claire Ellis is a Canadian-born emerging ceramic artist and designer based in Naarm (Melbourne). While working as a chef at the internationally acclaimed restaurant, Attica, Claire began making tableware for the tasting menu, and created a ceramics studio within the restaurant. During her residency, Claire will research and explore her idea of zero waste glazes – ceramic glaze recipes made entirely from waste materials, engaging with our community for their feedback into waste materials that exist in their home or industry. 139

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VICTORIA Ivanhoe Library continued...

donated by the community. Our collection explores Jewish history and evolving identities, tradition and ritual, home and community – with each and every item telling a story, conjuring the lives of the people who made, used, collected or donated it.

The Johnston Collection johnstoncollection.org

Detail of artwork by Hollie Nair. Photograph: Kristy Visscher. 21 April—14 May Artist Studio 2: Hollie Nair Hollie works from her studio on Gunaikurnai country, using a wide range of mediums including ceramics, textiles, gouache and acrylics and collage, as well as found materials and objects to explore these ideas through colour, patterns and texture. During her residency, Hollie will undertake creating a fabric art book, exploring the bifurcation and connection between art and craft, using craft techniques in making an art book, an artwork in book form. Hollie will engage our community in her quest to understand what people think is art vs craft and creative activity.

Jacob Hoerner Galleries

Andrew Sibley, (Untitled), c.1978, Dulux, ink, paper, perspex, 113 x 93.5 x 5.5 cm.

192 Wellington Parade, East Melbourne, VIC 3002 [Map 5] 03 9416 2515 Wed to Sun with three tours daily at 10 am, 12noon and 2pm. We are closed on public holidays.

20 April—13 May Perspex Andrew Sibley

Jewish Museum of Australia jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue, Wed & Fri 10am— 5pm, Sun 10am— 5pm. (Closed on Jewish holidays).

Detail from Splendid: The Roger Brookes Bequest. Photograph: Adam Luttick. 28 September 2022—19 March SPLENDID: The Roger Brookes Bequest

jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 [Map 5] 0412 243 818 Wed to Sat 12noon–5pm and by appointment. 2 March—18 March Between the Trees Alison Binks This exhibition will be held at an outdoor offsite location in Alphington Melbourne/ Naarm. Visit the website or contact the gallery for further information.

Marie-Luise Skibbe, Belief & Ritual gallery, Jewish Museum of Australia, 2019.

Detail from THE BEST OF BRITAIN | William Johnston: His Residence and Collection. Photograph: Adam Luttick. 5 April—1 October THE BEST OF BRITAIN | William Johnston: His Residence and Collection

Kingston Arts kingstonarts.com.au

Marie-Luise Skibbe, Timeline of Jewish History gallery, Jewish Museum of Australia, 2019. Andrew Gritscher, Hong Kong feels 6 Persimmons, (detail), 2023, mixed media, dimensions variable. 23 March—15 April Your Temple is a Jumping Castle Lost in the Ether Andrew Gritscher

1 February—31 December Exploring Jewish Culture & Identity: Exhibition & Programs At the intersection of art and Jewish culture, our Museum is a place for all people to share in the Australian Jewish experience. We have over 20, 000 items, the largest collection of Jewish-Australian artefacts in the world, predominantly

G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12noon–5pm. See our website for latest information. 24 February—25 March G3 Artspace: Remnant Wilderness Rebecca Marshall & Meredith Connie 141

ON THE PERIPHERY OF ARCHITECTURAL THOUGHT

25 March - 15 April

“Architects’ drawings are usually of something. And architects’ drawings are usually for something. This is because the subject/object of their drawings, ultimately, is to be made by someone else....... Here we are drawing to make a drawing. The drawing is the thing.” Professor Des Smith, Architect

JON CLEMENTS PETER ELLIOT KERTSTIN THOMPSON DES SMITH PETER MADDISON SHELLEY PENN PAUL KATSIERIS MARK JACQUES ANNA DUTTON ALEX SELENITSCH PETER WILLIAMS FIONA DUNIN JAMES STAUGHTON BOB SINCLAIR NIGEL BERTRAM NIGEL FITTON DAVID LEECE ROGER NELSON DAVID BALESTRA ROB WATSON KAREN ALCOCK HAMISH LYON CHRIS CONNELL JAN VAN SCHAIK PETER FELICETTI PETER DAVIDSON RACHEL HURST PATRICK NESS PETER DREDGE SUE ROBEY LUCINDA MCLEAN PETER MALATT TONY STYANT-BROWN KARL FENDER RAY CHEUNG EMMA JACKSON AMY MUIR ROB STENT JILL GARNER ANN LAU JOHN WARDLE KATICA PEDISIC RICHARD HARRIS ELI GIANNINI

Qdos Fine Arts Lorne

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VICTORIA Kingston Arts continued...

Koorie Heritage Trust koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information. The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians. Our location at Federation Square is a recognition of our shared history and the importance of Koorie peoples as part of a broader 21st century community.

Rebecca Marshall, The singing garden, 2022, acrylic on canvas, 152 x 122 cm. Rebecca Marshall and Meredith Connie collaborate to create an immersive experience of sound loops and visual work based upon their experience and time spent in the remnant wilderness found in the City of Kingston.

We offer a range of programs and services including the only public collection in Victoria dedicated solely to Koorie art and culture comprising artefacts, pictures and photographs as well as a Oral History Program and a Reference Library; a cultural education service that includes guided walking tours, cultural competency training and programs developed specifically for schools and educators; an annual exhibition program with an emphasis on showcasing young and emerging Victorian Aboriginal art and artists; a Koorie Family History Service; and a retail shop dedicated exclusively to showcasing the uniqueness of Victorian Aboriginal art and design. We also have for hire meeting rooms with balcony access and views of the Yarra River and Federation Square.

Latrobe Regional Gallery Narelle White, Alchemies, 2022, (installation shot). Photograph: Lou Miller.

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31 March—29 April G3 Artspace: A Kind of Liveliness Narelle White

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

In A Kind of Liveliness, Narelle White presents a new collection of artworks that explore the animacy of materials through experimental ceramic processes. Join Narelle in the gallery as she speaks about the creative research behind her artworks on Saturday 1 April, 2pm. 20 March—14 April Kingston Arts Centre: Artz Blitz 2023 Presented by Kingston Arts Artz Blitz is back for 2023! Over 24 hours, participants race against the clock to create a visual or written submission inspired by the secret theme. All ages and abilities are encouraged to enter with a range of prizes available to be won across all ages and mediums judged by a panel of arts industry professionals. Registrations close: 7 March, 5pm. Artwork Submission: Saturday 11 March. Award ceremony and opening event: Sunday 19 March, 1pm.

4 March—3 June Wilam Biik Curated by Stacie Piper Paola Balla (Wemba Wemba, Gundjitmara), Deanne Gilson (Wadawurrung), Kent Morris (Barkindji), Glenda Nicholls (Ngarrindjeri and Yorta Yorta), Steven Rhall (Taungurung), Nannette Shaw (Tyereelore, Trawoolway, Bunurong), Kim Wandin (Wurundjeri), Lewis Wandin-Bursill (Wurundjeri/Woi-wurrung), Arika Waulu (Gunditjmara, Djapwurrung, Gunnai), and the Djirri Djirri Wurundjeri Women’s Dance Group (Wurundjeri, Dja Dja Wurrung, Ngurai Illum-Wurrung). Wilam Biik is a TarraWarra Museum of Art exhibition touring with NETS Victoria, curated by Stacie Piper.

Alan Davie, Cosmic Signals No 2, 1999, silkscreen print, 59.3 x 70.9 cm mount size. LRG Collection, donated through the Australian Government’s Cultural Gifts Program by Yvonne Howells, 2006. 8 April—9 July Connection Alan Davie, Tim Jones, Robert Knottenbelt, Bea Maddock, Noel McKenna, Alan Mitelman, Rose Nolan, Penny Ormerod, Eduardo Paolozzi, Graeme Peebles, Susan Purdy, Brian Robinson, John Ryrie, Bernard Sachs, Darren Siwes, Stefan Szonyi, Jennifer Wray.

Latrobe Regional Gallery presents an exciting program of contemporary art for our region and visitors to enjoy. Established in 1971, Latrobe Regional Gallery is one of the largest public galleries in eastern Victoria, with seven gallery spaces and a changing exhibition program that offers a blend of unique local perspectives, curated exhibitions of note and artworks from our collection. 19 November 2022—26 March Looking Glass Judy Watson and Yhonnie Scarce Looking Glass is organised by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria. 14 January—9 April Observatorium Josephine Jakobi Josephine Jakobi’s artwork is deeply concerned with the cycles and poetry of the natural environment, taking an approach that crosses between scientific observation and art.

Kate Zizys, Pistis Sophia, 2022, multiplate polymer etching with embossing, 60 x 42 cm. Courtesy of the artist. 22 April—16 July Ape Trip Kate Zizys 143

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Lauraine Diggins Fine Art diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous painting, sculpture and decorative arts.

Kate Just, SELF CARE ACTION: eat good food, 2023, hand knitted acrylic yarn, canvas, timber, 55 x 40 cm. Image courtesy of the artist. Photograph: Simon Strong. 18 March—4 June Self Care Action Series Kate Just 18 March—4 June Journeys Abdul-Rahman Abdullah

Sarah CrowEST, RE-UP #16, 2022, cotton, acrylic, cotton strapping, 182 x 109 cm. 29 March—22 April Painting RE-UP: construction and deliquescence Sarah CrowEST

McClelland Sculpture Park + Gallery

Murray Griffin, Resting Angel, 1960s, oil on composition board, 55 x 45 cm.

mcclelland.org.au 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. 12 November 2022—5 March Centre 5: bridging the gap Vincas Jomantas, Julius Kane, Inge King, Clifford Last, Lenton Parr, Norma Redpath, Teisutis Zikaras Curated by Dr Jane Eckett.

Horace Trenerry, Evening Light, Flinders Ranges, 1930, oil on wooden board, 40 x 47.5 cm. Until early March Robert Clinch, Murray Griffin and Horace Trenerry April A selection of Australian artworks

Linden New Art 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.

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Nell, A line of poetry, 2021, walking stick, giant clam shell, gold-plated bronze, 97 x 25.3 x 35 cm, 3 parts. Image courtesy of the artist. Photograph: Jenni Carter. 18 March—4 June Old New Wave Nell

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

Philippa Cullen on a pedestal antenna rehearsing Homage to Theremin II at the Joseph Post Auditorium, NSW Conservatorium of Music, 1972. Photograph: Lillian Kristall. 18 March—17 July Dancing the music: Philippa Cullen 1950–1975 Curated by Dr Stephen Jones.

VICTORIA 29 March–6 May Pain Pageant: A Visual Chronicle of Life with Endometriosis Jess Coldrey’s exhibition Pain Pageant delves into the personal battle of living with Endometriosis. Through sculpture, photography, and drawing, she explores the taboos and performance surrounding the chronic illness and its average seven year diagnosis period.

Nicholas Mangan, Core-coralations, 2021, detail. Image courtesy Sutton Gallery. Photograph: Andrew Curtis. 18 March—17 July The McClelland Collection Andrew Browne, Amias Hanley, Sam Jinks, Nicholas Mangan, Dorothy Napangardi

Manningham Art Gallery

Metro Gallery metrogallery.com.au 03 9500 8511 Currently trading online and by appointment only as we prepare our new gallery in Lennox Street, Richmond. Launching April.

Andrea J Smith, Golden Pears, (detail), 2005, oil on canvas. Mildura Arts Centre Collection. classical still life and portraiture with contemporary style and technique. Having spent more than 25 years overseas, away from her Australian roots, she has exhibited internationally, and founded schools in both New York and Rome. Her latest exhibition will show around 100 works from her various studios; a journey of perennial musings recorded in paint.

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

Michael Johnson, Ambiguous Angophora, 2011, oil on linen, 168 x 153 cm.

Image courtesy of the artist. 29 March–6 May Tongue - Tongs Artist Soyoun Kim interplays the approximate sound of words, ‘tongues’ and ‘tongs’, drawn from her experience and perspective as a Korean-Australian immigrant whose mother tongue is not English. Through a multisensory display of works of various mediums, including sound, video, scented tongue candles, porcelain, terracotta, bronze, and screen print, the exhibition aims to evoke the emotional effects of the lost translation of language and culture.

Representing a wide selection of paintings, works on paper, ceramics, sculpture, and limited editions by represented and selected stockroom First Nations, Australian and international artists, including Adnate, John Aslanidis, Carlos Barrios, Fabrizio Biviano, Andrew Bonneau, Eolo Paul Bottaro, Donovan Christie, Luke Cornish (Elk), Augustine Dall’ava, Tom Gerrard, Dean Home, Michael Johnson, David Laity, Bruno Leti, Ross Miller, James Money, Jorna Newberry, John Olsen, Louis Pratt, Mattew Quick, Saxon Quinn, Steve Rosendale, Llewellyn Skye, Loribelle Spirovski, Jim Thalassoudis, Anthony White, Bettina Willner, Jackie Wirramanda, Robby Wirramanda, Raymond Young, Richard Young.

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

Jessica Coldrey, Stabbing, 2021, photographic print. Image courtesy of the artist.

24 February—14 May PERCORSO Rhythm | Balance | Structure | Texture | Harmony Andrea J Smith Andrea J Smith is a classically trained painter and educator whose work marries

Sian Harris, Unnamed, 2023, acrylic paint on paper. 10 February—2 April Katyiluku Sian Harris Katyiluku is a solo exhibition by Kurnu Paakantyi artist Sian Harris. The word Katyiluku in Paakantyi Palku means small or tiny. The collection contains works that measure no more than 30 cm x 30 cm in size. The stories and imagery have come to the artist in small bursts as thoughts, ideas, or dreams. No matter how minute the story is, Harris has recorded it in her artwork. Slices of life; pieces of ideas; and parts of larger stories are collected here in these small works. 10 February—2 April Inside | Outside Mildura Arts Centre Collection Inside | Outside is a selection of artwork by women artists from the Mildura Arts Centre Collection. The exhibition draws from still life, landscape, inside and outside scenes. Works that depict the micro and the macro, compositions of intimate moments of the everyday and the textures and atmosphere of familiar and faraway outdoor scenes. 145

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VICTORIA

Modern Times moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Tues to Sat 10am–5pm. 23 March—4 April Arlpwe Art and Culture Centre Arlpwe Art and Culture Centre and Modern Times have teamed up to showcase the next generation of emerging Indigenous artists. Arlpwe (prounced Ahl-boa) is based in Ali Curung, a small remote community north of Alice Springs. The Centre acts as the beating heart of this community, providing support to artists from the Kaytetye, Alyawarr, Warlpiri and Warumungu nations. These works tell stories of the land and waterways, passed on by First Nations peoples.

Image courtesy of the artist.

20 April—2 May Subtle Realms Anna Fiedler, Hilary Green, Jennifer Tarry-Smith and Ria Green Subtle Realms exhibition brings together four distinct Melbourne artists. Printmaker – Jennifer Tarry-Smith, ceramicist –Hilary Green, painter – Ria Green, and weaver - Anna Fiedler. Each artist, working in their own unique medium, and approaching their practice from completely different perspectives, realise work that brings forth an internal sensory experience into a physical form.

Monash Gallery of Art mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tues to Fri 10am–5pm, Sat and Sun 10am–4pm. 4 March–28 May 100 faces Through the lenses of over 50 artists, including Maree Clarke, Rennie Ellis, Carol Jerrems and Lyndal Walker, 100 faces bring together 100 works drawn from three photographic collections to explore the portrait in its many forms, as well as what it means to collect portraiture both publicly and privately. This exhibition

draws from two private Melbourne collections, belonging to the Harris and Rosenthal families. Works from these collections have been placed in conversation with our significant public collection to reveal a rich diversity of faces. From celebrities and cultural figures to anonymous individuals caught unawares on the street, this exhibition features works by major Australian and international artists.

Monash University MADA Gallery 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. 10 March—1 April The line is life itself Presented by Chantelle Mitchell and Jaxon Waterhouse, MADA Curators in Resdience 2023. Through their ongoing collaborative practice and research project, Ecological Gyre Theory, Chantelle and Jaxon work across academic and contemporary arts frames, presenting exhibitions, texts and lectures across Australia and internationally.

Monash Gallery of Art → Sue Ford, Australia, 1943–2009, Helen, 1962; Helen, 1974, 1974, from the Time series, gelatin silver prints, 11 x 8 cm (each).Monash Gallery of Art, City of Monash Collection, acquired with assistance from the Robert Salzer Foundation and the Friends of MGA Inc 2020. Courtesy of Ben Ford. 147

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

Julie Blyfield, Flowers of the sea, 2022, detail. Photograph: Grant Hancock, courtesy of Samstag Museum of Art, University of South Australia. 1 March—21 May Flowers of the sea Julie Blyfield In a new body of large-scale copper objects, Julie Blyfield, a South Australian metal artist with a practice spanning 35 years, investigates the unique red sea weeds found along the coast of southern Australia. Mike Green – Standing on the inside (Prints 1980-1991) Mike Green is an accomplished contemporary artist. This exhibition reveals a selection of captivating screenprints from an extensive print archive recently donated by the artist. MPRG local focus exhibition. New Wave 23 MPRG local focus New Wave 23 selects young artists to exhibit their work at a major public art gallery. The exhibition celebrates the work of Mornington Peninsula-based VCE students, hoping to encourage the next steps in their artistic journeys. CREATION Deborah Kelly

Karen Song, Touch, 2021. Courtesy of the artist. reshaped our perceptions of time and space. But this is a reality experienced even more so by overseas students who travelled vast distances to study in a foreign place. To capture the creative evolutions of artists over this period of change, the Museum of Chinese Australian History has staged an exhibition, entitled Through Time and Space, which features over 50 works from visual arts students of Chinese heritage who are currently attending or who have graduated from an Australian tertiary institution.

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

CREATION is a queer science fiction climate change religion instigated by artist Deborah Kelly.

Elvis Richardson, Settlement, 2018, mild steel, powder coated pink, 180 x 80 x 45 cm. Courtesy of the artist. 24 March–20 August Melbourne Now 2023

National Gallery of Victoria— NGV International ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information. 27 August 2022–12 June Jewellery and Body Adornment from the NGV Collection 1 October 2022–October Richard Mosse: Broken Spectre 15 October 2022–April China – The past is present 7 October 2022–April The Global Life of Design 6 October 2022–March MECCA x NGV Women in Design Commission: Tatiana Bilbao

Museum of Chinese Australian History chinesemuseum.com.au 22 Cohen Place, Melbourne, VIC 3000 [Map 2] 03 9662 2888 Open everyday 10am–4pm. Closed on public holidays. 13 February—9 April Through Time and Space The Museum of Chinese Australian History, in conjunction with The Arts Collective presents a virtual exhibition featuring a selection of local Chinese artists. The challenges posed by the COVID-19 pandemic over the last few years has 148

Minh Dang, Sorrow, 2022, coloured pencil, synthetic polymer paint, 62 x 44.5 cm, Swan Hill College, Swan Hill. © Minh Dang. 17 March–10 July Top Arts 2023

Installation view of the 2022 NGV Architecture Commission: Temple of Boom designed by Adam Newman and Kelvin Tsang on display at NGV International, Melbourne from 22 November 2022 – August 2023. Photograph: Sean Fennessy.

VICTORIA 22 November 2022–August 2022 NGV Architecture Commission: Temple of Boom

8 March—1 April Angelina Pwerle and Rubaba Haider 5 April—29 April Blue Chip XXV: The Collectors’ Exhibition

Old Quad, the University of Melbourne about.unimelb.edu.au/old-quad/ exhibitions

Kohei Nawa, PixCell - Red Deer, 2012, Red Deer (Cervus elaphus), glass, (crystal glass), vinyl, acetate, acrylic urethane, epoxy resin, 206.5 × 170.8 × 185.2 cm (overall), National Gallery of Victoria, Melbourne. Felton Bequest, 2013. © Kohei Nawa, courtesy Sandwich, Kyoto.

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. Tom Civil, The Rabble, Etching & Aquatint, 30 x 40 cm.

2 December 2022–10 April Freedom of Movement: Contemporary Art and Design from the NGV Collection

21 March—4 April The Rabble Tom Civil

2 December 2022–10 April Julian Opie: Studio for Kids 11 December 2022–16 April Alexander McQueen: Mind, Mythos, Muse

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

Andy Butler, The Agony and the Ecstasy, 2022, video still. Commissioned by the University of Melbourne. Courtesy of the artist. 27 September 2022—3 June Collective Unease Collective Unease is a bold exhibition of three new commissions inspired by the University of Melbourne’s students, archives and collections. The three works, by artists Andy Butler, Lisa Hilli and James Nguyen, move beyond colonial narratives to a complex, multi-voiced understanding of Australia inflected by experiences of migration and diaspora.

In this new body of work, Tom Civil’s iconic stick folk monikers are used within a collection of etchings, paintings and small sculptures to represent friendship and collectiveness. Many of the artworks speak to social organising, representing the act of people gathering together in unity for a common idea – from small groups of friends to small community groups, to mass gatherings. The Rabble celebrates everyday moments of life and community and contain stories within stories; small occurrences, intimate moments, group discussions, playing and dancing, moving together and sitting alone.

PG Gallery pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm. Angelina Pwerle, Bush plum (1-422), 2022, acrylic on canvas, 120 x 150 cm. Photographer: Mark Ashkanasy, Melbourne.

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. 28 February—14 March Apparitions Paul Compton

Clarice Beckett, Wading in the Shallows, 1932, oil on cardboard, 21.6 x 42 cm. Photographer: Mark Ashkanasy, Melbourne.

A deep interest in ghosts, the uncanny and hidden spiritual realms have influenced this collection of drawings and prints. Using brush and dip-pen work, linocut and repetitive mark-making with ink, these offbeat works include visions of frolicsome specters, haunted plains, quirky deities and playfully conjured creatures.

Peta West, At Dawn and Dusk, lino cut, 60 x 60 cm. 4 April—18 April To be a Wanderer Peta West Living on the South Coast of New South Wales, Printmaker Peta West draws inspiration from the surrounding coast and bushland, specifically that of Lake Conjola. A place where the lake opens to the ocean, where stoic banksias and gum trees hug the shoreline and where the peak of Didthul (Pigeon House Mountain) silhouettes the western skyline. To walk through this area, the energy of the bush 149

GALLERY STOCKROOM ADVISORY

Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au Featured: Mickey Mason brunswickstreetgallery.com.au

VICTORIA PG Gallery continued... is tangible. Despite the realism with which West portrays her subjects, it is rather her ability to capture an experience of sublimity that is most affecting in her work: a feeling of complete immersion within a living ecosystem.

Platform Arts platformarts.org.au 60 Little Malop Street, Geelong, VIC 3220 03 5224 2815 Mon to Fri 9am–5pm. See our website for current weekend hours.

11 March–6 April If it falls, it falls Phoebe Thompson In creating art from almost entirely foraged, scavenged and found materials, Phoebe Thompson explores the dire consequences of systems of civilisation, capitalism and consumerism on the natural landscapes and ecosystems of which we are part. Attempting to resist the materialistic urges that compel us, and to lean towards simplicity, the artist collects rubbish as a reciprocal act of care.

Project8 Gallery project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. See our website for latest information.

only to those who participate. Like in art, essentialisation is considered antithetical to idealisation. This exhibition seeks to illuminate something of our inclination toward play through the experiential realm of art.

QDOS Fine Arts qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. 12 February—4 March Richard J Manning

Robert Ashton, Phantasm 1, 2023, photogravure, 40 x 50 cm. 5 March—23 March Robert Ashton 24 March—15 April 2B or not 2B Architects as Artist

RMIT First Site Gallery

Anna Schwann & Ilona Savcenko, Entropical: Prosthetic Park, 2022. Image courtesy of the artists and Ariel Coop.

rmit.edu.au/about/culture/firstsite-gallery

11 March–6 April Entropical: Prosthetic Park Anna Schwann & Ilona Savcenko Entropical: Prosthetic Park explores a fledgling alternate reality. Probing the utopic vision of fabricating a new landscape of possibilities to live within; a bio-hybrid IKEA. Exploring somaesthetics, light studies, and the political concerns of de/colonisation and environmental collapse, this work draws on the zeitgeist to consider the act of occupying space. Anna Schwann and Ilona Savcenko sit in the discomfort of the unknown, they ask: how should we move forward in this alien future?

Phoebe Thompson, I look for peace, I find rubbish, mixed media, 2022. Image courtesy of the artist.

Shaun Gladwell, Reversed Readymade, 2016. 360 virtual reality video. Cinematographer: Joseph Heks, Performer: Simon O’Brien, Producer: Leo Faber/ BADFAITH. Courtesy the artist and Anna Schwartz Gallery. 25 February—1 April Recreation Andrew Barber, Sophia Cai, Jon Campbell, Judy Dalton, Shaun Gladwell, Sarah Rudledge, Nick Selenitsch, Mark Shorter, Peixuan Yang, Anne Zahalka. Curated by Cūrā8. Sporting and recreational activities, such as surfing, dancing, and Tai chi, are inflected with powerful aesthetic and cultural associations. Like artists, specialised devotees of sporting and recreational activities can find it difficult to verbally express what they do and why they do it— deferring instead to a sense of shared embodied knowledge accessible

Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm,

Installation image, Posthuman Rehab Ward, 2022, Dominik Zarowny. Photograph: Dominik Zarowny. Image Courtesy of the artist and First Site. 18 April—12 May As far as the mind can see Rhy Dyball Ex Machine Dominik Zarowyn 151

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RMIT Gallery

remains true to her ‘uncultured’ childhood drawings and sculpture pre-art school.

rmitgallery.com

Until 30 March Sofi’s Lounge, Level 1, 7am–8pm: Atrium: Donna Marcus

344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12:30–5pm See our website for latest information.

For more than 20 years Donna Marcus has been creating imposing somewhat ‘familiar’ installations of anodised aluminium kitchenware sourced from friends’ kitchens, op shops and garage sales. Often brightly coloured, these teapots, saucepan lids, jelly and cake moulds and tins, steamers, bottle re-sealers and colanders are presented in a geometric format often based on the modernist grid format. Donna Marcus was the Sofitel Melbourne On Collins’ Artist in Residence in 2007 and the hotel is delighted to be showing her work again.

Sam Jinks, Woman and Child, 2010. Shepparton Art Museum Collection, purchased with the assistance of the public and Greater Shepparton City Council, 2011. © the artist. Photo: Shepparton Art Museum.

Andrzej Sznejweis, ‘Bridge’ (Most), 2018, computer generated tablet drawing; limited edition inkjet print on Hahnemuhle acid free paper, 25 x 30 cm; available edition 5. 5 April—30 June Andrzej Sznejweis

Rennie Ellis, Jenny Bannister and Clarence Chai, Shieks Disco, 1981. © Rennie Ellis SLV. 21 February—27 May Radical Utopia: an archaeology of a creative city Melbourne in the 1980s was the site for new ideas to emerge, bend and transform a city, making its mark in post-modern design and media. Radical Utopia: an archaeology of a creative city explores the ways design and activism shaped the innovative cultural city we know today.

Shepparton Art Museum sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm. Closed Tuesdays. 18 March—11 February 2024 Dance Me to the End of Love: Journeys from birth to death in the SAM Collection 18 March—18 June Ash Keating: Elevation 18 February—23 April Fresh: GV Top Arts and Design Until 30 April Meredith Turnbull and Ross Coulter: All Together 152

Three Hares, SAM Collection exhibition image (detail), 2023, Shepparton Art Museum, 2023. 25 February—3 September Three Hares: SAM Ceramics Collection Enrique Tochez Anderson, Tia Ansell, Jordan Mitchell-Fletcher, Kate Wallace and Philomena Yeatman

A series of digital prints by acclaimed contemporary Polish artist Andrzej Sznejweis exploring the diverse range of our human emotions, the works explore emotions from humour through to nostalgia, referencing human emotions which accompany us throughout our daily life and a time-honoured subject of art throughout history.

Curated by Adam John Cullen.

Stockroom Kyneton

Sofitel Melbourne on Collins

stockroom.space

sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information. 1 December 2022—31 March Atrium Gallery, Level 35, 7am–8pm: Emma Borland Presented by Murray White Room. Murray White Room is pleased to present an installation of both figurative and abstract fused glass panels by Melbourne based glass artist Emma Borland. Borland’s original and personal imagery

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm. See our website for latest information 4 February—12 March Velodrome Carly Fischer and Edwina Stevens 4 February—12 March Polar Front Jarrad Martyn 4 February—12 March Vessel As Deity Minaal Lawn

VICTORIA 30 March David Grubbs, Mike Cooper and Megan Alice Clune Curated by Lawrence English / Room40. Grubbs returns to Australia with his iconic form of dynamic song-play where he is joined by ambient-exotica trailblazer, Mike Cooper. Merging an interest in unusual soundscapes, extended Hawaiian slide techniques, devolved song form and evocative ambiences, Mike Cooper’s output is sublime and utterly unique. Hailing from Sydney, Megan Alice Clune joins this evening for a special presentation of her work that charts a course through experimental composition, harmony and texture.

Mathieu Briand, Corps au repos et allongé #1 (ref 2), 2020, bronze, 5 x 3.5 x 62 cm. 18 March—23 April Êtres Présents Mathieu Briand 18 March—23 April Lamentations of a body no longer your own Jemima Lucas

Rachelle Austen, Tensio ~ Solvo 01, 2022, solid porcelain with dry glaze and oxide, fired in oxidation, 50 x 20 x 20 cm. 18 March—23 April Sine Pondere et Pondere Rachelle Austen

The Substation thesubstation.org.au 1 Market Street, Newport VIC 3015 [Map 4] 03 9391 1110 Wed to Sat 12noon–6pm. 20 January–2 April Queer on Country Peter Waples-Crowe Queer on Country is a new series of six works by Ngarigu artist Peter WaplesCrowe on display at The Substation outdoor Billboard Gallery. In creating these artworks, Peter has embarked on a deeply spiritual journey, reflecting upon their identity and blurring the binaries of their intersecting lived experiences as a queer Ngarigu person. 1 March—1 April REALREEL Jo Lloyd and Melanie Lane

Peter Waples-Crowe, mixed media and collage on canvas. A distinct and diverse collection of dance on film. REALREEL brings together a nation-wide selection of artists, that centre the body [dance] on screen with a focus on experimental, contemporary performance making and varied, Australian choreographic voices. The collection of films employ various investigations of choreography and film in multiple contexts, with unique relationships to history, place, design and technology. The exhibition reflects on the language of dance on film as an archive of memory, ephemerality and imagination. Traditionally a live art form, these films shift dance beyond the limits of the body and into a space that captures time, movement and human experience in extraordinary ways.

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

Photography by Aneta Urbonaite (left) and Gianna Rizzo (right). 10 March DaS #7 Jo Lloyd, Melanie Lane and Female Wizard DaS #7 is facilitated by The Substation resident artists Melanie Lane and Jo Lloyd and soundtracked by a live set from artist and musician Female Wizard. And for the first time, this iteration of DaS will be open to an audience. Imagined as an experience of ‘choreography and sound’, DaS exists as a form of training for dance artists and musicians to practice live performance together. Open and free to all practising dance artists, DaS focuses on listening; to sound, to the body, to space and considers this as a frame to transport, transform, share and rupture. DaS is a supportive space where dance artists can practice both roles of performer and audience, with the option to freely oscillate between these. The practice is open to including writing and documenting. Anyone is welcome to come watch DaS and witness this intersection of artist practice. Visitors are also encouraged to visit the current exhibition REALREEL, curated by Jo Lloyd and Melanie Lane, in the ground floor galleries before, during or after DaS #7.

Patrick Pound, A baker’s dozen, (detail), 2022, pigment ink jet prints, 64 x 49 cm (each pair). Courtesy of the artist and STATION. 9 March—1 April Infinite camera Patrick Pound

Katy Moran, More Me 5, 2023, acrylic on found painting, 56.5 x 67 cm. Courtesy of the artist and STATION. 153

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

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VICTORIA STATION continued... 9 March—1 April More Me Katy Moran 14 April—13 May Jekyll and Ply Gareth Sansom 14 April—13 May DEEP FAKE Paul Yore

Sullivan+Strumpf Melbourne

16 March—22 April Undergod Ramesh Mario Nithiyendran

TarraWarra Museum of Art

Swan Hill Regional Art Gallery

twma.com.au

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.

313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information.

sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Abdul-Rahman Abdullah, Tanpa Sempadan, 2023, (detail), carved wood and glass, 35 x 270 x 115 cm. Courtesy of the artist and Moore Contemporary. Marco Luccio. Until 23 April Tales from the Greek Marco Luccio

Sam Jinks, Hope in the Wilderness, 2023, work in progress. Image courtesy of the artist and Sullivan+Strumpf. 18 February—11 March Hope in the Wilderness Sam Jinks

Five years in the making and an odyssey in its creation, Tales from The Greek is Marco Luccio’s artistic response to author John Hughes’ eight narrative adaptations of Greek myths and tragedies. This selection of Luccio’s artworks is dramatic and gritty; using a variety of mediums, he has produced a collection of works that sing alongside the words of award-winning Cessnock born author John Hughes.

1 April–16 July TarraWarra Biennial 2023: ua usiusi faʻavaʻasavili Curated by Dr Léuli Eshrāghi Regina Pilawuk Wilson; Vicki West; Sonja Carmichael and Elisa Jane Carmichael; The Unbound Collective: Ali Gumillya Baker, Faye Rosas Blanch, Natalie Harkin, Simone Ulalka Tur; Jenna Lee; Abdul-Rahman Abdullah; Hoda Afshar; Elyas Alavi; Torika Bolatagici; Kirsten Lyttle; Phuong Ngo; Bhenji Ra; David Sequeira; Sancintya Mohini Simpson; and Leyla Stevens. 26 November 2022—13 March Peter Booth With a remarkable career spanning several decades, Peter Booth is a unique voice in Australian painting. This survey exhibition of paintings and works on paper will be presented thematically, honing in on and highlighting particular motifs, subjects and moods which have become hallmarks of Booth’s expansive oeuvre: stillness and turbulence, alterity and alienation, mutation and hybridity, the absurd and the grotesque, the road and the ruin, and the despoliation and the resilience of nature.

Town Hall Gallery Paula Starrs. Until 23 April Our Mallee... Our Home Paula Starrs Ramesh Mario Nithiyendran, Bi Warrior Figure, 2022, bronze sculpture on custom made spray painted mild steel plinth (unique kinetic edition includes motor built into the plinth), 181.5 x 95 x 52 cm (total), edition of 3 + 2 Artist’s Proofs + 1 unique kinetic edition. Photograph: Mark Pokorny. Image courtesy of the artist and Sullivan+Strumpf.

Local artist Paula Starrs observes the Mallee with a refreshing openness and an immediacy akin to an impressionistic style. Using broad gestural brush strokes, her painting is testament to her understanding and knowledge of the country she lives and works in, capturing those hidden gems, quiet local shops, back roads, railway stations and more.

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. 18 January–15 April Romancing the Streetscape Rick Amor, William Breen, Andrew Browne, 155

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VICTORIA Town Hall Gallery continued...

VOID Melbourne 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.

William Breen, Wet Paint, 2020, gouache on paper, 47 x 70 cm. Image courtesy of the artist and Flinders Lane Gallery.

in which they are made and the social circumstances involving their use. Overlaid with varying shades of blue, the works draw on the polychromatic nature of the twill weave used to make denim. 30 March—22 April Untitled Gradient Paintings Nancy Constandelia

Walker Street Gallery and Arts Centre greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm.

Mark Chu, Robert Clinch, Cathy Drummond and Dani McKenzie Romancing the Streetscape celebrates the streetscapes and buildings of Melbourne and surrounds. The featured artists slip between direct observation and imagination, revealing their unique perspectives of urban existence and our shared experiences of place. Highly realistic and evocative images of inner-city scenes reflect the romanticism often associated with traditional landscape painting.

Tolarno Galleries tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information. 11 February—4 March ṉilŋṉilŋ’ (the spark) Wanapati Yunupiŋu 11 March—6 April End of Violet Justine Varga

Jane O’Neill, Heathmont Wranglers I, 2022. Photograph: Christo Crocker. Courtesy of the artist. 2 March—25 March Jeans Party Jane O’Neill The starting point for Jeans Party was an earlier party, held in Brisbane in 1979. A garage was transformed with a blue light globe and there was blue punch, emblazoned t-shirts, lots of teenagers and a jeans-themed playlist. This exhibition creates a forum to explore connections with the textiles we wear, the conditions

Ema Shin, Soft Alchemy (Womb for everyone), 2022, woven tapestry, cotton, wool, wire, acrylic, 190 x 156 x 7.5 cm. 7 February—31 March SHE of mind and body Dans Bain, Anna Farago, Neroli Henderson, Chaco Kato, Vonda Keji, Georgia MacGuire, Caroline Phillips, Nusra Qureshi, Ema Shin, and Kate V M Sylvester. With a legacy of over 20 years at Walker Street Gallery, the SHE exhibition is back celebrating women artists. Challenging and exploring historical views of women, SHE of mind and body depicts body image, women’s empowerment, mental and emotional health. It reclaims traditional perceptions of textiles and celebrates art by and for women.

Amos Gebhardt, Wraith, 2019, archival inkjet pigment print, 159 x 122 cm. 15 April—6 May Nighthorse Amos Gebhardt

Nancy Constandelia, Untitled Gradient i, 2023, acrylic, micaceous iron oxide and oil on Italian linen, 132 x 92 cm. Photograph: Hi Res Digital & courtesy of the artist.

Image courtesy of City of Greater Dandenong. 18 April—23 June 9 by 5 A nationally recognised exhibition that celebrates diversity within the arts 157

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Whitehorse Artspace

community. Now in its 16th year the 9 by 5 exhibition proves that small things can have a big impact. Artists from around Australia present their creativity on panels measuring nine inches by five inches in a wide variety of styles. Join us and get inspired this April.

Wangaratta Art Gallery wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. The Gallery presents a diverse visual arts program of national, state and regional exhibitions. The program includes shows by regional artists, touring exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere. Established in 1987, Wangaratta’s unique regional gallery is housed in a heritage building located in the creative arts precinct, adjacent to the WPACC and a short walk from the CBD.

whitehorseartspace.com.au

Kaylene Whiskey, Kaylene TV, 2020, (still) single-channel video, 2 mins 59 secs. Courtesy the artist and Iwantja Arts, Indulkana. Artspace’s acclaimed 52 ACTIONS continues its national tour here at the Wangaratta Art Gallery, featuring works from 52 Australian artists and collectives across generations, geographies and cultural backgrounds. Working in a wide variety of mediums, they highlight the diversity, complexity and dynamism of contemporary Australian art. As the title suggests, 52 ACTIONS is grounded in art as action. The artists explore and reflect on what art is and what it can do within the gallery and far beyond: art as a political motivator, a cultural transmitter, a means for understanding, a tool for shifting perspectives, holding memory, bridging divides and inciting change. These ideas are intimately connected with the artist’s role, from facilitator to provocateur, creator to witness.

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. 27 January—18 March On the Street Local photographers capture life on the street today, out and about in the lively multicultural City of Whitehorse. These images are shown together with powerful historic works by photo journalists such as Mark Hopper, Jesse Marlow, June Orford and Francis Reiss from the Whitehorse Art Collection.

4 March—2 April New Kids on the Block Ruby Bittner, Sara Cope, Milly Hodges, Nick Richards New Kids on the Block provides a valuable ten-month professional development opportunity that culminates in an exhibition celebrating the achievements and supporting the talents of our local future creatives. Wangaratta Art Gallery is committed to making New Kids on the Block an annual exhibition acknowledging the recipients of the Friends of the Wangaratta Art Gallery Student Award and finalists. 11 April—7 May Somewhere Down the Line Bethany Thornber & Courtney Young Fleur Rendell, Early Nancy, 2022, collage. Courtesy of the artist. 18 February—16 April Printed Habitat Anita Laurence, Fleur Rendell, Christine Upton, Bärbel Ullrich Printed Habitat presents the recent work of four prominent printmakers working in Northeast Victoria. Each artist brings a unique sensitivity and draws from the built and natural habitats in which they live and work, exploring the essence of these environments through various printmaking processes. Through each artist’s connection to their surroundings, their homes, townships, wild country, and the various inhabitants found within, these new works remind us how precious and fragile our environments and habitats are. 22 April—4 June 52 ACTIONS (Made in Wang.) 52 Australian artists and collectives 158

Somewhere Down the Line is an exhibition of paintings and experimental sculptures by Bethany Thornber and Courtney Young. This new body of work explores the many iterations of borders and boundaries in the postcolonial Australian landscape. Both artists examine the ‘edge effect’ concept, which is often associated with ecological changes at the boundary of two or more habitats. These boundaries are commonly defined by physical barriers such as fences, roads, watercourses, and geological formations, all of which serve to connect. But not all edges, not all lines drawn, are physical; Thornber and Young also observe the divisions imposed by bureaucracy, history, and culture. 2 March—31 May Views of a Distance Ben Jenkins King Valley artist Ben Jenkins showcases a selection of new works inspired by landscapes, skyscapes and dreamscapes.

Lenton Parr, Aquila, 1986. 25 March—29 May TWENTY FIVE: The first 25 years of artspace In the last quarter of a century, since the establishment of the Whitehorse Artspace at Box Hill Town Hall, there have been an amazing array of exhibitions that have intrigued some, challenged others, or have simply made visitors smile. View key historic works by the likes of Emmanuel Phillips Fox, Frederick McCubbin, Tom Roberts, Arthur Streeton, Clara Southern and Norah Gurdon. Contemporary works feature popular ceramic artist Pamela Irving, important sculpture by the likes of Lenton Parr, photography by emerging and established photographers, prints by award-winning printmakers and paintings by artists such as en plein air artist Jo Reitze.

VICTORIA

Wyndham Art Gallery

Between Us examines the nature of our most common relationships, friendship.

wyndham.vic.gov.au/arts

Curated by Ivy Mutuku. Ivy is a Kenyan born, Melbourne based photographer and filmmaker with a fire for visual storytelling.

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.

Connor Ovenden-Shaw, Also Known as Foot, is a non-binary queer artist based on Wadawurrung land in Melbourne’s outer west. ‘Content Warning: Fat, Queer, Sexy’ represents true queer narcissism. 30 March—28 May the uncanny and the magnificent Wãni Toaishara Wyndham Art Gallery in collaboration with Wominjeka Djeembana research Lab present the works of wani toaishara (b. 1990, Bukavu, D.R. Congo). Toaishara’s practice explores, interrogates, and challenges conventional representations of Black life through poetry, photography and moving image. His imagery draws on photographic languages including the studio portraiture, architecture, staged tableaux, documentary photography, archival images, and the family album engaging acquaintances, family as well as strangers across the diaspora. Opening Wednesday 29 March.

Kemka Ajoku, Gestural Greetings (from the series Finding Common Ground), 2021, Photography. Photograph by Kemka Ajoku. 19 January—19 March Between Us Kemka Ajoku, Bella Loke, Ivy Mutuku, Christina Nwabugo, Emerson Rocha, Najla Said, Tig Terera, John M Tubera, Ammar Yonis

19 January—19 March Content Warning: Queer, Fat, Sexy Connor Ovenden-Shaw

Wãni Toaishara, do black boys go to heaven, 2021, photograph. Image courtesy of the artist.

thetagartgallery.com

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MELAM

daniel weber 2023 panaxeapaintings.com

panaxeapaintings.com

Emergent Blue YUPO Medium 300 gsm 30 x 21 cm | Ink on paper

A–Z Exhibitions

MARCH/APRIL 2023

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

4A Centre for Contemporary Asian Art 4a.com.au 181–187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380

coup of 1 February 2021, which deposed the elected government, instituted military rule and deprived the people of democracy and freedom. The new exhibition revisits the ongoing struggle of the people in Myanmar. Coinciding with the second anniversary of the coup, the exhibition showcases the varied responses of artists to the current situation in Myanmar now. The exhibition will examine more deeply what fear means in post-coup Myanmar and how people live with it, as well as the experiences of artists who fled the country for their own safety.

Samara Golden, Guts, 2022, installation view, Night Gallery North, Los Angeles © Samara Golden, photo: Nik Massey.

Dorcas Tang, Aaqila, 22, they/them, photograph. Courtesy of the artist. 25 Feburary—9 April Dorcas Tang 邓佳颖 : Love Me Long Time

Ipeh Nur and Enka Komariah, Rumah Yang Yahud/A Cool House, 2022, installation view at ArtJog, 2022.

16albermarle

1 April—13 May Rumah Yang Yahud/A Cool House Ipeh Nur & Enka Komariah

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.

Historical narratives and memories connect our work. Inspired by the lyrics of a song by Naif, we imagined building a yearned for “house”. As if rebuilding it, a house with a single pillar, the scaffolding that supports it above ancient land as the pillar of its state, they cover up the holes that are here and there and look for the “spirit” of the lost house. We apply a speculative narrative of Indonesia’s history after the Pacific War, with Soekarno as the “designer” and head of the household who “liberated” the land in the east. We re-examine such a “liberation”; the bloody events of 1965 which were concealed or even erased, intelligent household members who were sent to school with neighbours who were experts, but then pushed aside and exiled in order to replace the head of the household. And we search for the spirit of a new house. - Ipeh Nur and Enka Komariah.

Art Gallery of New South Wales - New Building artgallery.nsw.gov.au

Richie Nath, Maya and the Burning Village, 2017, inkjet print on matte poster paper, 93 x 56.5 cm. 8 February—11 March Fighting Fear II: It Goes Without Saying It Goes Without Saying reprises 16albermarle’s May 2021 fundraising exhibition Fighting Fear: #whatshappeninginmyanmar, in which 11 artists from Myanmar made work responding to the military

has visited. Developing a new software system dubbed the ‘Time Engine’, he and his team created a series of intensely detailed and constantly evolving worlds, including those above, and placed virtual sculptures within them.

Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information. 3 December 2022—mid 2023 The End of Imagination Adrián Villar Rojas In 2020, the Argentine-Peruvian artist Adrián Villar Rojas embarked on a remarkable sculptural experiment, which took place not in a physical studio but in times and places that no human

3 December 2022—late 2023 Dreamhome: Stories of Art and Shelter From Igshaan Adams in Cape Town to Samara Golden in Los Angeles and John Prince Siddon in Fitzroy Crossing, Western Australia, the artists in Dreamhome: Stories of Art and Shelter reflect on ’home’ from their own richly local perspectives, while also registering shared hopes and anxieties that are felt in many places at this time. From 3 December 2022 Making Worlds Occupying the eastern end of the building, and with vistas over inner-city Woolloomooloo and Sydney Harbour, Making Worlds brings together new acquisitions with existing highlights from the Art Gallery’s collection, including works by Nina Chanel Abney, Atong Atem, Koo Bohnchang, Lubna Chowdhary, Mikala Dwyer, Mira Gojak, Anish Kapoor, Tom Polo, Angela Tiatia and Cy Twombly.

Art Gallery of New South WalesOriginal Building artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. 2 February—7 May ARTEXPRESS 2023 Featuring a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in 2022, ARTEXPRESS 2023 provides insight into students’ creativity and the issues important to them. This is the 40th year at the Art Gallery for this popular and dynamic annual exhibition. 24 March—23 July The National The fourth edition of a biennial survey of contemporary Australian art, showcases work being made across the country 163

ar t g ui d e .c o m . au Art Gallery of New South Wales continued...

diversity and ultimately pride in who we are. This exhibition celebrates our LGBTQIA+ communities and invites audiences to consider dignity and resilience in the face of adversity. Including photography, works on paper, multimedia works and textiles, this group of artists examine the shared experience of shame and create a safe space for visitors to engage in a dialogue around acceptance, love and understanding. Curated by Paul McDonald.

Glen Mackie (Kei Kalak) with Theo Tremblay Kei Athe Mosby (Yankee Ned Mosby) (detail) 2010, handcoloured vinylcut © artist.

8 March–2 April Smart Expressions 2023.

by artists of different generations and cultural backgrounds. The National 4 is a partnership between four of Sydney’s leading cultural institutions: the Art Gallery of New South Wales, Campbelltown Arts Centre, Carriageworks and the Museum of Contemporary Art Australia.

Artsite Contemporary Australia artsite.com.au 165 Salisbury Road, Camperdown, NSW 2050 [Map 7] 02 9519 9677 Thu to Sun, 11am–5pm. See our website for latest information.

John Edwards, On The Hunt, 2021, oil on canvas, 61 x 51 cm. Photograph: David Lowry Professional Photography. 22 April–14 May Solo Exhibition John Edwards John Edwards’ current collection, Captain Thunderbolt and the travails of Australian bushrangers, is an ode to the grit and curiosity of Australian folklore. Inspired by Sidney Nolan´s ‘Kelly’ paintings, this exhibition re-imagines the bush ballad through brilliant colour, texture, and a modernist spirit.

Art Space on The Concourse willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed, Thu, Fri 11am–5pm Sat and Sun 11am–4pm. See our website for latest information.

Willoughby City Council presents an exhibition of student artworks selected from the 2022 NSW HSC practical examination in Visual Arts. The exhibition demonstrates the interests and passions of a new generation of young artists. Celebrating the artistic talents and achievements of young people, the exhibition features a selection of artworks from students who attended six local high schools: Bradfield Senior College, Chatswood High School, Glenaeon Rudolf Steiner School, Mercy Catholic College, St Pius X College and Willoughby Girls High School. 5 April–16 April BARK Col Ritchie BARK is a wide-ranging visual exploration of Australian landscapes and habitats. An eclectic mix of atmospheric paintings and expressionistic mixed media sculptures. Ritchie has used a variety of techniques combined with bold brush strokes and intense splashes of colour to capture the essence of dry sclerophyll and stringy bark forests, creating landscapes that are full of colour, movement and mystique.

Christine Druitt Preston, Bouquet For Hazel, 2022, hand rubbed lino block print on Wenzhou paper, 120 x 107 cm. Photograph: Silversalt. 4 February–26 March Still As Stilled Life Christine Druitt Preston Christine Druitt Preston predominantly works with printmaking which is often combined with textiles and embroidery. She is interested in the patterns of the domestic - the familiar and the everyday. For this exhibition she presents an ambitious multifaceted installation which expands printmaking beyond its traditional limits. The work explores the original Hazelhurst cottage, its architecture, its history and the lives of original owners Ben and Hazel Broadhurst.

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David Charles Collins, Watchtower of the Guardians of Earth, 2019-21, laser cut dye sublimation photographic prints on aluminium. 16 February–5 March Unashamed Alison Bennett, David Charles Collins, Kaff-eine, Deborah Kelly, Samuel Luke Beatty, Dylan Mooney, Jeremy Smith and William Yang. Part of Pride Amplified, this exhibition explores themes of strength, courage,

Jin Sook Lee, Vivid Sydney, 2022, watercolour on paper. 19 April–30 April I Love Sydney Korean Women’s Art Society in Sydney Sydney is friendly and beautiful. Most are familiar with the amazing scenery, but when we take the time to take it in, we are filled with awe and wonder. It is the perfect subject for art and expression. This exhibition captures the artists’ affection for the life and city that they have come

NEW S OUTH WALES to love. All the works on display are expressed in a variety of mediums, from a variety of perspectives and each work conveys a love of Sydney.

Bathurst Regional Art Gallery

Australian Galleries

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 10am–2pm, Closed Mon. Facebook: facebook.com/ bathurstart or Instagram: @bathurstregionalartgallery

bathurstart.com.au

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.

Kate Just, Dykes Against Transphobia, 2022. Photo: Simon Strong. Until 22 March Unravelling Queerly From political struggles, relationships with family and self-identity to knitted protest banners and dark glittery glory holes – Unravelling Queerly showcases the work of ten LGBTQIA+ artists. Presented in association with Sydney WorldPride, as part of WorldPride Arts. Until 22 March Chili Philly: Crochet Social 2023 Working at the nexus of art, craft and social media, textile artist Phil Ferguson, aka Chili Philly transforms everyday objects into covetable crocheted wearable creations.

Tempe Manning, Self-portrait, 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW 2021. © Estate of Tempe Manning.

Julian Twigg, The Rose Bay Ferry and Shark Island, 2022, oil on paper, 30 x 22 cm. 21 February—12 March Nautical Julian Twigg

26 January–26 March Archie 100: A Century of the Archibald Prize

21 February—12 March Large Drawings / Stone Variations David Jensz 21 March—6 April Turbulence Richard Goodwin 18 April—7 May Greg Johns

Australian Design Centre australiandesigncentre.com 113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Entry by donation. 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.

Bridget Baker, Mutukaku Ngura – Motorcar Country (489-23), 2022. Photograph: courtesy of Tjanpi Desert Weavers.

Celebrating 100 years of Australia’s most renowned portrait prize. The landmark exhibition Archie 100: A Century of the Archibald Prize explores the prize across its history, revealing fascinating stories behind the carefully selected artworks. It uncovers changes in society in engaging ways, enabling people to experience how artistic styles and approaches to portraiture have changed over a century. BRAG is the exclusive touring venue in NSW. Extended opening hours: Monday to Friday 10am – 5pm. Saturday and Sunday 10am – 4pm.

30 March—24 May Mutukaku Ngura - Motorcar Country In this new exhibition, Tjanpi Desert Weavers ingeniously combine cultural weaving practice with the salvaged remains of burnt-out motorcars to create a series of hanging fibre sculptures. 30 March–24 May Weaving matter: materials and context Contemporary weavers exploring diverse concepts through experimentation with materials and weave structures to create innovative and contemporary stories. Curated by master weaver Liz Williamson.

Danelle Bergstrom, Nancy Borlase, 2006, oil on linen, 121 x 182 cm. Courtesy the artist and Arthouse Gallery, Sydney. 165

ar t g ui d e .c o m . au Bathurst Regional Gallery continued... 1 April–11 June Danelle Bergstrom: Afterglow Bathurst Regional Art Gallery presents acclaimed Australian-Swedish painter Danelle Bergstrom’s first career survey Afterglow. Bergstrom works in landscape and portraiture as vessels to navigate human emotion. The exhibition traces the interiorscapes of Bergstrom’s own life as they are reflected in the overtures and undertones of her subjects both in landscape and portrait. From major works depicting Australian and international locations and personalities to the intimate terrain of drawing and sketches, Afterglow presents key works from the last 25 years of the artist’s practice. Afterglow will be presented at Bathurst Regional Art Gallery 1 April–11 June.

Broken Hill City Art Gallery bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tues to Sun 10am–4pm.

by emerging Bundjalung artist Rubyrose Bancroft. Taking as a starting point Merric Boyd’s idiosyncratic approach to artmaking, Fantastic Forms expands from the well-known ceramic work into his energetic and playful drawing practice, all of which was underpinned by a spiritual philosophy of love and connection that ran through his life and work.

Bundanon

Casula Powerhouse Arts Centre

bundanon.com.au

casulapowerhouse.com

Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm See our website for latest information.

1 Powerhouse Road, Casula, NSW 2170 02 8711 7123

Blacktown Arts blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

Claire Healy & Sean Cordeiro, Journey to the West, 2023. Photograph by Document Photography. 21 January–11 June FLIGHT Daniel Agdag , Isabel & Alfredo Aquilizan. Linda Brescia, Rebecca Brady, Chris Caines, Gandangara Local Aboriginal Land Council, Fei Gao, Claire Grant, George Haddad, Claire Healy & Sean Cordeiro, Chris Hunter, Samuel Hodge, Christelle Hug, Yvonne Koolmatrie, Ida Lawrence, Emily Kame Kngwarreye, Anna Madeleine Raupach, Amy Perejuan-Capone, Pamela Rodoreda, Matte Rochford, Talia Smith, Garry Trinh.

Courtesy Danny Eastwood. Photograph: Liza Moscatelli, 2023. 2 March–15 April I Talk Through My Art and My Art Talks Through Me: Works Danny Eastwood Blacktown Arts are thrilled to present a once-in-a-lifetime exhibition by one of Blacktown’s artistic treasures, Danny Eastwood, spanning five decades of practice by an influential and ground-breaking artist. I Talk Through My Art and My Art Talks Through Me is an exhibition curated by Danny Eastwood’s son, Jamie Eastwood, featuring a broad selection of new and old paintings, prints, cartoons and ceramics spanning over 40 years of artistic practice. Danny Eastwood is a proud Ngemba man and a prolific and diverse artist, practicing as a cartoonist, ceramicist and painter. He is well-known for his extensive murals across Sydney walls, floors, hospitals and trains, and with 45 years of creating iconic cartoons for the Koori Mail, he is an inspiration to generations of artists. Visitors to the exhibition are invited to sit and yarn with Danny and take part in regular workshops with the artist and the curator alongside the exhibition, and in conjunction with our weekly Elders in Residence program. 166

Nabilah Nordin, Treasuredome, 2022, wood, epoxy modelling compound, powdered pigments, pyrite, spray paint, necklace, beads. 63 x 27.5 x 21 cm. Photograph courtesy of the artist. 1 April—18 June Fantastic Forms Merric Boyd, Nabilah Nordin, Stephen Benwell and Rubyrose Bancroft Bundanon celebrates its 30th birthday with the opening of its newest exhibition Fantastic Forms. Fantastic Forms captures the energy, movement and colour in the expansive drawing practice of Merric Boyd, son of artists Emma Minnie and Arthur Merric and father to painter Arthur Boyd. Presented in dialogue with contemporary works by Nabilah Nordin, Stephen Benwell and Rubyrose Bancroft, the exhibition celebrates the endless creativity of the human imagination through drawings from the Bundanon Collection, together with new sculpture, ceramics and animation. The exhibition features numerous works from the Bundanon Collection in dialogue with new large-scale sculptures by Nabilah Nordin, a series of ceramic figures by Stephen Benwell and stop motion videos

Chau Chak Wing Museum sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Weekdays 10am–5pm, Thurs evenings until 9pm, Weekends 12noon–4pm. Until 2 April Sentient Paper This exhibition celebrates paper as an ancient enlightening technology, an embodiment of knowledge, a vehicle for political and philosophical ideologies, as well as an artistic medium. Sentient Paper draws upon the art collection of the Chau Chak Wing Museum, with selections from the Powerhouse and the White Rabbit Collection, and from private collections and artists.

NEW S OUTH WALES Until 2 April Australian Seashores This exhibition utilises stunning material from the Chau Chak Wing Museum’s historic photography and natural history collections related to Australian Seashores, a landmark textbook published by three biologists, Professor William J Dakin and Dr Isobel Bennett from The University of Sydney, and Elizabeth Carrington Pope from the Australian Museum. 9 January—November Ömie barkcloth: Pathways of nioge An exhibition of dynamic contemporary nioge (barkcloth) made by Ömie artists from the rain-forested highlands of Northern (Oro) Province, Papua New Guinea. These vibrant and stylistically distinct works resonate with the cultural jögore (law), environmental knowledge, and creativity of their makers.

carved ornaments used as counterweights on cords tied around belts in traditional Chinese dress. Carved from a diverse range of natural materials to represent a variety of plants, animals, and everyday objects, these splendid miniatures manifest Chinese culture and material values. The exhibition Chinese Toggles: Culture in Miniature was developed in a partnership with Powerhouse Museum and features objects on loan from the Powerhouse collection, which includes one of the world’s largest collections of Chinese toggles donated to the Museum by Hedda and Alastair Morrison.

This is the first showcase of Ömie nioge, with the Museum housing what is thought to be one of the largest public collections – including some of the earliest commercially collected works. From 11 March Penelope and the Seahorse The newest work of Mikala Dwyer will be an aquatic-themed installation, Penelope and the Seahorse which alludes to the hippocampus and its multiple meanings: the genus name for the fragile and now endangered sea-horse; the equine fish in Greek mythology who drew Poseidon’s water chariot; and the structure within the brain often associated with memory and spatial navigation. Incorporating antiquities from the museum’s collections, Dwyer’s work also includes video and sound collaborations with animator Gina Moore and composer James Hayes. From 22 April The Staged Photograph This exhibition explores staged photographs created in the theatrical space of the photographic studio from the mid-19th to early 20th century. Drawn from the Chau Chak Wing’s historic photography collection, these unfamiliar costume portraits, sentimental and comic stereographs illuminate the popular culture of a previous era.

Cooee Art Gallery cooeeart.com.au 17 Thurlow Street Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

Emily Kame Kngwarreye, Arlatyite Dreaming (Bush Potato), 1995, synthetic polymer paint on belgian linen, 125 x 94 cm. 2 March–31 March Tracing the Country Emily Kame Kngwarreye and more. Hiroshi Sugimoto, State Theatre, Sydney, 1997, silver gelatin photograph. University Art Collection, Chau Chak Wing Museum. From 29 April Photography and the Performative This exhibition examines recent ideas and theories that frame performance as a phenomenon that is everywhere. Performative actions may include the manifestation of ideas, whether literal, oral, spoken, or written. Such forms can be visual, architectural, spatial, gestural and gendered. This exhibition looks at how these different modes may be ‘recorded’ via the medium of photography.

Freddie Timms, Gunamboriny Country (triptych), 1997, natural earth pigments on canvas, 270 x 150 cm. 1 April–30 April Inspired Artists from the Kimberley.

Chalk Horse chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm. See our website for latest information.

Cowra Regional Art Gallery cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission Free. Until 19 March SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022

Toggle in the shape of two boys tumbling in an embrace, amber, China, 1700s–1900s. Powerhouse collection. From 29 April Chinese Toggles: Culture in Miniature Belt toggles, known as zhuizi, are small

Claudia Greathead, Seahorse home, 2022, oil on linen, 30.5 x 41 cm. 23 March—15 April Landscapes of the heart Claudia Greathead

The Journal of Australian Ceramics (JAC) has, over its sixty years of print publication, presented the history of ceramics in Australia. It has acknowledged the achievements of so many in that time, as well as educating readers on the importance and position of ceramics within Australian art. The exhibition brings together works by twenty-two Australian ceramic artists to celebrate the significant anniversary in the history of the Journal of Austra167

CALL FOR ENTRIES Entries Open 3 April - 30 June

AWARDS TOTALLING $26,000 Major Award $15,000 Young & Early Career Artist Award $5,000 Friends of Hazelhurst Local Artist Award, $5,000 People’s Choice Award $1,000 Exhibition 16 September - 12 November 2023

hazelhurst.com.au Hazelhurst Arts Centre 782 Kingsway Gymea

Lee Bethel Women hold up half the sky 2022 (detail) | Matt Bromhead Screen 18 2022 | Christine Druitt Preston Bouquet for Hazel 2022 (detail) | Nicole Kelly Solastalgia 2022 (detail), photograph by Flore Vallery-Radot | Kerry Toomey Tent Days 2022 (detail), photograph by Silversalt Photography

PRINCIPAL SPONSOR T 0285365700

hazelhurst.com.au

NEW S OUTH WALES Cowra Regional Art Gallery continued... lian Ceramics (JAC). SIXTY is an exciting opportunity to experience an exhibition of works by some of Australia’s finest and most awarded ceramic artists who have played a major role in shaping the history and future directions of ceramic arts practice in Australia. SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 is an Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program.

spirituality. It’s the colour of the desert, the giant rock Uluru in central Australia, and the colour of a blazing sunset over the water. The exhibition was presented as part of a cultural exchange program by the National Museum of Australia with the National Art Museum of China (NAMOC), Beijing in 2021. The Red Heart tour is supported by the National Collecting Institutions Touring and Outreach Program (NCITO).

Flinders Street Gallery 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.

26 March—30 April Utopia Batiks: Textile Artworks from the Utopia Collection Bequest The Utopia Batik Collection is an archive of assembled pieces by some of Australia’s most prominent artists of the Eastern Anmatyerre and Alyawarre people, centred at the remote community of Utopia, 270 kms north east of Alice Springs. The Utopia Batik Collection Bequest is housed at the Tamworth Regional Gallery.

Ronnie Tjampitjinpa, Untitled painting of concentric rectangles, 1996, paint on canvas, 126 x 246 cm. 26 March—30 April Red Heart of Australia Red Heart of Australia is an exhibition showcasing paintings of national importance created by Aboriginal artists from across Central Australia united by the colour red. These precious works from the National Museum of Australia’s collection show how the colour red expresses relationships to Country, family, ritual and

Darren Knight Gallery darrenknightgallery.com

Yang Jinsong, Landscape No.6, oil on canvas, 80 x 100 cm.

840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm. See our website for latest information.

Yang Jinsong, Landscape No.7, oil on canvas, 80 x 100 cm. 15 March—1 April Yang Jinsong Jennifer Mills, Grumpy, 2022, watercolour on paper, 28 x 40 cm. 18 March—15 April bite me Jennifer Mills

Opening event 11 March, 4pm–6pm.

Fairfield City Museum & Gallery fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 02 9725 0190 Mon to Fri 10am–4pm, Sat 10am–3pm.

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

Anna John, Mermaid vase, 2021, glazed earthenware, 19 x 11 x 14 cm. 22 April—27 May Anna John

Marikit Santiago, We Eat This Bread, 2022. Photograph: Garry Trinh.

12 November 2022—1 April We Eat This Bread Marikit Santiago 169

Artwork Photograph: Tim Connolly

Luke Sciberras, Darling in Flood, Wilcannia II, 2022, gouache & pastel on paper, 100x150cm

Luke Sciberras From Scratch 14 March - 8 April, 2023

kingstreetgallery.com.au

@kingstreetgallery kingstreetgallery.com.au

NEW S OUTH WALES Fairfield City Museum continued... This deeply autobiographical exhibition is an exploration of The Last Supper extending the story to consider the rituals, traditions and structures that shape the artist’s social and cultural traditions.

Elizabeth Eastland, Makogai, 2022, pastel on archival ground paper, 23 cm x 30.5 cm. Image courtesy of the artist.

Shopkeepers. Photograph: Helene Cochaud. 22 October 2022—8 April Shopkeepers Shopkeepers tells the stories of Fairfield’s drapers and bakers, barbers and butchers. The exhibition outlines the changing retail landscape and developing commercial centres where general merchants make way for specialty stores and suburban shopping malls.

Gallery Lane Cove 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. See our website for latest information.

a six-month sailing journey through the islands of the southwest Pacific, lapped by warming seas and battered by cyclones, this exhibition traces multiple layers of the journey, from the vibrant and exuberant lives of the Pacific Islanders, to the poetic dialogue of personal reflection.

Gallery76 embroiderersguildnsw.org.au/ Gallery76 76 Queen Street, Concord West, 2138, NSW 02 9743 2501 Mon to Fri 9am–4pm Sat to Sun 10am–2pm. See our website for latest information. Sydney’s only dedicated textile and fibre art gallery, showcasing the work of Australian and international artists through a dynamic program of exhibitions and events.

2022 TEXStyle Student Exhibitor Lillian Jones, Pymble Ladies College. Textile and Design students, TEXStyle celebrates outstanding young talent. The exhibition features innovative works from across NSW including garments, wall hangings and 3D textile pieces, which truly push the boundaries of creativity. The exhibition is supported by a comprehensive events program for teachers and students. TEXStyle is organised by the Technology Educators Association, a not-for-profit body run by full-time educators who volunteer their time to provide engagement with exemplary work and drive educational improvement.

Glasshouse Port Macquarie glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information. 28 January—23 April Sydney Printmakers Exhibition: Origin: The place where something begins

Image courtesy of More Than Reproduction. 1 March—1 April Edition Four Curated by More Than Reproduction

This major printmaking exhibition by Sydney Printmakers presents diverse interpretations of the meaning of ‘origin’. Over 40 artists, including some of Australia’s leading printmakers, creatively explore the theme through various printbased media.

Showcasing the diversity of expanded printmaking, Edition Four seeks to spotlight experimentation as a methodology within etching, linocut, serigraphy, lithography and monoprinting. This group exhibition features emerging women artists, celebrating contemporary printmaking practice and the versatility of print-related media in both focused and cross-disciplinary practices.

2022 TEXStyle Student Exhibitor - Jessica O’Reilly, Hunter School of Performing Arts.

1 April—25 April Pacific Traces Elizabeth Eastland

5 March—28 April TEXStyle 2023 Technology Educators Association

A multi-arts installation documenting

Showcasing major projects from HSC

Sydney Printmakers’ portfolios are held in the Art Gallery of New South Wales and the National Gallery of Australia. They have exhibited extensively throughout Australia and internationally including New Zealand, Canada, China, Chile, Norway and Japan.

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Goulburn Regional Art Gallery

7 April–28 May Making Time Michèle Heibel

goulburnregionalartgallery.com.au

Autumn exhibitions opening event: 14 April, 6pm.

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

Grace Cossington Smith Gallery Jacqueline Bradley, Stamps, 2022, cast bronze peach stones, linen, timber, thread. Courtesy of the artist. Photograph: Brenton McGeachie. of fertility, decay, and bodily metaphor. A brief moment of release as the juice breaks through the skin; a decade spent visiting the gnarled tree in the yard; the remnants of farm gardens on stolen land. It is a tree that has shifted and changed for thousands of years, cultivating a fruit that is only ripe for a fleeting moment, then decays to expose a stone full of renewed potential.

Gosford Regional Gallery centralcoast.nsw.gov.au Julian Meagher, The Green Ray - 1, 2022, oil on linen. Image courtesy of the artist and Yavuz Gallery. Photograph: Mark Pokorny. 3 February–18 March The Green Ray Julian Meagher The Green Ray is a return to Julian Meagher’s earliest subject matter of land and sky. Drawing on memories of treasured family holidays to Crookwell, NSW, Meagher presents a new body of work imbued with personal histories, nostalgia, reflecting on the passage of time and the natural environment. Meagher’s exhibition fea tures large scale paintings and a new light installation to create an immersive and changing viewing experience. Continuing Meagher’s sustained interest in atmospheric optical phenomena, the exhibition references a light effect some times visible on an unobstructed distant horizon at sunset and sunrise, the ‘green ray’. It appears in tandem with a mirage, and though it exists, it is so uncommon it retains a mythical status. The Green Ray plays with hyper-romantic links between nature and feeling, and the blurred lines between what is real and unreal. What seems fleeting can instead be something enduring, revealed to us in glimpses. 3 February—18 March all of a sudden Jacqueline Bradley Jacqueline Bradley’s exhibition all of a sudden explores the passage of time through examining the cycle of a peach tree. Each season a hard green peach falls to the ground, beginning a slow transformation from stone to tree. This process of replication is emblematic of repeated organic rhythms. Our relationship with the peach is layered, abundant with associations 172

36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Find us on Instagram: @gosfordgallery Mon to Sun 9.30am–4pm. Admission free.

gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. See our website for latest information. The Grace Cossington Smith Gallery is a not-for-profit program run by Abbotsleigh, an Anglican pre K-12 Day and Boarding School for girls. Our goal is to provide a compelling program of exhibitions and events that engage with a broad community of artists locally and nationally. 4 March—1 April Art North celebrating works created by HSC 2022 Visual Arts students from schools in the Ku-ring-gai and Hornsby area.

Brett Ferguson, On the way to Mollymook, acrylic on canvas. 6 April—29 April Blue Apple Studios

Image courtesy of Gosford Regional gallery. Until 26 March EMERGING 2023 Remy Faint, Alexandra Jonscher, Lihnida Krstanoska-Blazeska, NC Qin, Monica Rani Rudhar and James Rhodes EMERGING is a biennial art award of $5000 to support the practices of early career artists. Running since 2003, this year marks the 20th year of the award, in which six projects are presented by artists from the Sydney and Hunter regions of NSW. April 1–31 May of Light Jessica Loughlin The Sky is the Same Ali Tahayori Nomadic Movement Tanya Alexandra Richards

Works in paint, paper and ceramics by artists who attend Unisson Disability Blue Apple Art Studios. The Studios provide a supportive and dynamic arts-focused environment where individuals with disability can explore their creativity across various mediums.

Granville Centre Art Gallery cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–4pm Sat 11am–3pm. See our website for latest information. 2 March–24 June CHAMPS Using Cumberland City Council’s history with the 2000 Sydney Olympics as a

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Ans Westra, SPRINGBOK PROTEST, NEWTOWN, 1981. Credit to Suite Gallery. starting point, CHAMPS brings together a group of artists that explore all facets of sport. From the anxieties and celebrations of competition, to chants or slogans and the movement of unconventional bodies each artist provides their own point of view on why sport is so revered and heavily debated.

11 February—10 April ARTEXPRESS

Incinerator Art Space

Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of expressive forms, pushing aesthetic, thematic and formal boundaries. ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority, curated and presented by Hazelhurst. As part of the HSC Showcase season, this exhibition includes artwork by some of New South Wales most talented young artists.

willoughby.nsw.gov.au/arts

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

Hawkesbury Regional Gallery hawkesbury.nsw.gov.au/gallery

2 Small Street, Willoughby NSW 2068 0401 638 501 Wed to Sun, 10am–4pm. See our website for latest information. 1 March–19 March Knitting is…experimental Christine Wiltshier During the exhibition Knitting is… experimental, the art space becomes both studio and exhibition space where artist-researcher Christine Wiltshier (gently) subverts the ordered complexity and conventional views of hand knitting. Following ready-made knitting instructions, Christine creates knitted sculptures, print works and performative making installations that embrace and make visible randomly occurring knots, tangles and mistakes in her knitting process. Throughout the exhibition, Wiltshier will be making in the art space, and also inviting visitors to join her in experimenting with hand knitting, through a series of participatory artworks entitled, Knit, Play, Texture, Tools, Tension.

Deerubbin Centre (Top Floor), 300 George Street, Windsor, NSW 2756 [Map 11] Mon, Wed, Fri 10am–4pm, Sat and Sunday 10am–3pm. Closed on Tue and public holidays. See our website for latest information.

Hazelhurst Arts Centre hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.

Street photograph by Leicagraph Co, photographer Ted Waight, Pitt Street, Sydney, 1940. State Library of New South Wales collection. 4 February—30 April Street Photography

Mengqi Sun, Baulkham Hills High School, Duplexity, (detail), 2022.

Before the days of Instagram and personal cameras, street photographers were a familiar part of city streets from the 1930s to the late 1950s, creating a vast archive of black-and-white, postcard-sized candid images. During the mid-20th century, enterprising street photographers were a familiar sight on Sydney’s streets, capturing candid moments in the lives of countless people. The selected images provide glimpses into everyday life during the Depression, Second World War and post war years. Developed in collaboration with nationally acclaimed photomedia artist Anne Zahalka, this exhibition explores the heyday of this once popular but now forgotten genre. A travelling exhibition from Museums of History NSW.

Rhonda Nelson, Desperately Happy, 2022, relief prints on handmade papers. 22 March–16 April Invincible Summer Anthea Boesenberg, Rhonda Nelson and Anna Russell In the last few years we have been preoccupied with seemingly intractable global problems. Today there is a cautious optimism and a focus on what we can do to find solutions. The words of French philosopher Albert Camus, “In the midst of winter I found there was, within me, an invincible summer”, remind us that we have within us a kernel of personal power, resilience and persistence we can draw upon in the face of hopelessness. In this exhibition, Boesenberg, Nelson and Russell celebrate keeping hope alive, persistence and a progression to a more constructive time. 173

Brendan Kelly, Esther’s Baby, 2023, 122 x 122 cm, acrylic, graphite, and photo collage on plywood.

55.5 x 75.5 cm, cold wax on watercolour paper.

Bedlam

Nest

Brendan Kelly

Margaret Builder, Joanna Cole, Gabrielle Pool, Belinda Wilson and Claire Yerbury

23 March to 6 April In his newest collection of works, abstractexpressionist painter Brendan Kelly takes us on a journey inward giving form to the beauty and suffering of the mind. Exploring themes around mental health and how society treats it, Kelly serves as a guide into the darkness. His dramatic and mesmerising paintings ultimately shine light on shared experiences and common struggles, stirring a larger conversation outside the gallery walls.

Margaret Builder, Inner Landscape, 2023,

13 April to 30 April In an exhibition that spans generations and styles, Nest brings together the paintings, sculptures and ceramics of multidisciplinary Australian artists, each celebrating and contemplating themes of place, home and belonging.

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com brendacolahanfineart.com

NEW S OUTH WALES Incinerator Artspace continued...

Ken Done, Christmas sails, 2021, oil and acrylic on linen, 61 x 51 cm. Martin King, pages from the diary of lost souls, etching, chine collé, hand coloured, edition of 10, 120 x 100 cm. Juliemma Moran, Luminous and Wonder, 2022, oil on canvas. 19 April–7 May Glow Juliemma Moran Here on Cammeraygal Land, we walk amongst ancient blue gums and lush undergrowth along Flat Rock Gully Reserve. This local bushland sanctuary, with dappled light and vibrant colours, sustains us, grounds us and renews our soul. Glow is an emotionally evocative solo exhibition by Juliemma Moran featuring abstract landscape paintings. In this stunning body of work she explores the use of luminous orbs of light and strokes of vibrant colour to evoke mood and atmosphere on the canvas. Inspired by the bushland preserved in suburban Willoughby, these paintings represent fleeting moments in time and all things that glow.

The Japan Foundation Gallery jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

King Street Gallery on William kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. 14 February—11 March diary of lost souls Martin King Martin King’s infatuation with birds began as a child, when the artist spent hours birdwatching with his mother. This enduring

relationship has inspired the artist to follow the subject into diary of lost souls, showing at King Street Gallery on William. The body of work commemorates Australian birdlife- the species that remain as well as those which have been forgotten. King’s use of material juxtaposes rapidly disappearing objects such as stamps and books against Australia’s vanishing wildlife. Through this, King creates an enduring union between the two that will stand the test of time.

Luke Sciberras, Darling in Flood, Wilcannia III, 2022, gouache & pastel on paper, 100 x 150 cm. 14 March—8 April From Scratch Luke Sciberras “Luke Sciberras’s art is the product of a quarter-century of experiencing the landscape with all his senses. Most recognised for his expressive paintings of Australian and European subjects both close and far from home, his oeuvre is underpinned by an unswerving commitment to drawing, both en plein air and in the studio, and a restless urge to experience the world at its most essential.” Anne Ryan, Curator of Australian Art, AGNSW (originally published in Artist Profile, Issue 59, 2022).

The Ken Done Gallery kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

16 February–12 April Ken Done: Recent Work

Korean Cultural Centre Australia koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free Entry. See our website for latest information.

Javier Baez Bonorat , Crown & King, acrylic and mixed media on canvas, 82 x 92 cm. 3 March–31 March Come Find Me: 10 years of the KAAF Anna Russell, Anthea Boesenberg, Beoung Yeoun Choi, Beric Henderson, Chris Gleisner, Claire Hoon Pallardy, Dana Dion, Haetak Choi, Hoim Lee, Hyun-Hee Lee, Hyunjin Lee, Hyunju Lee, Iklae Jung, Jadone Shin, Javier Baez Bonorat, Jennica Seo, K.Sujin Bae, Kathrin Longhurst, Sooka Kim, Kwirak Choung, Maree Azzopardi, Min-woo Bang, Mishim Song, Namsoon Lee, Nat Ward, Okhee Choi, Phoebe Kim, Regia Law, Robert Bennetts, Rone Waugh, Sam Holt, Simone Piccioni, Sophie Pulvers, Sung Hyun Sohn, Taerim Claire Jeon, Taewon Lee, Won-seok Kim, Yiwon Park Come Find Me: 10 years of the KAAF is a special exhibition celebrating the 10th anniversary of the establishment of the 175

Yang Jinsong 15 March—1 April Opening event: 11 March, 4–6pm.

Yang Jinsong, Landscape No.6, oil on canvas, 80 x 100 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 Korean Cultural Centre continued... Korea-Australia Arts Foundation (KAAF). Spanning a range of styles and media including painting, printmaking, ceramics, photo, and mixed media, Come Find Me showcases the works of 37 artists, a mix of emerging and established artists from across Australia, including a significant number of Korean-Australian artists. This special exhibition will be held in the exhibition space of the Korean Cultural Centre Australia (KCCAU) which has been collaborating as an exhibition and venue partner of the KAAF Art Prize in order to foster and strengthen multicultural aspects of Australian society using the medium of art. Initiated by the Korean communities in Australia, the KAAF has been well-established in the Australian art scenes over the last decade and is becoming one of the recognised art prizes by local artists and art enthusiasts.

Lavendar Bay Society royalart.com.au 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. 10 March—16 April Annual Autumn Exhibition 2023 Opening 10 March, 6pm–8pm.

Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information. Committed to presenting multidisciplinary practices of local, national and international artists, The Lock-Up is a space that is dedicated to stimulating and challenging audiences. With an emphasis on producing artist-led projects that explore contemporary social issues, Greg Hansell FRAS, Yellow Wildflowers.

11 February—26 March Measure Twice, Cut Once Sara Morawetz

Michael Kempson, Against the Tide, etching. 21 April—21 May Printmaking, Still Life, Sculpture Opening Friday 21 April, 6pm–8pm.

The Lock-Up thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace

Peter Gardiner, Bathurst, 2022, oil on linen, 150 x 130 cm. Private collection. 31 March—21 May Loud Sky Lottie Consalvo, Peter Gardiner, Fiona Lee, Damien Linnane and Clare Weeks.

The Lock-Up→ Sara Morawetz, Measure Twice, Cut Once, 2023. 177

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Macquarie University Art Gallery artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Gallery closed until 29 January. Group bookings must be made in advance. See our website for latest information.

and deep friendships with many outstanding artists led the Germanoses to establish the innovative and independent curatorial platform 3:33 Art Projects, which expands viewing audiences of contemporary art and encourages young collectors. 3:33 Art Projects has set up a number of important programs including the Young Curators, Bank of America Art of Connecting and The Clayton Utz Art Partnership.

Maitland Regional Art Gallery 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.

David Griggs, Blood on The Streets, 2007, acrylic on canvas, 110 x 129 cm. The Germanos Collection. Courtesy of the artist and Station Gallery Australia. Photograph by Effy Alexakis, Photowrite. 7 March–1 May Relationship : The Germanos Collection Clara Adolphs, Del Kathryn Barton, Joanna Braithwaite, Nick Collerson, Adam Cullen, McLean Edwards, Neil Frazer, David Griggs, Jasper Knight, Mai Nguyen-Long, Fiona Lowry, Euan Macleod, Reg Mombassa, Noel McKenna, Madeleine Pfull, Telly Tu’u, Ken Whisson, Justin Williams and Caroline Zilinsky. Max and Gaibrielle Germanos are exceptionally passionate collectors of Australian contemporary art. Their collection, amassed over a 25-year period, stands as one of the most significant private collections in the country. It concentrates stylistically on the figurative and is representative of subject matter with values and meanings that resonate with the couple. The Germanos’ spacious home brims with artworks of varying sizes, mediums and stylistic temperament – a living testimony to their fervent and unrelenting activity as serious collectors and supporters of living artists. Each artwork elicits an emotional response that carries a contextual narrative which the Germanoses eagerly and entertainingly recount. The collection is reflective of the close friendships that the couple have with many artists including those in their collection whose works they have purchased. Purchases of multiple works by the same artist have been key in developing core strengths within the collection, attracting an elemental stylistic depth and breadth, through evolutionary developments, much like a public institutional approach to collecting. The development of such a significant collection of Australian contemporary art

12 November 2022—5 March A Rare Sensibility Valerie Marshall Strong Olsen

4 March—21 May Kungka Kuṉpu (Strong Women) Key artists include Angkuna Baker, Kunmanara Wawiriya Burton, Nyunmiti Burton, Sylvia Ken, Kunmanara Militjari Pumani, Rhoda Tjitayi, Tjanpi Desert Weavers, Kaylene Whiskey and Yaritji Young—to name a few. 4 March—28 May Tjukurpa (Stories) Ninuku Arts 18 March—28 May Mir Giz Kemerkemer Opged Lam Zenadh Kes (Stories from the Eastern Islands— Torres Strait) Toby Cedar 18 March—4 June Introductions | Portraits from the MRAG Collection 18 March—4 June Watch Your Step Laura Baker

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

Kate Rohde, Unicorn mural, (detail) 2018, digital print. 10 December 2022—12 March Monster Mash Kate Rohde 10 December 2022—12 March A Little Potluck Party Pai Ti Kong with the Ghosts (Double-Happiness) Jayanto Tan 10 December 2022—12 March Protection Jane Lander

Dennis Golding, Beyond the coastal watch, 2019. Courtesy of the artist. 17 February—16 April Dennis Golding: MAG&M Art Wall Dennis Golding takes over MAG&M’s façade for Sydney WorldPride 2023. As an artist, Golding pursues a critical view of social, political and cultural representations of Aboriginal Australian history and contemporary experiences. Often referencing science-fictional narratives through the visual motif of the cape, Golding explores relationships between figures of popular culture such as superheroes and Australian colonial histories. Toby Cedar, Nete Ka Nali (Who am I), 2021. 179

KEN DONE

Christmas sails, 2021, oil and acrylic on linen, 61 x 51cm.

1 Hickson Road, The Rocks, Sydney, tel 8274 4599, www.kendone.com

kendone.com

NEW S OUTH WALES Manly Art Gallery continued...

drawing, printmaking, textiles, photography, sculpture and ceramics.

it makes the case for art as a necessary strategy in confronting contemporary challenges that have no easy answers. Responding to the human tendency to fill gaps in knowledge and understanding with superstitious beliefs, conspiracy theories and polarized politics, these artists break apart the invisible structures that constrain comprehension of our contemporary moment.

Jack Fredman, Whitewashed Lachy, Will and Phil, Northern Beaches Secondary College - Balgowlah Campus. 3 March—16 April Express Yourself 2023 An annual exhibition of artworks by HSC Visual Arts students, selected from the 20 secondary schools across Sydney’s Northern Beaches. 3 March—16 April Artists’ Book Award 2023 This biannual international exhibition explores the artist’s book which is a medium of artistic expression that uses the form or function of a ‘book’ as inspiration. Presented in partnership with Northern Beaches Library Service.

Martin Browne Contemporary 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.

Mosman Art Gallery

Thom Roberts, The Architect, 2021. Photo and copyright: Christopher Haysom. 15 March—28 May The Cube: Thom Roberts (Studio A) with Simon Wheeldon Thom Roberts sees the world through a kaleidoscope lens. People, transport and infrastructure systems are interpreted as colourful multiples. Thom works across painting, drawing, installation, animation and performance. The Cube will transform into a space encompassing multiple mediums, multiple viewpoints and Thom Roberts enthralling creativity.

Murray Art Museum Albury (MAMA) mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

mosmanartgallery.org.au 1 Art Gallery Way, Mosman 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, Weds open until 8pm. Closed public holidays.

Reko Rennie, OA_RR, 2016, video still, three-channel video, sound, edition of 3 + 2AP, Image courtesy of the artist and STATION. 24 February–21 May Reko Rennie: OA_RR, 2016-17 Experience a three-channel video work in which Reko Rennie makes a road trip in a hand painted 1973 Rolls-Royce Corniche, emblazoned in his signature camouflage, on Kamilaroi Country. As the sun sets to a soundtrack by Nick Cave and the Bad Seeds, Rennie creates sand engravings and makes his own marks into the land. 14 August 2022–5 March What Remains Nicole Foreshew, Michael Riley, Karla Dickens, Kevin Gilbert, Treahna Hamm, Hayley Millar Baker, Alfred William Eustace, Chantelle Bourne, Jozef Vissel, Tim Silver, Amanda Williams, Ernst Fries, Patrick Hartigan and Cornelia Parker What Remains draws together the works of fourteen artists within the Murray Art Museum Albury Collection and includes six works recently acquired. Central to the exhibition is a series of abstract sculptures by Wiradjuri artist Nicole Foreshew, titled Remain. The clay and iron oxide forms have been moulded to express her deep connection to Ngurambanggu (Country) and kin. As our collective impact on the land becomes harder to ignore, What Remains reminds us to consider what legacy we wish to leave behind. 24 September 2022–1 June Mikala Dwyer: Chromakinda

Ella Barclay, Dense Bodies and Unknown Systems, (detail), 2021, installation view. Image courtesy of the artist. 17 March—23 April Artists of Mosman: 2088 Artists of Mosman 2088 presents a survey exhibition of the region’s thriving artistic community and includes works created by Mosman residents as well as Friends and Volunteers of Mosman Art Gallery and incorporates painting,

10 March–16 July No Easy Answers Ella Barclay (AU), Christopher Hanrahan (AU/USA), Vera Hong (AU), Tracey Moffatt (AU/USA), Vitche-Boul Ra (USA), Wilmer Wilson IV (USA).

Chromakinda is the first installation commissioned for MAMA’s new Kids Gallery. This new permanent space is dedicated to imagination and play through contemporary art. The colourful wall paintings, orb lighting, and glittering rack of costumes provide endless options for children to develop their own games and stories. Stage curtains fall across the full-length window encouraging performances to passersby, while chalkboard portals are embedded in the psychedelic wall painting.

No Easy Answers explores art as a way of thinking. Bringing together six artists from across Australia and the United States, 181

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Museum of Contemporary Art Australia 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. 26 February 2021—19 July MCA Collection: Perspectives on place Bringing together artworks that explore the social and physical aspects of place, MCA Collection: Perspectives on place has been imagined as an expanded map. This exhibition weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

17 March—20 August MCA Collection: Eight Artists Sally Gabori, Raelene Kerinauia Lampuwatu, Emily Kame Kngwarreye, Naminapu Maymuru-White, Sandra Selig, Esme Timbery Judith Wright, Gulumbu Yunupiŋu Bringing together eight Australian artists drawn primarily from the MCA Collection, MCA Collection: Eight Artists features works which respond to notions of seriality, repetition and return. Diverse in their subject matter and materiality, they are also connected by their bold use of colour and form.

Muswellbrook Regional Arts Centre artgallery.muswellbrook.nsw.gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. See our website for latest information.

Ryan Andrew Lee, Wonnarua, 2020 (video still), 2 channel video, 02:01 mins. 27 February—24 June Wonnarua: Ryan Lee Wonnarua is a contemplative moving image installation work that aims to provoke discussion around themes of Indigenous ways of living in juxtaposition with western settler-state system’s unsustainable, damaging ways of using stolen lands. The video diptych contrasts living portraits of six First Nations people from the Wonnarua Nation with drone shots of the Muswellbrook coal mines, which are situated in the heart of Wonnarua Country. ‘Wonnarua’ is a provocation around the urgency for enquiry into how our environment is currently being managed, and alludes the remedy is to intergrate aspects of traditional First Nation’s sustainable practices for caring for Country.

27 February—29 April Muswellbrook Art Prize Jilamara Arts and Crafts Association Artists, YOYI (dance), (still), 2020, 4channel video, HD, colour, sound, image courtesy and © the artists. 31 March–9 July The National 4: Australian Art Now Hoda Afshar (VIC), Daniel Boyd (NSW), Eugene Carchesio (QLD), Allison Chhorn (SA), Léuli Eshrāghi (NT/QLD/Canada), Ivi (QLD/Aotearoa/Tonga), Diena Georgetti (VIC), Simryn Gill (NSW/Malaysia), Jilamara Arts and Crafts Association (NT), Mia Salsjö (VIC), Kieren Seymour (VIC), Nicholas Smith (VIC/USA), Isabelle Sully (The Netherlands/VIC), Amanda Williams (NSW), Rudi Williams (VIC) Featuring new commissions and recent works by an intergenerational and culturally diverse group of artists and collectives, The National 4: Australian Art Now reflects how artists are responding to some of the most urgent and critical ideas of our times, imagining new ways of seeing and being in the world at a time of unprecedented change.

Since 1958, the Muswellbrook Art Prize has grown and evolved and is today one of the richest prizes for painting in regional Australia. Finalists for the Muswellbrook Art Prize vie for a total of $70,000 prize money across three prize categories: Painting ($50,000 acquisitive), Works on Paper ($10,000 acquisitive), and Ceramics ($10,000 acquisitive). Astute adjudication of the Prize over the years has yielded an excellent collection of modern and contemporary Australian paintings, works on paper and ceramics from the Post War period of the 20th Century and into the 21st Century, with the winning acquisitive works forming the nucleus of what is now known as the Muswellbrook Shire Art Collection. Previous winners of the Muswellbrook Art Prize include such key figures as David Aspden, Sydney Ball, Richard Larter and Fred Williams. The Upper Hunter Region is also well represented with a number of local artists being successful in winning the Prize including Peter Atkins, Dale Frank, Lyn Nash and Hanna Kay. Along with Muswellbrook Shire Council, who since 1958 has acted as sponsor and administrator of the Muswellbrook Art Prize, Bengalla Mining Company has generously sponsored the Prize for close to three decades, their commitment ensuring the development of the Muswellbrook Shire Art Collection. 27 February—24 June Art Tracks VI: The pastoral, the picturesque and the sublime

Esme Timbery, Shellworked slippers, 2008, shell, glitter, fabric, cardboard and glue, Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2008, © Esme Timbery / Licensed by Copyright Agency, photograph: Jessica Maurer 182

The Art Tracks exhibition series coincides with the Muswellbrook Art Prize, showcasing works acquired from previous winners and finalists. Art Tracks VI: The pastoral, the picturesque and the sublime explores contemporary interpretations of aesthetic concepts established during the 19th century golden age of landscape painting.

James Clifford, Glen, 1980, enamel on hardboard, 62 x 122 cm. Muswellbrook Shire Art Collection. Donation courtesy Watters Gallery, Sydney. 7 January—29 April Summer Fling: works from the Collections ‘I almost wish we were butterflies and liv’d but three summer days – three such days with you I could fill with more delight than fifty common years could ever contain’ - John Keats in a letter to Fanny Brawne 1819. Drawing from both the Max Watters and Muswellbrook Shire Art Collections, Summer Fling evokes a sense of summer romanticism, with scenes of sundrenched lovers and dreamy mirages. Including works by Brett Whiteley, James Clifford and Richard Larter, experience the hazy summer days and hot restless nights encapsulated within the gallery walls.

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, NSW 2010 02 9339 8686 Mon to Sat 11am–5pm. Free admission.. 3 February–5 March Fulgora Tarik Ahlip, Claudia Nicholson, Jimmy Nuttall, Ainslie Templeton, and VT Curated by EO Gill.

NEW S OUTH WALES Fulgora presents a suite of commissioned video works by 5 Australian-based artists that are punctuated by a selection of films programmed in collaboration with LA-based collective Dirty Looks Inc. The exhibition speaks to luxuriant video practices that disrupt conventional acts of looking and force us to ask where our pleasure begins. 3 February–18 March Braving Time: Contemporary Art in Queer Australia. Tony Albert, Brook Andrew, Liam Benson, Vivienne Binns, Leigh Bowery, Gary Carsley, Michelle Collocott, Peter Cooley, Christine Dean, Karla Dickens, Todd Fuller, Amos Gebhardt, Tina Havelock Stevens, Brenton Heath-Kerr, Kate Just, Deborah Kelly, Clinton Naina, Nell, Claudia Nicholson, Ramesh Mario Nithiyendran, Emily Parsons-Lord, Salote Tawale, Renjie Teoh, Athena Thebus, Dr Christian Thompson AO, Matthew van Roden and William Yang. Curated by Richard Perram OAM. Braving time is a queer exhibition that celebrates the work of artists who identify as part of the Australian LGBTIQA+ community. This significant exhibition has been curated by Richard Perram OAM for the National Art School in celebration of Sydney WorldPride in 2023. The artists represented in the exhibition celebrate the diverse voices of LGBTIQA+ people in contemporary Australia society, reflecting the breath of genders and sexualities within the community, including artists who identify as lesbian, gay, transgender, inter-sex, asexual and non-binary.

conjunctural and geographical circumstances. The works in this exhibition aim to create a complex and affectively engaging visual environment that heightens awareness of the structures of feeling. The atmosphere of a place is not just a reflection of its physical environment, but is also a complex interplay between material, social, sensory and emotional elements. The new spatial drawings for the National Art School provide an invitation to explore the intricate connections between place and the social structure of feeling. Working within the expanded field of drawing, this body of work seeks to draw out and amplify the affective atmospheres of our time.

neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm. See our website for latest information.

Nanda\Hobbs nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000

Fred Leist, Australian Girl, n.d., oil on canvas. Gift of Howard Hinton, 1946. The Howard Hinton Collection. Sponsored by the Packsaddle Fundraising Committee of 2018 for the Adopt An Artwork Program. From 3 February Wonders of Hinton Various

31 March—10 June Dobell Drawing Prize #23 The Dobell Drawing Prize is an unparalleled celebration of drawing technique and innovation and is the leading drawing exhibition in Australia. Presented by the National Art School in partnership with the Sir William Dobell Art Foundation, the biennial prize explores the enduring importance of drawing within contemporary art practice.

New England Regional Art Museum

Jody Graham, House Rat, 2022, charcoal on paper, 92 x 92 cm. 2 March—18 March Voilà Jody Graham 23 March—8 April Hubert Pareroultja and Selma Coulthard

Experience one of the greatest collections of art in regional Australia with the new semi-permanent display, Wonders of Hinton. The Howard Hinton Collection at the New England Regional Art Museum is the result of one of the greatest acts of artistic philanthropy and benefaction in Australian history. The collection provides a snapshot into Australian artistic practice in the early twentieth century as well as some insights into this ‘modest and self-effacing’ gentleman who lived in a boarding house in the north shore suburb of Cremorne and is one of the most significant collections of Australian art in regional New South Wales.

Hannah Quinlivan, Conjuncture, (detail), 2022, LED lights, acrylic and aluminium, 178 x 178 x 15 cm. 31 March—10 June Conjunctures Hannah Quinlivan This exhibition is informed by Raymond William’s concept of the “structure of feeling”. Williams proposes that the patterns of thought of each generation share characteristic impulses, restraints, and tones, similarities structured by their

Jonathan Dalton, DISCO!, oil on linen , 122 x 137 cm. 13 April—29 April The Black Swan and Other Lost Poems Jonathan Dalton

Suzanne Archer, Souvenirs, 1986, oil pastel graphite and oil stick on paper. NERAM Collection. 3 February—26 March NERAM’s Imaginarium Various 183

ar t g ui d e .c o m . au 16 March—26 April Upending Expectations Canberra Glassworks

New England Regional Art Museum continued... Celebrating four decades of collecting, NERAM’s Imaginarium unleashes works of wonder and curiosity tinged with a sense of unease. Fall down the rabbit hole into a world of dreams, nightmares, and everything in between. 3 February—26 March Coventry Noir Ralph Balson, Peter Booth, Gunter Christmann, Gene Davis, Joe Szabo, and Dick Watkins Explore the darker side of the Chandler Coventry Collection. Coventry Noir encompasses ambiguous black voids, sombre shadows, and tenebrous intonations of form with slashes of subtle or lurid colour which incites reflection, both of self and the wider world. 3 February—12 March Illustrating Armidale Various This group exhibition puts the spotlight on illustration as an art form and features fifteen local illustrators and artists. Illustrating Armidale captures aspects of Armidale, both the well-known and unexpected, with each illustrator’s unique style and personality.

Ikuko Fujisawa, Uzumibi, 2021, Japanese sumi-ink on Chinese Xuan paper. 4 February—19 March Iku: Invisible Connection 25 March—7 May Sophie Lampert: Anon.

OutbackArts outbackarts.com.au 26 Castlereagh Street, Coonamble NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

As the title Upending Expectations implies, this exhibition focuses on artists whose experimental, innovative and at times cross-disciplinary practices utilises glass and its properties of light, transparency, and reflection. As a chorus of individual voices, these artists collectively reveal the full potential of glass as a powerful and expressive medium for contemporary art that constantly serves to upend our expectations. These artists have engaged with concepts of identity, place, transformation, and the intersection of both personal and public histories that resonate with social and politically charged narratives. Featuring nine Australian artists and one artist from the UK; Gabriella Bisetto, Annie Cattrell, Cobi Cockburn, Nadège Desgenétez, Mel Douglas, Rose-Mary Faulkner, Nicholas Folland, Kirstie Rea, Harriet Schwarzrock and Brendan Van Hek. The Outback Arts Gallery is uniquely situated to host this exhibition as the only regional venue in the tour.

PIERMARQ* 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.

Orange Regional Gallery orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 02 6393 8136 Open daily 10am–4pm. See our website for latest information.

Foreground artwork: Nadège Desgenétez, Elemental Bodies #1, 2022, blown, hot-sculpted, mirrored and cold-worked glass, fabricated steel. Background artwork: Rose-Mary Faulkner, Profile, 2021, kiln-formed glass, digital printed decals.

Adam Parker Smith, Contrapposto Pool Float (lapis chameleon), 2022, resin, steel, urethane, 152.4 x 53.3 x 35.5 cm. 16 March—2 April Head Games Adam Parker Smith, Thérèse Mulgrew, Ritsart Gobyn, Jeremy Shockley, Nina Radonja

Laurence Edwards, Walking Men, (detail), 2018-2022, bronze, 2.4 m high. Photograph: Bill Jackson. 4 February—16 April Laurence Edwards: a Gathering of Uncertainties 184

Annie Cattrell, Capacity, 2000, flameworked borosilicate glass.

6 April—23 April Ben Crase

NEW S OUTH WALES

Idris Murphy, Warnum, 2011, acrylic and collage on board, 180 x 180 cm. Arthur & Suzie Roe Collection. 18 February—28 March Idris Murphy: Backblocks

Andrew Salgado, Mr Summertime, 2022, oil and oil pastel on linen, 115 x 75 cm. 27 April—21 May Good Things Andrew Salgado

Roslyn Oxley9 Gallery 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.

Claire Young, A feminist at my table, 2023, from multi-panel screenprint on cotton and linen tablecloth with hemstitched border, 240 x 143 cm . A Feminist at My Table is an installation featuring the work of Claire Young from a series of screen-printed tablecloths made to spark conversations about heroes – or villains – over a meal. The feminists featured in this work are Bandler, Chisholm, Contos, Cowan, D’Aprano, Greer, Goldstein and Summers, who, despite their flaws or missteps, were just a few of the women with inspiring achievements who could have been included.

3 March—1 April What if we could remember the future Caroline Rothwell Newell Harry 14 April—6 May Jenny Watson

This exhibition toured by the Drill Hall Gallery catches a great Australian painter at the height of his powers. Born in 1952, Idris Murphy developed deep roots in the history of painting as well as a profound feeling for the natural environment. Murphy’s idiom transcends “either/or” it is indistinguishably landscape painting and painterly abstraction all at once. Arising from a sort of improvisatory incantation, the most vivid metaphors of land, space, light, mood and feeling seem to coalesce spontaneously and unbidden.

SCA Gallery sydney.edu.au/sca Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12noon–4pm.

Rusten House Art Centre qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. 4 March—29 April There are battles yet to win: Feminist Posters 1979 to Now Alison Alder and various artists. Curated by Cindi Gillmore. This exhibition of screen-printed posters from the collection of acclaimed artist Alison Alder, utilise both anger and humour to graphically illustrate some of the issues and events facing women in their struggle for equal rights over the last five decades in Australia. This exhibition forms part of the QPRC Women’s Festival and the Queanbeyan-Palerang Heritage Festival. 4 March—25 March A Feminist at My Table Claire Young and various artists

Heather Groves, Making mountains out of termite mounds 1, 2022, woodcut with charbonnel ink on kozo paper, 15 x 15 cm. 1 April—27 May Nurturing Nature Heather Groves Nurturing nature is an exhibition of new woodcuts by Heather Groves. Abstract, figurative, and sculptural forms are observed by the artist at home and in nature.

S.H. Ervin Gallery 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.

Dylan Martorell, Eucalyptus Paucyflora. Image courtesy of the artist. Photo: Aaron Rees. 9 March—22 April Ultra-Sonic An exhibition curated by Joyce Hinterding and David Haines. Featuring artists Peter Blamey, Lichen Kelp, Dylan Martorell, Kusum Normoyle and Naomi Oliver. Opening Wednesday 8 March, 6pm–8pm. 185

JOHNNY K Where Young Hearts Roam Opening March 30, 1 Martin Place Sydney

wentworthgalleries.com.au

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Shoalhaven Regional Gallery, Nowra shoalhavenregionalgallery.com.au 12 Berry Street, Nowra NSW 2541 [Map 12] 02 4429 5444 Tues to Fri 10am–4pm, Sat 10am–2pm. Free entry.

supply. It charts these changes by grouping artistic responses thematically into the prevailing resource issues of Access, Contamination, Scarcity and Culture. 4 March—22 April Jerrinja Balaang Outstanding cultural photographs from a group of talented Jerrinja indigenous female photographic artists.

South East Centre for Contemporary Art – SECCA secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Sun 10am–5pm.

Late February—14 May Perforated Sovereignty Jim Allen Abel, Katherine Boland, Eric Bridgeman, Susan Chancellor, Lissy Cole & Rudi Robinson, Dean Cross, Cheryl Davison, Timo Hogan, Sang Hyun Lee, Maharani Mancanagara, Noŋgirrŋa Marawili, Emily Phyo, Dias Prabu, Citra Samistra, Greg Semu, Wukun Wanambi.

STATION stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm. 18 February—11 March David Griggs

Sarah Pirrie, You’ve got to crack, 2020, watercolour and pencil on paper. 4 March—22 April Groundswell: Recent movements within art and territory This exhibition showcases the diversity, technical mastery and social importance of nineteen Northern Territory artists. Showcasing a selection of powerful reactions with particular focus on creeping changes to the Northern Territory’s water

Citra Samistra, Timur Merah project V: The Verge of Mortal Ground, 2020 courtesy the artist and Yeo Workshop, Singapore.

Heather B. Swann, Limper, 2021, ink on paper, 56 x 76 cm. Courtesy of the artist and STATION. 18 March—22 April An unmade bed Heather B. Swann

Shoalhaven Regional Gallery → Tanaya Williams, Wuri Murnunggan, Sunshine Sisters, Lake Wollumboola, Jerrinja Wandi Wandian Country. 187

7 March—1 May 2023 Relationship The Germanos Collection Curated by Euan Macleod

Macquarie University Art Gallery 19 Eastern Rd The Chancellery North Ryde 2109

Monday to Friday 10am–5pm 02 9850 7437

Image: David Griggs, Blood on The Streets, 2007, acrylic on canvas, 110 x 129 cm. The Germanos Collection. Courtesy of the artist and Station Gallery Australia. Photograph by Effy Alexakis, Photowrite.

mq.edu.au

Works now available by: M Zavros, D Boyd, R Dickerson, R Crooke, G Gittoes, B Whiteley, M Woodward, W Coleman, J Coburn, S Nolan, J Olsen, C Canning, G Shead, V Rubin, P Griffith, R Harvey, T Irving, S Paxton, S West, M Winch, S Buchan, M Perceval, S Weaver, S Dunlop, M Worrall and many others

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au Michael Zavros, Secret Man’s Business, 2000, Charcoal on paper, 98 x 145 cm.

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Straitjacket straitjacket.com.au 222 Denison Street, Broadmeadow NSW 2292 [Map 12] 0434 886 450 Thurs and Friday 11am–7pm, Sat and Sun 11am–5pm.

Stanley Street Gallery is a multi-disciplinary exhibition space situated in the heart of Darlinghurst Sydney. Presenting critical and experimental work, the Gallery seeks to give space to innovative and diverse practices that contribute to local and international arts communities.

Straitjacket is an art partnership run by two artists: Dino Consalvo and Ahn Wells. We present curated solo, group and represented artist exhibitions.

Andjana Pachkova, The Falling House of Cards, 2022, mixed media on canvas, 175 x 195 cm. Photo: Jessica Maurer. 8 March–1 April From Light To Dark Andjana Pachkova

Zachary Craig, Splash, Drip, Gulp, (detail), 2023, acrylic and oil on linen, 91 x 77 cm. 4 March—26 March Isabel Gomez Zachary Craig Julia Flanagan

Sullivan+Strumpf Sydney sullivanstrumpf.com 799 Elizabeth St, Zetland, NSW 2017 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. 23 February—18 March Hanamida 花涙 (Flower Tears) Hiromi Tango

Darren Sylvester, Made up in the vanity #1, 2023, lightjet print, 160 x 120 cm, edition of 3 plus 2 artist’s proofs. Image courtesy of the artist and Sullivan+Strumpf. 23 March–22 April 2 TELEGENIC 2 DIE Darren Sylvester

Studio Altenburg Fine Art Gallery studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thur to Sat 10am–4pm, Sun 10am–3pm. Closed Tue and Wed. 24 February—25 March Silent Conversations Basil Hall, Sandra Shrubb, Slavica Zivkovic

Rob Cleworth, detail of a satyr after Bouguereau, (detail), 2023, oil on canvas, 195.5 x 159.5 cm. 1 April—23 April Rob Cleworth Alessia Sakoff

Stanley Street Gallery stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment.

Dhopiya Yunupingu, Darripa djäma (Processing Trepang), 2022, natural earth pigments on stringybark, 71 x 53 cm. Photograph: Aaron Anderson. Image courtesy of the artist and Sullivan+Strumpf. 3 March—25 March Manŋgatharra to Merege (South Western Sulawesi to North East Arnhem Land) Dhopiya Yunupingu

Alison Alder, Killing the Great Barrier Reef, (detail). 2020, screenprint on paper, 70 x 50 cm. 31 March—29 April Changing Stories Alison Alder Annotated book covers and screenprints. 189

Rusten House Art Centre presents

FEMINIST POSTERS 1979 TO

NOW March 4 April 29

2023

Wed – Sat

10 – 4

87 Collett St QUEANBEYAN

NSW 2622 Proudly funded by

Poster: Alison Alder

This exhibition forms part of the QPRC Women’s Festival, funded in part by the Reconnecting Regional NSW Government Grant Program

www.qprc.nsw.gov.au/community/culture-and-arts/rusten-house qprc.nsw.gov.au/community/culture-and-arts/rusten-house

NEW S OUTH WALES Studio Altenburg continued...

Jo Hollier, secrets and dreams, 2021, monotype and etching, 12 x 23 cm. 31 March—29 April Sojourns Jo Hollier Works on paper.

Tamworth Regional Gallery

This exhibition brings together a group of artists from across NSW who have an enduring fascination with the artistic craft and conceptual potential of gold. Looking At Gold has been developed through a curatorial exchange between Casula Powerhouse Arts Centre and Tamworth Regional Gallery.

Tin Sheds Gallery sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW [Map 14] 02 9351 3115 Tue to Fri 11am–5pm, Sat 12noon–5pm.

466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.

Through the lens of self-portraiture, Blue Mountains-based artist Adrienne Doig draws upon three decades of practice to tackle the everyday with good humour and wit. A Bathurst Regional Art Gallery touring exhibition presented with assistance from Create NSW, the Gordon Darling Foundation and Martin Browne Contemporary. 1 February—2 April These Stories Will be Different Zanny Begg Curated by UNSW Galleries and bringing together the artist’s most significant video installations, including City of Ladies (with Elise McLeod, 2017), The Beehive (2018) and Stories of Kannagi (2019). A UNSW Galleries and Museums & Galleries of NSW touring exhibition.

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm.

tamworthregionalgallery.com.au

4 February—28 March Adrienne Doig: It’s All About Me!

about the nature of their collaborations and the authorship they produce, the contexts and processes they create, and the portrayal of everyday life. The works featured contextualises the reciprocal relationship between the construction of photography and depictions of architecture in an attempt to further critical discussions around how contemporary images build space. Curated by Guillermo Fernández-Abascal, Urtzi Grau, Benjamin Chadbond, Amanda Williams and Janelle Woo.

Installation shot of Workshop 2023. 23 February—18 March Workshop 2023 The Tin Sheds sat quiet on City Road in those post-war years, until the artists came. The Sheds had been used for military experiments during the war, but records of what was found behind their bolted doors are hazy. Over the decades rumours began to spread, rumours, never verified, of some kind of apparatus that could draw… These rumours had long faded to myth, until Students returned to Tin Sheds this year to find in the space…a Drawing Machine. In the wake of this discovery, Workshop 2023 is a return of the gallery to drawing and to process. For a month the Tin Sheds will be a facility for students and the community to work on ideas, to spend time in a space of iteration and experiment. Exhibition by recent Master of Architecture graduates: Caleb Niethe, Sarah Anstee, Kevin Hwang, and Carmelo Nastasi.

3 March—28 May Artists at Work: Installers of Tweed Regional Gallery Mike Chavez, Chas Glover, Kevin Morgan-James, Nick Pike, Sam Steinhauer, Ruth Williams 3 March—28 May Making a Name Lyle Duncan

Timothy Cook, Kulama, 2013, natural earth pigments on linen, 200 x 220 cm. Courtesy of the artist, Jilamara Arts and Crafts Association, Milikapiti, and Vivien Anderson Gallery, Melbourne. Photograph: Ian Hill. 10 March—28 May One foot on the ground, one foot in the water Catherine Bell, Timothy Cook, French and Mottershead, Mabel Juli, Richard Lewer, Sara Morawetz, Michael Needham, Nell, Patrick Freddy Puruntatameri, Nawurapu Wunuŋmurra.

Monica Rani Rudhar, Drop Earrings That Once Belonged To My Mother, 2022. Photo by Chantel Bann. 1 April—28 May Looking For Gold Blak Douglas, Amy Hammond, Megan Hanson, Ramesh Mario Nithiyendran, Monica Rani Rudhar, Marcia Swaby, Abdullah M.I Syed, Hiromi Tango, Tom Yousif.

Maxime Delvaux, Untitled, 2016. 30 March—6 May Analogue Images: Recent work by Rory Gardiner and Maxime Delvaux Analogue Images presents for the first ntime photographs from Gardiner and Delvaux, side-by-side. In the exhibition, the adjacency of their images compels questions

This exhibition explores the subject of mortality and the inseparable link between life and death. One foot on the ground, one foot in the water explores mortality as a state of transition, presenting processes of art making as a means of facing de ath collectively and individually. One foot on the ground, one foot in the water is a La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin. The exhibition has been assisted by the Australian Government 191

Gerwyn Davies Float 2021. Archival inkjet print. Acquired as the Director’s Choice of the Olive Cotton Award, 2021. Courtesy of the artist.

ENTER NOW First Prize Acquisitive

Director’s Choice

Purchases up to

People’s Choice Award

$20,000 $4,000 $500 Entries close 30 April | gallery.tweed.nsw.gov.au

Open Wed – Sun, 10am – 5pm DST | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

tweedregionalgallery

The Olive Cotton Award is a $20,000 biennial national award funded by the family of Olive Cotton with additional purchase awards funded by the Friends of Tweed Regional Gallery & Margaret Olley Art Centre Inc. Tweed Regional Gallery & Margaret Olley Art Centre is supported by the NSW Government through Create NSW.

gallery.tweed.nsw.gov.au

NEW S OUTH WALES Tweed Regional Gallery continued... through the Australia Council for the Arts, its arts funding and advisory body, as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

Twenty Twenty Six Gallery twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

Jessica Loughlin, cerulean cycles, 2021, kilnformed and cold worked glass. Photograph: Grant Hancock. internationally acclaimed glass artists renowned for her highly innovative technical approach to kilnformed glass. Of light presents ethereal glass panels that exemplify Loughlin’s extensive research into light and space. 17 February—5 March Macon Reed: Eulogy for the Dyke Bar Eulogy for the Dyke Bar is an installation and participatory project by American Artist, Macon Reed presented at the National Art School Café. The sculptural environment in the style of bygone lesbian bars functions as a working bar, and an active community space for performances, conversations and socialising.

Margaret Olley, Early morning 1997, oil on board, 76 x 106.3 cm. Tweed Regional Gallery collection, Gift of the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., 2018, ©Margaret Olley Art Trust. 22 March—8 October Margaret Olley: Far from a Still Life This exhibition tells the story of Olley’s incredible life and enduring career through her greatest legacy – her art. Presented exclusively at the Tweed Regional Gallery, to celebrate the 100th anniversary of Margaret Olley’s birthday, the exhibition is drawn entirely from the Tweed Regional Gallery collection. Far from a Still Life includes artwork from as early as Olley’s time at high school in Brisbane through to the final decade of her life; as well as portraits of Olley and contemporary responses to the re-creation of her famous Duxford Street home studio. Until 30 April Michael Cook: The Mission The Mission by Michael Cook traces the journey of an Aboriginal woman from her homeland to a Christian mission where she arrives in handcuffs. There, she is introduced to Western clothing, food rations, tobacco, and a husband. Her baby is stolen following a Christian wedding. In the final image she is represented returning to her Country, which the artist says is a symbol of ‘the hope for a future in which the resilience and dreams of Aboriginal people remain unbroken against the odds.’ Until 2 July The Female Gaze: Women by Women Artists The Female Gaze features self-portraits and portraits of women by women artists. Drawn entirely from the Tweed Regional Gallery collection, the exhibition includes both historical and contemporary works of art. Throughout history, female subjects have been portrayed through the male gaze. This exhibition attempts to subvert the male perspective, while making space for female artists to have authorship over their own stories and representation. The exhibition also allows us to ask the question: Is there something innately different about the way women portray female subjects? A Tweed Regional Gallery initiative.

1 April—4 June Blanche Tilden — ripple effect: A 25 Year Survey Matt Palmer. March—April Spring Group Exhibition Matt Palmer, Jess Baker, Jacob Pedrana, Tania Mason, Melanie Vugich, Tricia Trinder and Allison Mueller

UNSW Galleries 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.

A comprehensive survey exploring the remarkable and critically acclaimed practice of Melbourne-based jeweller and maker Blanche Tilden, celebrated for the transformation of everyday and industrial materials into aesthetically refined, conceptually rich wearable objects.

Wagga Wagga Art Gallery 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. 10 February—26 March The Archibald Prize Regional Tour

C.Moore Hardy, Love Hotel, 1990, reprinted 2022. Courtesy of the artist and City of Sydney Archives. 14 January—23 April THE PARTY Presented by UNSW Galleries and Sydney WorldPride, THE PARTY is a landmark exhibition celebrating LGBTQI+ party culture in Sydney from 1973 to 2002. Featuring documentation and ephemera from events and venues alongside work by Australian artists, writers and designers engaging with these histories. 14 January—19 March Jessica Loughlin: Of Light JamFactory’s ICON series celebrates Jessica Loughlin, one of Australia’s most

The annual Archibald Prize is eagerly anticipated by artists and audiences alike. Judged by the trustees of the Art Gallery of NSW, the prize is awarded to the best portrait painting. Since 1921 it has highlighted figures from all walks of life, from famous faces to local heroes, reflecting back to us the stories of our times. 11 February—30 April Mel O’Callaghan: Centre of the Centre Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. The catalyst for this new body of work is one small mineral given to the artist by her grandfather, renowned mineralogist Albert Chapman. The mineral contains a small pocket of water, possibly millions of years old, which holds traces of the elemental forces responsible for all life on earth. 193

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NEW S OUTH WALES Wagga Wagga Art Gallery continued...

Wentworth Galleries 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.

Blake Griffiths, Glass Beach. Photo creditAlexandra Rosenblum. Image courtesy of the artist.

28 January—9 April Blake Griffiths: Glass Beach The exhibition unravels the embedded histories of Glass Beach, Edithburgh, South Australia. The very fabric of the site poses questions about what is valued and the systems of social, political and economic colonisation that have determined what we are ready to dispose of—from the seemingly most valuable— the human body—to the seemingly most disposable—waste. 28 January—30 April Plastic: Unwrapping the World Plastic touches everything, it is the most ubiquitous and mundane material and also a major environmental problem. Using artworks from Cath Barcan, Sarah Goffman and Blake Griffiths, the exhibition explores Plastic’s complex material and political provocations, challenging audiences to move beyond guilt and unwrap plastic from our world.

Kris Ancog, Vulnerability, 2022, oil & ink on canvas, 76 x 76 cm. Showing at the Martin Place Gallery: 9 March–16 March Vulnerability Kris Ancog

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. See our website for latest information.

Wagga Wagga Art Gallery is partnering with the Museum of the Riverina to explore the impact of six feral animals common across the Riverina region. Going Feral will explore four key themes in relation to each animal; their introduction to Australia, their spread, their destruction of native ecosystems and our attempts to control them.

10 December 2022—2 July The Band from Dubbo: A History of the Reels Johnny K, You Are Everything and More, oil, housepaint and aerosol on board, 93 x 93 cm. 30 March–6 April Where young Hearts Roam Johnny K

Wester Gallery wester.gallery

1 April—7 May The Gabion Project - Anthropocene: A Toy Story A commentary of consumerism and throwaway society. View and be appalled at artist Chris Whyte’s installation of 70 Gabion’s worth of plastic toys and toy parts, discarded by their young owners and parents.

Western Plains Cultural Centre, Dubbo westernplainsculturalcentre.org

6 February—26 June Going Feral Various & Museum of Riverina Collection.

Chris Whyte, The Gabion Project, (detail), 2021. Image courtesy of Wagga Wagga Art Gallery.

practice predominantly revolves around domestic scenes, still life and figurative works. Working in oil, her paintings have been shown across various group shows around the Hunter region and made finalist in the 2021 Hunter Emerging Art Prize. Her next solo exhibition, SPONTANEOUS OBSERVATIONS at Wester Gallery, focuses on day-to-day life at home and around town in Maitland. Taking time to really see the smaller elements of domestic life, most of the works have been produced while Kimberly was pregnant and capture a subtle playfulness and quirk that reflects her style and personality. Opening Friday 31 March, 6pm–8pm.

16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 March 31–April 22 SPONTANEOUS OBSERVATIONS Kimberly Swan An emerging artist from Maitland NSW, Kimberly is a graduate of the Natural History Illustration program from the University of Newcastle. Her current

Dubbo in 1976 had only been officially a city for 10 years. It had one radio station and two TV channels. From this context sprang a band that would redefine Australian music in the 1980s and beyond. The Reels were a band that defied categorisation, and were quickly embraced by audiences across the country. An endlessly innovative and idiosyncratic band, they skilfully re-interpreted “Golden Oldies” from music’s past into chart topping contemporary hits, and produced original material that quickly saw them enter the annals of Australian Rock history, in spite of chart success. The Band From Dubbo charts the bands history from its humble beginnings in Dubbo, its evolution through the 80s and 90s and its unique place in Australian Rock Music history. This exhibition has been supported by funding from Create NSW. Curated by Kent Buchanan. 4 March—21 May A Lot of Little Nothings: Shani Nottingham A Lot of Little Nothings is an exhibition of mixed media works by Cowra-based 195

Tin Sheds Gallery invites curators, artists, architects, and designers to submit thought-provoking proposals for our 2024 exhibition program!

TIN SHEDS GALLERY OPEN CALL 2024 Tin Sheds Gallery 148 City Road, Darlington NSW Cadigal Land

More info: sydney.edu.au/tin-sheds Applications close May 31, 2023

Open Tuesday-Friday 10am-4pm / Saturday 12-5pm

Installation shot of the Tin Sheds poster archives as seen in the 2022 exhibition, ‘Sydney Buries its Past’. Photo by Maja Baska, 2022

sydney.edu.au/tin-sheds

NEW S OUTH WALES Western Plains Cultural Centre continued...

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Shani Nottingham, Plasticus Organicus, 2020–ongoing, single use plastic salvaged bread tags and lampshades. Image © artist. artist, Shani Nottingham that explores the issues of human waste, consumption and our impact on the environment. Nottingham fashions large sculptures that echo and mimic forms of nature, produced from found, donated and collected single-use bread tags to create an ultra-dimensional world. A Lot of Little Nothings is an installation that aims to highlight the hyper-abundance of single use-plastic, its impact on our environment and our relationship with plastic on both a small and large scale. Curated by Mariam Abboud. This is a HomeGround exhibition, curated by Mariam Abboud and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental.

A contemplation on the politics and pleasures of colour, Thinking Through Pink includes works from the Wollongong Art Gallery collection; decorative arts from the Powerhouse collection, Sydney; posters from the archives of second-wave feminist artists Jan Fieldsend and Marie McMahon and works by invited contemporary artists Christine Dean, Deborah Kelly, Frida Las Vegas, Elvis Richardson, Ebony Russell and Paul Yore. Curated by Sally Gray.

Wu Shanzhuan, Throwing a Flame from Perspective into a Projection. 28 December 2022—18 May Shuo Shu The 29 artists in Shuo Shu map the evolution of the story from timeless myths and literary romances to political propaganda and modern-day censorship. Artists become shapeshifters, and their stories twist and turn to fit within codes and secret messages. Whilst a closed mind is like a closed book, stories reveal themselves to those who are open.

Wollongong Art Gallery wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

Waterlooplein market in Amsterdam, Netherlands. Image: iStock Photo.

Christian Thompson, He of the Empowered Gaze, 2016, c-type print on Fuji Pearl Metallic Paper, 120 x 120 cm. Until 28 March Languages of the Land A gathering of First Nations’ voices conveying the many languages of Country – of land, of sea, of culture, of custodianship and of healing from colonial and ecological destruction. This exhibition shares a diverse collection of work from across Australia that speaks to this theme, through painting – both on bark and canvas, print, photography and sculpture. As we head towards a decolonised future, the celebration of Aboriginal and Torres Strait Islander art is crucial to passing on cultural knowledge and inspiring future generations to care for all their Countries. 25 March—18 June Coomaditchie: The Art of Place

4 March—28 May Waste 2 Art: Textiles & Fast Fashion

Coomaditchie United Aboriginal Corporation has been a place of art, culture, education and community care in Illawarra since 1993.

Waste 2 Art is an annual community art exhibition and competition that features artworks created by community members using recycled and unwanted materials. The results are always imaginative and thought provoking with the collected artworks celebrating recycling and sustainable living. With this creative use of waste materials, Waste 2 Art also provides an innovative approach to waste education. Schools and community groups take up the challenge and create artworks out of materials that might otherwise be thrown away. The theme for this year’s exhibition is Textiles and Fast Fashion. Curated by Mariam Abboud, WPCC.

3 December 2022—5 March Thinking Through Pink

Coomaditchie: The Art of Place curated by Tess Allas is the story of art, art-making, community building and of belonging to place. The exhibition features commissioned works led by Aunties Lorraine Brown and Narelle Thomas on the Gallery facade, large scale paintings and ceramic platters together with archival material, photographic and video documentation. Supported by Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative. Elvis Richardson, Settlement #1, 20182021, modified found gate, pink powder coated, 180 x 90 cm. Lent by Ellen Koshland. Courtesy of the artist and Ellen Koshland. 197

A–Z Exhibitions

MARCH/APRIL 2023

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

QUEENSLAND

19 Karen Contemporary Artspace 19karen.com.au 19 Karen Avenue, Mermaid Beach, Gold Coast, QLD 4218 [Map 13] 07 5554 5019 Tues to Sat 10am–5pm, Fri and Sat 10am–2pm. See our website for latest information.

century iconographies that associated native flora, fauna and other built icons with distinctly European viewpoints, prompting a variety of conversations about the history, relevance and meaning of Australiana today.

Mini Solo Shows: Showcasing a small body of work from a selection of different artists, these ‘mini’ solo shows allow audiences to playfully receive a diverse range of art in one cohesive exhibition. From hyper-realism to the surreal and everything in between, the gallery will hold three mini solo shows featuring a range of local and international artists throughout 2023. 22 April Mini Solo Show 1 Debbie Reda (Spain), Jose Ramon Lozano (Spain), Paolo Pilotti (Italy), Ramona Nordal (Canada), Wayan Sarcita Yasa (Indonesia)

Artspace Mackay 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.

Gordon Hookey, hoogah boogah, 2005, Card and paint stencil, 78 x 69 cm. Courtesy of the artist and Milani Gallery, Brisbane.

Deanna Hitti M is for madraseh (school), (detail), 2022, two colour screen print and cyanotype, unique state. Image courtesy of the artist. 17 February—7 May M is for Madraseh (School) Deanna Hitti

Caboolture Regional Art Gallery moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

17 February—14 May Colourful Expressions Davida Allen

renowned Waanyi artist Gordon Hookey. It charts three decades of practice where artmaking and activism unify. This exhibition features a new commission that draws inspiration from Hookey’s vast collection of political posters and continues his acclaimed series of protest banners. Made for Invasion Day marches and rallies recognising Aboriginal resistance fighter Dundalli, Hookey’s banners provide timely socio-political commentary while also imagining an empowered Indigenous future. Curated by Liz Nowell and José Da Silva. Developed in partnership by UNSW Galleries and the Institute of Modern Art, the national tour is supported by the Visions of Australia, Australia Council for the Arts, Gordon Darling Foundation, IMA Commissioners Circle, and UNSW Commissioners Circle with support from Museums & Galleries Queensland.

Caloundra Regional Gallery gallery.sunshinecoast.qld.gov.au

11 February—7 May Summer of the Seventeenth Doll Glen Skien

Bella Deary, Blood Boiling; Tides Rising, (detail), 2021, latex, dowel, pine wood, red bricks, twine. Courtesy of the artist.

22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information

26 November 2022—4 March Swelter Bella Deary, Dylan Mooney, Hailey Atkins, Amelia Hine, Abigail Varney, Grant Stevens, Kenny Pittock, Catherine Parker, Salote Tawale Noel Mckenna, Williee Wagtail, (detail) 2014, etching, edition 3/8, 27.2 x 34.3 cm. Mackay Regional Council Art Collection, donated by the artist under the Cultural Gifts Program 2015. 11 February—7 May Focus on the Collection: Great Australian Hoist This exhibition considers the way contemporary artists engage with the myth of Australiana. This playful compilation of work from the Mackay Regional Council Art Collection reconsiders early twentieth

‘It’s hot’… it’s a saying we are all familiar with. In Australia, as the climate changes and our summers get warmer, how do we prepare to face the heat? In Swelter, Australian artists consider how heat affects our bodies, our communities and our planet. New commissions and existing works share different perspectives of the effects of heat on the body and how to beat it. Exhibition developed by Moreton Bay Regional Council. 11 March—29 April Gordon Hookey: A MURRIALITY A MURRIALITY is the first survey of

Stefan Dunlop, Splash II, 2017, oil on linen, 200 x 240 cm. Gift of the artist, through the Australian Government’s Cultural Gifts Program, 2021, Sunshine Coast Art Collection. Photograph: Carl Warner. 3 February–19 March Latest & Greatest II: Sunshine Coast Art Collection new acquisitions Various artists 199

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

Strategy and is assisted through Arts Tasmania by the Minister for the Arts. 11 March—21 May The Dingo Project: Wongari Curated by Djon Mundine “Before European settlers came to K’gari, two types of dingoes were known to the Butchulla. One was Wat’dha (the camp dingo) and the other was Wongari (the wild dingo). Wongari have been and always should be wild.” — Conway Burns.

Alison Mooney, Saturday Morning (detail), 2021, mixed media on canvas, 120 x 90 cm. Winner, Local Artists - Local Content Art Prize 2022. Acquired through the support of Friends of Caloundra Regional Gallery Inc. and the Sunshine Coast Council. 2022. Photograph: Carl Warner. 24 March–7 May Local Artists – Local Content 2023 Art Prize Various artists

Gallery 48 gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information.

Fiona Foley, Janjari. Filmed entirely on K’gari, a flowing narrative guides the viewer from west to east of the world’s largest sand island. Foley’s work is deeply rooted in her ancestral connection to K’gari, a location that holds ongoing cultural, spiritual and environmental significance for Badtjala people. This video includes imagery alluding to K’gari’s creation story, featuring Yindingie (carpet snake) who formed the landscape of Butchulla country from the island to the western boundary of Mount Bauple. Remaining committed to flipping the ethnographic lens of colonial myth making, Foley has used 19th century costume traditions in Janjari. However, the Aboriginal performers wearing the clothes in the film reclaim their power and agency as the protagonists of the island.

Originally curated for Ngununggula in the NSW Southern Highlands, The Dingo Project: Wongari shifts the focus of Djon Mundine’s curatorial project to Butchulla country and the Wongari of K’gari. Featuring artists from across the country alongside Butchulla perspectives, The Dingo Project: Wongari investigates the spiritual mythology and historical narratives that connect dingoes to Aboriginal Australia.

HOTA hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Janjari is the Butchulla word for spirit guardian. The raw and varied beauty captured in Janjari brings K’gari’s spirit alive. Laced with Fiona Foley’s signature tension between a haunted past, contemplation of solitude and moments of joy and humour, this piece is a significant addition to the artist’s oeuvre and HBRG’s collection.

Jean-Michel Basquiat, 1985, Lizzie Himmel. Artwork, Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Lee Millar, Growth, acrylic on canvas, 78.5 x 100 cm. 1 March—30 April From the Tropics Lee Millar

Hervey Bay Regional Gallery hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 07 4197 4206 [Map 13] Until 1 October Janjari Fiona Foley Janjari, a major new work by internationally renowned Badtjala contemporary artist Dr Fiona Foley marks the first acquisitive commission by Hervey Bay Regional Gallery since reopening in 2022. 200

Fernando do Campo, Pishing in the archive, 2021, single channel HD video, (production still). 11 March—21 May To companion a companion Fernando do Campo To companion a companion is an exhibition by Fernando do Campo that proposes humans as a companion species to birds. With one foot in the field and the other in the archives, do Campo focuses on ‘companioning’ as an artistic strategy, researching the knotted histories of urban multispecies encounters through listening, painting, archiving and plural histories. To companion a companion is a collaborative project by Contemporary Art Tasmania, UNSW Galleries and PICA toured by Contemporary Art Tasmania. Contemporary Art Tasmania is supported by the Australian Government through the Australia Council, its principal arts funding body, by the Visual Arts and Craft

18 February—4 June Pop Masters: Art from the Mugrabi Collection, New York Andy Warhol, Keith Haring, Jean-Michel Basquiat, Katherine Bernhardt, Kwesi Botchway, George Condo, Damien Hirst, Kaws, Joel Mesler, Richard Prince, Tom Sachs, Julian Schnabel, Mickalene Thomas and Tom Wesselmann.

Image courtesy of HOTA. Photography by Charlie Hillhouse.

QUEENSLAND 17 December—7 May Yuriyal Eric Bridgeman - A barrow, a singsing

Logan Art Gallery

Interlace Australasian Contemporary Lacemakers

loganarts.com.au/artgallery

Institute of Modern Art

Logan Art Gallery Corner Wembley Road and Jacaranda Ave, Logan Central, QLD, 4114 07 3412 5519 Tues to Sat 10am—5pm.

Whatever happens …still happens Icki Houseof

ima.org.au Judith Wright Arts Centre 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750

Workshop Wonders XXI

Jan Murphy Gallery janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

Free Entry. Tue to Sat 10am–5pm.

14 February—4 March Variations Keith Burt 14 February—4 March Soft Skeletons Laura Patterson 7 March—25 March Home grown Lucy Culliton

Installation view, 23rd Bienniale of Sydney: rīvus, 2022. In view: Yessie Mosby, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep, sitting peacefully on the waters), 2022; Torres Strait 8, Poster wall, 2022, posters by Mooki Pen, Dylan Mooney, Guy Ritani, BlakSeed, Waniki Maluwapi, and Jaelyn Buimaiwai. Image courtesy Biennale of Sydney. Photograph: Anna Kucera. 28 January–29 April Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rīvus Zheng Bo, Casino Wake Up Time, Jessie French, Clare Milledge, Marjetica Potrč with Ray Woods, Duke Riley, Torres Strait 8, Hanna Tuulikki, and Zenadh Kes The Institute of Modern Art has collaborated with the Biennale of Sydney to commission a new work from the Torres Strait 8, a collective on the frontlines of advocacy for the climate crisis in Zenadh Kes (the Torres Strait Islands and surrounding seas). Led by Yessie Mosby, a Kulkalgal Traditional Owner and member of the group, the Torres Strait 8 present a hybrid art-as-protest piece featuring campaign materials created as part of the Our Islands Our Home campaign. Yessie Mosby and the Torres Strait 8’s participation in the Biennale and IMA project will continue to magnify the campaign fighting for justice for the communities of Zenadh Kes in holding the Australian Government accountable on climate change policy. This commission will form the anchor for a broader curation of select works from the 23rd Biennale of Sydney: rīvus that speak to our enduring connections and responsibilities to the natural world. Through the exhibited work, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) will explore how these potential relationships might decentre the human, prioritise care for Country, and pursue justice in an epoch of rising temperatures and seas.

28 March—22 April Fake Michael Cook 26 April—13 May Disappearing Act Monica Rohan

Emma Gardner, I found my way (Handless Maiden), 2021, cyanotype, hand embroidered thread and Ink on cotton. 27 January—11 March Curious nature Robyn Daw Sookii Helen Miller Fictionalish Emma Gardner

Jan Manton Gallery janmantonart.com 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tues to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

Ripple effect: out of Artwaves Harrison Owen

Vicky Taylor, Forest Tracks, Desert Roads and Ocean Currents, 2007, bobbin lace, linen thread and textured bobbin yarns on metal mesh. Photograph: Suzie Wicks. 17 March—29 April The Interior Natalya Hughes

Andrew Browne, Untitled, 2023, oil, alkyd and aluminium pigment on linen, 198 x 147 cm.

Institute of Modern Art (IMA) travelling exhibition. Toured by Museum & Galleries Queensland.

11 April—29 April TIMES TIDE Andrew Browne 201

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

Metro Arts

Museum of Brisbane

metroarts.com.au

museumofbrisbane.com.au

Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Tue to Fri 10am–5pm. See our website for up to date gallery opening dates and times.

Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

8 March–11 March The Woman Remembers Various Artists, Belloo Creative ‘The woman remembers the day the earth shook and the sea came rushing inland...’ Presented as part of International Women’s Week, The Woman Remembers is a sophisticated and visually stunning digital work about belonging and loss, addressing our relationship to landscape and our experience of climate emergency. The work traverses text and physical language across multiple art forms to produce an original, contemporary transcultural cinematic experience for audiences. This exhibition is a collaboration between Belloo, Phluxus2 Dance Collective and Good Company Arts. Opening Wednesday 8 March, 5.30pm–7.30pm.

Image courtesy of the artist. 18 March–15 April Main Drag Easton Dunne An exhibition playfully exploring queer experience and perceptions of regional Queensland. Main Drag applies aesthetics of kitsch and camp queer visual culture to the stereotypical signs and signifiers of local and communal identity, often seen along the national highway running through Rockhampton, the town in Central Queensland where Dunne resides. Dunne resurfaces images that the area uses to market itself to visitors, and frame its own identity for locals, with hot pink, fluffy faux fur that resembles cowhide. Dunne resists and reframes the hyper-masculine narrative of being the “beef capital of Australia” as offering the potential for an alternate queer utopia in this regional location. Opening Saturday 18 March, 4pm–6pm.

10 December 2022—16 April Play Moves Slow Art Collective, Sai Karlen, Counterpilot, Tara Pattenden, UnitePlayPerform and Michelle Vine. Breaking the boundaries of audience and artist, Museum of Brisbane presents its largest participatory exhibition to date. Bringing together a collection of local and national artists, people of all ages and abilities are invited to surrender themselves to the sublime art of play. Here you will weave and move your way through six large scale installations where every action you take makes the art around you grow, change and come alive.

Montville Art Gallery montvilleartgallery.com.au

Image courtesy of Lorissa Towee. 18 March–15 April Be There or Be Square Renee Kire

138 Main Street, Montville QLD 4560 07 5442 9211 Daily 10am–5pm. See our website for latest information.

A site-specific exploration into three-dimensional forms and viewer engagement. Through the merging of sculpture and painting, this site-specific installation is an exploration of three-dimensional forms and their relationship to space. With the use of perspective and viewer interaction, Renee Kire introduces a new way of observing and understanding – promoting inquiry through fragmentation of knowledge. The viewer is a vital part of this work, as they are required to adapt to their surroundings. Opening 18 March, 4pm–6pm. 18 March – 15 April Teetering, tittering, tits up Tiana Jefferies Structures for queer and multispecies intimacies. Playful reconfigurations of outdoor equipment such as tarpaulins, tentpoles, and trampolines offer refuge in their corrugations and curvatures. Developed in response to wetland bird hides and other cruising sites, the exhibition takes an irreverent, ironic, and absurd approach to ecological relationships. Opening Saturday 18 March, 4pm–6pm. 202

Image courtesy of the artist. 1 March—31 March Featured Artist: Kate Graham Kate’s work is a celebration of colour. Her naive landscapes invite the viewer to enter the realm of the imagination by exploring the hues and shapes of the compositions. Landscapes offer the perfect outlet for Kate in presenting colour in riotous combinations. All available works are shown on our website and in the gallery.

Vanghoua Anthony Vue, Paj Tog #1 and #2, 2014, mixed media on wood. Photograph: Queensland College of Art. Courtesy of the artist. January—June Artist in Residence: Vanghoua Anthony Vue Vanghoua Anthony’s site-specific installation for BrisAsia 2023, Ua li ua tau – Making do, explores themes of identity and belonging, tradition and innovation, dislocation and adaption. The artist reinterprets and reinvents Hmong traditions and aesthetics within an Australian context. Weaving together everyday objects and recycled materials, Vanghoua Anthony’s work speaks to his do-it-yourself attitude, instilled in him by his family and the broader Hmong community, whose experiences of migration have required them to ‘ua li ua tau’ or ‘make do’ with what is at hand. During his residency, Vanghoua Anthony will ‘make do’ with found and locally sourced tools and materials to add to his installation. Visitors are invited behind the scenes of his artistic process and welcome to speak with him about his practice. This exhibition is delivered as part of Brisbane City Council’s BrisAsia Festival 2023, produced by Sounds Across Oceans. Official Media Partner SBS. MoB’s Artist in Residence program is supported by Tim Fairfax AC. Various dates UnitePlayPerform Playshops Join us after hours in the Museum for a series of Playshops hosted by artist,

QUEENSLAND

UnitePlayPerform, Kinship Ceremony at Carriageworks. Photograph: Ro Llauro. founder and master facilitator ØFFËRÎNGŠ, whose work features in MoB’s exhibition Play Moves. In these guided Playshops you will use object art, space, sense, movement, language and energy to stimulate radical self-expression; gaining new insights, experiencing liberation and increasing genuine connection to self and others. At the UnitePlayPerform: Utopia Playshop you will choose, build and embody your own wearable artwork using Utopia Spirit Skins – high vibrational and interchangeable soft sculptures. Build up the archetypes on life vest suits to explore self-concepts and identity through play. The larger- than-life forms, shapes and colours layer on the body to create your own unique avatar! Get ready to interact with new-age sound healing tools, object art and tactile soft sculptures as a collective ceremonial procession is designed through the Museum.

Noosa Regional Gallery 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.

4 February–5 April More Than The Sum Of Its Parts A group exhibition.

25 March—6 May Fictional-ish Emma Gardner

4 February–5 April Trevor Purvis: Australian Sienna

13 March—22 April I as another Daniela Vavrova

NorthSite Contemporary Arts

20 March—6 May Epiphytes: from sea level to cloud forest Julie McEnerny

northsite.org.au

24 April—17 June You, Remember? John Pagnozzi

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm.

28 April—17 June Exploring Giant Molecules Sandra Selig. Curated by Hamish Sawyer.

Onespace onespace.com.au 4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment.

Raqs Media Collective, Deep Breath, 2019, film. Courtesy of the artist and Frith St Gallery London, Project 88 Mumbai and Experimenter Kolkata. 4 February—15 April Planetary Gestures Amrita Hepi, Susie Losch, Raqs Media Collective, Rirkrit Tiravanija, Jimmy John Thaiday and Trevor Yeung. Curated by Tess Maunder for NorthSite Contemporary Arts. 3 February—18 March e VULVA lution India Collins 23 January—11 March Sweet Nostalgia Regi Cherini 23 January–18 March NorthSite Selects Curated by Hamish Sawyer

10 March–15 April COUNTERWEIGHT Brontë Naylor Brontë Naylor is an early career artist based in Newcastle, New South Wales. This solo exhibition sees the artist take interest in our tolerance for grief and longing, while considering the passing of time, relationally to the shape of healing. Through performance and composition, the works layer and distribute weight in different ways, in order to view the relationships between humans, objects, and landscape. Presenting paintings and digital prints, the works within COUNTERWEIGHT present as collage-esque, with aesthetic tensions of sentiment compiling imagined flashbacks, fast forwards and replays, as a way to hold time within these works.

Marian Drew, Coming home, 2022, dye sublimation on aluminium, 30 x 40 cm. Photograph: courtesy of the artist and Onespace. 21 April–27 May rock fruit flower Marian Drew

Rosie Lloyd-Giblett, Totems of the Noosa National Park 1, 2022, acrylic and charcoal on canvas, 82 x 62 cm. Photograph: Tonia Cecil.

Emma Gardner, She succumbed to the ways of the forest, cyanotype on silk, 197 x 116 cm. Courtesy of the artist.

Marian Drew’s latest work emerges from her contemplation of the speed of photographic representation and planetary change. The resulting sculptural photographs on aluminium present blurred, vast spaces for asteroid-like forms that are both stationary and adrift. Extending 203

ar t g ui d e .c o m . au Onespace continued... upon Drew’s investigation into the innovation and exploration of representational and still-life photography, rock fruit flower alludes to our planet’s volatility.

Outback Regional Gallery, Winton 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.

Paul White, Lake Menindee Running on Empty, 2021. The John Villiers Outback Art Prize is generously sponsored by The John Villiers Trust and supported by Winton Shire Council and Ros Kavanagh of Elders Insurance Central Queensland. 11 March—7 May The 2023 John Villiers Outback Art Prize finalist exhibition

Perc Tucker Regional Gallery townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

City of Townsville Art Collection: Recent Acquisitions showcases a selection of artworks recently acquired for inclusion in the City of Townsville Art Collection, including purchases, gifts, and Cultural Gift Donations of significance in line with the collection priority areas of the City of Townsville Art Collection Policy, including Australian Art/ Art of North Queensland, Aboriginal and Torres Strait Islander Art, Modern and Contemporary Art, and Australian Colonial and Historical Art. The exhibition includes artworks by Wendy Bainbridge, Joe Furlonger, Mark Thompson, Tom Risley, Robert Emerson Curtis, and William Jamieson Allom.

Carmichael, Eric Bridgeman, Jenna Lee, John Rigby, Noel Blair, Peter Hudson, Shivanjani Lal Council has a significant collection of works by local and nationally recognised artists. Our annual acquisition program aims to share important works of art from emerging and established artists. This exhibition will examine Council’s recent acquisitions through the themes of: culture, identity, spirit and sense of place. Exhibition developed by Moreton Bay Regional Council.

Philip Bacon Galleries philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

Simon Gende, Plane crash into the Twin Towers on September 11, 2001, 2012, acrylic on canvas, 107 x 123.5 cm, Image courtesy of the Australian War Memorial. 3 March–7 May Art In Conflict: An Australian War Memorial Touring Exhibition Contemporary artists’ responses to conflict bring to light untold stories, reveal neglected histories and deepen our understanding of Australia’s experience of conflict, in both the past and present.

Fred Williams, Rising tide, Cannons Creek, 1973, oil on canvas, 92 x 92 cm.

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 [Map 15] 07 3480 3905 Tue to Sat 10am–4pm. Cressida Campbell, Banksia still life, 2000, watercolour on incised plywood, 33 x 44 cm. 28 February—25 March Important Australian Paintings 28 March—22 April Robert Brownhall

Ross Booker, Remnant coral reef, 2019, ink and acrylic on paper, 78.3 x 96.5 x 6 cm framed. Purchased from Onespace Gallery, 2021. City of Townsville Art Collection. Image courtesy of Townsville City Galleries. 2 December 2022–5 March City of Townsville Art Collection: Recent Acquisitions 204

Pinnacles Gallery Atong Atem, Banksia (series): Reception 1 (detail), 2021, digital photography. Winner 15 Artists 2022. Moreton Bay Regional Council Art Collection. 4 March—27 May 5 Years of Collecting Atong Atem, D. Harding, Deborah Eddy, Delvene Cockatoo Collins, Elisa Jane

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.

QUEENSLAND 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.

11 March—6 August Looking Out, Looking In: Exploring the Self-Portrait

Queensland Art Gallery | Gallery of Modern Art

artmuseum.qut.edu.au wrgallery.qut.edu.au

qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

QAG | Free

QUT Art Museum and William Robinson Gallery

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.

Visions of Australia, Major Patron David Thomas AM and the Gordon Darling Foundation. Spowers & Syme is a Know My Name project. 10 March—4 June A Matter of Looking: 20th Century works from the QUT Art Collection This exhibition introduces audiences to rarely seen paintings, prints and drawings by female artists across the broad spectrum of the 20th Century held in the QUT Art Collection. A Matter of Looking calls us to immerse ourselves in the simple act of looking, in the hopes of not only discovering the extraordinary art produced by female artists of the last century, many of which will be unfamiliar names, but also experiencing something life-affirming. Until 10 September Love in Life and Art William Robinson While William Robinson is not widely recognised for depicting the human form in art, one figure is central to his practice and represents the most consistent subject in his oeuvre: his wife Shirley. Love in Life & Art explores how the domestic and aesthetic are intrinsically linked, and how the figure of Shirley Robinson (née Rees, 1936–2022), encapsulates essential aspects of his vision. These artworks are not only visual meditations on the environment in which the artist lives; rather, they pay homage to the broader rhythms of life, nature and love—but, most importantly, to Shirley.

Jemima Wyman, Pairrebeener people, Australia b.1977, Plume 4, 2021, hand-cut digital photographs, 142 x 106.5 cm. Courtesy of Jemima Wyman, Milani Gallery, Brisbane, and Sullivan+Strumpf, Sydney. © Jemima Wyman. Photograph: Ed Mumford. 26 November 2022—23 April Air GOMA | Ticketed 3 September 2022—18 June Courage and Beauty: The James C. Sourris AM Collection GOMA | Free

Redcliffe Art Gallery Ethel Spowers, School is out, 1936, linocut, printed in colour inks, from five blocks. National Gallery of Australia, Kamberri/Canberra, purchased 1976. 10 March–4 June Spowers & Syme Celebrating the artistic friendship of Naarm/Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme will present the changing face of interwar Australia through the perspective of two pioneering modern women artists. Spowers & Syme is a National Gallery Touring Exhibition supported by

moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

Frances Barrett, A Song for Katthy, 2022, single channel HD video. Image series by Samuel Hodge. Courtesy of the artists. 26 November 2022—4 March Suspended Moment Frances Barrett, Sally Rees, Giselle Stanborough Cindy Sherman, Untitled, 2007/2008, colour photograph mounted on aluminium, ed. of 6, AP 1/1/ 158.6 x 177.8cm. Purchased 2011 with funds from Tim Fairfax AM through the Queensland Art Gallery Foundation, Collection: Queensland Art Gallery | Gallery of Modern Art, © Cindy Sherman.

Gwendolyn Grant, Under the Pandanus Tree n.d., oil on canvas board. QUT Art Collection. Donated through the Australian Government’s Cultural Gifts Program, 2011.

Suspended Moment includes key works by Katthy Cavaliere alongside the fellowship artists who benefited from her enduring legacy.The exhibit brings together new works by three recipients of The Katthy Cavaliere Fellowship: Frances Barrett, Sally Rees and Giselle Stanborough. The fellowship was established in the name of Italian-born, Australian artist Katthy 205

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

22 April—2 September Her beauty and her terror

Cavaliere (1972–2012). It was a one-off opportunity that provided support to Australian female artists working at the center of performance and installation. Curated by Daniel Mudie Cunningham.

The Australian landscape can instill fear and inspire awe - it is an ecosystem that is entirely its own. The picture of Australia evoked by Dorothea Mackellar’s prose in ‘My Country’ still rings true more than 100 years later. She is a land that is beautiful and terrifying, she can be harsh just as she is nurturing. For Her beauty and her terror contemporary artists explore the Australian landscape in its extremities, subtleties and forms to consider our connection to it. Exhibition developed by Moreton Bay Regional Council.

A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program.

11 March—9 May Blue Stitch Sharon Jewell

Redland Art Gallery, Cleveland 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.

Redland Art Gallery, Capalaba artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Robyn Stacey, Fountaine de Vaucluse, 2009. Monash Gallery of Art, City of Monash Collection. Courtesy of the artist, Darren Knight Gallery (Sydney) and Jan Manton Gallery (Brisbane). 4 February—13 May Robyn Stacey: as still as life Robyn Stacey: as still as life leads audiences into the tantalising world of still life. The exhibition opens with a collection of stilllife photographs drawn from the Monash Gallery of Art - placing Stacey’s work into a wider context. Following, you’ll get to explore the works of Robyn Stacey, one of Australia’s leading photographic artists. Robyn Stacey is a still-life artist fascinated by the Renaissance and Baroque still-life genres. Her photographs are vast in scale and spectacular in their detailed beauty. Her work explores Australia’s colonial history with stories so often forgotten in the sands of time. A Monash Gallery of Art (MGA) travelling exhibition.

Grace Lillian Lee, Body Armour–A Weave of Reflection Pink and Orange, 2018. Photography: Wade Lewis. Image courtesy of the artist. 26 February—30 April Piinpi: Contemporary Indigenous Fashion Oodgeroo Noonuccal (Kath Walker), (Untitled), 1981, synthetic polymer paint on canvas. Redland Art Gallery Collection. Acquired in 2004 with Redland Art Gallery Acquisition Funds. Photography: Carl Warner.

Robyn Bauer Studio Gallery

14 January—7 March A Time and Place: Celebrating 20 Years of the RAG Collection

sarahmatsuda.com

robynbauerstudio.com

54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat only 9.30am–4.30pm and by appointment on other days. See our website for latest information.

Jane Burton, Motherland #6, 2008. Winner Moreton Bay Region Art Awards 2013, Moreton Bay Regional Council Art Collection. 206

Sharon Jewell, It’s just nice to touch toes, 2021, blue thread hand stitched onto cotton homespun.

The gallery features paintings, drawings and prints by Robyn Bauer and Sarah Matsuda. For latest information see our Instagram @robynbauerstudio2. Robyn Bauer is a Brisbane based artist well known for her colourful urban landscape paintings and large charcoal tree drawings. She is a Fellow of the Royal Queensland Art Society. Sarah Matsuda produces figurative paintings and commissions with pregnancy, breastfeeding and mother and baby themes.

QUEENSLAND in Rockhampton’s Walter Reid Cultural Centre since 2011. Lamb’s impress practice is devoted to traditional, predigital letterpress techniques, created on vintage machines and founded in historical research. Lamb’s fine press editions are held by the National Library of Australia; Oxford and Cambridge University Libraries; the National Library of Ireland; and several state libraries and universities across Australia.

1 April—2 July From a Burdekin studio: Works by Cutler Footway This major survey exhibition of Burdekin-born artist, Cutler Footway—also known as the former art critic Bruce James—offers a vision of the body filtered through a variety of genres, all created from a modest studio in Ayr. In Footway’s work, flesh seeps beyond itself to find expression in landscape, still life, portraiture, figural subjects, and life drawing, all of which answer the carnal call of the body. Curated by Emily Wakeling.

Toowoomba Regional Art Gallery tr.qld.gov.au/trag

Robyn Bauer, Competitors, charcoal on paper, 59 x 42 cm.

Robyn Bauer, Urban Landscape with Frangipani, charcoal on paper, 59 x 42 cm. 12 May—3 June Against All Odds – The Natural World in the City Robyn Bauer

Rockhampton Museum of Art rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. See our website for latest information.

531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tues & Public Hols. See our website for latest information.

The Designers’ Guide: Easton Pearson Archive, (installation detail), 2018. Photograph: Carl Warner. Illustration: Stephen Mok. Donated by Dr Paul Eliadis AM through the Australian Government’s Cultural Gifts Program 2017, Easton Pearson Archive, Museum of Brisbane Collection. 18 February—10 May Pattern & Print: Easton Pearson Archive ‘Pattern & Print’ showcases a selection of vibrant garments that highlight the technical innovations, bespoke fabric, distinctive prints and embellishment choices of the iconic Brisbane fashion house Easton Pearson, who collaborated with individual artists and artisans to create unique designs which ranged from colourful Indian beading to designs painted by hand directly onto a finished dress. Vera Zulumovski, The recluse, 1995, linocut 14/30, 63 x 40 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 301. © Vera Zulumovski.

4 February—28 May COLLECTION FOCUS: Dwelling The impact urban design and architecture can have on people’s lived experiences has been at the centre of many sociological studies and ‘liveability’ contests. Through architectural studies, domestic interior scenes and landscapes, artists have expressed the importance of people’s built surroundings to their well-being. ‘Dwelling’ features painting, new media, and photography from the RMOA Collection by Jeffrey Smart, Noel McKenna, John Brack, Valerie Albiston, Belyndah Waugh, and many more. 18 February—25 June Man of letters: Derek Lamb and the Officina Athelstane The Officina Athelstane, led by internationally recognised printer Derek Lamb, is a private press workshop based

25 February—21 May More than Half the Sky Inspired by the unnamed maid who is portrayed in Emanuel Phillips Fox’s Déjeuner [Mother and child no. 1] (c.1910-11), but is not acknowledged in the painting’s title, this exhibition recognises that women hold up more than half the sky. 4 March—7 May Three Echoes – Western Desert Art

Cutler Footway, Large Still Life with Vase, Fruits, and Frangipani, 2017, acrylic on board, 120 x 120 cm. Image courtesy Perc Tucker Regional Gallery. Photograph: Michael Marzik.

A stunning exhibition exploring the poetic notion of echoes – how metaphorically and metaphonically we can echo a thought, a sentiment or a consciousness. Three Echoes – Western Desert Art celebrates our world’s oldest continuous living culture and artistic traditions that span 207

rmoa.com.au

QUEENSLAND Toowoomba Regional Art Gallery continued... tens of thousands of years and features paintings, prints and batiks. Three Echoes – Western Desert Art is an initiative of Museums & Galleries Queensland developed in partnership with Karin Schack and Andrew Arnott, and curated by Djon Mundine OAM FAHA. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland, part of the Department of Communities, Housing and Digital Economy. Museums & Galleries Queensland is supported by the Tim Fairfax Family Foundation and receives funds from Creative Partnerships Australia through the Australian Cultural Fund.

This exhibition presents North Queensland as a dichotomous place for its residents, who spend time in both the unspoilt landscapes and nearby in the contrasting urban cityscapes. The artist reflects upon how each elicits a different, yet often complementary, stylistic response.

Umbrella Studio Contemporary Arts

Clare Jaque Vasquez, The common thread, 2022, acrylic, oil and impasto on canvas, 195 x 195 cm. Photograph: Amanda Galea.

umbrella.org.au

10 March—16 April Weaving with Paint Clare Jaque Vasquez

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. 10 March—16 April 2023 Concurrent Visions Anneke Silver

This exhibition features works by Clare Jaque Vasquez, an emerging Indigenous artist from Gomeroi / Kamilaroi Nation who operates from a studio based in North Queensland. The artist’s innovative work extends her stories of growing up on Gomeroi Country and the role of women weaving.

UMI Arts Gallery umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. 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-forprofit 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 peoples to participate in the maintenance, preservation, and protection of culture. The UMI Arts Gallery and Gift Shop in Cairns showcases the fine art and crafts created by our member artists, assisting them to

UMI Arts Gift Shop, Cairns. Courtesy Lovegreen Photography.

Umbrella Studio → Anneke Silver, Floating, 2022, acrylic on canvas, 23.5 x 30.5 cm. Photograph: Amanda Galea. 209

STRENGTHENING OUR ABORIGINAL AND TORRES STRAIT ISLANDER CULTURAL PRACTICES UMI Arts Gallery 4/1 Jensen Street Manoora QLD (07) 4041 6152 umiarts.com.au

Image: Rainforest Stories, Melanie Hava. Courtesy Lovegreen Photography.

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QUEENSLAND UMI Arts continued...

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.

continue preserving and protecting the culture and stories of the region. 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. 10 March—5 May You & Me You & Me is a curated exhibition at UMI Arts showcasing the rich artistic diversity and talent of UMI Arts member artists.

University of the Sunshine Coast Art Gallery usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. 1 March—27 May 2023 Julie Fragar: Biograph Julie Fragar makes paintings about the stories we tell, simultaneously chronicling and critically analysing her chosen subjects. Biograph is the first career survey of Fragar’s work. Mapping more than twenty years of practice, the exhibition assembles

Julie Fragar, The Single Bed, 2017, oil on board, 135 x 100 cm. Collection of Griffith University Art Museum. Purchased 2017. Courtesy of the artist. Photograph: Carl Warner. key works made between 1998 and 2021. A travelling exhibition produced by Townsville City Galleries.

UQ Art Museum art-museum.uq.edu.au Building 11, University Drive, The University of Queensland,

Haines and Hinterding, Encounter with the Halo Field, 2009-2015, singlechannel video, colour, sound, 3 min 38 sec. Courtesy of the artists and Sarah Cottier Gallery. 14 February—24 June We Are Electric Will Benedict, Diane Borsato, Eglé Budvytytè, Megan Cope, Michaela Gleave, Jack Green, Haines and Hinterding, The Institute of Queer Ecology, Mavis Ngallametta, Dane Mitchell, Elise Rasmussen, Cameron Robbins, Yasmin Smith, George Tjungurrayi, Girringun Art Centre: Daniel Beeron (Galaman), Davina Harries, Judith Henry, Clarence Kinjun, Doris Kinjun, Debra Murray, and Eileen Tep.

Destiny Disrupted

Griffith University Art Museum 15 December 2022 – 23 March 2023 Abdul Abdullah, Abdul-Rahman Abdullah, Hoda Afshar, Safdar Ahmed, Elyas Alavi, Phillip George, Khaled Sabsabi, Omar J Sakr, Shireen Taweel, Hossein and Nassiem Valamanesh. 226 Grey Street South Bank Brisbane Q 4101 Ph: 07 37357414 artmuseum@griffith.edu.au www.griffith.edu.au/art-museum

Shireen Taweel Devices for Seeing (detail) 2022. Engraved and pierced copper, two objects: 28 x 10 x 12cm each. Courtesy the artist. Photo: Shan Turner-Carroll.

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A–Z Exhibitions

MARCH/APRIL 2023

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

ANCA → Helen Stark, Regeneration, 2022, kiln formed glass, 8 x 38 x 38 cm. Photograph: David Paterson.

Aarwun Gallery aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

ated ‘plein air’ on location. Arriving in new environments means stepping outside your comfort zone. For a visual artist, that is both challenging and stimulating. The more visually foreign, the more you have to learn new languages to understand it. It’s like seeing for the first time with fresh and untainted eyes. This major exhibition is the sum total of that engagement.

Artists Shed artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

Australian National Capital Artists (ANCA) Gallery anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm. 22 February–5 March Of Place and Time As part of ANCA’s support for emerging artists in the Canberra region, the ANCA Gallery awards an annual exhibition (EASS Award) to an ANU School of Art & Design graduate, or graduates, whose work demonstrates creative distinction. Of Place and Time brings together the work of recent graduates Helen Stark and Bridget Baskerville. In this exhibition the artists reflect upon their personal and community connections to time and place, locational identity and socio-environmental relationships and upheavals.

Fez Riad, Morocco, oil on linen, 152 x 130 cm. 17 March—16 April LOCATION Bernard Ollis This is an all-consuming title, covering a wide range of work, many of which are direct from the studio. It is work from pre and post COVID travels and encounters. From India to France, Morocco and Italy. The works also celebrate this remarkable country, from inner Sydney to the Daintree National Park. The paintings are not picture postcards but personal, observations and encounters; some cre-

Margaret Hadfield, Mural of the Warrumbungle National Park. 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.

Kylie Banyard, Touching Silver Princess with a soft pause, 2022, oil and acrylic on mistletoe dyed hemp linen and turmeric dyed canvas, diptych 120 cm x 168 cm. Photograph: Tim Gresham. Courtesy of the artist and Nicholas Thompson Gallery, Melbourne. 213

ar t g ui d e .c o m . au ANCA continued... 8 March–26 March Present tending Rebecca Mayo, Kylie Banyard, Sara Lindsay, Ema Shin, Ilka White and Katie West In this exhibition textiles are objects and tools of care. Through artistic labour they become a site of resistance to, and an index of, working from home. Six artists were given a length of plant dyed cloth with the simple instruction to use the cloth in a way that was useful for work, home or elsewhere. Cut from the same cloth, the resulting works reflect each artist’s present cares and responsibilities..

Beaver Galleries

M16 Artspace

beavergalleries.com.au

m16artspace.com.au

81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

2 March—18 March Catherine Woo Paintings

Canberra Glassworks canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Peter Vandermark, LD #9, timber, metal, acrylic paint, 24 x 10 x 15 cm. 2 March—18 March Bricolage Peter Vandermark Sculpture

Peta Jones, Signal 3, 2022, inkjet print and collage, 22.5 x 30 cm. Image courtesy of Bryn Desmond-Jones. 17 March—9 April Four Views of Black Mountain Michael Desmond, Peta Jones, Bryn Desmond-Jones and Ossian Desmond-Jones 17 March—9 April Bind Ali Aedy 17 March—9 April Windsor Blue Karina Beth McLean 17 March—9 April Cosmotechnic Telepathics in the Age of Surveillance Capitalism

Tom Rowney, Retticello Seahorse Tazza, 2023, blown glass, gold leaf. Photograph: Brenton McGeachie. 9 March—7 May Aventurine Spirit Tom Rowney Coming in March 2023, an engaging selection of past and recent works by the extraordinary glass artist Tom Rowney. With a focus on Venetian traditions, Rowney conjures amazing shapes, textures and patterns, transforming the everyday into objects of desire. Always pushing boundaries, Rowney is well known for his cones, cups, spheres and bud vases created with stunning colourings including aventurine green and ruby red. With an eye to bling and frippery, Rowney combines classic elements of glass blowing with enchantment and style. Daring form and structured contemporary shapes are embellished with meticulous fine linework and shimmering texture, pushing the functional into a fluid aesthetic.

Elisabeth Kruger, Windwhisp, oil on linen, 153 x 92 cm. 23 March—8 April There Elisabeth Kruger Paintings . 23 March—8 April Kenji Uranishi Porcelain.

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Jacquelene Drinkall, Can We Transcend the Telepathic Singularity?, (detail), 2022, gauche on paper, 76.5 x 101.5 cm. Image courtesy of the artist.

AUSTRALIAN CAPITAL TERRITORY Jacquelene Drinkall, Michael Petchkovsky, Warren Neidich, Lia Kemmis, Mahalya Middlemist, Laurence Hall, The Telepathy Project (Veronica Kent and Sean Peoples), Benjamin Denham, Shoufay Derz, Tabita Rezaire, Gabriele Stellbaum, Lorenzo Sandoval, Sarah Breen Lovett, Linda Dement, Nancy Mauro-Flude, Michele Barker, Anna Munster, Haines & Hinterding, Carolyn McKenzie Craig and Antonia Sellbach.

National Portrait Gallery portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

17 March—9 April fagpile - pink is fun Ged Jones

14 April—7 May Whether World Susan Bruce

National Gallery of Australia nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Tuggeranong Arts Centre 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.

A Stranger I Know Well Noah Spivak

DIALOGUE Nicola Knackstredt, Saskia den Brinker, Jonathon Zalakos and Cathy Zhang.

16 April–14 May Sea and City paintings Ji Chen

Vipoo Srivilasa, four works from Happy Australian, 2022. 10 March—18 June Portrait23: Identity Twenty three multi-award-winning contemporary Australian artists and collectives.

Nancy Sever Gallery

Watson Arts Centre watsonartscentre.com.au 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 Tues to Sun 10am–4pm. See our website for latest information.

nancysevergallery.com.au Level 1, 131 City Walk, Canberra City, ACT 2601 02 62 62 8448 Wed to Sun 11am–5 pm. See our website for latest information.

The Bald Archy Prize Until 13 March The Bald Archy Prize

The Mulka Project, Djarraṯ awun, (production still), 2023, commissioned for the Enlighten Festival, National Gallery of Australia, Kamberri/Canberra, image courtesy and © the artists. 3 March–13 March The Mulka Project: Djarraṯawun Open daily 8am–11pm.

Magda Cebokli, Alhambra #10, 2023, acrylic on linen, 101.5 x 101.5 cm. 5 March–9 April A Sense of Place Magda Cebokli

Jonathan Jones, Wiradjuri/Kamilaroi peoples, Dr Uncle Stan Grant Snr AM, Wiradjuri people, collaborator, Beatrice Murray, Wiradjuri people, collaborator, untitled (walam-wunga.galang), 2020–21. National Gallery of Australia, Kamberri/ Canberra, purchased with the assistance of Wesfarmers © Jonathan Jones.

Nathan Nhan, Trophy #22 Calvin, 2022, earthenware, glaze, vitreous enamel, 24 x 14 x 15 cm. Photograph courtesy of the artist.

4 March—23 July untitled (walam-wunga.galang) Jonathan Jones Ongoing WORLDWIDE

Ji Chen, Time and space - Watson Bay, 2022, oil on canvas, 80 x 100 cm.

23 March—23 April Emerging Artist Support Scheme Exhibition Alicia Cox, Molly Desmond, Adeline Jeffery and Nathan Nhan. 215

A–Z Exhibitions

MARCH/APRIL 2023

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 bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information. 24 February—2 April Last Messages Zieromuko, John Zobele, Yoshi Sodeoka, Winston Smith, Ryder Ripps, Nik Pepsi, NEGATIVEMEDITATION, Erin Linhart, Ray Harris, Lin Chen, Joey Gracia, Paolo Cirio. Presented by Contemporary Art Tasmania in association with Mona Foma. Curated by Scot Cotterell.

Colville Gallery colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

Adrian Robert, kunanyi: Boulder-fields and Bushland, 2023, 152 x 122 cm, oil and acrylic on canvas. 4 April—24 April kunanyi: Boulder-fields and Bushland Adrian Bradbury

Devonport Regional Gallery paranapleartscentre.com.au

Sara Maher, The Rain Maker (detail), 2022, watercolour on paper, 14 x 14 cm (detail), 20 x 50 cm (work dimensions). 10 March—6 April Chrysalid Sara Maher 14 April—6 May LOOKS DREAMS AWAKES Brigitta Ozolins 14 April—6 May untitled Valerie Sparks

Contemporary Art Tasmania contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17]

with work loaned for this exhibition: Caleb Nicholls Mansell, Cheryl Rose, Dave mangenner Gough, Karen Smart and Louise Daniels. TERMS is an exhibition of works by Tasmanian Aboriginal artists held in the Devonport Regional Gallery’s Permanent Collection and works on loan from Northern Tasmanian Aboriginal artists. The works from the permanent collection were acquired over many years by past gallery directors, each with a different appreciation of art and ideology of what to acquire for the collection.

Pat Brassington, Mirror, Mirror, 2022, 75 x 54 cm. 10 March—6 April Strike Pat Brassington

Jim Nelson, Untitled, 2012, Woodfired stoneware, Collection of Jim Nelson.

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.

When art is included in a public collection it is exhibited at the gallery’s discretion and it can be selected frequently or rarely depending on the curators’ vision. Works are displayed alongside other makers’ which are foreign to one and another, creating new narratives and shown with or without the consent of the artists. The art by local Tasmanian Aboriginal artists have been created and selected for this exhibition by the artists themselves, who are pleased to share their works and their stories with you on their TERMS. This exhibition pays respects to all artists and their exhibited art, and we thank the Devonport Gallery for their intent and practice of working with and supporting Tasmanian Aboriginal artists past, present and into the future. An exhibition curated by Dave mangenner Gough and Louise Daniels. A Ten Days On The Island program.

28 January–13 March Jim Nelson: A life with Pots From functional ware to robust and craggy woodfired pots the exhibition Jim Nelson — A life with Pots traces the artist’s 40 years as a potter in Weegena in the Northwest of Tasmania. Also central to Jim’s work was his study of Tasmania’s flora and fauna resulting in platters which display local species including frogs and the giant freshwater crayfish. 4 February–18 March TERMS Tasmanian Aboriginal Artists with work from collection: Aunty Lola Greeno, Dr Julie Gough, Denise Robinson and Ricky Maynard. Northern Tasmanian Aboriginal artists

Albert Robinson, Dahlia Festival – Mardi Gras and floats, 1958, DCC Permanent Collection. 11 February–20 May Dear Dahlia: Celebrating the Dahlia Festival 1955 - 1999 217

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

Handmark

Dear Dahlia is an exhibition celebrating the historic Devonport Dahlia Festival which took place annually over a 44-year period. The core of this exhibition is made up of selected photographs from the Robinson Collection of Negatives alongside program ephemera and coloured slides from the Bass Strait Maritime Centre, Richmond Collection, and information from people who were involved with the festival. The exhibition showcases the nostalgic imagery of Devonport’s vibrant community spirit, representing the joy that surrounded the Dahlia Festival and its much-anticipated events. Inspired by the historic parade floats, Dear Dahlia includes a small-scale replica flower installation co-created with the local community. Throughout the duration of the exhibition the public are invited to share memories, stories, and information of the festival for preserving the important social history of this once vibrant event to share with generations to come. Curated by Erin Linhart.

handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm.

Michael Gromm, Abstract.

18 March–20 January 2024 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2023 Selected Artists: Chloe Bonney, 18 March – 29 April; Xiyue (CiCi) Zhang, 6 May – 10 June; Sevé de Angelis, 17 June – 29 July; Rodney Gardener, 4 November - 9 December; Joseph Collings-Hall, 16 December –20 January 2024. 25 March–29 April North West Art Circle: Annual Community Art Exhibition & Awards 2022 The annual North West Art Circle Exhibition and Awards is an event open to members, who are passionate about sharing their love of art with the wider community.

Museum of Old and New Art (Mona) mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. See our website for latest information. 17 December 2022—24 July Oceans of Air Tomás Saraceno

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Mindy Doré, Spill, 2022, pochoir and silver pigment linocut, 56 x 38 cm. 9 March—27 March Print Makers Works on paper.

Michael Gromm, Abstract.

Adrian Barber, Winter No.1, 2022, acrylic on canvas, 107 x 137 cm. 31 March—17 April Adrian Barber New works. 21 April—8 May Jan Hogan and Olivia Moroney New works.

Penny Contemporary pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. 10 March—3 April Use Your Illusion Michael Gromm

7 April—1 May New Work Dan Withey

Plimsoll Gallery, University of Tasmania utas.edu.au/creative-arts-media/ events/plimsoll-gallery 37 Hunter Street, Hobart 7000 [Map 17] 03 226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and pub hols. Out of the Everywhen In 1988, a group of Indigenous and non-Indigenous printmakers and art organisations from across Australia produced a series of 32 screen-print posters titled Right Here Right Now in response to

TASMANIA

Image: Angela Casey.

Jazz Money, Bub, Listen up, 2021, digital print on poly silk, 100 x 100 cm. Courtesy of the artist. the nation’s bicentennial festivities. It provided a strong alternative narrative to the official message of celebration, acutely capturing the state of our nation as it relates to themes including dispossession of Aboriginal people, the environment, demands for justice and land rights. It also provided a powerful message of survival of Aboriginal and Torres Strait Islander culture. 35 years later in 2023, this significant body of work provides a springboard for a new group of artists to project themselves another 35 years into the future. In 2058, how will we have managed to change the course of our trajectory (or not)? What will we get right, what are we still learning, and in what ways has our hubris continued to ignore our future ancestors? Invited artists in this exhibition speculate on our futures, and in turn invite us to imagine and actively create the world we want to live in.

Queen Victoria Museum & Art Gallery 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. Permanent Queen Victoria Art Gallery, Inveresk : Northern Clay Launceston’s past as a major pottery and ceramics hub is celebrated in Northern Clay, an exhibition exploring the story of the rise of ceramics in northern Tasmanian beginning with two former Launceston pottery companies: John Campbell Pottery and McHugh Brothers. 26 November 2022—28 May Art Gallery at Royal Park (2 Wellington Street, Launceston) : Jimmy Possum: an unbroken tradition Bound to the people, place and history of the Meander Valley in northern Tasmania; this chairmaking tradition is unlike any other in the world. It’s defining interlocking configuration; legs that intersect the seat

and housed in the arms, back rungs that intersect the arms and housed in the seat, was reputably developed at several Meander Valley bush camps by the fringe-dweller Jimmy Possum. Permanent Art Gallery at Royal Park (2 Wellington Street, Launceston) : 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.

H J King Collection, QVM:2014:P:4214. Stereographic photograph (detail) of HJ King with two Indian Motorcycles on a trip to Cradle Mountain, 1921.

Installation view of historic Tasmanian stone tool registration cards (circa 1915) from the Grassi Museum für Völkerkunde zu Leipzig, Germany; taypani-milaythina-tu: Return to Country exhibition, TMAG, October 2022. Image: Rosie Hastie. 1 October 2022—7 May taypani milaythina-tu: Return to Country This ground-breaking exhibition presents creative work from 20 Tasmanian Aboriginal artists responding to inherent relationships between community and Ancestral objects, particularly those held in institutions outside lutruwita/Tasmania. Ancestral objects from collections around the world have returned to lutruwita to be exhibited alongside these contemporary responses, some of which are by descendants of the original makers, representing generational reconnection across time and place. taypani milaythina-tu: Return to Country follows previous Tasmanian Aboriginal community–TMAG partnership projects kanalaritja: An Unbroken String (2016–20) and tayenebe: Tasmanian Aboriginal Women’s Fibre Work (2008–11). This important exhibition is an ambitious project presenting a reconnection between people, objects and Country.

27 August 2022—27 August Queen Victoria Art Gallery, Inveresk : HJ King: cameras and carburettors Although HJ 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 HJ King?

Tasmanian Museum and Art Gallery tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Daily 10am–4pm (until 31 March) Tue to Sun 10am–4pm (from 1 April) Free entry. From 18 February 2022 Extinction Studies Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG.

TMAG conservator Jenny O’Connell working on a painting on display in Behind the Layers. Image courtesy Creative Grit. 9 March—30 April Behind the Layers: Authenticating the Stories of Paintings This exhibition showcases recent treatments undertaken by the TMAG conservation department, focusing on 19th century oil paintings and their frames. It also explores some of the mysteries uncovered about the artists and their subjects. Here we have examples of portraits that have been attributed to different artists. How do we know who painted them? Many colonial portraits were not signed, so we need to look for other clues. One way to answer these questions is to examine the materials and techniques of the artist. Research is showcased in this exhibition that looks behind the layers of paint using infrared and ultraviolet photography to discover the artist’s techniques. 219

A–Z Exhibitions

MARCH/APRIL 2023

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 ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

through his career-long obsession with photography. Whether he was behind or in front of the camera, photography formed an essential part of his artistic practice while also capturing an insider’s view of his celebrity social world. Tickets available online or in person.

bmgart.com.au

24 February—18 March THOMPSON & BOWERS: A country for Old Men Mark Thompson Porcelain. Stephen Bowers Earthenware.

Art Gallery of South Australia Kaurna Country North Terrace, Adelaide, SA 5000 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Carlos Barrios Paintings and ceramics.

gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery and stockroom open by appointment only.

Flinders University Museum of Art flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information.

4 February—18 March A river that flows both ways: Selected works from the 23rd Biennale of Sydney: rīvus Aluaiy Kaumakan (Paiwan Nation), Yuko Mohri (Japan), Imhathai Suwatthanasilp (Thailand), and Sopolemalama Filipe Tohi (Tonga), alongside the river voice of the Murrundi / Murray River.

agsa.sa.gov.au

Paintings and works on paper.

GAGPROJECTS BMG Art 444 South Road, Marleston, SA 5033 08 8297 2440 or 0421 311 680 Wed to Fri 12noon–5pm, Sat 2pm–5pm.

Sopolemalama Filipe Tohi, Haukulasi, 1995–2021 (detail). Commissioned by the Biennale of Sydney with generous support from Creative New Zealand. Photography by Document Photography.

21 April—13 May Barbara Chalk

Nate Finch, Killjoy, 2022, acrylic, oil and collage, 118 x 122 cm.

Therese Ritchie, Simply did not happen, 2021, pigment print, 80 x 50 cm. Collection of the artist. 20 Febuary—6 April Some Like it Hot Franck Gohier and Therese Ritchie

Oliviero Toscani, Andy Warhol, 1975, New York, pigment print on paper, 32 x 46 cm (image), 40 x 50 cm (sheet). Public Engagement Fund 2021, Art Gallery of South Australia, © Oliviero Toscani. 3 March–14 May Andy Warhol and Photography: A Social Media Exclusive to the Art Gallery of South Australia, this exhibition reveals an unseen side of celebrated Pop artist Andy Warhol

Chris Ingham, City Character #1, hand painted bronze, 15 cm h. 24 March—15 April Nate Finch Paintings. Chris Ingham

Some Like it Hot, curated by Wendy Garden, brings together two of the Northern Territory’s most respected artists: Franck Gohier and Therese Ritchie in an exhibition that reflects upon gender trouble in the tropics. Both Gohier and Ritchie consider the performative nature of gender, tracing the intersections between sweat, sex, desire and discord in Darwin, Australia’s hottest and most remote capital city. Some Like it Hot is an Artback NT Touring Exhibition, and proudly supported by Visions of Australia and the Australia Council for the Arts.

Bronzes and etchings. 221

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

JamFactory

The Main Gallery

jamfactory.com.au

sheilawhittam.com

19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm.

156 Halifax Street, Adelaide, SA 5000 08 7225 0218 Mon and Tues by appointment, Wed to Fri 12noon–5pm, Sat 1pm–5pm, Sun closed. See our website for latest information.

Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm. See our website for latest information.

Murray Bridge Regional Gallery murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

Sheila Whittam, Unfolding Arena 2, oils and mixed media, 72 x 72 cm. Barbara Hanrahan, Flying mother, 1976, screenprint, colour inks on paper, 59 x 48 cm. Private collection, Adelaide, © the Estate of the artist. Courtesy of Susan Sideris, 2020. 21 January—19 March Bee-stung lips: Barbara Hanrahan works on paper 1960-1991

WAH-WAH x Ramesh Mario Nithiyendran, 2022. Stylist: Kirsty Barros. Photograph: Lexi Laphor. Courtesy of WAH-WAH Australia. Morphett Street: 10 February–16 April NEW EXUBERANCE: contemporary Australian textile design

Sheila Whittam, Necessitates Towards Order 21, diptych, oils and mixed media, 120 x 78 cm. 31 March—22 April Silencing the Chaos Sheila Whittam

Bee-stung lips surveys Barbara Hanrahan’s prolific 30-year printmaking career. Her fearlessly direct works are characterised by playfully complex narratives that draw on both personal experience and fantasy. Curated by Nic Brown, this is a Flinders University Museum of Art touring exhibition presented in collaboration with Country Arts SA.

This new series of work has taken me in a direction which opened my perception, not simply by the application of paint or to convey any direct reference to nature or the built environment - but was brought about by the laying down of the material itself.

Lisa Furno, Lost Fun Zone, 2021. Photograph: Grant Hancock. Seppeltsfield Road: 25 February—23 April Material Metamorphosis 222

These new directions were also concurrent with our world - which was sliding into a time that startled us by its intensity. Chaos was real - and in my studio I engaged also with another kind of turmoil by allowing an impulsive - unruly play. However disorder tends towards order and this influence me as I worked with flourish towards a resolution. Surfaces undone, reworked and remade, (un) intentional irregularities evolved fundamental to my aesthetic - along with the compositional considerations impacting me at a visceral level. This process took me finally into ordered silence of elementary beauty.

Monika Morgenstern, Orbis, 2022, ink on aluminium, 90 x 90 cm. Photograph: Grant Hancock 21 January—19 March I Dwell in Possibility: Monika Morgenstern Morgenstern’s practice explores phenomenology and how undefinable complex feelings are experienced on a deeply personal, emotional and psychological

S OUTH AUSTRALIA level. In a time of enormous geopolitical and economic stresses, I Dwell in Possibility presents ethereal and atmospheric abstractions that delve deep into ideas of the numinous, toward a more enchanted universe.

Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed.

1 April—23 April Rotary Art Show 2023 This popular annual community-driven event provides an opportunity for emerging, seasoned and hobbyist artists to exhibit and sell their work, as well as be in the running to win a prize in the categories of 2D, 3D and Photography. Mediums often range from oil and acrylic paintings, ceramics, metal and found objects sculptures, mixed media assemblages, photographs and works on paper.

nexusarts.org.au

Zoe Freney, Work From Home, 2022, tulle, painter’s linen, thread, dimensions variable. Photograph: Grant Hancock. 24 February—25 March Work from Home Zoe Freney

Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

Work From Home continues Dr Zoe Freney’s investigation into making art from the locus of the domestic. This important work forms part of a nascent field that powerfully represents the generative creativity within the site of the home.

Nexus Arts

Michael Carney, Paths, 2022, oil on canvas, 137 x 102 cm. Image courtesy of the artist. through the lens of technology. The exhibition showcases a variety of mediums and techniques that aim to build a visual language that reflects the artist’s unique perspective on the natural world. This exhibition explores mediums as varied as sculpture, painting, ceramics, 3D printing, virtual reality, and projection. 20 April–19 May Between Work and Home Thomas Maguire Inspired by the experience of travel and lived adventure, this work takes reference from the remote Australian bush, suburban architecture and its’ inhabitants.

Riddoch Arts & Cultural Centre theriddoch.com.au

Image supplied by artist. 17 February–17 March Find That Pace Jianzhen Wu (Shirley) Find That Pace by Jianzhen Wu (Shirley) is a repetitive, sensory, and meditative creative experience with a focus on inner space and reconnection to the body. Visitors are encouraged to respond individually to the environment and materials in this participatory visual arts exhibition setting. This project is a continuous exploration of Wu’s lived experience through auto-ethnography, phenomenology, and materiality, and is the outcome of their three month studio residency at Nexus Arts.

Newmarch Gallery newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road,

Daryl Austin, Portrait fictions, 15 December, (detail), 2020, oil on panel, 25 x 20 cm. 31 March—6 May Disruptions, Fictions Daryl Austin

1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information.

Working across 3 genres of painting Daryl Austin creates images both familiar and uncanny through his use of painterly and conceptual disruptions.

praxis ARTSPACE praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm. 20 April—19 May Transhuman Nature Michael Carney Transhuman Nature is a personal exploration of Carney’s experience of nature

Justine Emard, Soul Shift, 2018, video still. Image courtesy of the artist. 4 February—12 March Experimenta Life Forms Experimenta Life Forms features 26 contemporary Australian and International artists working across diverse artforms – including robotics, bio-art, screen-based works, installations, participatory and generative art. The exhibition explores the changing notions of life in 223

praxisartspace.com

S OUTH AUSTRALIA leading international moving image artist Emily Wardill.

Riddoch Arts & Cultural Centre continued... response to new scientific research and technological change.

Ray Harris, Solastalgia, 2022, digital video still. Image courtesy of the artist. 25 March – 29 April Artist in Residence Exhibition: Solastalgia Ray Harris

Noel McKenna, Good Morning, 2007, etching and drypoint, printed in black ink, from one plate on off-white wove Velin Arches 300gsm paper. Image courtesy National Gallery of Australia, Canberra.

Reflecting on identity as nature or nurture; the inseparable relationships between internal and external environments and human susceptibility. Solastalgia engages the surrounding landscape exploring trauma, vulnerability, longing and loss.

samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information.

This exhibition is drawn exclusively from the Riddoch’s collection and celebrates all things avian. Taking Flight showcases how Australian artists have long been inspired to paint, sculpt, and draw birds, offering fresh narratives and new perspectives on the life of birds, how humans engage with birds, and especially the multifaceted symbolism of birds.

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information. 4 February – 18 March [GRAFTd] Exhibition Sea and Being Change Beverley Southcott Referencing ongoing debates surrounding conflicts, the aftermath, and peace, Southcott’s works position domestic space as a central global location from which to receive broadcast news. This exhibition incorporates imbued empathetic and nuanced visual expressions that reflect our human crises. Yet, extremism, nationalism, and neoliberalism are forceful contributors to overshadow these integral humanistic attributes, thus resulting in prolonged and unresolved grief for many.

3 March–19 May Emily Wardill: Night for Day (UK)

South Australian Museum

Feathered and flighty, birds have a way of captivating our eyes with their bold plumage, while arresting our ears with warbled tunes. From migratory birds that travel across oceans and continents to those shy little creatures who choose to stay closer to home, the diversity of birds in this country is astonishing.

onkaparingacity.com/sauerbierhouse

3 March–19 May James Newitt: HAVEN (AUS/PRT)

3 March–19 May Bruce Nuske with Khai Liew (AUS)

11 March—11 June Taking Flight: Birds from the Riddoch collection

Sauerbier House Culture Exchange

Bruce Nuske, Ceramics, 2022. Photograph by Grant Hancock.

Asha Southcombe, Marker, 2021, graphite on paper, 59.4 x 84.1 cm. Image courtesy of the artist. 25 March – 29 April Artist in Residence Exhibition: Entanglement Asha Southcombe Referencing organisms found in the City of Onkaparinga, Southcombe uses mark making processes to create entanglements of the human and more-thanhuman that reflect the critical theory of queer ecology.

Samstag Museum of Art unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 08 8302 0870 Tue to Sat 10am–5pm. Three Adelaide Festival exhibitions that bring together the best of contemporary practice and the intricate ceramics of Bruce Nuske, the evocative work of Samstag scholar James Newitt, with

4 March—23 July RELICS: A New World Rises An exciting new touring exhibition premiering at the South Australian Museum by artists/creators Alex Towler and Jackson Harvey, winners of Channel 9’s 2020 LEGO® Masters. This immersive exhibition features a collection of old and forgotten objects housing miniature worlds built of LEGO®. Within each relic, the LEGO® civilisation has adapted to the distinctive character of the artefact it inhabits; a marauding band of inventors have reverse-engineered a grandfather clock to build a time machine; in a retro arcade, airlocks and elevators connect a series of gaming machines to form a futuristic space port. Even more curious worlds await to be discovered, each with their own strange stories to tell. 225

A–Z Exhibitions

MARCH/APRIL 2023

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

Art Collective WA

Until 23 April I have not loved (enough or worked)

artcollectivewa.com.au

Presented by the Simon Lee Foundation Institute of Contemporary Asian Art, a major new curatorial and creative initiative at AGWA, I have not loved (enough or worked) brings together works in video, photography, painting and sculpture by Hai-Hsin Huang, Daisuke Kosugi, Pixy Liao, Lin Zhipeng (aka No.223), Rinko Kawauchi, Sejin Kim, Lieko Shiga, and Tao Hui, to reveal how deeply enmeshed our bodies, and the subjective forces of love and desire, are within the fantasies of ‘the good life’.

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.

Kevin Robertson, Are You in There, Mr Smart?, 2022, oil on canvas, 41 x 30.5 cm. architectural spaces, figures and atmospheric studies – is connected by threads of heightened visual awareness. 15 April—13 May Planet of the Humans Antony Muia

Toni Wilkinson, Scarlett with Banana, 2022, archival digital print on Canson Photographique paper, 120 x 160 cm, ed. 5. 11 March—8 April Tough Pleasures Toni Wilkinson Toni Wilkinson presents two extended suites of images that feature women and food in a new book and exhibition: Tough Pleasures. Revisiting the 2003 series that launched her early career in contemporary art photography, Wilkinson adds new works almost two decades later that meditate on complex themes of femininity, the absurd, desire, and ongoing debates around photography and art in an ever-expanding visual culture. 11 March—8 April Beauty and Menace Connie Petrillo Connie Petrillo immerses herself in the aesthetics of the minimal image as the primary signifier of the cultural erasure of the child in this new set of images. As she strips away context and detail, we are invited to engage with the bare bones of visual experience. Simultaneously conveying an atmosphere of presence and one of imminent disappearance, it’s as though the multiple complex and messy realities of childhood are slowly being erased, sinking into the shadows, observed but not heard. 15 April—13 May Recent Paintings Kevin Robertson Kevin Robertson presents new work in a solo exhibition. The painterly surfaces of these new paintings record moments of both the observable world and the intuitive world that we inhabit simultaneously. The drifting subject matter –

Antony Muia’s urban landscapes ponder humanity and the predicament of inhabiting planet Earth. This new series of prints are inspired by the beautiful and quirky nature of life. Muia’s graphic and linear style is simple, playful, and distinctive. The work makes clear and poignant observations of our human history and trajectory seen from an otherworldly perspective.

The Art Gallery of Western Australia

Yoshitomo Nara, Girl with eyepatch, 2018, acrylic on canvas, 120 x 110 cm. Private collection, courtesy of Blum & Poe, Los Angeles. ©YOSHITOMO NARA, 2018. 26 February—25 June Yoshitomo Nara: Reach Out to The Moon, Even If We Can’t Celebrated Japanese artist Yoshitomo Nara’s first Australian solo exhibition

artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Until 26 March dis/possession: identity and sense of place dis/possession displays works drawn entirely from the State Art Collection, centring on the juxtaposition of two significant works by Australian artists: Hans Heysen’s Droving into the light and Mervyn Street’s Bull ride. Painted approximately 100 years apart, each offers a view of rural Australia that reflects the preoccupations of the artist at the time of the work’s production. Until 30 April Yeahnahnesia Yeahnahnesia is an exhibition presenting cultural artefacts from the remote island of Yeahnahnesia. Yok & Sheryo chanced upon the island and quickly embraced the world view of its locals, which is simultaneously animated and laid-back while being layered with meaning. A place where visitors can escape their real-world responsibilities, Yeahnahnesia is both fantastic and familiar.

Farah Al Qasimi, Signature Hookah Lounge, 2019, archival inkjet print, 76.2 x 53.3 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased through The Art Gallery of Western Australia Foundation: TomorrowFund, 2022. Courtesy of the Artist; Helena Anrather, New York; and The Third Line, Dubai. © Farah Al Qasimi, 2019. 227

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... brings together major sculptural works alongside paintings, drawings, ceramics, and photography. Spanning 2011-2022, the exhibition focuses on key works from Nara’s recent output. Dramatically presented in AGWA’s largest gallery space, the sculptural works form a series of interrelated islands that span a range of feeling states. Individually and collectively, they demonstrate Nara’s unsurpassed ability to convey emotional nuance with clarity and moving intensity.

Artitja Fine Art Gallery artitja.com.au

25 March–28 May The Lester Prize: 2022 Regional Tour Group exhibition

EARLYWORK, 330 South Terrace, South Fremantle, WA 6162 0418 900 954 Open daily by appointment around our exhibition program.

4 February—30 July Farah Al Qasimi: Star Machine The first solo exhibition in Australia by photographer, video and performance artist Farah Al Qasimi. The exhibition departs from a recent work Star Machine (2021) and takes a reflective gaze over the past five years of the artist’s practice. Until 10 September Against The Odds Prompted by the recent purchase of a significant early painting by the Melbourne-based artist Helen Maudsley, Against The Odds celebrates the work of women artists held in the State Art Collection. The exhibition focuses on art made in the 1950s in Australia by Maudsley’s contemporaries, and features the work of thirty-two artists, working across all media. From 11 March Boodjar: Through the Works of Meeyakba Shane Pickett Featuring a small selection of the late Meeyakba Shane Pickett’s earlier works on paper, alongside a section of Charmaine Papertalk-Green’s poetry, that speaks to the works, Pickett’s connection to Country, as well as their friendship. From 27 April 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 our world. On Now Exquisite Bodies Bruno Booth Exquisite Bodies is a participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Interrogating and expanding on ideas of beauty, mobility, and ability Exquisite Bodies draws on the surrealist game Exquisite Corpse, as an open-ended celebration of difference inviting audiences of all ages to interact with playable figurative sculptures and drawing games.

Jeanie Napangardi Lewis, Mina Mina Dreaming, 122 x 122 cm. Courtesy Warlukurlangu Arts, the artist and Artitja Fine Art Gallery. 10 March—2 April Women’s Way Coinciding with International Women’s Day this exhibition is a celebration and acknowledgment of the important role of First Nations Women in contemporary Aboriginal art.

Bunbury Regional Art Gallery brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. Follow our socials to stay up to date. @bragwa

Erin Coates, Heavy Metal Skull (from the series Swan River Dolphin Bones), 2021, graphite on paper, 76 x 59 cm. 2 April–5 June Bunbury Biennale: Culture/Nature Group exhibition

DADAA Gallery dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Fri 10am–4pm, Sat 10am–2pm. See our website for latest information.

28 January–26 March Oceania: Distance and Diversity presented by Studio Art Quilt Associates (SAQA) Group exhibition

Jessica Wyld Photography. 4 Febuary—4 April The Sea Shell Is Not the Sea Shore Matt Gingold, Jenny Hickinbotham and Zora Kreuzer Three artists explore mental health as a collective and cultural experience through the medium of sound. Incorporating video, sculpture, and poetry, their work breaks the socially encouraged silence around madness, trauma, and neurodivergence, amplifying the voices of people with lived experience. Image courtesy of The Lester Prize.

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WESTERN AUSTRALIA present an ambitious new commission, taking over the art centre’s main gallery.

DOVA Collective dovacollective.com.au Plaza Arcade, 650 Hay Street Mall, Perth, WA 6000 0419 614 004 Wed to Sun 10am–4pm. Hayley Millar Baker, Nyctinasty, 2021, still from single channel video

Sherylle Dovaston, A Subtle Shift, 81 x 81 cm, acrylic on canvas.

Atong Atem, Hamam 6, 2021, digital photograph. Image courtesy of the artist and MARS Gallery.

Nyctinasty, a recent filmic work by Gunditjmara and Djabwurrung artist Hayler Millar Baker, speaks to spaces between the physical, emotional and spiritual realms, the in-between spaces that First Nations people occupy simultaneously. In the Western Australian premiere of this filmic work, originally commissioned for Ceremony: The 4th National Indigenous Art Triennial (National Gallery of Australia, 2022), Millar-Baker centres female strength and power, utilising and challenging horror film tropes of female psychosis through purposeful revealing of a strong, open and resilient protagonist, grounded in her own magic and ancestral connection, played by Millar Baker herself. Other Horizons is a timely reminder of the many ways we connect with and belong to this place we call Australia, and the stories which comprise a complex, and often fractured national identity. Other Horizons is presented in association with Perth Festival.

4 February—23 April Other Horizons

Gallery 152

Journeys under a shared sky, across vast seas, to the continent we now call Australia, some revealing the terror of slavery, others focussing in on early migration histories, are offered alongside cinematic depictions of contemporary First Nations ritual, spirituality and power in Other Horizons.

152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

gallery152.com.au

Comprised of three independent artist projects, Other Horizons presents the work of South Sudanese artist Atong Atem, Gunditjmara and Djabwurrung artist Hayley Millar Baker and Australian South Sea artist Jasmine Togo-Brisby, celebrating the works of First Nations women and Women of Colour. Other Horizons offers consideration and nuance to discussions around sovereignty, the colonial adventure, migration, national identity and belonging in contemporary Australia. Kat Ferguson, You Are You, 126 x 95 cm, acrylic and mixed media on canvas. 15 April–14 May Intangible Sherylle Dovaston and Kat Ferguson Intangible features new and exciting works by WA artists Sherylle Dovaston and Kat Ferguson. Sherylle’s work explores the far reaches of human experience. Her paintings provide an elemental space for just being; a fusing of inner and external sensation arises from the extraordinarily personal responses to her work. Kat Ferguson’s ethereal compositions incorporate colour references from the world around her, and fill the canvas with fluid, evocative energy.

Fremantle Arts Centre fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Banksia by Atong Atem, commissioned by Rising Festival (Melbourne, 2021), reveals early histories of African settler migration to Australia with the first fleet. Created during a residency to the Migration Museum in Naarm (Melbourne), South Sudanese artist Atong Atem’s work explores these early diasporic movements through cinematic, opulent and timeless filmic and photographic work. In approaching these narratives from a non-Eurocentric vantage point, Atem unpacks notions of ‘Australian-ness’ and belonging, mythologies of national identity and the history of migration policies in Australia. Abyss, a solo exhibition of recent works by Australian South Sea Islander artist Jasmine Togo-Brisby explores South Sea Islander identity and history and interrogates plantation colonisation, blackbirding practices and slavery within the Australian and Pacific context. Abyss showcases Togo-Brisby’s interdisciplinary approach to revealing personal and painful recent histories while also highlighting the formation of new cultures and identities in the bellies of slave ships. Alongside a significant body of existing works, Togo-Brisby will also

Leonie Oakes, Between the Lines artist book, 2022. Photograph courtesy of the artist. 4 March–26 March Listening to the Night: between the lines a story lies Leonie Oakes Listening to the night: between the lines a story lies explores the moment of stillness between the in-breath and the out-breath of the body, the moment between day and night when the light fades and becomes fleetingly more intense. Leonie has an interdisciplinary arts practice that primarily focuses on artists’ books, print, photography and wearable art. She has been living between Tasmania and Western Australia since 2016 and working with Gallery 152 in a variety of roles. During these journeys’ Leonie spent hours in the air stitching, documenting on the road and on the ground in both locations worked with layers of paper and ink 229

ar t g ui d e .c o m . au Gallery 152 continued...

KAMILĖ GALLERY

to create the work. This exhibition is the culmination of that journey. Endings and beginnings merge in both directions. The story intertwines.

kamilegallery.com

Listening to the night (the dress) was awarded the $1000 Award in honour of Pam and Neil Thorne in the 2022 Paper on Skin Award, sponsored by Janet De Boer OAM. Her entry, Between the lines a story lies, won the Temple-Smith Lawyers, Linda Johnston Director Major Prize of $1500. These works along will be featured in the exhibition along with artists’ books, wearable sculptures and wall works consisting of thousands of pieces of paper and layers of ink and stitch. Opening event: Hosted by Keith Schekkerman, owner of Sandalwood Print Press Museum, York, on Sunday 5 March, 11am.

State Buildings, 1 Cathedral Ave, Perth, WA 6000 [Map 19] and Cathedral Square, 3 Pier Street, Perth, WA 6000 0414 210 209 Tues to Sat 11am–7pm. See our website for latest information. KAMILĖ GALLERY is pleased to invite you to a new gallery space in Perth, situated in the State Buildings on Cathedral Avenue.

relationship to country and Nation as both intimate and uneasy, exploring the Australian psyche from the cultural cringe – romantic and gothic, and grounded in tradition ruled by National influences that draw their life from the accretive traditions which have alone created them. Matthew McVeigh is an interdisciplinary artist who graduated from WAAPA. His practice is predominantly interested in how identities, histories and institutions can be consumed and subsumed into homogenized narratives. McVeigh’s works have been acquired by the Holmes à Court Collection and the Art Gallery of WA.

John Curtin Gallery jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission.

Caroline Christie-Coxon, synthetic polymer on canvas, 120 x 120 cm, 2022. Upcoming Caroline Christie-Coxon Circle Culture

KolbuszSpace kolbuszspace.com Aziz Hazara, Bow Echo, 2019, five channel video installation with sound, 4:17 mins. Courtesy of the artist & Experimenter. 10 February—16 April However vast the darkness… Afghan artist Aziz Hazara and Aotearoa New Zealand’s Lisa Reihana

2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

Gaye Jurisich, The Steadman, 2022, mixed media on canvas, 170 x 150 cm. 21 April—23 April Intentional Viewpoints Gaye Jurisich Gaye Jurisich lives and works in Hamilton, New Zealand and is a widely reviewed and respected multi-disciplinary artist. Her works interpret landscape as both narrative and energy, looking past the obvious to the artist’s interpretation of time, scale, space, spirit and combines this with her memories, desires and fears. Jurisich’s first solo at KolbuszSpace Secrets and Exposures (2021) sold out and her sculptures have featured in the both the Bondi and Cottesloe Sculpture by the Sea exhibitions. Jurisich has work in numerous international collections including the Pratt Institute in New York. This exhibition will feature new large scale paintings and smaller sculptural works.

Lawrence Wilson Art Gallery & Berndt Museum Laurie Nilsen, Dollar Dilemma Flag, 2020, digital print on textile, installation view, OCCURRENT AFFAIR, UQ Art Museum, 2021. Reproduced courtesy of The Estate of Laurie Nilsen and FireWorks Gallery, Brisbane. Photograph: Carl Warner. 10 February—16 April OCCURRENT AFFAIR proppaNOW 10 February—16 April Carrolup coolingah wirn Child Artist of Carrolup 230

uwa.edu.au/lwag

Matthew McVeigh, Invisible, 2022, digital print, archival, 120 x 150 cm. 24 March—26 March Shadow Self Matthew McVeigh Shadow Self explores both positive and negative aspects of our colonialism as a persuasive psychological influence, as that between an adolescent and their parent. Matthew McVeigh sets up our

The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm. 11 February—22 April Black Sky Presented by the Berndt Museum, the Cruthers Collection of Women’s Art and Lawrence Wilson Art Gallery. Black Sky

WESTERN AUSTRALIA 4 March—25 March Subiaco: The Joy of Colour Ken Done

Gombawarrah-Yinhawangka, Night Sky Paraburdoo. Photograph: Justine Kerrigan ACS.

“This series of new work continues my exploration of the joy of colour with paintings reflecting the colours and the graphic possibilities inherent in diving on a tropical reef. Nowhere is as exciting as the first dive at Ningaloo. ’Striped Reef I’ comes from a series of dives that I made last year on the beautiful Ningaloo Reef.” —Ken Done, 2023.

asserts sovereign visions of blackness – from the deep wounds of mining up to the expanses of the night sky. Far from neutral backdrops, skies are spaces that hold life and story, incite creation and dreams, and witness political action and environmental destruction. The exhibition traverses unlikely spaces of resistance and cultural continuation—from creation stories across horizon lines, to ambiances of the night club, to creatures of flight, to the black of the Aboriginal flag as a symbol of sovereign solidarities across skies. Black Sky is presented as part of the Perth Festival Visual Arts Program, supported by Wesfarmers Arts.

Gregory Pryor, Success Hill 2, (detail), 2017, watercolor on paper, 53.7 x 35.7 cm. Photograph courtesy of the artist. 25 March—20 May Beyond Interpretations Beyond Interpretations brings together artworks from the City of Swan Collection that respond to the diverse City environments, animating the textured stories of this unique area through people who call Swan home, including: Bernard Tandy, Frank Pash, Edward Quicke, Jude Taylor, Hans Arkeveld, Christobel Bennett, Madeleine Clear, Allon Cook, with contemporary works by Peter Dailey, Gregory Pryor, Beverly Iles and Gemma Ben-Ary.

Linton & Kay Galleries

Mundaring Arts Centre

lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

Mikaela Castledine, Violet Elsie and the Dressmaking Scissors, jute, synthetic raffia, timber and found objects, 23 x 12 x 11 cm. 6 March—27 March West Perth: 23 in 23: Women of the West

mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Wed to Fri 10am–5pm, Sat and Sun 11am–3pm.

To coincide with International Women’s Day 2023, twenty three women artists have been invited to showcase their new or continued direction. So much of what artists do is revealed in the process of making, allowing the freedom for new possibilities or a new direction of working to emerge. This exhibition celebrates women artists and is intentionally curated without any constraint of theme, scale or medium. 28 March—16 April Subiaco: Clay to Bronze Stephen Glassborow ‘Although my sculptures are made in bronze, my material of choice is clay. I choose clay because of its senstivity and flexibility. I choose bronze for its history and beauty.’ —Stephen Glassborow, 2023

Midland Junction Arts Centre midlandjunctionartscentre.com.au

Ken Done, Striped Reef I, 2022, oil and acrylic on linen, 138 x 122 cm.

276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat and Sun 11am–3pm.

Stuart Elliott, Sentinel, (detail), 2022, wood, paint, 50 x 30 x 20 cm. Photograph courtesy of the artist. 10 March—7 May Altered States Artist: Stuart Elliott Altered States is a survey of work by seminal artist Stuart Elliott comprising four distinct, but compellingly connected parts, evoked by a fundamental fascination with ‘fakeological’ readings of symbols and archaeological artefacts. Curated by Sue Starcken, the exhibition showcases over 40 of Elliott’s artworks, including new pieces and significant works loaned from public and private collections. 231

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

Moore Contemporary moorecontemporary.com Cathedral Square, 1/565 Hay Street, Boorloo/Perth WA, 6004 08 455 445 260 Wed to Fri 11am–5pm Sat 12pm–5pm.

object, producing painterly compositions that shift between a sense of landscape and stage set.

Perth Institute of Contemporary Arts (PICA)

10 February—23 April Held within a word Robert Andrew 10 February—23 April Scaffolding (Preface) Archie Barry 10 February—7 January 2024 Roost Elizabeth Willing

pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Ian Williams, Untitled, 2022, oil on canvas, 120 x 180cm.

Rosa Barba, Drawn by the Pulse, 2018, installation view, Tabakalera, San Sebastián, Photograph: Mikel Eskauriaza. Courtesy of the artist and VG Bild-Kunst, Bonn, 2022.

25 March—22April Ian Williams In his first solo exhibition with Moore Contemporary, Ian Williams presents a new suite of paintings concerned with the interpretation of reality within virtual environments and how this can be expressed through painting. Using found objects from video games, he uses the conventions of still life painting to explore the properties of the virtual everyday

Robert Andrew, Tracing Inscriptions, 2020, installation view, Overlapping Magisteria: The 2020 Macfarlane Commissions, Australian Centre for Contemporary Art, Melbourne. Photograph: Andrew Curtis.

24 February—23 April Emanations Rosa Barba

David Giles Art Galleries Representing more than 50 WA artists including David Giles, Ingrid Holm, Penny Rulyancich, Jackie Peach, Angelina Naglazas, Amanda Dean, Ross Calnan, Susan Williams, Suzy SparkeL, Jane van der Westhuizen, Carey Marwick, Liz Cooper, Danielle Campbell and Linda Mackenzie.

David Giles Art Gallery 49B High Street, Fremantle WA Open Weds to Sun 11am-4pm

Studio 11 Art Gallery 11 Captains Lane, Fremantle WA Open Thur to Sun 11am-4pm

www.davidgilesartgallery.com 0416 079 204

Image: Anna Cox, Star Fishing By The River, acrylic on canvas, 90 x 90 cm. 232

davidgilesartgallery.com

A–Z Exhibitions

MARCH/APRIL 2023

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

Araluen Arts Centre, Mparntwe → Darrell Sibosado, Bard people, Ngarrgidj Morr (the proper path to follow), 2022. Commissioned by the National Gallery of Australia, Kamberri/Canberra for the 4th National Indigenous Art Triennial: Ceremony, image courtesy and © the artist.

Araluen Arts Centre, Mparntwe araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm. See our website for latest information.

their work, collapsing the distinction between art and life. This exhibition will draw upon the National Gallery of Australia’s Kenneth Tyler Collection of prints with works by both artists produced between 1967 and 1973, and holdings of key works by their predecessors and contemporaries. 25 March—11 June 4th National Indigenous Art Triennial: Ceremony Featuring the work of 35 artists from across Australia, this exhibition reveals how ceremony is at the nexus of Country, of culture and of community. Ceremony remains central to the creative practice of many Aboriginal and Torres Strait Islander artists. From the intimate and personal to the collective and collaborative, ceremonies manifest through visual art, film, music and dance. The 4th National Indigenous Art Triennial: Ceremony is the National Gallery of Australia’s flagship exhibition of contemporary Aboriginal and Torres Strait Islander art.

Jasper Johns, Gemini G.E.L., Bent “Blue”; from Fragments - according to what, 1971. National Gallery of Australia, Kamberri/Canberra, Purchased 1973. © Jasper Johns. VAGA/Copyright Agency. 11 March—14 May Rauschenberg & Johns: significant others Robert Rauschenberg and Jasper Johns In the early 1950s, at the height of the Abstract Expressionist movement, a new avant-garde began to emerge from a relationship between two young artists. From their run-down New York studios, Robert Rauschenberg and Jasper Johns began a private creative dialogue that introduced everyday signs, objects, and media into 234

Museum and Art Gallery of the Northern Territory magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information. 28 January—26 March Montages: The Full Cut, 1999 – 2015 Presenting eight montage films created

in collaboration between artist Tracey Moffatt and editor Gary Hillberg. Mining scenes from iconic Hollywood films, telemovies and arthouse cinema, each montage plays with narrative and character conventions to create new fictions on themes such as love, art, revolution and destruction. The films expose common stereotypes in popular cinema, revealing the ways they inform our collective cultural imagination. Montages: The Full Cut has been touring nationally since early 2017, taking on new meanings as it is placed in critical dialogue with the events of our time, including the #metoo movement, Black Lives Matter protests internationally, and the Covid-19 global pandemic. Montages: The Full Cut, 1999 – 2015 was curated and developed by Artspace, Sydney and is touring nationally in partnership with Museums & Galleries of NSW.

NCCA – Northern Centre for Contemporary Art nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. Closed January and February. 1 March—30 April Botanically Porcelain: the third instalment Dawn Beasley

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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

247

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 The TAG Art Gallery Tasmanian Museum and Art Gallery

D AV

A G Y E

EY S

L S T

1 2 3 4 5 6 7 8 9 10

Hobart M

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

248

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

ING

Perth

15 2

12 TH

SPL

3 13 1 EL A I D8

7 RA

3 4 OR 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

1 249

@14 (VIC)

142

16albermarle (NSW)

151

4A Centre (NSW)

115

Gallery Elysium (VIC)

123, 128

Gallery Lane Cove (NSW)

159

Caboolture Regional Art Gallery (QLD) 187

Gallerysmith (VIC)

123

187

Caloundra Regional Gallery (QLD)

Geelong Art Space (VIC)

123

151

Canberra Glassworks (ACT)

Geelong Gallery (VIC)

17, 124

19 Karen Contemporary Artspace (QLD)

Buxton Contemporary (VIC)

187 37, 202

Casula Powerhouse Arts Centre (NSW) 154

Gertrude Contemporary (VIC)

Araluen Arts Centre, Mparntwe (NT) 222

CAVES (VIC)

Gippsland Art Gallery (VIC)

124

Art Van Go

Centre for Contemporary

Glasshouse Port Macquarie (NSW)

159

A 166

Aarwun Gallery (ACT)

115

Glen Eira City Council Gallery (VIC)

124

Gosford Regional Gallery (VIC)

160

Chalk Horse (NSW)

155

Goulburn Regional Gallery (NSW)

160

Chau Chak Wing Museum (NSW)

154

Grace Cossington Smith (NSW)

160

209

Charles Nodrum Gallery (VIC)

21, 117

109

City Gallery (VIC)

117 117

109, 144

ACMI (VIC)

9, 109

Adelaide Contemporary Experimental (ACE) (SA)

Photography (VIC)

124

119

201

ACAE (VIC)

Alcaston Gallery (VIC)

115

C. Gallery

Griffith University Art Museum (QLD) 199 Granville Centre Art Gallery (NSW)

160

Anna Schwartz Gallery (VIC)

1, 109

CLIMARTE Gallery (VIC)

Annandale Galleries (NSW)

Cooee Art Gallery (NSW)

155

Hamilton Gallery (VIC)

125

Ararat Gallery TAMA (VIC)

111

Colville Gallery (TAS)

205

Handmark Gallery (TAS)

206

ARC ONE Gallery (VIC)

112

Contemporary Art Tasmania (TAS) 205

Hawkesbury Regional Gallery (NSW)

161

Artitja Fine Art Gallery (WA)

216

Cowra Regional Art Gallery (NSW)

155

Hazelhurst Regional Gallery (NSW) 156, 160

Artists Shed (ACT)

201

Craft Victoria (VIC)

119

Hervey Bay Regional Gallery (QLD)

188

Artsite Contemporary (NSW)

152

Heide Museum of Modern Art (VIC)

125

Artspace Mackay (QLD)

47, 187

DADAA Gallery (WA)

216

Horsham Regional Gallery (VIC)

125

Art Collective WA (WA)

215

Daniel Weber (NSW)

148, 149

Home of the Arts (HOTA) (QLD)

4, 188

Art Space on The Concourse (NSW)

152

Darren Knight Gallery (NSW)

157

Hurstville Museum (NSW)

ArtSpace REALM/Maroondah (VIC)

111

David Giles (WA)

220

Hyphen – Wodonga

Art Gallery of Ballarat (VIC)

109

Deakin University Art Gallery

Art Gallery of New South

Library Gallery (VIC)

at Burwood (VIC)

Wales (NSW)

161

119

125

3, 151

Divisions Gallery (VIC)

119

Incinerator Art Space (NSW)

161

Art Gallery of South Australia (SA)

209

D’Lan Contemporary (VIC)

119

Incinerator Gallery (VIC)

127

Art Gallery of Western Australia (WA)

215

Devonport Regional Gallery (TAS)

205

Institute of Modern Art (QLD)

189

Art Pharmacy

DOVA Collective (WA)

217

Ivanhoe Library

Arts Project Australia (VIC)

38, 112

Australian Design Centre (NSW)

24, 153

Australian Centre for Contemporary Art (ACCA) (VIC) Australian Galleries (NSW)

129

JamFactory (SA)

210

Federation University (VIC)

120

Jan Manton (QLD)

Fellia Melas (NSW)

176

Jan Murphy Gallery (QLD)

201

Fiona and Sidney Myer Gallery (VIC)

121

The Japan Foundation

113

Flinders Lane Gallery (VIC)

121

7, 113, 153

Flinders Street Gallery (NSW)

Bathurst Regional Art Gallery (NSW) Bayside Gallery (VIC)

153 11, 113

Beaver Gallery (ACT) Bendigo Art Gallery (VIC)

127

J Jacob Hoerner Galleries (VIC)

Australian National Capital Artists Australian Tapestry Workshop (VIC)

and Cultural Hub (VIC) 120

Fairfield City Museum & Gallery (NSW) 157

2, 112

(ANCA) Gallery (ACT)

E Everywhen Artspace (VIC)

202 35, 114

157, 164

Flinders University Museum

189

Gallery (NSW)

163

John Curtin Gallery Curtin University (WA)

of Art (SA) Footscray Community Arts (VIC) fortyfivedownstairs (VIC)

29, 189

218

209

The Johnstone Collection (VIC)

46, 129

121

Jewish Museum of Australia (VIC)

129

116, 122, 126

Bett Gallery (TAS)

205

Fox Galleries (VIC)

122

KAMILĖ GALLERY (WA)

218

Blacktown Arts (NSW)

154

Frankston Arts Centre (VIC)

122

Ken Done Gallery (NSW)

163, 168

BMG Art (SA)

209

Fremantle Arts Centre (WA)

217

Kingston Arts (VIC)

Brenda Colahan Fine Art (NSW)

162

The Front Room Gallery (VIC)

King Street Gallery (NSW)

154

FUTURES (VIC)

123

Koorie Heritage Trust (VIC)

131

fYRE Gallery (NSW)

166

Korean Cultural Centre Australia (NSW)

163

GAGPROJECTS (SA)

209

Latrobe Regional Art Gallery (VIC)

131

114

Gallery 48 (QLD)

188

Lavendar Bay Society (NSW)

165

30, 114

Gallery76 (NSW)

159

Lauraine Diggins Fine Art (VIC)

132

115

Gallery 152 (WA)

217

Lawrence Wilson Gallery (WA)

218

Broken Hill City Art Gallery (NSW) Brunswick Street Gallery (VIC)

114, 138

Bunbury Regional Art Gallery (WA)

31, 216

Bundanon (NSW)

12, 154

Bundoora Homestead Art Centre (VIC) Bunjil Place (VIC) Burrinja (VIC)

250

129 159, 163

INDEX

Leonard Joel (VIC)

Linden New Art (VIC) Linton & Kay Galleries (WA)

National Gallery of Victoria NGV International (VIC)

136

44, 219

National Portrait Gallery (ACT)

The Lock-Up (NSW)

165

New England Art Museum (NSW)

171

LON Gallery (VIC)

132

Newmarch Gallery (SA)

210

Logan Art Gallery (QLD)

189

Nexus Arts Gallery (SA)

211

Lot 19 (VIC)

126

Niagara Galleries (VIC)

137

Noosa Regional Gallery (QLD)

191

202

Northern Centre of Contemporary

M M16 (ACT) Macquarie University Art Gallery (NSW)

13, 203

Art (NCCA) (NT) 167, 176

191

The Main Gallery (SA)

210

Maitland Regional Art Gallery (NSW)

167

Old Quad (VIC)

137

Manningham Art Gallery (VIC)

133

OLSEN (NSW)

Manly Art Gallery (NSW)

167

Omnus Picture Framing (VIC)

134

Martin Browne Contemporary (NSW) 169

Omnia Art Prize

144

McClelland Sculpture

Onespace (QLD)

19, 191

Orange Regional Gallery (NSW)

8, 172

Park + Gallery (VIC)

15, 132

Meridian Sculpture (VIC)

108

Outback Art (NSW)

Metro Arts (QLD)

190

Outback Regional Gallery,

Metro Gallery (VIC)

133

172

Winton (QLD)

192

Melbourne Etching Supplies (VIC)

134

Midland Junction Arts Centre (WA)

219

Perc Tucker Regional Gallery (QLD)

18, 133

Perth Instiutute of Contemporary

Mildura Arts Centre (VIC) The Mill (SA) Modern Times (VIC)

36 40, 135

Monash Gallery of Art (VIC)

135

Monash University MADA Gallery (VIC) Montville Art Gallery (QLD) Gallery (VIC)

192 192

Platform Arts (VIC)

139

20, 136

169

Murray Bridge Regional

Plimsoll Gallery, University of Tasmania (TAS)

206

Powerhouse Museum (NSW)

Gallery (SA)

210

190

Museum of Chinese Australian Museum of Contemporary Art (NSW) 170 Museum of Old and New Art

Art / Bega (SECCA) (NSW)

175

Sydney College of the Arts (SCA Gallery) (NSW)

173 10, 140

S.H. Ervin Gallery (NSW)

173

Shoalhaven Regional Gallery, Nowra (NSW)

175

Sofitel Melbourne on Collins (VIC)

140

South Australian Museum (SA)

213

The Stan Gallery (VIC)

142

Stanley Street Gallery (NSW)

177

STATION (VIC, NSW)

141, 175

Stockroom Gallery (VIC)

45, 140

Straightjacket (NSW) Sullivan+Strumpf (NSW)

177 143, 177

Swan Hill Regional Gallery (VIC)

143

Studio Altenburg Fine Art Gallery (NSW) 177 The Substation (VIC)

141

The Sydney Art Store (NSW)

182

T TarraWarra Museum of Art (VIC)

16, 143

Tasmanian Museum (TAS)

207

Tin Sheds Gallery (NSW)

179, 184

Tolarno Galleries (VIC)

145

Toowoomba Regional Art Gallery (QLD) 41, 195 Town Hall Gallery (VIC)

143

Tuggeranong Arts Centre (ACT)

203

Tweed Regional Gallery (NSW)

179, 180

twenty twenty six (NSW)

181

Umbrella Studio (QLD)

197

UMI Arts Gallery(QLD)

197, 198

Project8 Gallery (VIC)

139

UNSW Galleries (NSW)

181

QDOS Fine Arts (VIC)

University of Sunshine Coast (QLD) 43, 199 130, 139

of Modern Art (GOMA) (QLD) Queensland Museum (VIC)

UQ Art Museum (QLD)

28, 199

V 193 25

Queen Victoria Museum and 136

213

211, 212

Queensland Art Gallery/Gallery 222

Culture Exchange (SA) South East Centre for Contemporary

praxis ARTSPACE (SA) Q

Museum & Art Gallery of Northern

VOID Melbourne (VIC)

145

W Wagga Wagga Art Gallery (NSW)

207

Walker Street Gallery (VIC)

QUT Art Museum (QLD)

193

Wangaratta Art Gallery (VIC)

146

Watson Art Centre (ACT)

203 183

110, 145

206

Redcliffe Art Gallery (QLD)

193

Wester Gallery (NSW)

170

Redland Art Gallery (QLD)

194

Western Australian Museum (WA)

Riddoch Art Gallery (SA)

211

Western Plains

203 33, 171

181

Art Gallery (TAS) R

N Nanda\Hobbs (NSW)

137

Pinnacles Gallery (QLD)

219

Nancy Sever Gallery (ACT)

PG Gallery (VIC)

Pine Rivers Art Gallery (QLD)

Murray Art Museum Albury

(MONA) (TAS)

206

190

Mundaring Arts Centre (WA)

Muswellbrook Regional (NSW)

Penny Contempoary (TAS)

172

220

History (VIC)

220

192

MOORE CONTEMPORARY (WA)

Territory (NT)

Arts (PICA) (WA)

PIERMARQ* (NSW)

169

Museum of Brisbane (QLD)

192

Philip Bacon Galleries (QLD)

Mosman Art Gallery (NSW)

(MAMA) (NSW)

135

Mornington Peninsula Regional

14, 213

Sauerbier House

Shepparton Art Museum (VIC) 222

NorthSite Contemporary Arts (QLD)

Samstag Museum of Art (SA)

RMIT First Site Gallery (VIC) RMIT Gallery (VIC)

139 26, 140

Cultural Centre (NSW) Wentworth Galleries (NSW)

5 183

172, 183

National Art School Gallery (NSW)

170

Robyn Bauer Studio Gallery (QLD)

Whitehorse Artspace (VIC)

147

National Gallery of Australia (ACT)

203

Rockhampton Museum of Art (QLD) 195, 196

White Rabbit Collection (NSW)

185

Roslyn Oxley9 Gallery (NSW)

Wollongong Art Gallery (NSW)

National Gallery of Victoria The Ian Potter Centre (VIC)

136

194 173

Rusten House Art Centre (NSW) 173, 178

Wyndham Art Gallery (VIC)

185 42, 147

251

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