Art Guide Australia — November/December 2022

C ON T E N T S

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

Julie Rrap 21 October–12 November 2022

Roslyn Oxley 9 Gallery

Image: Julie Rrap, Overdrawn (still), 2022, single-channel video, duration: 11 min 52 sec

roslynoxley9.com.au

Until 17th December 2022

annaschwartzgallery.com

January–February 2023

Roslyn Oxley9 Gallery

ArtGuide_Issue66_2022_Wolseley.indd 1

roslynoxley9.com.au

Image: John Wolseley, Chains of ponds, contour banks and the return of the reed warbler (detail), Bibbaringa 1, 2019-2020; oil on masonite; 73 x 122 cm

John Wolseley

19/10/2022 1:09 pm

PETER TYNDALL

02.12.22– 16.04.23

Artwork Peter Tyndall, courtesy Anna Schwartz Gallery, Melbourne

buxtoncontemporary.com

portrait.gov.au

maas.museum/powerhouse-museum

Commissioning Partners

acmi.net.au

pica.org.au

Hendrik Kolenberg Urban / Industrial

Idris Murphy Backblocks 19 November 2022 — 22 January 2023 A Drill Hall Gallery touring exhibition

Idris Murphy, Warnum, 2011, acrylic and collage on board, 180 x 180 cm. Collection: Arthur and Suzie Roe.

orange.nsw.gov.au/gallery

www.orange.nsw.gov.au/gallery

24 September 2022 – 8 January 2023

Free artgallery.wa.gov.au

SPEECH PATTERNS NADIA HERNÁNDEZ JON CAMPBELL and

Jon Campbell Your application was unsuccessful 2022. Synthetic polymer on linen, 167.5 x 243.5 cm.

The State Art Collection, The Art Gallery of Western Australia. © Jon Campbell.

artgallery.wa.gov.au

Destiny Disrupted Destiny Disrupted

Griffith University University Griffith Art Museum Museum Art

15 2022 –– 15 December December 2022 23 2023 23 March March 2023

Abdul Abdullah, Abdul-Rahman Abdullah, Hoda Afshar, Safdar Abdul Abdullah, Abdul-Rahman Abdullah, Hoda Afshar, Safdar Ahmed, Elyas Alavi, Khadim Ali, Phillip George, Khaled Sabsabi, Ahmed, Elyas Alavi, Khadim Ali, Phillip George, Khaled Sabsabi, Omar Sakr, Shireen Shireen Taweel, Taweel,Hossein Hosseinand andNassiem NassiemValamanesh.

Valamanesh.

Omar J J Sakr,

226 Grey Street South Bank Brisbane Q 4101 226 Grey Street South Bank Brisbane Q 4101 07 37357414 / artmuseum@griffith.edu.au 07 37357414 / artmuseum@griffith.edu.au www.griffith.edu.au/art-museum www.griffith.edu.au/art-museum

Granville Centre Art Gallery AA Granville Centre Art Gallery Touring Exhibition Touring Exhibition

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.

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.

griffith.edu.au/art-museum

annaschwartzgallery.com

CURATED BY ANTHONY FITZPATRICK

26 NOVEMBER 2022 13 MARCH 2023 SUPPORTED BY

MAJOR EXHIBITION PARTNER IMAGE: Peter Booth Painting 2018, oil on canvas, 152.5 x 243.84 cm, Photo: Charlie Hillhouse Courtesy of the artist and Milani Gallery, Brisbane © Peter Booth

twma.com.au

twma.com.au

10 December 2022 – 19 March 2023

Zach Blas, Tega Brain & Sam Lavigne, Lauren Lee McCarthy, Machine Listening, Mimi Onuoha, Winnie Soon

Plus the Data Relations Summer School Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne, Australia acca.melbourne v

acca.melbourne

November/December

2022

EDITOR AND PODCAST PRODUCER

Tiarney Miekus ASSISTANT EDITOR

Autumn Royal WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel DESIGN ASSISTANT

Girivarshan Balasubramanian CONTRIBUTORS ISSUE #140

Michaela Bear, Andy Butler, Briony Downes, Neha Kale, Jesse Marlow, Tiarney Miekus, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Diego Ramirez, Autumn Royal, Barnaby Smith, Andrew Stephens, Chloé Wolifson.

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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. www.artguide.com.au

Cover artists: Nadia Hernández and Jon Campbell.

front Nadia Hernández, Flor, el collar de Ana y una tradición,

2022, oil on linen, 102 x 84 cm. courtesy of the larholt family. © nadia hernández. back Jon Campbell, Your application was unsuccessful, 2022, synthetic polymer on linen, 167.5 x 243. 5 cm. the state art collection, the art gallery of western austr alia © jon campbell.

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests.

Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2021 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press.

Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

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A Note From the Editor PR E V I E W

Alexander McQueen: Mind, Mythos, Muse Beating About the Bush Do Ho Suh Bruce Thurrowgood Lydia Wegner Nalini Malani: Gamepieces NURA: Deep Listening Tracing Gondwana Teo Treloar: And now, The Plague Tim Price: <y<s To Hands F E AT U R E

Segar Passi: What the Clouds Tell Us Sydney Modern: Connecting Past and Present INTERV IEW

TextaQueen S T U DIO

Kate Rohde F E AT U R E

Politics of Portraiture 20 Questions: Jemima Wyman Peter Booth: Another Version INTERV IEW

Nadia Hernández and Jon Campbell I L LUS T R AT ION

Oslo Davis: The Artist’s Prayer F E AT U R E

Nathan Beard: Puzzlements of Personhood Soda Jerk: Strange Times

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Issue 140 Contributors MICH A ELA BEA R is an emerging writer and

curator currently working at RMIT University in Naarm/Melbourne. She was assistant editor for the 2017 Honolulu Biennial and has written for a range of local and international publications including ArtAsiaPacific, The Biennial Foundation website, The Australian, New Zealand Journal of Art and VAULT.

is an artist, writer and curator based in Narrm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and frieze.

A NDY BUTLER

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

arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.

BR ION Y DOW NES is an arts writer based in

Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer.

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

NEH A K A LE is a writer, journalist and critic who has

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

JA NE O’SULLI VA N is an independent art writer.

She has contributed to VAULT, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog, and is also a former editor of Art Collector.

DIEGO R A MIR EZ

is an artist, writer and arts worker.

creates drama, poetry and criticism. Autumn is the founding editor of Liquid Architecture’s Disclaimer journal, interviews editor at Cordite Poetry Review and assistant editor at Art Guide Australia.

AUTUMN ROYA L

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.

BA R NA BY SMITH

been writing about art and culture for the last ten years. Her work features in publications such as the Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT.

A NDR EW STEPHENS is an independent visual arts

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.

CHLOÉ WOLIFSON is a Sydney-based independent

JESSE M A R LOW

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is the editor of Art Guide Australia and a freelance writer whose work has appeared in The Age, The Saturday Paper, Sydney Review of Books, un Magazine, Meanjin, Disclaimer, Memo Review, Overland and The Lifted Brow. She is the producer of the Art Guide Australia podcast.

TI A R NEY MIEKUS

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.

arts writer, researcher and curator whose work includes reviews, catalogue essays, and reports on exhibitions and art fairs throughout the Asia-Pacific. Her writing is published in mastheads and magazines across the region.

A Note From the Editor People don’t talk enough about friendship in art. Words like ‘collaboration’ and ‘networks’ are used, but rarely friendship—and yet friendship is what has ultimately transpired between Nadia Hernández and Jon Campbell, our cover artists for this issue. Although they each come from different backgrounds and generations, there is a shared love of words, line and colour, which they speak to in their joint show and in our interview.

We visit Kate Rohde’s studio where friendship and collaboration merge in her practice, and in our interview with TextaQueen, the artist speaks about their subversive portraits, and the connections they have with sitters—everything from punk mindsets to queer politics. We also have a long-form article on the political nature of portraiture and how artists in Australia are expanding its conservative legacies—it’s a political stance, but it’s also about the relationship between artist and subject.

Friendship is also a form of connection—and connections happen in all kinds of ways. In the reflection of renowned figurative and surrealist painter Peter Booth the connections could be between figuration and abstraction, but also between the many different selves we carry. Meanwhile Jemima Wyman literally connects images, talking us through her collage and masking techniques, using images of protest and resistance to create beguiling formations.

The Art Gallery of New South Wales is making cultural links with the unveiling of the new Sydney Modern campus, the largest cultural investment in Sydney since the Opera House, and Soda Jerk are revealing a new film, trying to connect the seemingly unconnectable events from the last six years—everything from president Trump to QAnon to the war in Ukraine.

Read about friendship, connection and resistance in this November/ December issue.

Tiarney Miekus Editor, Art Guide Australia

“. . . it’s a political stance, but it’s also about the relationship between artist and subject.”

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Previews W R ITERS

Briony Downes, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Autumn Royal, Barnaby Smith, Andrew Stephens.

Melbourne Alexander McQueen: Mind, Mythos, Muse National Gallery of Victoria 11 December—16 April 2023 In June 1996 the National Gallery of Victoria (NGV) began collecting work by fashion designer Alexander McQueen. This was the early days of McQueen’s prolific career: he was yet to be awarded Designer of the Year in 1996 and 1997 by the British Fashion Council, and unexpectedly succeed John Galliano as head designer at Givenchy. Until McQueen’s untimely death in 2010, the NGV amassed one of the most significant collections of the designer’s work—which is now being revealed.

It wasn’t just McQueen’s working-class background and unconventional entry into the fashion world that disturbed critics. It was his unapologetic response to the polarising reactions his theatrical and subversive runway shows caused. McQueen appeared unfazed by the controversy. According to McQueen himself: “I use things that people want to hide in their heads.

War, religion, sex; things we all think about, but don’t bring to the forefront. But I do and I force them to watch it.”

Alexander McQueen: Mind, Mythos, Muse is the first major Australian exhibition of the designer’s work. Yet as Katie Somerville, NGV’s senior curator for fashion and textiles, explains, while this exhibition includes over 120 of McQueen’s fashion pieces, accessories and designs, it’s not a retrospective.

Arranged thematically, McQueen’s work will be exhibited alongside historical artworks that informed his practice.

This approach allows us “valuable insights into his technical and creative process and innate capacity for immersive storytelling”, says Somerville.

And this story is 25 years of one designer’s work. “During his career, McQueen sampled a multitude of ideas, bringing together seemingly disparate influences, to create collections that pushed far beyond the bounds of conventional fashion design.”

— AUTUMN ROYA L

Lee Alexander McQueen (designer), Alexander McQueen, London (fashion house), Woman’s ensemble: dress and leggings, 2009, Plato’s Atlantis collection, spring–summer 2010. los angeles county museum of art. gift of regina j. drucker. © alex ander mcqueen. © museum associates/lacma.

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right Alexander McQueen, Look 15, The Widows of Culloden collection, autumn/winter 2006–07. courtesy the photogr apher. photogr aph © robert fairer. © alex ander mcqueen, model: ana mihajlovic.

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Ballarat Beating about the Bush

Art Gallery of Ballarat 5 November—19 February 2023

In the 1884 painting A summer morning tiff by Australian Impressionist Tom Roberts, the artist centres the romanticism of a lone female figure (said to be Harriet McCubbin) wearing a corseted white dress and framed by dry, golden-hued bushland. In a contemporary reinterpretation of the painting, Sydney-based photographer Anne Zahalka looks at how clothing speaks of cultural implications. As curator Louise Tegart says, Zahalka “compares the fashion of the 19th century with the garb worn by Islamic women, but also draws on the personal experience of . . . living between Morocco and Australia.” It’s reinterpretations like these that define Beating about the Bush.

Combining historical and contemporary perspectives, Beating about the Bush features over 50 works from the Art Gallery of Ballarat’s collection Anne Zahalka, A summer morning tiff, 2007, to re-examine our understanding of the Australian pigment ink on rag paper. purchased with funds landscape and Impressionism movement, and its from the joe white bequest, 2020. contentious, colonial history. The show contrasts paintings by Australian Impressionists working in the early 1900s, such as Tom Roberts and Arthur Streeton, alongside work by 20 contemporary female photographers including Hayley Millar Baker, Tamara Dean, Jane Burton, Maree Clarke and Jacqui Stockdale.

Offering multiple viewpoints influenced by personal experiences of gender, class, immigration and environmental change, representations of the figure in the landscape link many of the works.

A major inspiration for the show was Zahalka’s 1985 exhibition The Landscape Revisited. As Tegart explains, “Zahalka chose to recast characters within the landscape to offer a more inclusive and compassionate portrayal of the people— migrants, First Nations, women, people of non-Christian faiths—missing from Australian Impressionist narratives . . . Her work is as much a comment on society and the art world as it is about the painters themselves.” Such comments abound in Beating about the Bush. —BR ION Y DOW NES

Sydney Do Ho Suh

Museum of Contemporary Art 4 November—26 February 2023

Do Ho Suh, Staircase-III, 2010, installation view, Museum Voorlinden, Wassenaar, 2019, polyester fabric, stainless steel. tate: purchased with funds provided by the asia pacific acquisitions committee 2011. image courtesy of the artist, museum voorlinden, wassena ar, lehmann maupin gallery, new york, hong kong, seoul and london, and victoria miro, london and venice. © the artist, photogr aph: antoine van k a am.

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The shifting idea of home—and the word’s concurrent intangibility and pervasiveness—is at the heart of Do Ho Suh’s work. For over three decades, the prolific South Korean artist has explored questions of belonging in his expansive practice, which spans drawing, films, installation, stitching, sculpture—and much more.

In the wake of the pandemic and global migration, notions of displacement are even more embedded in the public consciousness: it’s perfect timing for Suh’s first Southern Hemisphere solo exhibition at the

Museum of Contemporary Art (MCA). “The work is particularly resonant in the present time, but the kinds of concerns expressed are really universal concerns because they are questions about home and movement and diasporic experience,” says curator Rachel Kent.

The survey includes the debut of Rubbing/Loving: Seoul Home, a major work that has been in development since 2013. A series of rubbings using graphite and mulberry paper, this installation revisits Suh’s family home—a traditional Korean hanok. “A long time ago, he and I were talking about this and how it would be amazing if he could complete the work in time for this exhibition,” Kent says. “He felt that it was appropriate for it to be inaugurated within this region.” While Covid-19 pushed the show back, the work’s debut has even more personal significance now with the recent passing of the artist’s father.

Suh’s colourful work responds to the MCA’s physical space, whether it’s looking underneath your own feet at Floor—a work made of thousands of tiny plastic figurines—or the arresting Staircase-III, a transparent red staircase descending from a ceiling made of the same material. These fascinating pieces all come together in conversation to illustrate a drifting life lived through many variations of home. —GISELLE AU-NHIEN NGU Y EN

Hobart Bruce Thurrowgood

Handmark Gallery 18 November—5 December

To live in the isolated town of Bicheno, on the east coast of Tasmania, is to have a profound relationship with water.

For the painter Bruce Thurrowgood, a resident of this settlement that faces toward the Tasman Sea, his relationship with water is aesthetic—perhaps transcendent.

“The paintings have all developed from the observation of light on water where I live,” says Thurrowgood of his new exhibition at Handmark, which features 20 paintings of various sizes, all acrylic on linen. “New paintings from 2021 reflect states of water with multiple Bruce Thurrowgood, In the Silence #1, 2021, acrylic layers of patterning in the sand and the surface of the on linen, 122 x 112 cm. water,” explains the artist. “The 2022 paintings are more concentrated on the picture plane and relationships between gradual colours, tones, patterns and layering.

They are difficult to describe. It’s a visual language.”

Such meditations on water allow Thurrowgood to create a relationship between realism and abstraction—an interest he has held throughout his long artistic career. These new water paintings certainly depict the natural world, and the characteristics of water, yet they also explore line, pattern and shape. “Water paintings in particular have afforded me the opportunity to be absorbed in minute detail,” says Thurrowgood. “This satisfied my need for abstraction and freed me from the constraint of realism, whether the subject was water, landscape, or a still life. The current work utilises my earliest minimalist expression of the 1970s as well as skills gained from being a ‘realist’ painter.”

Also important in Thurrowgood’s work is the uniquely Tasmanian isolation and seclusion (pandemic or not)—perfect for fostering a deeper focus on the minutiae of the natural world. “My version of isolation has been integral to producing this work. It has been a good two years for painting.” —BA R NA BY SMITH

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Melbourne Lydia Wegner

Arc One Gallery 30 November—28 January 2023

The illusory assemblages that Lydia Wegner makes and photographs on her studio tabletop are “quite intimate little constructions”, she says. They’re abstractions made from familiar, everyday materials like paper, dowel and scraps of shiny plastic, but that’s not always easy to tell.

“Sometimes when you put the lights on, it can really change what you’re seeing, especially if there are reflective elements.”

Wegner’s images are vivid and playful. Creating for over a decade, the Melbourne-based artist uses strong torches and coloured gels to alter shadows and compositions. She disrupts the sense of a clear foreground and background; elements appear to rest or float together, if only for a moment. “I want to find some kind of balance within the frame and create visual abstractions that make you question, ‘What am I seeing?’” she says.

She’s often inspired by architecture and the shapes and shadows of Melbourne, but her constructions evolve Lydia Wegner, Green Wave, 2022, pigment ink-jet print, 95 x 63 cm. courtesy of the artist and arc as she works. “After the initial few images, I might adjust one gallery, melbourne. what I have been doing on the tabletop, changing the colour gel on the light, or adding or subtracting another piece of material.” Her works come together in that moment of the camera flash. “I enjoy the spontaneity of photography—working quickly and finding these little moments that you can’t really plan for,” she explains.

In her latest assemblages at Arc One Gallery, she has pared her compositions back, working with a fairly small set of geometric components. In one, she has set a red square and black circle inside a cross. Another splices two images of curved paper into a searing wave. They’re works about form, colour, perception and light— and what happens in the shadows. —JA NE O’SULLI VA N

Adelaide Gamepieces Nalini Malani

Art Gallery of South Australia 5 November—22 January 2023

Rhana Devenport, director of the Art Gallery of South Australia, first met artist Nalini Malani in India when Devenport was conducting research for the 1996 Asia Pacific Triennial of Contemporary Art. “Since that time, Nalini Malani, In Search of Vanished Blood, 2012, Nalini and I have done a number of projects together and single channel video, 16:9, colour, sound, 11 min, for me, her work always pushes and pulls between acute financial newspapers on 3 walls. © nalini malani, beauty and devastating truth.” image courtesy of the artist.

Tracing Malani’s practice from the 1960s onwards, Devenport has curated Gamepieces—a broad cross section of Malani’s multidisciplinary oeuvre encompassing photography, shadow plays, reverse paintings and installation. Born in 1946 in Karachi, Pakistan, Malani is heavily influenced by her childhood experiences as a refugee of Partition,

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when British India divided into India and Pakistan, violently displacing 10-20 million people across both countries. As a result, much of her work focuses on issues related to social, feminist and environmental justice.

The central work and title piece of the exhibition, Gamepieces, 2003-20, is a monumental four-channel video installation made of visual projections and six cylinders made from mylar, a transparent polyester film. Painted directly onto the mylar surfaces are numerous fantastical creatures referencing nuclear testing that took place in India and Pakistan in 1998. “Always with Nalini there is a call to both ecological and political justice, and a commentary on the great political forces,” says Devenport.

Reflecting on the diverse content of Gamepieces, Devenport explains, “Within each room there is a lot of complexity, which I think is testimony to her richness as an artist. There is the uncompromising radicality of her vision combined with an informed, intelligently researched understanding of political and social forces. But there is also her playfulness, her poetry, and her conviction that the power of art and the independent voice still have cogency and agency in the world.”

—BR ION Y DOW NES

Sydney NURA: Deep Listening

Cement Fondu 15 October—10 December

The practice of deep listening is at the foundation of the exhibition NURA—which is also the Dharawal word for Country. Through sound and sculpture, Indigenous Maddison Gibbs, The Darkness, artwork mock up, artists salllvage (AKA Rowan Savage) and Maddison 2022. commissioned by cement fondu.

Gibbs are creating a new engagement with their communities.

For NURA, both artists connected with Dharug Elder Aunty Julie Webb for knowledge sharing workshops, which guided the development of their works. “Both Rowan and Maddie, in their own practices, talk about their connection to Country, but also about the political history and memories and language that has been lost, hidden or removed,” says curator Dennis Golding.

Kombumerri artist salllvage’s work is a multi-sound source installation, blending natural field recordings with distorted compositions. The result is an immersive soundscape that shows how tools of colonisation can be reclaimed to create new connections with Country. Meanwhile Gibbs, a Barkindji artist, exhibits The Darkness which blends wooden, spirit-like sculptures with lighting, bringing out shadows. These shadows become part of the artwork, generating a dialogue about the dark histories of the past that are hidden in everyday life.

“We wanted both components of sound and visual in this show to talk about how the artists are listening to Country, and how they can invite an audience to look at some of the contemporary issues that happen in our community across Australia,” says Golding.

Both works centre on what Golding describes as an “almost post-human, apocalyptic theme”, prompting viewers to contemplate what has been lost over time in a sombre gallery experience. “They’re visualising Country as spirit,” explains Golding. “They’re really respecting the knowledge that they’ve built, but also having a bit of critique on how Country has been disrupted due to the effects of colonisation. There’re many things about sustainability, affecting our waterways, systems and language.” —GISELLE AU-NHIEN NGU Y EN

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Midland Tracing Gondwana

Midland Junction Arts Centre 19 November—18 February 2023

It’s imperative to contemporary art and life that exhibitions draw attention to our climate crisis—and artists are increasingly addressing the issue in innovative and impassioned ways, like Tracing Gondwana at Midland Junction Arts Centre.

Nikki Green, A Window of Time - In Stories Still Told, Key to the show is a localised focus, as printmaker digital print on archival paper, 36 x 27 cm. Words Nikki Green, one of three artists behind the exhibition, from All the Stories We Do Not Know by Renee explains. There’s a specific emphasis on “building Pettitt-Schipp. awareness of current issues in relation to climate change and the cultural and ecological significance of . . . the southwest of Western Australia”.

Tracing Gondwana has been created via a three-way collaboration between Green, fellow printmaker Monika Lukowska and poet Renee Pettitt-Schipp— all of whom draw on backgrounds in environmental art or ecopoetics. The result is a series of works that combine artforms, are consciously contemporary yet absorb the past, and pulse with ecological urgency.

As Green explains, “Tracing Gondwana is . . . a collection of works on paper weaving verse and image through traditional and contemporary printmaking processes—linoblock prints, collagraphs, lithography, digital prints, and an artist book installation.”

The textual element, courtesy of Pettitt-Schipp, is central in expressing the ideological heart of the show and, Green says, “drawing the viewer in for a more intimate experience with the work. Verse is interwoven into the structure of the work—with the literary rhythm acting as an expression of the dialogue between the mental and visual image.”

A poetic sensibility infuses the exhibition, bringing a heightened awareness to the ecology of the Great Southern region of Western Australia. “By evoking curiosity and wonder through our creative representations of local biodiversity,” says Green, “alongside fostering a deep understanding of the vulnerability of local ecosystems, we hope to foster greater environmental responsibility and active citizenship in the Western Australian public.” —BA R NA BY SMITH

Grafton and Sydney And now, The Plague Teo Treloar

Grafton Regional Gallery Until 13 November

Teo Treloar

Olsen Gallery 30 November—17 December

Teo Treloar, The Plague (Modern Library College Edition) New York, 2022, graphite pencil on 640gsm fabriano artistico hot pressed paper, 31 x 31 cm.

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In early 2020, just before Covid-19 hit globally, Teo Treloar went on a research trip to New York to observe 17th-century Dutch etchings. On the journey home, he noticed people had started to mask up. “It was like a Hollywood horror movie,” he says. The previous year, he had read Albert Camus’s The Plague, where an

epidemic infects a French Algerian city—“It’s a tough read, it isn’t fun.”

Treloar knew the possible trajectory.

Shortly after returning to Australia, Treloar’s project evolved to focus on The Plague. He searched for as many different editions of the book as possible and, on receiving them, would create detailed drawings of the covers. The exhibiting results extend Treloar’s interests around impermanence, the absurd, and existentialist philosophy.

“The interesting thing with The Plague is that it has been written about and talked about so much, it is hard to read it without all the commentary that comes along with it,” says Treloar. “It is full of allegory about the Nazi occupation of Paris and also the French occupation of Algiers, but I think an interesting subtext that has come up during the recent pandemic is that, in essence, all humans can actually be interpreted as being the plague.”

Finding different editions of The Plague has remained an obsession. Treloar has acquired about 35 singular versions so far, but during the height of border closures and lockdowns, some went missing in the post, including a $350 first edition.

“That doesn’t really matter,” he says. “What is important is that the books are not only interesting as aesthetic objects, but that they have passed through the hands of others: they have been read and come from countries that have experienced different impacts from the pandemic. That connects us all.” —A NDR EW STEPHENS

Hobart <y<s To Hands Tim Price

Penny Contemporary 11 November—2 December

Tim Price, we see things, 2020.

When approaching painting, Tim Price begins with drawing—scores of drawings. Price fills whole sketch books, detailing images and visual references from memory and close observation. He likens this approach to a ‘living process’, something he can do amid the busyness of daily demands. It’s economical too—Price can experiment before applying paint to canvas. After the pages of one book are exhausted, he’ll start filling up another. Only a few drawings will ever become paintings, like those showing at Penny Contemporary.

The artist paints when he’s most relaxed—or if that’s not possible, at least the act of painting will allow him a feeling of calmness, enhancing creativity. The titles of Price’s expressive paintings read like a stream of consciousness, arguably mimicking the process of how they were produced.

His latest exhibition includes abstracted figurative paintings with titles like a sweaty little vision and birthday party cooma some time in 90s yeah that what it look like. In the aptly titled we see things, 2020, the eye is drawn toward three dominant shapes: a maroon succulent plant, two lovers ensnared in embrace, and a giant multicoloured bird (which could be one of many green rosellas Price saw when living in Hobart before his recent move to Sydney).

When it comes to his current work, the artist says he’s “trying to repeat life again”. As Price explains, “I realise a painting isn’t life, but I’m trying to evoke all the weird chances and strange things that go into life.” Yet, Price’s work also reveals the joy of observation and play with visual language. The exhibition title demonstrates this alone, formatted as <y<s To Hands, a symbolic way of writing ‘eyes to hands’. For Price, it all depends which way you look. —AUTUMN ROYA L

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What the Clouds Tell Us From his cosmological interests that earned an asteroid named after him, to his vibrant paintings of clouds and marine life, Torres Strait Islands artist Segar Passi is being honoured in a six-decade retrospective at Cairns Art Gallery.

W R ITER

Andrew Stephens

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Segar Passi, Turtles, 2014, synthetic polymer paint on canvas, 76 x 100 cm. gift of the blair family in memory of heather blair, 2014. cairns art gallery collection. photogr aph: michael marzik.

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“Even in a work that you think is just a nice painting, he is still trying to pass on important cultural information.”

— PE G GY K A S A B A D L A N E

Segar Passi, Mam edge, 2012, synthetic polymer paint on canvas, 76 x 100 cm. purchased by cairns regional gallery, 2012. photogr aph: michael marzik.

For self-taught Torres Strait Islands artist Segar Passi, painting the luxuriously colourful scenery around him is not only about creating something beautiful, it’s also an important component of cultural legacy. Everything in his detailed paintings is implicitly intended to be a record of knowledge for future generations.

Passi’s extraordinary powers of recall are used to make his works, rather than working en plein air or using photographs as a reference. As Cairns Art Gallery director Andrea May Churcher observes in the catalogue for Passi’s show at the gallery, Passi’s ability to paint from memory is remarkable, “recalling details with absolute accuracy based on acute observational skills”. His paintings are also entrancingly rich in colour. Visitors to this retrospective, spanning Passi’s long career beginning in the 1960s, may find themselves instantly seduced by the way his bright palette saturates the senses.

A Mer (Murray) Island man, Passi commands great respect and affection at home and abroad for both his extraordinary output and for his very particular methods. The gallery’s assistant curator, Peggy Kasabad Lane, a Torres Strait Islands woman, says that like many Islands people she grew up knowing about Passi’s work. Respected anthropologist Margaret Lawrie had brought Passi’s art and

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his intricate cultural knowledge to attention when she wrote Myths and Legends of the Torres Strait in 1972—a book that Lane grew up reading.

“I’ve known about him for most of my life,” Lane says. “So, when I started curating this exhibition, I realised how much of his work is instructive and very much about passing on knowledge. Even in a work that you think is just a nice painting, he is still trying to pass on important cultural information.”

She cites the celebrated 2019 work Mer, held in the National Gallery of Victoria’s collection, which shows a stunning beach with clear waters and an island in the near distance—but on the sand are newly hatched turtles making their way to the water, their tracks imprinted behind them. The knowledge here is in the precisely recorded details of the track patterns, the time of year (indicated by the distinct cloud formations) and the detail in the turtle images.

“It feels like everything he has painted is there to pass on information,” Lane says. “As a Merim Mer [language group] man, that’s what our Elders do.

My grandparents were the same—any opportunity to transfer that knowledge to the young ones in whatever way, whether it is sitting down weaving or an oral activity, they do it.”

Segar Passi, Gelam and Atwer, 2008, synthetic polymer paint on canvas, 50.0 x 59.5 cm. collection of kenny bedford. photogr aph: michael marzik.

Included in the show are some of Passi’s early works from the 1960s, such as Torres Strait Pigeon eating the fruit of the Wild Plum, 1968, in which the bird, also known as the Deumer, is heavily symbolic— according to legend, once you eat the Wongai tree’s fruit, you will always return to the Torres Strait Islands.

“He did another painting of a Deumer in a tree in 2004—it is incredible, because the two paintings are 40 years apart and there is no doubt it is the same artist. But they also both have the same attention to detail and are both done entirely from memory.

He has an open-air studio on Mer next to his house and he is literally sitting there and painting from what he remembers . . .”

Lane has divided the show thematically, emphasising Passi’s interests in weather systems, cultural practices, mythology, Indigenous astrology, marine and bird life, and the day-to-day happenings he sees on the Islands. His interest in cosmology and representing First Nations understandings of the stars earned him, in 2020, the rare honour of having an asteroid named after him by the International Astronomical Union: 7733 Segarpassi is in the main asteroid belt between Mars and Jupiter.

As with his cosmological representations, Passi is very specific with his cloud formations—

particular cloud shapes indicate certain weather patterns, time of year, and other important information related to food gathering. “This is the thing,” Lane says. “You have to be specific and the information has to be correct, so that the young ones can pass it on to the next generation. You are taught what this cloud means, what this wind means. Young teenagers have gone out and got lost at sea because they didn’t see the weather patterns properly and look to the sky, the clouds. Torres Strait Islands people are naturally visual people.”

Passi, now 80, recently put his brushes aside to settle into retirement. “It is important to say he has stopped painting,” Lane says. “We can reflect on his career—and he can stop getting requests to make new work. This exhibition ties all that in well: as a celebration of a lifetime of work and the most comprehensive exhibition put on for him.”

Meriba Ged A Gur (Our Land and Sea) Segar Passi Cairns Art Gallery (Cairns QLD) 8 October—11 December

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Connecting Past and Present The new Sydney Modern campus will transform the Art Gallery of New South Wales—making it the largest cultural investment in Sydney since the Opera House.

W R ITER

Chloé Wolifson

The Art Gallery of New South Wales (AGNSW), with its distinctive 19th-century colonnaded façade, has undergone several renovations over the past half-century. Now, the doors are opening to Sydney Modern, where this historic building will sit among an expanded art museum campus filled with galleries, libraries and archives. But the centre point of the Sydney Modern project is a new adjacent building— it almost doubles the gallery’s total exhibition space, with original commissions from local artists to international creators. Like when the Queensland Art Gallery added the Gallery of Modern Art in 2006, this new $344 million dollar addition is set to change the Sydney landscape.

It started in 2008, when arts patron John Kaldor gifted AGNSW the Kaldor Collection—one of the most significant collections of late 20th-century art in Australia.

Director Michael Brand explains that Kaldor’s gift—where storage had to be transformed into exhibition spaces to house the major acquisition— was an early impetus to rethink the gallery’s spatial limitations. “It was clear that while the Art Gallery was in many ways punching above its weight, it was . . . half the size of the National Gallery in Canberra, the NGV [and] QAGOMA,” says Brand.

The road to Sydney Modern began with the commissioning of a master plan, unveiled in 2013, followed by an international architecture competition, with funding secured in 2017. The project is the largest government-philanthropic arts partnership realised

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in Australia, and the largest cultural investment in Sydney since the Opera House.

The indoor-outdoor connection implied by the term ‘campus’ is crucial to the visitor experience of Sydney Modern, designed by prize-winning architects SANAA. “Rather than coming to an institution, coming in the front door and experiencing art . . . it’s [now] art, architecture and landscape in a seamless relationship,” says Brand.

The new light-filled series of structures coexist with the surrounding landscape and historic building.

A 125-metre-long curved wall of rammed earth connects the new galleries and provides interstitial spaces for artwork display. An art garden connects the old and new buildings, and an outdoor plaza highlights the museum’s role as public space, providing sightlines into the new building and its art. It’s an indoor-outdoor experience more reflective of Sydney’s nature than the existing building’s imposing façade.

The opening program features several firsts for the gallery, including a majority of work by women on exhibition and a gallery devoted to time-based art. The historic building now includes an expanded library, Australia’s first children’s art library, and the national art archive. right

Aerial photograph of the Sydney Modern Project construction site, taken on 7 September 2022. photogr aph © art gallery of new south wales, cr aig willoughby.

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The Tank space in the new building at the Art Gallery of New South Wales. photogr aph © art gallery of new south wales, jenni carter.

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“Rather than coming to an institution, coming in the front door and experiencing art . . . it’s [now] art, architecture and landscape in a seamless relationship.”

— M ICH A E L BR A N D

The long-contentious location of Indigenous gallery Yiribana—previously placed in the lowest level of the historic building—has been redressed.

Yiribana is now the first gallery encountered by visitors on the ground floor of the new building.

A deliberate elevation of First Nations voices continues throughout : major new works by Lorraine Connelly-Northey, Karla Dickens and Jonathan Jones are among nine significant artist commissions.

Jones’s work bíal gwiyúŋo (the fire is not yet lighted) links the buildings and responds to the site’s history on Gadigal land.

In addition, Australian and international artist commissions are installed inside and outside both buildings. Deputy director and director of collections Maud Page explains that in viewing the existing collection as a chronology of time, taste and issues, “I was really interested with the nine commissions to see whether there was anything that we wanted to emphasise further . . . at this point in time. What do we signpost? What do we herald?”

Commissioned works by international artists Yayoi Kusama, Lee Mingwei, Lisa Reihana and Francis Upritchard explore myriad themes including place, exchange, spirituality and mythology, while Australian artists Simryn Gill and Richard Lewer respond to the local.

One particular highlight is the Tank, a 2,200-square-metre underground space repurposed from a decommissioned World War II naval oil tank. The inaugural artwork commission is Argentine-Peruvian artist Adrián Villar Rojas’s The End of Imagination, a sculptural experiment raised in a virtual setting then transformed into physical form.

Villar Rojas has said that, “when I first visited in 2018 and climbed down a ladder into the Tank, I understood with all my senses the power and potential

of this underground realm with all its layers of time, materials and history”. Page notes that as the gallery programs future exhibitions in the unusual venue, “it is through an artist’s vision that we will get the most out of this space”.

Sydney Modern’s first exhibitions will showcase its existing collection, allowing major and lesser-known works to circulate, and rethinking the collection itself in the process.

“When we reopen, every single space across the campus will have been reimagined,” Page explains.

The existing AGNSW building includes new collection hangs, as well as monographic and temporary shows. In a break from traditional Australian art museum practice, 20th century Australian art is now positioned alongside international work of the same era. In the entrance hall, the Kaldor Public Art Project Sol LeWitt: Affinities and Resonances places the American artist’s wall drawing in conversation with paintings by Emily Kame Kngwarreye and Gloria Tamerre Petyarre.

Meanwhile, the thematic exhibitions in the new galleries combine works from the Indigenous, Asian, Australian and International collections. The shows include Making Worlds, exploring ideas of mapping, creation and the passing of time; Dreamhome: Stories of Art and Shelter, which reflects on diverse ideas of home; and Outlaw, celebrating pop culture antiheroes in the new media gallery.

Ultimately, Sydney Modern’s opening harnesses 151 years of accumulated knowledge into a contemporary vision, connecting past and present.

Sydney Modern

(Sydney NSW) Opens 3 December

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Interview

TextaQueen The striking, idiosyncratic artwork of TextaQueen has a life of its own. Working primarily with markers, the Melbourne-based non-binary artist creates bold, often irreverent depictions of diasporic experience. Their new show, Bollywouldn’t, skewers Bollywood archetypes by way of fictional film posters, starring other queer and trans South Asian people, presented as digital projections onto images of famous buildings around the world.

W R ITER

Giselle Au-Nhien Nguyen

right TextaQueen, Shama (The Flame), 2022, India ink marker, watercolour, coloured pencil and synthetic polymer on cotton paper.

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TextaQueen, Eve of the Apocalypses, 2017, India ink marker, watercolour, coloured pencil and synthetic polymer paint on cotton paper, 127 x 97 cm.

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GISELLE AU-NHIEN NGU Y EN

You’ve worked across forms from photography to marker drawings. How has your practice evolved over time?

TEXTAQUEEN

In my fine arts degree, I mostly did photography and experimental video, but then I left and I didn’t have a $40,000 edit suite or a dark room, so I started drawing as my main practice. I’ve always done photography, just not as part of my exhibiting practice—I could not be an artist if the only thing I was doing was making giant works on paper for commercial and institutional spaces, because a big part of my art process (and why I want to be making art) is for the connections with people. Not only in the process, but also in who sees the work, and those kind of white wall spaces aren’t necessarily the places where I’m going to feel the deepest connection to people, or people are going to even be able to access that intimacy with the work.

What made me get back into it [markers] as part of my practice was when I was doing a residency and I was planning to work on a paper self-portrait series.

I started taking photographs of myself in the landscape, and then I was like, “This is actually the work.”

It’s also about the sustainability of my practice—I’m not only just talking financially, but also the emotional process. Diversifying my practice keeps me more dedicated to it and more enthused to keep making work.

GA N

You’ve spoken about the use of textas as subversive in the traditional art space— how does the medium speak to your ideas?

TQ

I started drawing with textas in my early twenties and it was this very accessible, affordable, ready-made way to create. I just liked what it invoked—it’s associated with this young, unskilled kind of creativity, so to be making complex work with it for me is subversive.

It was another way to reference the paternalism that people in my body often experience in the art world, but actually bringing more complexity to that.

GA N

After having worked with the form for so long, how has your approach shifted?

TQ

My style has really changed—sometimes I miss the looseness with which I could draw in the beginning, but I feel like I’m so skilled with putting a marker to the page. I still draw the initial portraits from life, but I’ll often add a lot of details from reference photos and research, especially when I’m composing stuff that has a big design element. In the beginning, it was just colour by numbers style, where I would draw the outline and colour them in, and now I use a really big range of techniques and different kinds of markers.

I sometimes use a waterbrush or watercolour pens, and just do a lot more fine rendering and a mix of graphic colouring. In the beginning, I also used

Crayola markers, and now I use artist pens that are archival, which came about because in the beginning when making big works, I’d be using a red marker in a kids’ pack and then I’d open the next kids’ pack because that one’s run out, and it would be a totally different red. So, I had to buy markers where I know they’re all the same colour. I know so much about so many artists’ markers—which ones will look flat and which ones I can blend.

GA N

How do expressions of gender fluidity influence your work?

TQ

What I represent in my work really reflects my life, because my work really reflects what I am personally going through, what is happening around me and the world that I connect with. Ideas of gender fluidity have come up more in my work as that’s been something I’ve felt more comfortable identifying with, and the community who I’m connecting with are subjects of my drawings. It’s kind of like language—I think it was there, but I didn’t have the language or the ease to express it.

GA N

You’ve drawn yourself as different iconic figures—what does this express about your own identity and a collective identity?

TQ

I have done a lot of self-portraiture, but I’m really trying to talk about collective experience and experiences that aren’t just personal but are systemic. Drawing myself as Jesus or Gandhi crystallises that. I grew up really Catholic and it was a deep thing to draw myself as Jesus. I hope people understand the complexity of drawing myself as Gandhi when he is this super iconic figure [but] that is a really complicated character.

I was really thinking about how celebrity dehumanises people and doesn’t allow for complexities— it’s either you’re on the pedestal or you’re interred.

I feel that personally; how isolating it can be that people have an impression of you from your work or from the persona they imagine about you. And I think that’s an experience that’s so much broader now because of social media, where any individual with a following can experience those kinds of things.

GA N

Your new show centres on Bollywood— what’s your relationship with it?

TQ

The exhibition is called Bollywouldn’t because it’s about what wouldn’t and doesn’t happen in Bollywood and beyond. I asked queer and trans South Asians I met when I was in London in 2019 on a residency to come up with ideas for a fictional Bollywood poster and about their intersectional identities, deconstructing the ‘isms’ of Bollywood and the world.

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“What I represent in my work really reflects my life, because my work really reflects what I am personally going through, what is happening around me and the world that I connect with.”

— T E X TAQU EE N

TextaQueen, Kali ka Choti Behen, 2022, India ink marker, watercolour and coloured pencil on cotton paper, 53 x 38 cm.

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Honestly, I haven’t seen more than maybe two dozen Bollywood movies, and a lot of them I’ve seen since I started doing Bollywouldn’t. But growing up, the pressure to assimilate and connect with anything Indian as a kid was so fraught because I was never going to be enough, either so-called Australian or Indian, so my relationship with Bollywood had that dynamic to it.

I was queer, and I didn’t have the language to know that—but even now watching movies, I feel so alienated from the hetness [heteronormativity] of it.

I really liked it as a format to parody and to connect with, because of the cultural connection and the drama and the design. It felt like everyone who I asked also had a fraught connection to Bollywood because of similar reasons, but then found the process of coming up with the portrait and posing for it as a way to connect with it. It felt like an appropriate way for us to reclaim this cultural form.

GA N

What kinds of conversations were you having with your subjects for the film posters?

TQ

I had some ideas for portraits that I suggested to people, but everybody came up with their own idea.

I was really excited by a few ideas, and some people came with very formed ideas; I asked one person who was like, “I want my friends in it and we want to have three heads and each of our arms is going to be holding different things that are to do with our punk organising background.” They really connected with me throughout the process of drawing. It was a very intimate and organic process where I’d ask them about what their connection was to the genre, to their culture and heritage—a lot of conversation about queerness and culture and asking them to represent what they feel isn’t represented.

GA N

Where did the idea of projecting the images onto buildings come from?

TQ

I have photographs of various sites that the models have chosen in the UK, mostly in London, and the portraits are appearing as murals on those buildings via digital manipulation. It’s a fictional landscape of the buildings with the murals of the portraits on them.

I asked each of the models where they’d like to be that related to the content of their portrait.

The idea for how these portraits have been presented as the photographs on the buildings came out of extended lockdown and things like Black Lives Matter, and people reclaiming public space and agency. It was just the surrealness of life at that time.

By creating these works, it really convincingly looked like these portraits had been put on the side of the Tate. I found myself imagining worlds.

GA N

You’ve had residencies in the UK and in India— how does the art world there differ to here in Australia?

TQ

My residencies in India and in the UK both personally and creatively impacted me. It was the first time I’ve been to India since I was a teenager at a very different time in my life. Going there and experiencing all this disconnection and connection, and being in a residency as the only artist there who’s actually culturally connected to the continent, and really feeling concretely like my privilege was so much— it really, really impacted the work that came out of there. I went to London, for a few days, a year before I applied for the residency, and I felt surprise and relief there—so many other South Asian queers close to my age are doing creative and political stuff that I could relate to, and there’s the intergenerationality of community that I don’t get to experience here at all in relation to being South Asian because of the recentness of immigration.

GA N

The Australian art world is diversifying but it’s still largely grounded in notions of colonialism and whiteness. What kind of meaningful changes would you like to see?

TQ

I went to a conference in London called ‘Decolonising the Cultural Institution’, and the question could not be answered because I don’t think it’s possible. I’m really trying to build stuff that is not reliant on the career model of commercial representation and institutional shows. I want more people to find other ways of creating outside of the institution where they’re still supported. I hope to straddle my contacts in the capital-A ‘Art World’ and to be able to connect with them from a more punk mindset.

The makeup of institutions needs to change.

When the institutions are choosing who to employ, they’re going to employ the most palatable people of colour anyway, and sometimes it’s almost more painful when there’s someone that looks like you in positions of power that are just empty of the capacity to make any change. I have a lot going for me to be able to do stuff outside of those spaces because I’ve been in them before, but that’s what I vote for—to dream new ways outside of institutions.

Bollywouldn’t TextaQueen

4A Centre for Contemporary Asian Art (Sydney NSW) 22 October—18 December

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Studio

Kate Rohde

“I’ve always been interested in nature being used as the basis for decoration.”

— K AT E ROH DE

PHOTOGR A PH Y BY

AS TOLD TO

Jesse Marlow

Michaela Bear

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Kate Rohde envisions flora and fauna in glossy technicolour.

Her whimsical resin and plaster sculptures are simultaneously natural, unnatural, and even supernatural. In a space shared with her fluffy ginger cat Lion and her 6-year-old son, Rohde’s warehouse in Melbourne’s Northcote is a busy site of creativity and play. She talks about the luxuries—and pitfalls—of having a large studio space, how her versatile materials allow her to swiftly create works for tight deadlines, and the strange wonder of growing up in the Dandenong Ranges.

PLACE

I am very lucky to have a huge studio space. I’ve been here for 13 years. I feel like I can sprawl and have multiple little projects on the go.

My son also uses the studio as his play area and has a special Lego table. Because of the scale we can have quite a lot of equipment here on site, it’s very industrial. We don’t have to worry about being too noisy or too messy, it’s pretty ideal.

This is basically my dream studio. The only thing is when it is this big, I do tend to accumulate more stuff than I probably want to over time. I sometimes need to check myself and do a Marie Kondo: “Does this spark joy? Should I get rid of this?”

I make bigger things because I’ve got all this room. It’s funny because I’m really good friends with Troy Emery [a Melbourne sculpture artist and collaborator] and he has a very modestly sized studio with regular domestic-sized doors. He can’t make anything that wouldn’t fit through them, otherwise he wouldn’t be able to get it out of the studio. I have never had to contemplate that.

K ATE ROHDE:

PROCESS

My works basically follow the same general construction. I make an armature out of a combination of steel, plywood and chicken wire and then pad it out. If I am going to cast the work in resin, I will first make a mould out of plasticine.

K ATE ROHDE:

I then pigment the resin and pour it into the mould.

If I am doing a plaster bandage, it is a matter of building up and wrapping the form. If it is something big, I will do a base layer and then add a detail layer.

I will often finish smaller works with air-dried clay to give them colour, before sealing them. Everything feels like a real multi-step process! Sometimes it is quite fast and I make a work in a week, other times it takes months and feels like it will never end.

During lockdown I was getting tired of the whole casting process and was looking for ways to speed it up—that’s when I started using plaster bandage.

Once the plaster has set it becomes very sturdy and has good structural integrity. But if I don’t like it, I can cut it out with a jigsaw, it’s quite easy to adjust and edit. It’s quite versatile. I like to use simple materials and see how I can manipulate them in various ways.

The works I did for the Horsham Regional Art Gallery [Myth Making is showing until 20 November] are pretty much all plaster bandage works.

One of the reasons for using plaster is because it is more environmentally friendly. I also use some resins made from pine tree oil, rather than those that are petrochemical based. I am trying to move away from using resins, but I do still love the effect that they have.

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PROJECTS

K ATE ROHDE: Troy [Emery], who I have known for 10-12

years, asked me a year ago if I was keen to do a show together. Coincidentally the director of Horsham Regional Art Gallery rang me about doing an exhibition soon after, so I asked to bring Troy along as well. The timeline was quite short in the end, I think I only had about six weeks to make all new work!

Sometimes it’s better just to say yes and then figure it out later. The show was loosely based on the local landscape, the colours, and different aspects of the environment there.

Nature is a common theme in my work. I grew up in the Dandenongs among all the trees and would see a lot of native animals, as well as feral species. There is a huge deer problem right now. To me it seems quite romantic to look out and see a herd of deer. But Mum says, “No no, they are terrible, they eat all my plants and destroy my garden.” As a child we had a wombat that lived out on the paddock, alongside possums and native birds, but also rabbits, foxes, and now deer.

I’ve always been interested in nature being used as the basis for decoration. In the Dandenongs I lived near Burnham Beeches, an incredible abandoned Art Deco mansion with motifs based on native Australian flora and fauna. I remember it being this glorious, glamourous place but have since seen it slowly being reclaimed by nature. The Dandenongs is this weird mix of wild nature and strong European influences.

I am super excited about exhibiting in Mount Gambia at Cathleen Edkins Gallery later this year because I recently discovered that there are all these sinkholes and grottos up there. I love a grotto. It is very much in my aesthetic. They are a mix of the natural and human-made. I feel like I am very much inspired by grottos at the moment.

Myth Making Kate Rohde and Troy Emery Horsham Regional Art Gallery (Horsham VIC) Until 20 November

A Pretty Folly Kate Rohde

Cathleen Edkins Gallery, The Riddoch (Mount Gambia SA) 26 November—22 January 2023

Monster Mash Kate Rohde

Maitland Regional Gallery (Maitland NSW) 10 December—12 March 2023

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Politics of Portraiture While portraiture is one of the most ubiquitous genres, it has an urgent social undercurrent that contemporary artists are questioning and expanding with stunning effect.

W R ITER

Briony Downes

From marble busts and intricately detailed paintings to the humble iPhone selfie, humans have had their likeness depicted in portraits since the form flourished in ancient Egypt over 5,000 years ago. At times, portraiture has been seen from empowering to humbling—but the form also speaks to whose image we value and why. And it’s these urgent aesthetic and social questions that contemporary Australian artists are navigating.

During the 14th century, Renaissance Europe was a nucleus for portraiture, often commissioned by wealthy patrons to convey their physical appearance, status, family crests and property assets.

Containing visual markers specific to their time, these portraits give us information about life, and how people were living it.

Yet this is also a thin slice of life. Once reserved for royalty, the upper classes and religious icons, portraits are now prolifically available on a global scale.

Almost primordially, we desire to see our likeness represented visually. Portraits convey who we are and where we come from, how we are perceived and how we want to be perceived, and where we belong.

While conceptual and non-figurative art may have reigned during the 20th century, contemporary Australian artists are—at this very moment—creating and expanding portraiture. We have returned to the figurative, but it begs the question: why do portraits still resonate?

Looking at Australian portraiture in the last century, one of the most significant evolutions is who is in

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the portrait. Visiting an exhibition of official portraits in the early 1900s, one would most likely see a ‘who’s who’ of bearded white men with stern expressions.

Women artists were indeed producing excellent work, but it is well established they were not given the public visibility of their male counterparts.

Artists like Grace Crowley and Nora Heyson were painting striking portraits celebrating women as independent individuals rather than as submissive objects of beauty so often depicted by the male gaze.

Spurred by the increasing public visibility of women, led by societal shifts like the suffragette movement and gendered occupational changes in World War I, women slowly began appearing more frequently in portraits and art awards like the Archibald Prize— a reflection of their changing status in society.

Today, almost a century later, Melbournebased artist Yvette Coppersmith has been painting portraits for nearly two decades. Focusing much of her practice on women and the female gaze, self-portraits feature consistently. She has also painted portraits of women in positions of influence, most notably former president of the Australian Human Rights Commission, Gillian Triggs. For Coppersmith, portraiture—the question of who is being legitimised by the form—is a vehicle for activism and political change.

She speaks of the connection between painter and subject, and the importance of who an artist chooses to depict. “Painting a portrait is an exchange between the artist and the sitter. There is a power dynamic there—in my work it’s the female gaze.

Yvette Coppersmith, Emeritus Professor Gillian Triggs, 2017, oil on linen, 137.5 x 110 cm. photogr aph: tim gresham.

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“Portraiture in Australia serves to uphold an ingrained conservatism in institutions.”

— BL A K D OUGL A S

Atong Atem, A yellow dress, a bouquet 1-5, 2022. Art Gallery New South Wales, La Prairie Art Award 2022. © Atong Atem.

Kate Beynon, Hybrid self with kindred spirits, 2019, acrylic on linen, 55 x 45 cm. image courtesy of the artist and sutton gallery na arm/melbourne.

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It’s about shifting the power of who you would expect to hold power in the art world. The space for expanding the narrative of representation is important too.”

In 2018, Coppersmith became the tenth woman to win the Archibald Prize for her painting, Self-portrait, after George Lambert. Female representation as both artist and subject in prizes like the Archibald is improving. Even more significantly, Indigenous artists and artists of colour are becoming prevalent subjects, finalists and prize winners in contemporary Australian portraiture. As writer Jennifer Higgie pointed out in a 2021 conversation for Literary Hub, “Cultural critics and art historians aren’t just looking at the exclusions of women, they are also looking at the exclusions of people of colour, of people of different abilities, of people of different class.

It’s very clear that art history is a work in progress.”

Visibility in the public consciousness is key and Coppersmith cites artists like Gordon Bennett, Julie Dowling, Daniel Boyd, Vincent Namatjira, Juan Davila and Nora Heysen as driving transformations in Australian portraiture—both formally, and for who they choose to paint. “To have more diversity visible is one of the most empowering things you can do for people,” she says. “You open the imagination of others.

That’s the power of portraiture. People need to be able to see themselves reflected as it opens a space of possibility and change.”

Also based in Melbourne, artist Kate Beynon maintains a multidisciplinary practice that dips heavily into portraiture. A Hong Kong-born artist with Cantonese-Malaysian, Welsh and Nordic ancestries, Beynon incorporates fragments of cross-cultural identity, personal history and the supernatural into her portraits.

In the self-portrait Hybrid Self with Kindred Spirits, 2019, Beynon paints herself surrounded by otherworldly creatures reminiscent of mythological animals. By visualising ancient stories and characters through a contemporary lens, she says she paints these portraits to, “explore a sense of self, family and identity, navigate challenging times and inhabit in-between spaces. My work is also connected to feminist thinking and ideas of kindred spirits coming together.”

Sandra Bruce, director of collection and exhibitions at the National Portrait Gallery in Canberra, is intrigued by how contemporary artists go beyond traditional modes of portraiture to “tell the stories of their subjects through their own visual language”.

Expanding into methods of portraiture like sculpture, video and installation, the portrait is no longer limited to conventional ways of image making. “One outcome of this is a continuing blurring of the lines between portraits, figuration, conceptual work, and non-figuration,” says Bruce. She points to Yankunytjatjara artist, Kaylene Whiskey, as an artist who does

this exceptionally well. Known for creating vibrant paintings celebrating strong women and Aṉangu culture, Bruce says Whiskey, “has reinvigorated the tradition of incorporating overt symbolism within her practice, fully embedding such literal visual mechanisms throughout her signature style: one that is truly contemporary”.

Like Beynon and Whiskey, Melbourne-based artist and writer Atong Atem has developed a distinct visual language to represent her experience of living in Australia. For Atem, this is heavily influenced by African diaspora and her experience of arriving in Australia as a refugee from South Sudan. While studying at university, Atem was unable to find images in art history reflecting her experiences. To remedy this, she began taking photographic portraits of herself and her community, actively adding a new voice to the dialogue of Australian portraiture.

Resplendent with visual storytelling, Atem’s images weave together science fiction, fashion and cultural identity, and are stylistically informed by the studio portraits of African artists Malick Sidibe, Philip Kwame Apagya and Seydou Keita. She says of her self-portraits, “My practice has been about using photography as a means of exploring history, and specifically the history of visual language and representation. A lot of the history of portraiture seems to me quite similar to the history of still life painting and photography. For example, the way that objects are imbued with meaning due to their historic associations.” The recipient of the inaugural La Prairie Art Award, Atem’s photographic series, A yellow dress, a bouquet 1-5, 2022, challenges historical and colonial narratives of migration and movement, reflecting these ideas through self-portraiture imbued with elaborate make up, costume and bouquets of flowers from varied locations.

As Coppersmith points out, the potency of portraiture as a vehicle to drive systemic change lies in how we visually depict ourselves and others. “There’s no more lasting document than a piece of art. A work of art is going to outlast other media. Newspapers might be archived but we don’t go back and look at them in the same way as something in an art gallery.”

Speaking about the Archibald, she describes the award as “a barometer of how conservative Australia was and how far we’ve come”.

Coppersmith continues, “For Blak Douglas to win this year with a portrait of Karla Dickens represents such a shift. It represents a change in conversation about national identity. There is power in having the Archibald audience. It’s huge, almost as big as a sport.

It has the media attention to be able to harness that and direct the conversation where it needs to go.”

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Winner Archibald Prize 2022, Blak Douglas, Moby Dickens, synthetic polymer paint on linen, 300 x 200 cm. © the artist, image © agnsw, mim stirling. sitter: k arla dickens.

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right Peter Drew, AUSSIE posters, Carlton, 2021. Original photographs from the National Archive of Australia in Brisbane.

An artist who refuses to shy away from assertive truths, 2022 Archibald winner and Dhungatti artist Blak Douglas has been using portraiture as a form of activism for almost a decade. Criticising the lack of Indigenous representation in prizes like the Archibald, Douglas says, “Portraiture in Australia serves to uphold an ingrained conservatism in institutions. My first successful entry as a finalist was in 2015 with a portrait of Uncle Max Eulo and up until that year, 90% of past Archibald finalists and victors had been white male faces. Within my era, Craig Ruddy set the cat among the pigeons in bureaucracy with his Archibald winning portrait of David Gulpilil in 2004.”

Portraits are not Douglas’s usual way of working, and yet each year he produces a painting of a prominent First Nations figure with the sole purpose of entering it into the Archibald. A five-time finalist, Douglas won the 2022 award with Moby Dickens, a three-metre-high painting of Wiradjuri artist Karla Dickens carrying buckets of water through a flooded landscape. Looking closely, one can see the buckets have holes and storm clouds brew over a landscape inundated with muddy water.

As a historical document, Douglas’s portrait communicates multiple issues—the lack of government support for artists, climate change, financial insecurity and social injustice. Douglas says, “Fundamentally this work is as ripe with metaphors as the government is with corruption. That’s where the Blak Douglas style of work comes from, there’s an aesthetic enticement and then it sucker punches you.”

When Douglas won the award, it was the first time an Archibald winning painting had both an Indigenous artist and sitter.

Stepping outside the gallery and taking portraits to public spaces is South Australian artist Peter Drew.

In his AUSSIE poster series, Drew uses photographs from the Australian National Archive that capture people oppressed by racial restrictions of the White Australia Policy (introduced in 1901 by parliamentarians to curb immigration).

Despite many being born in Australia, most of the men, women and children depicted in the AUSSIE posters were historically deemed to be a nationality other than Australian due to their perceived ethnicity.

Through this project Drew challenges the viewer to think deeply about what it means to be ‘Australian’, and preconceived ideas of national identity.

With the potential to influence how we perceive others and to generate political change, unlike any other medium, portraiture reflects our past and our aspirations. The history and transformations of the form lay bare how much has changed—and how much hasn’t.

Despite—or perhaps because of—their ubiquity, portraits are still among the most recognised forms of art across the globe. Is it at all surprising Leonardo da Vinci’s Mona Lisa—a portrait—is the most famous artwork in the world? Perhaps the answer lies in our inherent human need to be seen. To record our lived experience and the issues facing humanity at this moment in time. Seeing ourselves reflected ultimately brings us closer together by revealing a shared humanity, always reminding us that we are not alone.

Yvette Coppersmith and Blak Douglas are showing in the Archibald Prize 2022 tour at Blue Mountains Cultural Centre (until 4 December) and Grafton Regional Gallery (17 December—29 January).

Kate Beynon is showing in Tell Me A Story at Hawthorn Town Hall Gallery (until 17 December) and Archie100: A century of the Archibald Prize at Queen Victoria Museum and Art Gallery (until 8 January 2023).

Atong Atem is showing in WHO ARE YOU: Australian Portraiture at National Gallery of Victoria (until 29 January 2023).

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20 Questions

with Jemima Wyman Palawa artist Jemima Wyman creates art on political formations of our time, from protests to resistance movements. Using techniques of collage, Wyman arranges images of resistance into beguiling formations.

Ahead of Wyman’s inclusion in Air at Brisbane’s Gallery of Modern Art, we asked her 20 questions.

W R ITER

Tiarney Miekus Jemima Wyman. photogr aph: tyler william parker.

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Describe your practice in seven words?

Visually diagramming the depth of protective coverings.

Your first art love?

Yayoi Kusama, for her pataphysical universes and love of infinity.

When I first encountered her work in the 90s, I didn’t understand the nuance or breadth of her practice.

I was initially interested in the psychedelic mapping of self, space, and the collective, in relation to her unique polka dot camouflage. But the political dimension of her Happenings and her presence in the 1960s New York City art scene means a lot to me now.

I never thought I would actually get to see her work in-person, as I grew up in regional Queensland with no contemporary art until I travelled at age 15. So I cried when I encountered a mirror room at the Museum of Contemporary Art in Sydney. Since then, my work has been included in a group show with Kusama.

Best time of day to create?

5 to 7pm, when the day is shifting into night, especially straight after a cup of tea.

Organisation or chaos?

Both, simultaneously!

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

It was actually a reductive and negative comment (that was false) about my work. However, that remark started a whole chain reaction in my practice, whereby I started to look for real world examples of masking and covering. Specifically, I look at how masking is used by people during conflict in order to have anonymity, while still desiring to be looked at and be heard.

As politically motivated as your works are, they’re also very enchanting—what’s the balance between a political image and an aesthetically appealing image?

Art’s strength is its ability to be more than one thing at a time. I don’t believe that politics and aesthetics are separate. I guess the balance comes when the viewer feels an awkwardness or internal conflict in relation to the work, and aren’t able to immediately make assumptions. I want viewers to have the experience of being more sensitive in their looking at protest.

Representations of conflict can be seductive, and optical patterns have deeper meaning. Protesters are often using visually aggressive strategies to take up space and have their voice heard. Seduction is a device of warfare.

I’ve read you have a tremendous archive of protest images. Is this a digital or physical archive? And how is it organised?

It was an anti-war protest in Brisbane in 2001; I painted my face with text and wore a fluorescent pink flower dress.

My MAS-archive has been going since 2008; it’s housed both ways, although the digital is easier to track. I often use reverse image searches through Google or TinEye if there’s a problem tracking something. The physical archive is in clear boxes on shelves in my studio in Lincoln Heights, Los Angeles.

What do you think intrigues or moves you about acts of resistance?

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

Do you remember the first protest you ever attended?

The employment of visual and performative strategies that can have ramifications for human rights. It’s a space where a mask is not just a theatrical device—it can be a protective tool, for anonymity and to filter out tear gas.

I used to do performances as a part of my practice, but I think the space of protest is more interesting and complex. Protest is a high-risk performance. Protesters’ willingness to put their bodies on the line for their beliefs is always inspiring.

I’m into the embodied-ness required by protest, and then the visual analysis of ingenious methods employed by protesters.

Do you find living between Brisbane and Los Angeles benefits your practice?

I find it both challenging and generative; definitely not easy.

Collaboration is hard! I have a collaborative practice with Anna Mayer spanning 17 years, called CamLab. Friendship is an important foundation for our collaboration; it allows us to take risks with humour and social engagement that we wouldn’t do on our own. It takes so long to get to an interesting place of making with someone else, where the work does more than either of you can consciously predict. We have an ongoing workshop project remaking feminist artworks related to sexual assault in miniature, called ‘Reguarding Room’.

An art experience that’s stuck with you?

Watching Cameron Jamie’s Kranky Klaus at the Whitney Museum, alone in a dark screening room.

The experience was sublime and terrifying. I had a heightened sensitivity to my surroundings.

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Jemima Wyman, Pairrebeener people, installation view of Plume 20, 2022, (detail), handcut digital photos, 450 x 530 cm. courtesy: jemima w yman, milani gallery, brisbane, and sullivan+strumpf, sydney, in memory of mark webb (1957–2022). © jemima w yman. photogr aph: ed mumford.

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“Protesters’ willingness to put their bodies on the line for their beliefs is always inspiring.”

— J EM I M A W Y M A N

Quick advice for young artists?

Make sure your work entertains, excites and surprises you—because that’s the only way to make it sustainable over the decades.

Best colour to create with?

Yellow (and black) in relation to creating aposematic patterns.

Your formative artistic influences?

All my formative experience has been in educational settings. Working with Mark Webb at Queensland University of Technology and then studying at California Institute of the Arts with Leslie Dick, Christine Wertheim, Charles Gaines and Michael Asher, and all my fellow students.

You’ve created works based on the masks and outfits of protestors—like the balaclavas of Pussy Riot, for example. But have you made something wearable for protestors?

Generally, when I protest I show my face and have a sign. However, at Occupy Los Angeles on the steps of City Hall, CamLab wore a 20-metre inhabitable length of fabric that other protesters cut their own head holes into and occupied with us. At other demonstrations I have participated in artists’ projects. Recently, at an anti-abortion rally ‘Bans Off Our Bodies’ in Los Angeles, I shook one of Elana Mann’s protest rattles very loudly against right-wing religious groups who attended. At the Women’s March in Los Angeles I participated in Lara Schnitger’s ‘Suffragette City’ procession.

Do you see art itself as a form of protest?

Occasionally.

What is it about masking and camouflage that interests you in relation to power?

I started making feminist works in the mid-90s using my own body for performances. To overcome the objectification of the female body when performing, I started to cloak, exaggerate, and extrude through fabric skins and masks. I was interested in how body coverings provided anonymity and power to the wearer in equalising the onlooker’s gaze. Patterned fabric and masks are a type of camouflage that attracts the eye but doesn’t compromise the wearer’s identity. So this train of thinking led me to look at real world instances of camouflage being used for survival by liberation armies, and then eventually global protest movements.

Your work in Air collages plumes of smoke from flares and deterrents during protests. Why these images?

I have been interested in protesters’ and liberation armies’ choice of ‘camouflage’ for a long time. What are the options for protective coverings in conflict?

The smoke collages developed from observing the Yellow Vests movement and their use of smoke in protest. Also I remembered that the French origin of the word ‘camouflage’ is camouflet, meaning ‘whiff of smoke in the face’. The work wrestles with more than just these starting points . . .

When you follow protests across the world, relating to so many injustices, does it leave you feeling hopeful or despairing?

A mix of despairing hope.

Air

Gallery of Modern Art (Brisbane QLD) 26 November—23 April 2023

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Another Version A renowned Australian painter, the many sides of Peter Booth have been unfolding since the 1960s in works of dark narrative.

Now, a new survey traces what Booth tells us about humanity.

W R ITER

Autumn Royal

“Every painting is always two paintings: the one you see, and the one you remember,” says American essayist and novelist SirI Hustvedt. The painting in question for me is Peter Booth’s Painting, 1977—also known as ‘Man with Dog’.

I trace back almost 20 years to my 16-year-old self—slouching over a desk in Oberon High School’s photography studio. I am studying a photocopy of Booth’s Painting, 1977, and trying to understand why this depiction of an apocalyptic scene provides me with a sense of comfort. We are being taught visual composition in preparation for exams. I must express what I see in the painting and explain what it means.

Staring back at me is a masculine figure with vermillion-coloured pupils and a determined resolve.

The figure’s ragged grey hair is blown back by a cold wind and in a moment of vulnerability, he stops walking and places his hands into the pockets of his jacket. A white dog stands faithfully alongside. His eyes are the same colour as what may be the sun— but for me, it’s the moon. This man stoically leaves a chaotic and violent event with burning buildings behind him.

One of this country’s foremost abstract, figurative and surrealist painters since the 1960s, Booth’s last Australian survey, Human/Nature, was in 2003 at the The Ian Potter Centre: NGV Australia. It was the first exhibition I ever saw, and the first retrospective the NGV Australia ever held for a living artist.

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Anthony Fitzpatrick, curator of Booth’s latest survey at TarraWarra Museum of Art, also saw the show.

As he surmises, “Once seen, Booth is never forgotten.”

I confess to Fitzpatrick that from the exhibition, I can only recall one of the works from the ‘Doorway’ series, 1970-1974. This renowned series of large, abstract works, heavily layered with monochrome colour, suggests an entry point of an open door; what’s beyond is ominous yet provokes marvel. As Fitzpatrick explains, Booth didn’t designate this name—preferring to leave his works untitled—but he has come to accept it.

While the TarraWarra survey features a collection of Booth’s works from the 1970s to the 2000s, it opens with a work in the ‘Doorway’ series: Painting, 1974. It’s a canvas covered with shades of black. As the curator says, “Just near the top, there’s this very thin horizon line of red, and it feels like there’s this massive magma just behind the surface that’s starting to seep through.” I’m told that written on the back of some ‘Doorway’ paintings is an instruction: “Never hang more than six inches from the floor.” As Fitzpatrick explains, “If you hang the work a little lower for the viewer . . . it becomes more immersive, and this painting is the opening work in the exhibition with the idea of the doorway as a threshold.” right Peter Booth, Painting, 2013, oil on canvas, 153 x 112 cm. private collection. © peter booth.

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Peter Booth, Painting 1978, 1978, oil on canvas, 198.2 x 274.5 cm. national gallery of austr alia, canberr a, purchased 1979. © peter booth.

“Once seen, Booth is never forgotten.”

— A N T HON Y F I T Z PAT R ICK

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Peter Booth, Painting, 2018, oil on canvas, 152.5 x 243.8 cm. photogr aph: charlie hillhouse. courtesy of the artist and milani gallery, brisbane. © peter booth.

This minimalism is compelling. “The ‘Doorway’ series could be about nothingness, or it could be a void,” says Fitzpatrick, “but voids are also where things are generated from—so they could be about an idea of fullness . . . you could almost see them as a kind of dark mirror.” In a rare interview with Australian artist, writer and curator Peter Hill, Booth humbly discusses how the ‘Doorway’ series was “influenced by what was going on in the art world at the time, in reduction, minimalism and colour field painting”.

Throughout his epic career, spanning over six decades, Booth has purposely left many of his artworks without didacticism—trusting his audience to deduce their own meaning. “Booth doesn’t draw a distinction between abstract painting and figurative painting,” says Fitzpatrick. “What’s most important for Booth is what a painting can tell us about the human condition.”

For me, Booth tells the possibilities of how painting can represent the emotional tension between real and imaginary worlds: to dare viewers to see part of themselves in both his abstract and figurative work. It is also related, at least for me,

to time passing. As Hustvedt writes, “The work of art we carry around with us is a memory, not like the original . . . it is possible to return to a piece of art years later and have a completely new experience.”

But instead of returning to Painting, 1977, I’m turning to what may be viewed as the accompanying work, Painting, 1978—and included in the TarraWarra survey.

This time, rather than seeing the front of the aforementioned man with vermillion-coloured pupils and a burning city behind him, we see his back profile and what lies in front of him: the cataclysmic scene he’s walking into. His right hand is in his pocket with his left hand slack by his side. This man must leave the world burning behind him and enter the unknown.

He is confronted with an equally menacing scene of swarming volcanic craters and a laughing demonic figure watching on. He is ready to face another version of the self.

Peter Booth

TarraWarra Museum of Art (Healesville VIC) 26 November—13 March 2023

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Interview

Nadia Hernández and Jon Campbell W R ITER

Diego Ramirez

Nadia Hernández, De agua de azahar y mantequilla a temperatura ambiente (Of orange blossom water and butter at room temperature), 2021, paper cut, 71 x 90 cm (framed). © nadia hernández.

Jon Campbell, Fuck Yeah (Matisse), 2015, enamel and acrylic paint, cottonduck, 41 x 56 cm. courtesy of the artist and darren knight gallery, sydney © jon campbell.

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I met with Nadia Hernández and Jon Campbell at a Melbourne pub for a parma and a chat about their joint exhibition Speech Patterns at the Art Gallery of Western Australia (AGWA). This is a thrilling meeting of two intergenerational artists who share an affinity for text, colour and line. Their works engage with identity, language, class, pop culture and diaspora in playful and generous paintings that excite the gaze. In a conversation premised on a shared love for humour and words, Hernández and Campbell talk about exhibiting together and the importance of cross-generational friendships.

DIEGO R A MIR EZ

What was the starting point for this show?

JON CA MPBELL

It was the curator Robert Cook from AGWA who made contact with us, proposing this idea to put our works together.

NA DI A HER NÁ NDEZ

I was a fan of yours Jon, as I had seen your show at MCA [Museum of Contemporary Art] and I really liked your work. Back then, I would have never imagined this situation.

DR

It would have never crossed my mind to combine your practices. But once seen together, they share such a strong connection.

JC

Yeah, and to me that is the sign of a good curator . . .

We don’t see strong curatorship often.

NH

What’s exciting is that now that we’ve met, and now that we’re having this show together, we can begin to uncover these links between us. Robert had seen all these links through interests or commonality and now we get to decipher them in our own way, through the different conversations we’re having.

DR

Can you describe these links between your works?

NH

For me it is more about this new relationship— and that might reveal links or it might be its own thing.

Or lead to other things.

JC

Yeah, we are now thinking about doing a performance together as part of the show. And these collaborations are the real bonus of this whole thing, so it’s still pretty fresh.

DR

Have you made a new collaborative work for the show?

JC

We’re making a paste up by layering each other’s photocopied works, but we will decide on the actual form during install.

NH

Yeah, it’s funny how a show is meant to be something that is resolved, but for me it feels like the beginning of what might come from knowing one another, potentially working together, having had our works greet each other. The exhibition is previous work, we’re not necessarily making new works. I see Speech Patterns as a beginning, a meeting.

JC

Absolutely. We all have these histories and this is a nice opportunity to bring some of that out. I have some things going back to my postgrad student days in 1984, and with works like this you wonder if they will ever be shown, so it’s great they can be part of this.

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Nadia Hernández, Flor, el collar de Ana y una tradición, 2022, oil on linen, 102 x 84 cm. courtesy of the larholt family. © nadia hernández.

Jon Campbell, Your application was unsuccessful, 2022, synthetic polymer on linen, 167.5 x 243. 5 cm. the state art collection, the art gallery of western austr alia © jon campbell.

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“Over the past couple of years, I’ve been looking back at a loss of hope and trying to regain it . . .”

— N A DI A H E R N Á N DE Z

DR

I really enjoy spending time with established artists because they have experience and have lived through interesting moments—but there’s often this strange unspoken barrier that doesn’t quite connect generations.

JC

Maybe older artists have some chip on their shoulder about, “I’ve done all this, so I don’t want to do that and I’m not doing this.” Like, they believe it can be a retrograde step that is not good for their career or something. But come on! Do interesting things.

JC

Great opportunity to get some old works out—I’m loving that because they just sit in storage and when I look back at my student works, they look okay, but I go “Geez, they are rough!” It means things have actually changed, but they have a unique quality about them.

DR

While you both use text in your practice, your sources are so different. Is this something you talked about?

NH

JC

In his curatorial essay, Robert says that my body of work becomes a collective body. Since I am talking to family or protest, where I invite other people to contribute text to my work, I am thinking about how other groups of people play a role in one’s practice.

NH

I’ve thought about this myself because there’re all these voices and they are coming from all over the place. They can be personal or drawn from the public realm, speaking politically to the way you grew up and where you live now. Once you start thinking about this, you can see the relationship between our works, [but] it might not be the same experience. Say I am talking about the way I grew up in the 70s, that experience is quite different to Nadia’s.

NH

You were telling me you have a lot of younger friends Jon, right? Do you think some artists don’t step outside their own age bracket?

Possibly, it could be that. But I don’t think it’s good for any artist to be siloed like that. Everyone’s got their own way of working and how they need to generate their own things. But for me it is more interesting to be out and about. As I see it, this is possibly reflected on their work as it goes on, when it runs out of steam a bit. Then again, there’re people in your generation that are not looking at anything and don’t have older friends. So, it goes both ways.

Yeah, I have friends that are older but also younger because it is way more interesting. I think it’s very important to work cross-generationally in the arts . . .

I want to see more community!

Over the past couple of years, I’ve been looking back at a loss of hope and trying to regain it and reconfigure it as something completely different.

I wonder how it will feel to see this collection of works from different moments in time in one space, it is like time travelling.

JC

Speech Patterns Nadia Hernández and Jon Campbell Art Gallery of Western Australia (Perth WA) Until 8 January 2023

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The Artist’s Prayer When arts funding feels akin to faith, illustrator Oslo Davis recites ‘The Artist’s Prayer’.

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Puzzlements of Personhood With works exploring his Thai-Australian heritage, Nathan Beard’s latest solo show continues his nuanced understanding of identity as fluid and permeable.

W R ITER

Neha Kale

Nathan Beard has long been wise to rituals, both strange and familiar, that create a sense of home.

As a boy growing up in 90s Perth, his mother, who immigrated from Thailand, nurtured tropical plants in their suburban garden. He remembers shrines in the house, and time spent with women in the Thai community. His upbringing, he says, felt ordinary.

“My mum’s garden was different—in the back of our house there would be banana palms, a portrait, herbs,” Beard says. “She had a really green thumb, but it was all about growing stuff we could use in the kitchen and that was before there were pots of coriander at Coles. What I had felt commonplace. But if I went to white schoolfriends’ houses, I [noticed] things like people not taking their shoes off when they went inside.” He takes a sip from his mug and gives a rueful laugh. “There was culture shock.”

Culture isn’t fixed. Identity, contrary to popular opinion, can be slippery. Beard has spent over a decade thinking about his inheritances, both material and immaterial. When I speak to him, he’s in London, readying works for A Puzzlement—a solo show at the Perth Institute of Contemporary Arts.

He’s unguarded and expressive. He talks with his whole body. In a field that’s often self-serious, it’s easy to see why his photographs, sculptures and installations are infused with levity and play.

Take Low Yield Fruit. Presented in March at Perth’s sweet pea gallery, the show featured jackfruits, mangosteen and durian—Thai exports often

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dismissed by the West as spiky or smelly or not worth the effort. They balanced atop bronze Buddha heads, tenderly cast in silicon: mundane but monumental.

In White Gilt 3.0, a finalist work in the 2020 Churchie Emerging Art Prize, a series of photographs depict a slender pair of hands that stretch and flex and bend. They evoke Beard’s relationship to wai, a customary Thai greeting. “I wanted to create a moodboard aesthetic,” he smiles. “The wai is just a hands-clasped gesture—but I remember as a kid, feeling slightly uncomfortable performing it. I wanted to explore how in Thai culture, hands confer so much meaning and nuance. And how that intersects with my confrontation with it in a Western context.”

Beard, who studied at Curtin University, came to art via this Western context. We trade recollections of queuing up for Monet and Japan, an Art Gallery of Western Australia blockbuster exhibition, something of a cultural moment for Perth at the turn of the millennium. In 2013, his mother longed to reconnect with family. Her ancestral home in Nakhon Nayok, he says, had always loomed large in his imagination.

When they returned together, it had been unoccupied for two decades. “There were photographs of my mum when she was 19, [relatives] who didn’t make it into our albums in Australia,” explains Beard. “It was frozen in time—everything was falling apart.”

Obitus, 2014, was shaped by the texture of these photographs, the gaps they represented.

In one image, his mother stands in a living room,

Nathan Beard, We Kiss in a Shadow, 2020, framed archival digital print on Canson Baryta, Swarovski elements, Avery 3002 blockout vinyl matt laminate, 80 x 100 x 4 cm. photogr aph: chris kershaw, joondalup photo design.

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“It’s this transference of the way that personal history, pop culture and institutional space all tumble together in different timelines and significances.”

— N AT H A N BE A R D

half-obscured by a plume of smoke. In another, a black-and-white depiction of sisters sees the sprouting of green moss.

Memories can decay. Sometimes we embellish them. In Siamese Smize, which showed in 2018, Beard decorated images of his mother and her friends with Swarovski crystals, patterns evoking Thai silks and tourist kitsch. “It could be seen as a hodgepodge but there’s something really precious about just being encouraged to decorate an ornament,” he says.

“It’s indebted to my mum’s taste.”

In 2019, his mother passed. To cope, he made Tender Ruin—profound images that document the story of her funeral. Through A Puzzlement, he’s still grappling with what he describes as a rupture in his own chronology. He’s become interested in objects over images. In the archives of Kew Gardens, he was compelled by the orchid, a flower associated with Thailand, a symbol of colonial interest in the country.

“You see how botanical interest in Southeast Asia overlaps with colonial expansion in the region,” he says. “[Thai] culture is always taking on different influences [although] Thailand was one of the only Southeast Asian nations that wasn’t colonised by the West.”

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The show draws on references from the British Museum, Victoria and Albert Museum and British Film Institute, including Rodgers and Hammerstein’s The King and I. For Beard, the 1956 ‘chopsticks musical’, an orientalist portrayal of Siam and the West, was once a source of cultural pride. “It was like, ‘Hey, that’s an artefact depicting where my mum’s from,’” he laughs. For A Puzzlement, he will stack sculptural works based on artefacts in the British Museum on top of recreations of the shrine statues his mother brought to Australia.

“It’s this transference of the way that personal history, pop culture and institutional space all tumble together in different timelines and significances,” he smiles. “Assemblage will be an aesthetic driving force.” He pauses. “The acknowledgement as far as I’m concerned is the fact that without my mum’s influence, this is what I have to rely on.”

A Puzzlement

Perth Institute of Contemporary Arts (Perth WA) 28 October—8 January 2023

Nathan Beard, Haltribe Sawatdee Thailand, 2018, digital print on Canson Rag Photographique 310gsm, printed acrylic, Swarovski elements, 52.8 x 72.8 x 4 cm. photogr aph: bo wong.

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Strange Times Soda Jerk’s latest work centres on the moments that have defined the last six years: a pandemic, the Trump era, QAnon, the war in Ukraine and climate disaster.

W R ITER

Andy Butler

Soda Jerk are premiering their first video work in four years: Hello Dankness at Samstag Museum of Art in Adelaide. It’s a follow-up to their political fable Terror Nullius of 2018, which almost became overshadowed by its label of ‘un-Australian’ by its own funders.

While this new work is deeply indebted to the trolling tonality of internet culture, it’s also very much rooted in cinema. It brings together Greek tragedy, stoner films and Broadway musicals to ruminate on the 2016 and 2020 United States elections—and the world we’ve lived through during the past six years.

For two decades, Soda Jerk have delved into cinematic history to create virtuosic works of sampling. They trawl through countless hours of film and television history to break our understanding of the formation of popular culture. “There’s an incredible amount of waste built into the way that we work,” they explain. “Rampant variations of the same narrative and endless scenes and characters that never make the cut.” The siblings have worked as a duo since the beginning.

Hello Dankness has been a monumental labour.

After being commissioned in 2018 by Samstag, Soda Jerk set out to make a film responding to the Trump era, originally to premiere in October 2020: a month before the US elections. We all know what happened that year—Covid-19. “We almost had the narrative locked down in early 2020.” October passed, former US president Trump lost, the world got weirder— and we’re still coming to grips with it.

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In the two intervening years they have centred on expanding their initial idea, all while an unreal reality unfurled around us in real-time: massive civil rights uprising through Black Lives Matter, a pandemic, QAnon conspiracy theories, the January 6 Capitol riots, the war in Ukraine, catastrophic climate disasters. Despite his ousting, the eeriness of Trump remained in his presidential absence, and the world has descended even further into a dystopic era.

Hello Dankness responds to this world.

Screening each day at 3:30pm, it’s part of a broader survey exhibition Open Sauce, which alongside Terror Nullius will also feature The Was, 2016, and The Time that Remains, 2012.

Readers familiar with Soda Jerk through Terror Nullius will find connections between the film and Hello Dankness, insofar as they’re both political fables—although while Terror Nullius begins in 1975 and covers several decades of Australian history, Hello Dankness is a bent suburban musical that squeezes out our recent social and political horrors.

Seeing these alongside The Was and The Time That Remains draws out a significant political worldview that has driven their practice from the beginning. “Our work has always been rooted in politics,” they tell me, even before their films explicitly included politicians as characters. “The challenge our practice poses to intellectual property law has always been the OG [original, authentic] driving force for the way we work. And our very first work,

Soda Jerk, Hello Dankness, 2022.

Soda Jerk, The Was, 2016.

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“The moment that Kendall Jenner hands that Pepsi can to the cop, we pass some kind of cringe horizon from which we cannot return.”

— S ODA J E R K

which was also our first feature film, Hollywood Burn [2006], was an anti-copyright, sci-fi, biblical epic that pitted Elvis Presley and a league of intergalactic video pirates against Moses and his ‘Copyright Commandments’.”

Soda Jerk were borne of a resistance to cultural privatisation, one of the controls of our cultural landscape. They have been strategic in what they call the “seizing [of] privatised resources and politically appropriating them”. They are indebted to the early 2000s “freak positive” scene of the Sydney queer community. During a fraught time where gentrification was looming, there were illegal warehouse parties, the Sydney Broadway squats, healthy remix practices in hip-hop, and the now-defunct Electrofringe—all driven by communities that embrace civil disobedience.

This all infiltrates the work. The Was is a psychedelic reframing of film and television culture of the 1980s and 1990s, made in collaboration with other virtuosic samplers, the music group The Avalanches.

References in separate film worlds collide. Meanwhile The Time that Remains forms part of a series where actors meet alternative versions of themselves across the time and space of different films. In both, it’s as if the dream worlds of Hollywood are broken open and the real world streams in. “We’ve always thought of fiction films as documentaries,” they say, “in the sense that they are historical documentary that

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are encrypted with the histories, experiences and politics of the eras in which they were made.”

If one were to track why their films have grown from allegorical psychedelic trips to explicit political fables, it’s because we’re in even more fraught political times than the beginning of the 21st century.

We’re in an era where people believe Oprah and Barack Obama eat babies, or the conspiracy that a US furniture company hides sex-trafficked children inside their closets (which explains why the furniture is so expensive). Soda Jerk are interested in the narratives created across the political spectrum at a time of such upheaval, including the astronomical increase in people tracking movements of the moon and stars, transposing the symbolism onto our personalities and lives.

“The moment that Kendall Jenner hands that Pepsi can to the cop, we pass some kind of cringe horizon from which we cannot return,” they say, referring to the strange political epoch we find ourselves in, with an ad featuring Jenner giving a soft drink to a police officer at a protest. Soda Jerk are just trying to make sense of it all, like the rest of us.

Open Sauce Soda Jerk

Samstag Museum of Art (Adelaide SA) 18 October—16 December

museum.wa.gov.au

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

Artists Masahiro Hasunuma Yuichi Higashionna Tomoko Konoike Maki Ohkojima Fuyuhiko Takata

Curators Mayako Murai Emily Wakeling

Presented By

Supported By

jpf.org.au

sydney.edu.au/sca

OPEN SAUCE

TUES 18 OCTOBER

SODA JERK

Image: Soda Jerk, Hello Dankness (production still), 2022, Courtesy of the artist.

— FRI 16 DEC 2022

Open Sauce, an exhibition by Soda Jerk premieres the Samstag Museum of Art and Adelaide Film Festival moving image commission Hello Dankness.

unisa.edu.au/samstagmuseum

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

From a deep valley

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W OR 25 artists 15 scientific researchers

26 Nov to 12 Mar

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bundanon.com.au

bundanon.com.au

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A Geelong Gallery exhibition

5 Nov 2022— 5 Feb 2023

Mandy Martin— A Persistent Vision Exhibition partner Stuart Leslie Foundation

Mandy Martin, Unknown industrial prisoner II 1977 screenprint; edition 8/35, Geelong Gallery Gift of the artist 2021, © Estate of Mandy Martin Photographer: Andrew Curtis

geelonggallery.org.au

platformarts.org.au

Gordon Hookey: A MURRIALITY

Institute of Modern Art Ground Floor, Judith Wright Arts Centre 420 Brunswick Street Fortitude Valley QLD ima.org.au

22 October–23 December 2022 Curators: José Da Silva & Liz Nowell Opening night event: Friday 21 October, 6pm The first survey of renowned Waanyi artist Gordon Hookey, charting three decades of practice and including a significant new commission.

Developed in partnership with the UNSW Galleries, Sydney and presented with the support of the Australia Council for the Arts, Gordon Darling Foundation, IMA Commissioners Circle and UNSW Commissioners Circle. A national tour begins in 2023, supported by the Australian Government’s Visions of Australia program and Arts Queensland.

ima.org.au

Image: Gordon Hookey, Reiteration in Perpetuity, 2010, oil on canvas, 2 parts, 183 × 122 cm each. © Gordon Hookey/Copyright Agency, 2022.

Dean Cross, gunalgunal (A Contracted Field), 2021-22, Sydney and Adelaide, wall paper, steel, wire, 8W LED slim bar lights; Courtesy the artist; featuring Theodore Gericault, Le Radeau de la Méduse (The Raft of the Medusa), 1818 ©RMN-Grand Palais (Musee du Louvre) and Noman Tindale, Map showing the distribution of the Aboriginal tribes of Australia ©estate of Norman Tindale, Art Gallery of South Australia. Photo: Saul Steed

PERFORATED SOVEREIGNTY An exploration of divergence and dialogue from South East Asia to Australia 02 January — 26 March 2023

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 Joan Ross Citra Samistra Greg Semu Wukun Wanambi

South East Centre for Contemporary Art / Bega

Open daily 10AM–5PM Zingel Pl, Bega secca.com.au

secca.com.au

sheppartonartmuseum.com.au

fbbb.com.au

leonardjoel.com.au

neighbourhoodfest.com.au

ABSTRACTION 22

12 Nov - 3 Dec

John Walker, Canoe, 1988, oil on canvas, 213 x 168cm

CHARLES NODRUM GALLERY

charlesnodrumgallery.com.au AGAbstraction22.indd 1

13/10/2022 2:52:54 PM

12 Nov 2022 – 5 Mar 2023 Vincas Jomantas / Julius Kane Inge King / Clifford Last / Lenton Parr Norma Redpath / Teisutis Zikaras

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

Archives of Feeling: Trauma, Knowledge, Empathy RMIT Gallery 21 SEP — 10 DEC 2022 rmitgallery.com rmitgallery.com

Bruno Booth, left: Conversations with myself and others, 2022 right: Always room for one more on a sinking ship, 2022. John Curtin Gallery installation view. Courtesy of the artist. Photo: Sue-Lyn Moyle

7 OCTOBER - 4 DECEMBER

Carrolup coolingah wirn The spirit of Carrolup children CURTIN UNIVERSITY Building 200A, Kent St, Bentley Mon to Fri 11am-5pm Sun 12-4pm Free admission 08 9266 4155 @johncurtingallery gallery@curtin.edu.au jcg.curtin.edu.au

Nathan Beard, We Kiss In A Shadow, 2020, framed archival digital print on Canson Baryta, Swarovski Elements, Avery 3002 Blockout Vinyl Matt Laminate, 101.6 x 81.5 x 4.6 cm. Curtin University Art Collection. Purchased 2020. Courtesy of the artist.

jcg.curtin.edu.au

For more information about our exhibitions, Speaker Series, events and workshops, visit: jcg.curtin.edu.au

Kyoko Imazu small big things prints & ceramics 3 - 19 November 2022

beavergalleries.com.au

night changes things, you can’t see exactly how but you can feel it in your bones Consuelo Cavaniglia

Arranging Light Hannah Gason now Showing 5 Oct - 27 Nov 2022 at Canberra Glassworks

open Wed to Sun 10am to 4pm 11 Wentworth Ave Kingston ACT 2604

w canberraglassworks.com e contactus@canberraglassworks.com t 02 6260 7005

canberraglassworks.com

Splendid THE ROGER BROOKES BEQUEST

SPLENDID | magnificent; gorgeous; sumptuous; glorious; brilliant; dignified; impressive; excellent; very fine.

28 SEPTEMBER 2022 – 26 FEBRUARY 2023 INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

johnstoncollection.org

HELLO@JOHNSTONCOLLECTION.ORG | +61 9416 2515 KEEP INFORMED – CONNECT WITH US

image | hallmark of Joseph Craddock (registered London 1825), retailed by J[oseph] Widdowson (English, ?-?), coursing cup and cover, London, 1829 bequest of Mr. Clive Hele (Roger) Brookes, Melbourne, 2021 in memory of his parents Sir Wilfred Deakin Brookes, CBE, DSO, AE and Mrs. Betty (née Heal) Brookes (A1569), photograph by Mitchell Luo, Melbourne

WEDNESDAY – SUNDAY 10:00 AM | 12:00 PM | 2:00 PM CLOSED PUBLIC HOLIDAYS

johnstoncollection.org

THE JOHNSTON COLLECTION IS A GIFT BY WILLIAM ROBERT JOHNSTON (1911-1986) TO THE PEOPLE OF VICTORIA

THERE WE WERE ALL IN ONE PLACE HAYLEY MILLAR BAKER 4 OCTOBER – 16 DECEMBER 2022 Flinders University Museum of Art Ground floor | Social Sciences North building | Bedford Park Monday to Friday 10am – 5pm | Thursdays until 7pm Closed weekends and public holidays

Image: Hayley Millar Baker, I’m the Captain Now, Untitled 8 (detail), 2016, 20 x 20 cm, inkjet on cotton rag. Courtesy the artist and Vivien Anderson Gallery.

flinders.edu.au/museum-of-art

Yu t- a g u m a Make it New

Paintings and Poles from Buku-Larrngay J MuLka 12 nOVEMBEr - 17 DECEMBEr annanDaLE gaLLErIES

annandalegalleries.com.au info@annandalegalleries.com.au (02) 9552 1699 Image: napuwarri Marawili, Yathikpa, 2022, 242 x 121 cm annandalegalleries.com.au

Marsh- Eagle Lake III 2022 oil on linen 100 x 126 cm

Joanna Logue Echo 29 November – 23 December 2022

kingstreetgallery.com.au @kingstreetgallery

T: 61 2 9360 9727

kingstreetgallery.com

art@kingstreetgallery.com

hota.com.au

JO LANKESTER

onespacegallery.com.au @onespacegallery

onespacegallery.com.au

artsproject.org.au

LAUNCH / SATURDAY

03

RHETT D’ COSTA Veiled Pleasures

DECEMBER/ 6:00 PM 03 DEC / 08 JAN

STOCKROOM

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

The Garden of Veiled Pleasures, Sensual Curves, and Oblique Angles 2022 Acrylic polymer on wood, Triptych 75 x 145 cm

stockroom.space

disney.qm.qld.gov.au

1 Oct 2022 – 12 Feb 2023 Reconnection of Ancestral objects, people and Country

Platinum Partner

On show at the Tasmanian Museum and Art Gallery

Silver Partners

Bronze Partner

Publication Partner

www.tmag.tas.gov.au

Supporting Partners

Contributors

Image details: Andrew Gall, Item 272969, 2022, pulawini (red ochre), acrylic polymer on kangaroo leather, copper, river reed

tmag.tas.gov.au

TRENT WHITEHEAD 1 DEC - 22 DEC

CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU chalkhorse.com.au

KIM LEUTWYLER QUEER CORPOREALITY 1 – 17 December, 2022

Image: A, Torso, (det), 2022, Oil on canvas, 30 x 35.5cm

12 – 14 Meagher Street Chippendale \ NSW \ 2008 nandahobbs.com

nandahobbs.com info@nandahobbs.com

bendigoartgallery.com.au

Sihot’e Nioge: When Skirts Become Artworks Omie Tapa (beaten barkcloth) artists Oro Province, Papua New Guinea 21 October – 4 December 2022

This exhibition celebrates the Omie Peoples’ sacred artform from the remote, tropical rainforests of Oro, Papua New Guinea - the nioge. Nioge is one of the most colourful and diverse, painted and appliquéd, beaten barkcloth traditions in the Pacific region, still practiced and evolving today as a contemporary visual arts form on the international stage.

Tue to Fri 10am–4pm, Sat and Sun 10am–2pm, Closed Public Holidays | 22 Omrah Avenue, Caloundra | 07 5420 8299 @caloundraregionalgallery | gallery@sunshinecoast.qld.gov.au | gallery.sunshinecoast.qld.gov.au

Image: Doris Naumo | Omie Tapa cloth (detail) | Image courtesy of the artist and Joan Winter Courtesy: Omie Cultural Business Group PNG Inc and Joan Winter Baboa Gallery, Brisbane gallery.sunshinecoast.qld.gov.au

sydney.edu.au/museum

zartart.com.au/zartstatic/page/zart-summer-school

lintonandkay.com.au

Pippin Drysdale, ‘BKA Series II 2022 #941’, procelain vessel incised lines, 19 x 15 cm

Leigh Hewson-Bower, ‘The Fisherman, Strickland Bay’ [detail] 2022, Acrylic on canvas, 110 x 225 cm

Leigh Hewson-Bower Rottnest Revisited 8 - 27 November

Pippin Drysdale and Yinjaa-Barni Artists Journey Until 6 November

Subiaco

Subiaco Jeffery Mincham, ‘A summer spent, an autumn to reflect’ 2022, Hand built, multi glazed ceramic, 72x51x30cm

Kylee Larsen, ‘Long Vase’ 2022, monoprint, 85 x 41 cm

Swan River Print Studio Print Matters 29 October - 19 November

Selected Gallery Artists Directors’ Choice 28 November - 22 December

West Perth

Subiaco

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

Mandoon Estate Winery 10 Harris Road Caversham WA 6055 Telephone +61 8 9388 3300 info@lintonandkay.com.au

lintonandkay.com.au

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

A–Z Exhibitions

NOVEMBER/DECEMBER 2022

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

wyndham.vic.gov.au

VICTORIA

ACMI → John Brett, The British Channel Seen from the Dorsetshire Cliffs, 1871. Tate: Presented by Mrs Brett, 1902. Photograph: Phoebe Powell.

ACAE Gallery www.acaearts.com.au 82a Wellington Street, Collingwood VIC 3066 [Map 3] 03 9193 3449 Tues to Sun by appointment, closed on Mon and public holidays.

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

Our bilingual service, delivered in English and Mandarin, offers access to a range of artworks and public programs. ACAE Gallery also presents a select range of Chinese antiquities and collector advice.

ACAE is our acronym as the Australasian Cultural Arts Exchange.

1 October—11 November Imperfect Beauty of the Sublime Bronek Kozka For artist and photographer Bronek Kozka, the hand-held recording device is an integral part of his adventures trekking into remote parts of the natural world.

As others have done before him, such as the Tasmanian photographer Peter Dombrovskis (1945-1996), whose striking photograph Rock Island Bend became an icon of the environmental movement, Kozka locates the contents of his images within the strenuous and challenging journeys that are required to obtain them.

Claire Bridge, installation works.

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

16 June—13 November Light: Works from Tate’s Collection See art in a new light at ACMI’s blockbuster exhibition, curated by Tate in the UK and drawn from their prestigious collection. Surround yourself with striking classical works from J. M. W. Turner, gaze into Yayoi Kusama’s creative mind and immerse yourself in the light installation

by James Turrell. Enrich your exhibition experience with a scintillating events program, featuring film and talks with Ari Wegner, curator tours, late night access, fantastical magic lantern shows and hands-on workshops.

19 November—25 January 2023 Claire Bridge ACAE Gallery is delighted to be presenting a solo exhibition of new works by Melbourne-based artist Claire Bridge.

Bronek Kozka, Wilson No. 16, 2020, archival Inkjet print on Canson Platine, 100 x 100 cm.

Claire Bridge is an Australian artist, of Anglo-Indian and culturally Deaf (Auslan) heritage who works across ceramic sculpture, textiles, painting, video, sound/ vocals, performance, and collaboration to explore body, gesture, voice and power, gendered violence, intergenerational legacies, and the labours of personal and cultural repair.

Tully Arnot, Epiphytes, (still). Courtesy of the artist.

4 November—27 November Epiphytes Tully Arnot 115

13.8.22 – 3.12.22

PART OF THE PACK? TRANSFORMATIONAL SCIENCE GALLERY MELBOURNE PARTNERS INNOVATION CIRCLE

MAJOR PARTNERS

PROGRAM SUPPORTERS

SCIENCE GALLERY MELBOURNE IS PART OF THE GLOBAL SCIENCE GALLERY NETWORK PIONEERED BY TRINITY COLLEGE DUBLIN

melbourne.sciencegallery.com

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dlancontemporary.com.au

VICTORIA ACMI continued...

Situated within an abstract representation of Tully Arnot’s childhood backyard, Epiphytes is a multi-sensory virtual reality work that features a diffuse, shifting, magenta palette that aims to elect feelings of solastalgia- an emotional distress at a loss of natural environments. This plant-based interpretation of light and space encourages a symbolic and interconnected way of existing in the world.

Bren Luke, Mid City, 2021, ink on bristol board. Private collection. © Bren Luke.

Until 5 February 2023 Streets of your town Bren Luke

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

Nellie Ngampa Coulthard, Tjuntala ngurangka (Country with acacia wattle), AK 22733, 2022, synthetic polymer paint on linen, 198 x 152 cm. © The artist, Iwantja Arts and Alcaston Gallery, Melbourne 2022.

23 November—16 December Tjuntala Ngurangka, Wattle Country Nellie Ngampa Coulthard 23 November—16 December Hermannsburg Potters

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

Ballarat artist Bren Luke creates extraordinarily detailed pen drawings.

This exhibition features some Ballarat landmarks and some hidden corners of the city including laneways, mid-century buildings.

Until 22 January 2023 Under the black flag A selection of pirate themed works from the gallery collection.

Until 13 November Lines and wrinkles Ro Bancroft Lines and wrinkles explores themes of ageing women using paper sculptures and poetry. A Backspace Gallery exhibition featuring poetry by Robin Taylor.

17 November–15 January 2023 An outsider’s view Christian den Besten Drawings and three-dimensional models of central Ballarat streetscapes. A Backspace Gallery exhibition.

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

Daniel von Sturmer, Projection (orange), 2022, acrylic enamel on aluminium, 120 x 80 cm. Courtesy of the artist and Anna Schwartz Gallery.

15 October—17 December Projections Daniel von Sturmer

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

See our website for latest information.

Until 18 November Heavenly Mermaid Ms Yunupiŋu (c. 1945–2022)

Anne Zahalka, Down on his luck, 1985, c-type print. Gift of the artist, 2022.

Collection of the Art Gallery of Ballarat. © Anne Zahalka.

5 November–19 February 2023 Beating About The Bush: A new lens on Australian Impressionism The Gallery’s amazing collection of paintings by Roberts, Streeton, McCubbin and other Heidelberg School artists are placed alongside works by contemporary Australian female photographers who are challenging traditional views on gender, the bush and nationalism.

Until 5 February 2023 Time traveller Murray Walker An exhibition featuring collage and assemblage works by one of Australia’s most respected senior artists Murray Walker, documenting his life and travels.

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

Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm.

26 November—5 February 2023 ArtSpace at Realm: Of Embers James Tylor and Rebecca Selleck, Katrin Koenning, Isabella Capezio and Tom Goldner.

The Australian bushfires of 2019 - 2020 are still smoking in the mind. Of Embers brings together photographs, sculptures, videos and ceramics that respond to this episode and the cultural status of fire in Australia. James Tylor and Rebecca Selleck’s Fire Country installation speaks to an awareness that fire has always been 117

ar t g ui d e .c o m . au ArtSpace at Realm continued...

forms including: video, sound, sculpture, woodwork, drawings, and wearable art.

The exhibition includes clothing and sculptures produced with recycled materials, alongside videos and sound recordings responding to the climate crisis.

ARC ONE Gallery www.arcone.com.au

James Tylor, Fire Country, Kangaroo Island 2, 2022. Courtesy the artist and Gagprojects. here and exists within a totality of deep ecological and cultural time, folded into Indigenous knowledge and experience over millennia. Katrin Koenning’s photographs phrase an earthen poetics seen in the polarities of ash and snow found in Lake Mountain. Tom Goldner’s photographs to visualise the paradoxical status of both brumby and fire in the landscape and human imagination, while Isabella Capezio’s assemblage of photographs, videos, found and made objects addresses the slippage between image and a multi-sensorial experience of fire.

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm, Tues by appointment.

See our website for latest information.

Clifton Pugh, A Portrait Lady Barbara Grimwade, 1981, oil on canvas, 122 x 91 cm. © The artist’s estate, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography and Video.

Until 19 March 2023 The Lady Barbara Grimwade Collection Until 5 February 2023 Carole Mules

Nike Savvas, Amathous (for Chloe), 2022.

19 October—26 November Amathous Nike Savvas

Kate Tucker, Care Banner 2, 2021, 140 x 115 cm, Calico, digitally printed cotton, bumph, acrylic, thread, linen, encaustic, oil, acrylic mediums, board, earthenware, underglaze, bronze rod. Courtesy of the artist and Daine Singer. Photograph: Christo Crocker.

Until 26 February 2023 Notions of Care A Bus Projects exhibition touring with NETS Victoria.

Arts Project Australia www.artsproject.org.au

Debbie Symons, Limacina Helicina Antarctica – The butterfly effect, 2017, video still.

5 December—6 January 2023 Maroondah Federation Estate Gallery: Room to Reverse Paulina Zamorano, Debbie Symons, Sarah McConnell, Carolyn Cardinet, Andrew Potocnik, Rain, Paige Templeton.

Room to Reverse phrases the scenario when there is still space to take action or change. This exhibition presents individual and collective visions on industrial sustainability and climate change.

These seven artists recreate, rewrite, renew and reclaim through a range of art 118

Lydia Wegner, Green Wave, 2022, pigment ink-jet print, 95 x 63 cm.

30 October—28 January 2023 On Space Lydia Wegner

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

See our website for latest information.

Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–5pm, Sat & Sun 12noon–4pm See our website for latest information.

5 November—27 November 2x2 Kate Knight and Simon Paredes Arts Project Australia presents two concurrent solo exhibitions by APA artists Kate Knight and Simon Paredes. Kate Knight’s colourful work shows a keen eye for the ornate, focusing on repeated motifs. Simon Paredes’ bold, simplified forms and choice of subject matter include domestic objects, retro pop culture items and the natural world.

VICTORIA academics and technologists presenting interactive workshops, performances and talks, and a new Data Relations digital publication, ACCA’s inaugural free online project featuring newly commissioned essays, conversations and material related to the exhibition projects.

Paul Yore: WORD MADE FLESH, installation view, Australian Centre for Contemporary Art, Melbourne. Photograph: Andrew Curtis.

Kate Knight, Untitled, 2022, marker on paper, 56 x 38 cm. © The artist. Represented

by Arts Project Australia, Melbourne.

Anthony Romagnano, Untitled, 2022 pencil on paper, 35 x 50 cm. © Copyright the artist. Represented by Arts Project Australia, Melbourne.

MADE FLESH is a comprehensive survey encompassing the full scope of Yore’s work—appliqués, quilts, tapestry and needlework, banners and pendants, collage and assemblance, and largescale narrative and history paintings, as well as a major monographic publication. The exhibition will be constructed is maximally as a gesamtkunstwerk, presenting work over the past fifteen years, alongside a major new room-scaled sculptural installation to be developed for the exhibition.

Paul Yore is one of Australia’s most interesting and consequential multidisciplinary contemporary artists. Born in Naarm/Melbourne in 1987, he lives and works on Gunaikurnai Country in Gippsland Victoria, and competed his studies in painting, archaeology and anthropology at Monash University in 2010. Yore has developed an ambitious art practice which draws on the traditions of classical Greek art, decorative Flemish and French tapestries, trashy popculture, gay porn, cartoons, psychedelia and the decorative semantic excesses of rococo style.

10 December, 3pm to 5pm Arts Project Australia Annual Gala 2022 Arts Project Australia’s Annual Gala and exhibition is a celebration of the achievement and diverse work of our studio and satellite artists, acknowledging their unique contribution to contemporary art.

Over 200 artworks spanning painting, photography, drawing, printmaking, ceramics and sculpture will be on display and available to purchase.

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

See our website for latest information.

24 September—20 November Paul Yore: WORD MADE FLESH Curated by Max Delany, with Devon Ackermann and Paul Yore.

Part of ACCA’s Contemporary Australian Solo Series, Paul Yore: WORD

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

25 October—12 November George Baldessin 25 October—12 November Baldessin Studio

Artworks by Sai-Wai Foo. 25 October—12 November Late Bloom Sai-Wai Foo 22 November—10 December Sue Anderson 22 November—10 December John Wolseley

Lauren Lee McCarthy, still from Surrogate, 2021. Photograph: David Leonard.

22 November—10 December Stray Shadows Deb Williams

10 December—19 March 2023 Data Relations Zach Blas, Tega Brain & Sam Lavigne, Lauren Lee McCarthy, Machine Listening, Mimi Onuoha, Winnie Soon; plus Data Relations Summer School. Curator: Miriam Kelly.

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,

Rona Green, Lucky LeVon, 2022, hand-coloured linocut, 56 x 76 cm.

22 November—10 December Who’s that memory in your eyes? – Printmaking 1997-2022 and unique small works Rona Green

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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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wangarattaartgallery.com.au

VICTORIA

Australian Tapestry Workshop

Bendigo Art Gallery www.bendigoartgallery.com.au

www.austapestry.com.au

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

See our website for latest information.

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm.

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

20 August—19 February 2023 In Our Time: Four Decades of Art from China and Beyond: the Geoff Raby Collection

Guy Grabowsky, Untitled ruins, 2020, hand printed analogue c-type photographic print, 155 x 120 cm.

Courtesy of the artist and Haydens, Melbourne. images in dialogue with traditional techniques. From Grabowsky’s scratched and textured abstract photographs and Hughes’ cyanotypes toned with botanical materials, to de Bruyn’s impactful animations featuring drawn and ascribed negative reels, the exhibition presents three different approaches to image making within the genre of photography and film that reveals the artists’ encounter with the materiality of process.

Cheryl Thornton, Sicily Gold, 2020, linen viscose and cotton, 17 x 17cm.

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

24 November—24 February 2023 In House: Works by ATW Weavers Leonie Bessant, Susan Carstairs, Chris Cochius, Cresside Collette, Marie Cook, Amy Cornall, Rosemary Crosthwaite, Tim Gresham, Saffron Gordon, Valerie Kirk, Sara Lindsay, David Pearce, Hannah Rother, Jennifer Sharpe, Joy Smith, Emma Sulzer and Cheryl Thornton.

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

See our website for latest information.

29 October—18 December Threshold: Dirk de Bruyn, Guy Grabowsky, Mat Hughes Threshold brings together the disparate practices of senior film maker/ animator Dirk de Bruyn, photographer Guy Grabowsky, and photographer/ printmaker Mat Hughes. These artists share an interest in constructing photographic and filmic imagery through analogue processes, manually engaging with the processing phase to create

Tripod shaped censer, Qing dynasty, 19th century, enamel, brass; with gilt metal handles and feet. Golden Dragon Museum.

Mark Forbes, Conversations, 2019, c-type archival print, 120 x 102 cm.

Courtesy of the artist.

29 October—18 December Somewhere to someone: Mark Forbes and Rowena Meadows Working within the genre of documentary photography, Bayside-based artists Mark Forbes and Rowena Meadows both find beauty in the everyday. Meadows chronicles the day to day lives of those around her, capturing poignant fragments of domestic life, whereas Forbes captures secluded moments within the built environment that hold echoes of a past encounter. Somewhere to someone brings the works of these two artists together in a visual conversation around presence and absence, and the beautiful moments of our lived experience that give us pause and reflection.

Installation view of Have You Eaten?, Manly Art Gallery & Museum, 2021.

Image by Greg Piper, courtesy of The Australian Ceramics Association.

10 September—13 November Have You Eaten?

Vipoo Srivilasa and Sai-Wai Foo

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

Closed on public holidays.

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BAYSIDE ACQUISITIVE ART PRIZE $15,000 Now in its 8th year, the Bayside Acquisitive Art Prize for painting is calling for entries from all Australian artists.

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

Entries now open For one of Victoria’s major annual prizes for painting Major Prize $15,000 (Acquisitive) Local Art Prize $3,000 People’s Choice Prize $1,000 12 May – 2 July 2023 Shortlisted works to be exhibited at Bayside Gallery baysideacquisitiveartprize.com.au Entries close Friday 17 February 2023

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

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@baysidegallery bayside.vic.gov.au

VICTORIA Blindside continued...

3 November—12 November B-SIDE After another year of disruption throughout the arts, Blindside launches its annual, online fundraiser, B-side. The artist-run, not-for-profit gallery based in the iconic Nicholas Building presents an exciting showcase of works for sale by 100 local contemporary artists.

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

27 October—13 November Feels Good Meg Gallagher

Sally Garrett 17 November—21 December Self-Metaphor Corben Mudjandi Opening events Friday 18 November, 6pm–9pm.

8 December—21 December The Quester’s Canto John Gatip 8 December—21 December Paintings from the Wet Season Timothy Dell

27 October—13 November Welcome To The Tropics Adrianne Dimitrakakis 27 October—13 November Through The Boulder-fields Adrian Bradbury 27 October—13 November The Divine State Thomas Swinburn Image courtesy of the artist.

16 November—3 December Ritual Slaughterer Isabella Hone-Saunders Ritual Slaughterer is a multi-layered examination of the intersections of Judaism and queerness, Jewish culture and ritual as well as an autobiographical/ autohistorical study into the formation of Hone-Saunderson’s experience as a queer person with Jewish ancestry.

16 November—3 December Anima Locus Dea Widya Architecture is performed as an imprint of memory. The project investigates a discrepancy, between modern built environment and indigenous knowledge, which form a precarious improvisation on place-making in Bayu Village. Historically, this village is the last civilization of Javanese culture, before the colonial takes over Indonesia and currently under threat of the natural resource exploitation. The works engage participation from the villager to make artworks based on local myth, story and spiritual belief reflected on space. The project aims to activate a memory of space, gaining a sense of belonging to resist the unavoidable change.

27 October—13 November Nice Mug Birdrock Ceramics, Cakeface, Courtney Price, Esther Sandler, Freya Alexander, Harley & Händen, Jesse Bisset, Laura Du Vé, Lisa Peri, Meg Rennie, Pey Chi, Prinofour, Rosie Turner, Ruby Pilven, Sarah McDonald, Savi Ross, Shuh Lee, Simone Kentley and Tegan Iversen.

27 October—13 November Soft Power April Shin 27 October—13 November SPLASH Richard McCoy 17 November—4 December Yirrkala Printspace Artists of Yirrkala Printspace 17 November—4 December Spring Tide Group Exhibition

Qianhui Li, Dance with bones, oil on canvas, 96.5 x 89.5 cm.

8 December—21 December The Extended Lines Qianhui Li 8 December—21 December A comprehensive guide to chicken lips Erin Mison 8 December—21 December Rewilding Lea Rose 8 December—21 December Feast Group Exhibition Opening events Friday 9 December, 6pm–9pm.

Bus Projects www.busprojects.org.au

Joshua de Gruchy, Equanimity, synthetic polymer and earth on wood panel, 30 x 60 x 2 cm.

35 Johnston Street, Collingwood VIC 3066 [Map 3] Wed to Fri 12noon–6pm, Sat 12noon–4pm.

17 November—4 December Greater than the Sum of Our Parts Joshua de Gruchy 17 November—4 December Flourish Serene Paul

Jelena Luise, Untitled, 2021, full-frame digital image. Image courtesy of the artist.

7 December—17 December Emerging Curator mentorship 2022 Curator Sanja Grozdanic and Mentor Angela Brophy.

17 November—4 December Unsettling Oliver Shaw (RAT) 17 November—4 December Alone Together Rebecca Kilpatrick 17 November—4 December Tropic Sun in Mine

Olivia Leigh Morris, Splendor Soils, 2022.

10 November—11 December Splendor Soils Olivia Leigh Morris 123

galleryelysium.com.au

VICTORIA BUS Projects continued...

Tue to Sun 10am–4pm.

Opening 9 November, 6pm–8pm.

10 November—11 December Tree Log Paper Book John Brooks, Nadine Christensen, Adam Cruickshank, Kate Just , Lichen Kelp, James Lemon, Ali McAnn, Lucreccia Quintanilla and Dell Stewart.

Opening 9 November, 6pm–8pm..

Bundoora Homestead Art Centre

Anthony Breslin, A Frolic in the Garden of Scull, mixed media on canvas, 160 x 140 cm.

www.bundoorahomestead.com

colour, form, and composition. Anthony Breslin is a Melbourne-based, awardwinning artist of national and international renown. He has produced over 50 exhibitions, an art opera, and published several books. Currently, his studio resides at Burrinja.

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

See our website for latest information.

Archibald Prize 2022 winner, Blak Douglas, Moby Dickens, synthetic polymer paint on linen, 300 x 200 cm. © The artist, image © AGNSW, Mim Stirling. Sitter: Karla Dickens.

Until 16 October Archibald Prize 2022 An Art Gallery of New South Wales touring exhibition. Presenting partner ANZ.

Maree Clarke, River reed necklace, 2014 (installation views). Photograph: courtesy of Glasshouse Gallery Port Macquarie and Rhiannon Hopley.

28 September—19 November Made/ Worn: Australian Contemporary Jewellery ADC On Tour: An Australian Design Centre national touring exhibition.

Chris Lawry, The Great Wave Goodbye, lithograph on archival paper, 2017.

Rosie Deacon, Koalazise, video still. Videography by Dara Gill.

5 November—26 February 2023 Rosie Deacon

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

Avan Anwar, Metamorphosis, 2019.

Courtesy of the artist.

28 September—19 November Place Sha Sarwari, Avan Anwar and Elyas Alavi.

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700

15 October—19 November Mélange Anthony Breslin In a momentous ‘ tour de force’ Anthony Breslin presents his first major solo exhibition in over a decade. Overcoming years of crippling health challenges, Breslin returns with artistic explorations that will leave young and old visitors spellbound.

Merging together never before exhibited early surrealist works with new paintings, art installations and interactive ‘art games’, the exhibition playfully invites viewers to immerse themselves as they explore this extraordinary melange of

1 December—26 February 2023 Burrinja Climate Change Biennale ~ THE HEAT IS ON : Award Exhibition and Emerging Artist Takeover Works from local and national artists responding to the climate crisis and the curatorial theme THE HEAT IS ON.

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

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

See our website for latest information.

14 October—5 November Zombie - Craft Contemporary 2022 Madeleine Minack and Arthur Dimitriou, 125

ar t g ui d e .c o m . au for all people or a commodity to be owned and controlled for short term profits?

Delicious or dull? Culturally inclusive/inspiring or not? CLIMARTE will commission artists to work with local community food growers to produce and present an exhibition and public events, exploring aspects of food choices on our health as well as the health of ecosystems upon which all lives depend.

CAVES continued...

Jemi Gale, Freda Drakopoulos, Iona Mackenzie, Rachel Button, Julien Comer-Kleine, Emma Berry and Liv Moriarty.

2021 ILFORD CCP Salon, installation view.

26 November—18 December 2022 CCP SALON The annual CCP SALON is Australia’s largest open call photomedia competition and exhibition, which annually draws entries from over 450 artists across the country.

CLIMARTE Gallery

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm.

See our website for latest information.

www.climarte.org/gallery

Michael Morley. Courtesy of the artist.

11 November—3 December Last Night Out Dancing Michael Morley

120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon–5pm.

Karena Goldfinch, Rubicon, digital image.

2 November—26 November FOREST: the last stand Artists include: Abbottsford Early Learning Centre, Karena Goldfinch, Pia Johnson, Steve Kuiter, Julian Meehan, Sarah McConnell, Jill Redwood, Sarah Rees, Lisa Roberts, Chris Taylor, The Great Tree Project

CAVES Fundraiser 2022.

10 December, 3–7pm CAVES Fundraiser 2022 Participating artists to be announced via our website.

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

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wild: vanishing: once enchanting: and achingly beautiful homes to millions of species: rich carbon sinks: lungs of the planet: symbols of our unconscious since forever: beyond critically endangered keys to life on Earth - FORESTS.

Paul Partos, Untitled, 1986, oil on canvas, 224 x 197 cm.

12 November—3 December ABSTRACTION 22 Group Show

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

Whether on land or under sea, the invaluable role that FORESTS play in sustaining the Earth’s vital ecosystems is beyond question. FORESTS need defending like our lives depend on them. This exhibition explores Australia’s critically endangered FORESTS, honours the communities protecting them and invites new defenders.

Creative Producer, Karena Goldfinch.

30 November—17 December FOOD: divine or deadly Of course, we all rely on food. But is our food nourishing or poisonous? Locally, conscientiously, collaboratively and responsibly produced or massively polluting /ecocidal? Fair, affordable and accessible

Julian Leigh May, Unity Rituals, 2022, hand blown glass, sterling silver.

Photographer: Annika Kafcaloudis.

1 November—7 January 2023 Cheers

VICTORIA

Counihan Gallery → Installation view of the Moreland Summer Show: History and Heritage, 2021. Photograph: Janelle Low. Anna Varendorff, Drew Spangenberg, Julian Leigh May, Katie-Ann Houghton, Kenny Yong-soo Son, Rowsaan Studio, Dokola, Thomas Yeend, Three Litres and Caro Pattle An exhibition in the Craft Atrium space honouring celebratory vessels. Cheers!

24 November—28 January 2023 It’s not just blue A gathering of blue works by Australian artists, craftspeople and designers, in a maximalist exploration of the relationship between maker and material. Crafted in glass, wood, fibre, metal, ceramic and stone and more, all works embody innovation in contemporary making and the maker’s careful consideration of both material and process. The artists explore rich ideas through material transformation and storytelling— from tensions between function and aesthetic to technology and nature, culture and identity.

D’Lan Contemporary www.dlancontemporary.com.au 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.

27 October—3 December Reverence 2022 An annual exhibition showcasing works of art by leading First Nations artists such as Rover Thomas and Emily Kame Kngwarreye, Reverence also explores the work of emerging artists. This year’s Reverence also features work by the highly acclaimed Carlene West, whose work is rarely seen, as well as Wawiriya Burton, Carbiene McDonald, Maringka Baker, Bobby West and Angelina Pwerle.

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

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

See our website for latest information.

5 November—10 December Moreland Summer Show: Future Tense

B Division Interior.

Carlene West, Tjitjiti, 2014, synthetic polymer paint on linen, 137 x 90 cm. © Carlene West.

28 October—4 December Separate and Silent Pentridge Resident Artists: Kenny Pittock, Joe Whyte, Varuni Kanagasundaram, 127

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

Lana Daubermann, Tegan Iversen, Lucy Maddox, Ted McKinlay, Simon Leah, Elizabeth Nicholls.

Resident artists in Pentridge Studios are invited to respond to the historical site in which we work. Named after the policy that contributed to Pentridge’s notoriety, Separate & Silent brings together different perspectives on the site’s past and future, alongside artefacts from its history.

8 December—18 December Divisions Gallery Workshop series Divisions Gallery is opening its doors for a series of creative workshops in the space. Keep an eye on our social media for booking details.

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

Fri to Tue 11am–4pm.

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

Directors Susan McCulloch OAM and Emily McCulloch Childs.

www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 11am–5pm during exhibitions. Closed public holidays.

Dominic White, Filament Bowl, mixed media print, 55 x 55 cm (paper size). Courtesy of the artist.

4 November—22 November Shell Edge Dominic White Contemporary works on paper, mixed media sculptures and kelp jewellery by Mornington Peninsula-based Palawa artist Dominic White. A multi-disciplinary artist, White’s work includes prints based on patterns of the artist’s skin combined with foam patterns of Peninsula beaches and those of old growth foliage of the Peninsula; wooden and clay surfaces of coolamons branded with fragments of colonial philosophy; and wall and free-standing sculptures of natural materials juxtaposed with forged steel.

2 November—16 December An Extraordinary Couple: The Art Collection of Emmanuel and Etta Hirsh (working title) This exhibition celebrates the recent gift and long-term loan of artworks from the family of pioneering art collectors Emmanuel and Etta Hirsh to Deakin University. Curated by James Lynch this exhibition highlights the significance of these leading Naarm/Melbourne based collectors of the 1960s and 70s and their dedication to new ideas, risk taking and the importance of living creative and cultural lives.

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In partnership with Warmun Art Centre.

Granddaughter of famous Warmun artist Mabel Juli, 25-year-old Atlanta Mercy Umbulgurri has inherited the rights to paint her grandmother’s Star and Moon and Old Woman Singing out for her Dog creation stories. In this, her first solo exhibition, Umbulgurri interprets these evocative stories in her own style.

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

Deakin University Art Gallery at Burwood

Geoffrey Proud, Nadine and Geoffrey, 1967, charcoal and oil on composition board. Deakin University Art Collection Donated through the Australian Government’s Cultural Gifts Program by Irwin Hirsh in memory of Etta and Emmanuel Hirsh, 2021. © Sue Proud and courtesy of Fellia Melas Gallery Sydney.

2 December—20 December Gungi To Gungi: Old Days/New Days Atlanta Mercy Umbulgurri

AYURIKA, Lost #2, 2020, oil on canvas 200 x 300 cm. Courtesy of the artist.

7 September—25 November EM I BODY New works by Indonesian women artists.

Showcasing select work by seven contemporary Indonesian women artists, EM I BODY uncovers personal stories and unspoken truths while revealing common states of pride, tenacity and personal endurance. Here, an oversized canvas and stilled imposing woman’s gaze, contrasts with the blurred silhouette and video of a woman behind glass painting herself in and out of the picture. Conversely, depictions of naively painted distorted figures act to reclaim the artist’s body and sexuality, while works created from carbon copies, and from human hair, symbolise the act of protection and nurturing between mother and child. Featuring Audya Amalia, Ayurika, Dita Gambiro, Erika Ernawan, I Gusti Ayu Kadek Murniasih (Murni), Theresia Agustina Sitompul (Tere) and Restu Ratnaningtyas, artists present visually compelling work in diverse media that examine women’s familial and personal relationships, sexuality, identity, nostalgia and memory.

14 December—3 February 2023 The Chosen Vessel Belinda Michael and Tiffany Titshall

Atlanta Mercy Umbulgarri, Garn’giny Ngarranggarni, ochre on canvas, 120 x 120 cm. Courtesy of the artist and Warmun Art Centre.

In an exhibition showcasing the collaborative work of Belinda Michael and Tiffany Titshall, these two important central Victorian artists present a powerful new

VICTORIA 15 October—5 November Memories and Dust Michael Simms 15 October—5 November The Sensual World Lucy Roleff, Ely Smithwick, Jesse Dayan Lucy Roleff was the 2021 Winner of the Exploration Emerging Artist Award.

Diego Pizarro, Electric Man, 2022. program platforming artists with disability through residencies, creative development, presentation and workshops.

Loosely based on the narrative of Robin Hood, Electric Man first came to Diego as a solution to social issues after witnessing homelessness in the streets of Melbourne and Santiago. The narrative focuses on electricity and light, addressing global imbalances of power (in the literal as well as metaphorical sense) and the unequal distribution of resources in the world.

Belinda Michael and Tiffany Titshall, A Gothic Tale 9, 2021, earthenware with slips and oxides, sgraffito, once fired.

Courtesy of the artists. series of drawings and ceramic vessels of immense beauty and intrigue. Set within the colonial Australian gold rush era, the artists challenge stereotypical narratives, recreating traditional scenes with a powerful female protagonist avenging the murder of her mother by performing wild and powerful acts on her harem of enslaved men. Here, accepted histories are upended replaced by a potent gothic mythological tale of female power, lust and revenge. The Gallery will be closed from Friday 16 December until Wednesday 4 January 2023.

Melanie McCollin-Walker, As If Time Stood Still, 2022, 153 x 137 cm.

8 November—26 November As If Time Stood Still Melanie McCollin-Walker

Hoang Tran Nguyen and ViệtSpeak, Campaign documentation, Save the Vietnamese Bilingual Program. Courtesy of the artist, 2020

Fiona and Sidney Myer Gallery

11 November—16 December House of Mother Tongue, House of Other Tongue Hoang Tran Nguyen and ViệtSpeak

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

24 November—1 December VCA ART 2022 One of Melbourne’s landmark cultural events, the VCA ART Grad Show 2022 presents works from graduating students working in Drawing and Printmaking, Painting, Photography, Sculpture, as well as those graduating from the Honours program, the Master of Contemporary Art and the Master of Fine Art, in a single exhibition spread across the VCA Art campus. Opening 23 November 5pm–8.30pm. Exhibition open until 9pm on Thursday 1 December.

Flinders Lane Gallery www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–5pm.

Dónal Molloy-Drum, Whispers, 2022, stainless steel, glass, marine plywood veneer, 37 x 56 x 13 cm.

29 November—17 December Lilt Dónal Molloy-Drum 29 November—17 December Echo of Landscape Jo Davenport

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

11 November—29 January 2023 Electric Man Diego Pizarro Electric Man is the brainchild of Diego Pizarro, a comic-book artist who is currently undertaking an ArtLife Residency at Footscray Community Arts. ArtLife is a

Footscray Community Arts presents House of Mother Tongue, an exploration of place, language and migrant-settler de-colonising strategies.

Created particularly for the Vietnamese community and their allies, House of Mother Tongue addresses settler colonial legacies of monolingualism and its impact on minority languages, power and subjectivity. It will feature works by Hoang Tran Nguyen emanating from the community archive of campaign materials as well as a commissioned work by artist and language advocate, Vicki Couzens.

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–6pm, Sat 12pm–4pm, Tues & Fri 6pm–8pm.

25 October—5 November View to Joy Becky Phiri Paintings.

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

Murray Walker

and her respect for our environment is explored in her figurative representations of the Australian landscape, using thickly textured applications of oil paint and mixed media, including organic material.

Peter Biram, Salt Landscape, (detail).

10 November—27 January 2023 FAC Curved Wall gallery: Only when the last tree has died, we will realise we cannot eat money..

Peter Biram

Sal Cooper, Like the Wind, drypoint etching, 56 x 40 cm.

25 October—5 November Invisible Landscapes Sal Cooper Printmaking.

8 November—19 November Birdsong Carolyn Roberts Drawings and paintings.

Bird Songs Mike Nicholls

Murray Walker in the studio, 2022.

Courtesy of Bill Blackburn.

4 November—5 December Reprise Mark Davis 10 December—29 January 2023 Fools Gold Barry Tate

Sculpture.

Mike Green, Down Among the gum trees, 2020, acrylic on canvas.

22 November—3 December MAD Mike Green Oil paintings.

6 December—21 December SMALL! fortyfivedownstairs Mixed media.

Fox Galleries www.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.

4 November—5 December Our world began with creatures in the sea, a journey through time 130

An exhibition that explores the theme of land ownership and usage within an environmental framework, highlighting the notion of human impact on the natural environment. Peter Biram talks about his FAC Curved Wall exhibition with an introduction by climate change scientist Professor David Karoly exploring current environmental concerns including indigenous and non-indigenous fire management. Thursday 8 December, 7pm to 8.30pm. Cube 37. Registration Essential.

Nigel Sense, Meet Pie, 2022, acrylic on composite esky, 35 x 35 x 25 cm.

10 December—29 January 2023 Going Troppo: The Darwin Years Nigel Sense

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 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.

27 October—28 January 2023 FAC Atrium gallery: Coastal Rock Forms Ann McGillivray Ann’s inspiration drawn from extensive travel throughout the Northern Territory

Mark Stuart, Sky fell in, black carrara marble.

10 November—25 February 2023 Cube 37 Glass Cube gallery + Art After Dark Resistance Mark Stuart Sculpture by Mark Stuart that embraces the European sensibility of marble. All pieces are made by hand, as a rejection against the quasi-industrial processes of sculpting. His art is about curiosity for the world and a certain resistance to precepts. View day and night from the Cube 37 street front.

VICTORIA 1 December—22 December Cube 37 Cube gallery: Civic Fictions Colour and Code Emiko Artemis A photo media-based response to the artist’s experience of relocation to South Australia. Photographic images of Adelaide city reflect this initial experience and have been estranged through digital processes to enhance a feeling of strangeness and familiarity.

Courtesy of the participating artists and Geelong Art Space.

Fiona Gavens, Tara Glastonbury, Jess Hall, Katherine Marmaras, Deborah McHugh, Grace Pundyk, Tamara Russell, and Caroline Wright.

FUTURES www.futuresgallery.com.au

A satellite exhibition event for the Craft Contemporary Festival. Curated by Katherine Marmaras.

21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12noon–5pm.

See our website for latest information.

Antonio Muratore, Assisi Twilight, (detail), oil on canvas, 183 x 103 cm.

5 November—28 November Aspects of Light & Form Antonio Muratore and Otto Boron

Joanna Yannaris, Eternal Sunshine, acrylic on canvas, 115 x 90 cm. Courtesy of the artist and Geelong Art Space.

On now Eternal Sunshine Joanna Yannaris 20 October—31 December petite works A group exhibition featuring works by local and regional contemporary craft makers and artists together with those from further afield.

10 November—10 December Nathan Beard

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

See our website for latest information.

David Freney-Mills, Glyph No 3, (detail), ink on Korean Haji paper on canvas, 137 x 122 cm.

3 December—8 January 2023 Abstraction Attraction Various Artists

Geelong Art Space Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm.

Mon & Tue by appointment only.

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

6 October—31 December thread[laid]bare Clara Batton Smith, Mary-Ellen Belleville, Miranda Brett, Amelia Dowling, Di Ellis,

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

17 September—13 March 2023 A Tale of Two Cities—Prints from the Colin Holden Collection This exhibition is drawn from the extensive Colin Holden Collection of prints held at Geelong Gallery. It presents a selection of early-twentieth century depictions of Melbourne and Sydney by key members of the Australian Painter-Etchers’ Society: John Shirlow, AH Fullwood, Sydney Ure Smith, and Jessie Traill. The Australian PainterEtchers’ Society was established in 1920 131

MELBOURNE MUSEUM

museumsvictoria.com.au/melbournemuseum

VICTORIA Geelong Gallery continued...

Hoda Afshar, Darcey Bella Arnold, Justin Balmain, Catherine Bell, Mia Boe, Sarah Brasier and Matthew Harris, Ann Debono, Narelle Desmond, Amrita Hepi, Ruth Höflich, Gian Manik, Mia Salsjö, Nina Sanadze, Scotty So, Lisa Waup, Francis Carmody.

Gertrude Glasshouse: 14 October—12 November the really bay day john had Jason Phu

Gippsland Art Gallery www.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.

Until 20 November Artworks Gallery Revisited

John Shirlow, The gate of the city, (detail) 1924, etching, Colin Holden Charitable Trust. by artists committed to the practice and promotion of etching in Australia.

Jon Campbell, Yeah/Gertrude, 2013, Geelong Gallery, Gift of Bob and Gail Bett through the Australian Government’s Cultural Gifts Program, 2020.

15 October—13 March 2023 The Gertrude Editions In 2020, Geelong Gallery received the gift of fifteen Gertrude Editions from local collectors Robert and Gail Bett and family, who had collected works since the release of the first edition by Gertrude Contemporary in 2002. The gift includes the work of some of the most highly regarded contemporary Australian artists working locally and abroad including Ricky Swallow, Kate Beynon, Emily Floyd, David Noonan, Jon Campbell, Nicholas Mangan, and Michelle Ussher, amongst others.

5 November—5 February 2023 Mandy Martin – A Persistent Vision Mandy Martin (1952-2021) was a critically acclaimed Australian artist whose career spanned 45 years. An early reputation for political and socially progressive imagery established an ideological framework for a landscape-based art practice that examined the European and industrial colonisation of Australia, and a long-term and active commitment to the Australian environment.

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

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

Gertrude Contemporary: 9 November—18 December Gertrude Studios 2022

Kay Abude x Spacecraft Studio, LOVE THY LABOUR, 2017, installation and performance at Bus Projects, Melbourne, dimensions variable. Photograph: Kay Abude.

Gertrude Glasshouse: 18 November—17 December Empty Pockets Linda Sok, James Nguyen, Emma Harbridge, Kay Abude, Kirtika Kain.

Curated by Sineenart Meena.

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

Closed public holidays. The Gallery will be closed from 19 December and will re-open 12 of January 2023.

See our website for latest information.

Juli Haas, Storm, 1994, watercolour on paper, 60.5 x 100.5cm. Private collection. © The estate of the artist.

Until 20 November Come Together: The Art of Juli Haas Until 20 November Kevin Chin: Un-Regional Until 27 November 2022 John Leslie Art Prize 12 November—26 February 2023 Jessica Page: Dandelion 3 December—19 February 2023 Kevin Lincoln: Evoking Gippsland – Paintings and Drawings, 1981-2022 3 December—19 February 2023 Anna Farago: Threads 10 December—19 February 2023 Cosmos 10 December–19 February 2023 Wild Dogs from Down Under

27 October—20 November Moments in Time Tim Blashki 27 October—20 November There is a place for everyone Phil Kreveld 27 October—20 November Gallery Two: The Live Music Scene 2017-2022 – Before, during, after COVID-19 lockdown Mark Moray 25 November—18 December 2022 A.M.E Bale Travelling Scholarship and Art Prize. Exhibition of Finalists 25 November—18 December Gallery Two: Israel transcended through a lens Tamar Dolev

Annemieke Mein, The Morass—Sale, (detail), 1979, textile wall work, four panels, overall 103 x 400 cm. Collection Gippsland Art Gallery. Purchased with the assistance of the John Leslie Foundation, 2019. © The artist.

Ongoing and Evolving The Art of Annemieke Mein Ongoing and Evolving Borun and Tuk Gallery 133

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VICTORIA

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

See our website for latest information.

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

See our website for latest information.

17 September—6 November Trust: A Generous Legacy This exhibition celebrates the Hamilton Gallery Trust as one of Australia’s most important and longstanding. The Trust has acquired 633 works, ranging from contemporary sculpture and video works to historical paintings and ceramics.

This exhibition is a commemoration of the people, events and artworks that define the six decades of history and the achievements of this remarkably giving collective. Accompanying this exhibition will be a suite of public programs and the launching of a publication highlighting the history of the Hamilton Gallery Trust.

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

See our website for latest information.

Until 6 November Love Poem to Life David Thomas Until 20 November Things That Will Not Sit Still

had a profound effect on Nolan’s development as an artist. It was during this time he created some of his most iconic paintings. This exhibition explores how Nolan saw the Wimmera region, its landscapes and its people.

Selected from sketches & paintings created between 1942- 1944, Expansive ground: Sidney Nolan in the Wimmera, has been curated from the Horsham Regional Art Gallery Collection, the Heide Museum of Modern Art collection and the National Gallery of Australia collection.

Hyphen — Wodonga Library Gallery www.hyphenwodonga.com.au

Kate Rohde, Pink lake mirror, 2022, with Troy Emery, big softie hopping mouse, 2022. Courtesy of the artists. Photograph: A.K. Media.

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

See our website for latest information.

16 July—20 November Myth Making Kate Rohde and Troy Emery In Myth Making the gallery transforms into a reimagined ecology. Kate Rohde and Troy Emery present a new body of work inspired by classical European myths merged with legend and places unique to the Wimmera and Grampians region to reimagine the local landscape within the gallery aesthetics. Their first-time collaboration brings together a long term interest in animal motifs and forms, decorative arts and historical museum display practices in an explosion of colour and ideas. A Horsham Regional Art Gallery exhibition. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

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

17 September—4 December What I Wish I’d Told You Claire Bridge and Chelle Destefano

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

Barbara Hepworth, Sculpture with Colour and Strings, 1939/61, bronze, string, 19 x 25 x 18 cm. Ingram Collection, London, Barbara Hepworth © Bowness.

5 November—13 March 2023 In Equilibrium Barbara Hepworth 5 November—19 March 2023 Animal Instincts Moya McKenna and Albert Tucker 12 November—26 February 2023 wHole

Sidney Nolan, Woman in Doorway, 1943, enamel on cardboard, 45.7 x 60.5 cm. Heide Museum of Modern Art, Melbourne, Bequest of John and Sunday Reed 1982 © The Sidney Nolan Trust.

10 December—5 March 2023 Expansive ground: Sidney Nolan in the Wimmera Arguably one of Australia’s most important artists, Sidney Nolan is synonymous with the “Heidi Circle” and Australian modernism. In 1942 Nolan painted in Dimboola whilst being stationed in the area on army duty during World War II. The Wimmera

Serwah Attafuah, Creation of My Metaverse, 2021, non-fungible token (NFT).

11 November—27 November NEIGHBOURHOOD: Sub~Lingual Sub~Lingual is an exhibition of play and subversion through pluralisms of language and translation.

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HELEN S. TIERNAN Storied Country showing until 18 November

Fish Out of Water - Cultural Collisions 2021 oil on canvas 180 x 330 cm (triptych)

Robert Clinch / Horace Trenerry / Murray Griffin showing 1–16 December

left to right Robert Clinch Spartacus 2013 egg tempera on panel 107 x 105 cm Horace Trenerry Back Road, New Hahndorf S.A. 1937 oil on board 57 x 50 cm Murray Griffin 1903 - 1992 The Wharf oil on composition board 79 x 70 cm

Specialists in Australian Art Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative Art. Sourcing European masterworks on request.

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: 03 9509 9855 Email: ausart@diggins.com.au Web: diggins.com.au

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diggins.com.au

FOR UP-TO-DATE EXHIBITION DETAILS sign up to our mailing list at diggins.com.au

Gallery & Exhibition Hours: Tues – Friday 10 am – 6 pm other times by appointment

VICTORIA Incinerator Gallery continued...

Jodi Wiley is a local artist who is interested in the themes of nostalgia, memory, place and the way we make meaning from personal narratives. She works primarily in acrylic and watercolour. During her residency, Jodi will be exploring what books mean to people through miniature paintings. Please make sure to visit Jodi during this time and tell her about a favourite book, which could end up being a painting.

From the Latin ‘under the tongue’, Sub~Lingual speaks with a vital breath, looks beneath the surface of things, and articulates the coded languages of club/sub/pop cultures, cyberworlds, and chthonic architectures. Newly commissioned works by nation-wide artists include Alexander Powers, Athena Thebus, Serwah Attafuah, and Visaya Hoffie.

This is a participating project in Neighbourhood, co-presented with Footscray Community Arts and The Substation.

Jacob Hoerner Galleries Artwork by Lucy Rowe.

4 November—4 December #artnow

Jayanto Tan, Rise A Little Pandan Lamington (A Little Ceng Beng), 2021, ceramic, joss paper.

11 November—15 January 2023 Ritual Ceng Beng Jayanto Tan Ritual Ceng Beng is an exhibition by artist Jayanto Tan celebrating the household ritual of coming together and offering food. Tan’s ceramic food offerings were originally created in conversation with family and friends during COVID-19 lockdowns, over time and vast distances.

Whilst navigating personal racial attacks, gender identity, migration and familial narratives, Tan translates these charged conversations into ceramic still-lives—or ‘soul foods’ as the artist describes—which are ceremonially presented within the gallery space to continue the conversation.

11 November—27 November Proximity of connection: past, present and I Mita Chowdhury The Proximity of connection: past, present and I is the second solo exhibition by Bangladeshi-Australian visual artist, Mita Chowdhury. Connecting her present geographical and social location on Bunurong and Waddawurrung Country, Mita reflects on her sense of disconnect from the cultural landscapes of both her traditional Bangladeshi and Australian migrant-settler identities. Working with materials carefully selected for their metaphoric meaning and cultural specificity, she paints with botanic dyes created from native leaves and wattle referencing her experiences as a migrant on Country.

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

Banyule’s Youth Team showcase new work made by local young people through various youth arts programs in 2022.

Highlighting the creativity of our young people through different formats, including digital art, video, painting, and music.

Visual art explores characters, animation, street art, videos of live events and celebrates our diverse communities. The exhibition will also include Market Space, featuring young creative enterprises.

Opening Friday 4 November, 5pm–7pm.

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

Petra Kleinherne, Two figures, 2022, oil on canvas, 61 x 61 cm.

Feifei Liao’s performance in Quiver at mPavilion 2021. Photograph: Andrew Coulter.

28 October—18 November F.all.ing In_ Sunset 夕阳

F.all.ing In_ Sunset 夕阳 is an immersive and participatory exhibition, transporting visitors into different experiences of sunset, as told through stories from artists and the community. ‘夕阳’ means ‘sunset’ in Chinese. Curated by Feifei Liao, the exhibition includes a short sunset dance film, which reflects Feifei’s feelings of uncertainty in her settlement journey as a Chinese migrant in Melbourne. Feifei invites the local community to come and share their special sunset moments, memories, feelings and stories with each other and the public. The exhibition will curate an inclusive, diverse and equal environment for all to create their own storytelling space in the exhibition through multidisciplinary mediums, such as dance, paintings, words or images. Featuring artists: Feifei Liao, Alexandra Moon, Lynne Lin, Tammy Yang, echolily. Please check the website for details of events and workshops as part of this exhibition program. Curated by Feifei Liao.

21 November—11 December Small works, Big Stories Artist in Residence

20 October—12 November Transformations Petra Kleinherne 17 November—17 December Group Exhibition Various Artists

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

(Closed on Jewish holidays).

29 April—29 January 2023 Helmut Newton: In Focus A definitive exploration of the work and life of visionary German-born photographer, Helmut Newton. This exhibition delves into Newton’s early life and career, shining a light on his Jewish roots and life in Berlin, his flight from Germany at the outbreak of WWII and his eventual internment at Tatura in regional Victoria as an enemy alien. It also explores his post-war life and work in Melbourne and shares details of 137

Anchor: VAS – a reimagined vessel

Jacqueline Foti-Lowe proudly launches The Front Room, a gallery space with its inaugural exhibition by Anchor.

“Handcrafted by the Anchor studio in 2022 VAS is a limited series of interconnecting and unique ceramic vessels. As a container of care, VAS is an artefact of researching, reclaiming and reimagining available studio materials and resources.” – Bruce Rowe

Exhibiting 26.11.22 – 30.01.23

Unique works, available for pre-purchase.

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

Opening November 2022 thefrontroomgallery.com.au

thefrontroomgallery.com.au

VICTORIA Jewish Museum of Australia continued...

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

Wed to Fri 9am–5pm, Sat 12noon–5pm.

See our website for latest information.

G3 Artspace : 2 December—14 January 2023 Kingston for Human Rights Poster Competition Presented by Kingston for Human Rights. Kingston For Human Rights (KFHR), a volunteer-run organisation, has a mission to raise local public awareness around the Universal Declaration of Human Rights. Each year the committee holds a children’s poster art competition for Kingston schools and colleges to help raise awareness in the local curriculum.

Koorie Heritage Trust www.koorieheritagetrust.com.au

Zai Kuang, School Holiday, 2020, 100 x 100 cm.

Helmut Newton, Elsa Peretti, New York, 1975. © Helmut Newton Estate. Courtesy Helmut Newton Foundation. his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs.

Kelly & Gemelli Gallery

Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300

G1 + G2, Kingston Arts Centre: 7 October—12 November Simplicity and Purity Presented by Zai Kuang. Kuang’s paintings usually have a human figure within them, though not always. When appearing, his figures are frequently solitary and are often children located within an interior space and associated with objects of play.

Simplicity and Purity presents serious and thoughtful works that invite quiet reflection and observation.

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

9 October—20 November A Rainbow of Tomorrows Rémy Cohen, Yorta Yorta, Boon Wurrung; Stone Motherless Cold, Eastern Arrernte; Peter Waples-Crowe, Ngarigo; Kira Djnalie, Yorta Yorta, Wergaia; Bromley Isombard, Kauragreg; Corin Corcoran, Weilwan; Darcy McConnel, Dja Dja, Wurrung, Yorta Yorta; Elijah Money, Wiradjuri; Pierra Van Sparkes, Pibbulman Noongar; Arika Waulu, Gunnai, Gunditjmara, Djapwurrung; and Aunty Annette Xiberras, Wurundjeri.

Jamie Daddo, Paddle Pops, 1994, oil on canvas. Image courtesy of the artist.

G3 Artspace :

Adriano Gemelli, Day after Day – Images of French Island, from Your land, My land, Our world series, gold and mixed media on 300gsm Rives paper with cut painted landscapes, 124.5 x 94.5 cm.

1 November—31 January 2023 Your land, My land, Our world’ Adriano Gemelli

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 11am–4pm. Free entry.

14 October—19 November It’s All Been Said Before Jamie Daddo Jamie Daddo opens up his intimate world through a collection of paintings, drawings, etchings and ceramics— both recent and distant. Featuring people close to the artist or figures created as vehicles to delve into the human psyche, Daddo draws from personal relationships and emotional experiences within and around himself.

G1 + G2, Kingston Arts Centre: 18 November—7 January 2023 Make & Create Presented by Kingston Arts. Kingston Arts Centre comes alive each weekend with opportunities to indulge your creativity in workshops, participate in guided activities and contribute your wishes for the new year in interactive gallery installations.

Elijah Money (Wiradjuri), Namesake, 2022. Photograph: Fred Kroh.

24 September—26 March 2023 Layers of Blak Thelma Austin (Gunditjmara), Mandi Barton (Yorta Yorta/Barapa Barapa/ Wemba Wemba), Lorraine Brigdale (Yorta Yorta), Nikki Brown (Bidjara), Deanne Gilson (Wadawurrung), Tammy Gilson (Wadawurrung), Elijah Money (Wiradjuri), Yasmin Silveira (Palawa), Sammy Trist (Taungurung), Dominic White (Palawa) and Tracy Wise (Barkindji/ Ngiyampaa).

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VICTORIA

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

See our website for latest information.

Sue Fraser, Kaye Green, Juli Haas, Euan Heng, Kees Hos, Carolyn Jones, Tim Jones, Helen Kavanagh, Kat Kershaw, Deborah Klein, Stewart MacFarlane, John Ryrie, Liz Tyler, Bonnie Quirk, Brian Robinson, Judy Watson, Yvonne Watson, and Kate Zizys.

Lauraine Diggins Fine Art

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

See our website for latest information.

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

Other times by appointment.

See our website for latest information.

Helen Eager, House lounge, 1977, hand coloured lithograph and collage, 46 x 54 cm.

Latrobe Regional Gallery Collection.

12 November—12 February 2023 In our own time Lisa Anderson, N Barnes, Hanna Chetwin, Sarah Dingwell, Helen Eager, David Gatiss, Tiffinie-Jane Gerritsen, Siri Hayes, Mark Hooper, Lorraine Jenyns, Tim Jones, Deborah Klein, Robert Knottenbelt, John Marshall, Tracey Moffatt, Jill Noble, Polixeni Papapetrou, Jenny Peterson, Susan Purdy, Stefan Szonyi, Richard Tipping, Tony Trembath, Fred Williams, Ian Mowbray, John Wolseley, and Ermes de Zan.

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Art and sourcing European masterworks upon request.

Helen S. Tiernan, Fish Out of Water Cultural Collisions, 2021, oil on canvas, 180 x 330 cm (triptych), signed lower left.

Copyright of the artist.

Until 19 November Storied Country Helen S. Tiernan

Kaspian Kan, What’s the Takeaway?, 2021, takeaway containers, paper, steel, paint, broken lamps, 65 x 80 x 60 cm.

Image courtesy of the artist.

16 September—27 November DESIGN FRINGE 2022 Design The Future: Don’t Waste Time

Linden Postcard Show 2021-22. Photograph: Theresa Harrison Photography.

10 December—26 February 2023 Linden Postcard Show 2022-23

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

See our website for latest information.

LON is an artist led contemporary art gallery that supports critically engaged art practices.

Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, synthetic polymer paint and graphite on canvas, 250 x 181.5 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Carl Warner.

19 November—26 March 2023 Looking Glass Judy Watson and Yhonnie Scarce 3 December—12 February 2023 Fellow Travellers: Prints from the Collection Rashida Abdel-Aziz, Marita Anderson, Rosalind Atkins & Ex de Medici, Helen Burkhardt, Caroline Durre, Rodney Forbes,

19 October—12 November Memory of Place Kate Wallace

Horace Hurtle Trenerry, 1899–1958, Back Road New Hahndorf, S.A., 1937, oil on board, 57 x 50 cm, signed lower right. Copyright the Estate of the artist December Robert Clinch; Murray Griffin and Horace Hurtle Trenerry

Views into places once lived in or passed through; a detail of a scene between; a millpond who’s stillness echoes throughout; Memory of Place explores ideas of absence and change through a series of paintings that consider our relationship to space and how we remember. Here techniques such as repetition, scale, blur, montage, detail (or lack thereof) are employed as a means to record and translate my own experience of place, in 141

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

12 November—5 March 2023 Centre 5: bridging the gap Vincas Jomantas, Julius Kane, Inge King, Clifford Last, Lenton Parr, Norma Redpath, Teisutis Zikaras.

Curated by Dr Jane Eckett.

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

Metro will be open for appointment over November and December as we will be transferring spaces.

Reopening at Lennox Street, in Richmond for 2023.

Kate Wallace, Memory of Place. turn reflecting upon the precariousness of remembering during times of such ecological upheaval and change. Drawing on spaces both shared and private, familiar and unknown, real or fabricated, the works continue investigations relating to memory, isolation, escapism and the construction of past through painting.

www.mcclelland.org.au

Josh Foley, Some Velvet Morning, oil, acrylic, ink, synthetic polymer, impasto medium on wood panel, 120 x 90 cm.

11 October—5 November After Image Josh Foley

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

16 December—5 February Art Directions 2022 Arts Educators

Clifford Last, Group invocation, 1964, Tasmanian oak, slate, 65 x 43 x 28 cm.

Collection of McClelland, gift of the Estate of Mr David Wynn, 1996.

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Mildura Arts Centre’s much anticipated latest offering in our survey exhibition series celebrating the work of artists who have a deep connection to Mildura.

9 December—29 January 2023 Special Forever: voices of the children Sunraysia primary schools Coordinated by Rosemarie Zalec, Special Forever: voices of the children, features the writing and artworks of the vibrant young ‘voices’ of children from Sunraysia schools communicating their passions for, and understanding of, their environments, as well as their reflections on local and global issues.

28 October—11 December Collected Vision III: Recent Acquisitions Mildura Arts Centre Collection The Mildura Arts Centre Collection is comprised of more than 2,000 items which include all areas of the fine arts, as well as antiques with significance to Rio Vista Historic House and the family of WB Chaffey. This archive of artworks and objects allow us to capture and tell the diverse stories of our region. Collected Vision III showcases some of the latest acquisitions to this valuable Collection.

Included are works by Piero Garreffa, Oli Gasperini, Stephen Hederics, Pia Larsen, Katy Mutton, Sam Nightingale, Adam Nudelman, Colin Rowe, Arnold Shore, Wes Walters, John Whitney, and Pam Wragg.

28 October—11 December Streets of Ferdinand de Saussure Neil Fettling

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

10 December—26 February 2023 Seasons Andrea J. Smith

Art Directions 2022 celebrates the diversity and skills of Sunraysia’s arts educators.

Art teachers particularly love encouraging enquiring minds to explore the possibilities of living a creative life. Sometimes they also find time to paint, draw, photograph, film, sculpt, collage and weave and sew: this exhibition shares some of their artworks with our wider community.

Underneath our city arteries, the roadways, corridors and paths conceal a labyrinthine network of utilities and services. These invisible networks facilitate the complex delivery of services and communications essential to the smooth operation of a functioning, modern society. In a continual process of breakdown and repair, road maintenance workers spray-paint symbols (numbers, dots, lines, crosses and arrows), modern day hieroglyphics denoting repairs and modifications required. These indicate interventions where future work needs to take place. This palimpsest of gestures and marks (the signs and the signifiers that the French semiological and linguistic philosopher, Ferdinand de Saussure [1857–1913]) speak of time, incidents, accidents, obstructions, engagement and performance. They represent blemishes and glitches, metaphors for the breakdown of our systems under pandemic lockdown and other interrupters. They appear without reference or context, a secret language communicated in the public domain, but hermetically sealed outside the inner sanctum. The signs exist long after the repair works have been completed, muted evidence of some previous activity and purpose.

21 October—4 December En Masse Jennifer Britten En masse is an exploration of the present day meaning of the symbolic

VICTORIA

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

Jennifer Britten, En masse - Telephone with scarf, 2013/2022, digital photograph. significance of the skull. Traditionally, the skull, has been seen as a symbol of death, mortality and the impossible attainment of immortality. Mainstream society has embraced the skull and its appeal, broadening its symbolic significance.

Death remains central to its symbolic meaning, but can also signify warning, celebrations of life, wisdom and bravery.

With the expansion of the acceptance of the skull, it has become a mass-produced object, its form adapted to be something of a fashionable yet functional collectable commodity. En masse, as a body of work, seeks to represent the mass-produced skull in a celebration of newfound meaning. Jennifer Britten is a multidisciplinary artist whose work centres around the meaning of mortality and death in a contemporary framework.

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

17 September—20 November Suspended Moment Frances Barrett, Giselle Stanborough, Sally Rees, and Katthy Cavaliere Suspended Moment brings together new works by artists Frances Barrett, Giselle Stanborough and Sally Rees—the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Curated by Daniel Mudie Cunningham, Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy.

A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project 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.

Bridgeman and Ben Cook, Arini Byng, Danica Chappell, Miriam Charlie, Jess Coldrey, Michael Cook, Michael Corridore, Sarah Cusack, Rebecca Dagnall, J Davies, Tamara Dean, Damian Dillon, Marian Drew, Rozalind Drummond, Sophie Dumaresq, Stephen Dupont, Odette England, Robert Fielding, Andrea Francolini, Amos Gebhardt, Mike Gillam, Ponch Hawkes, Petrina Hicks, The Huxleys, Samantha Jade, Jilamara Arts and Crafts Association, Ayman Kaake, Shea Kirk, Janet Laurence, Honey Long and Prue Stent, Janelle Low, David Manley, Jesse Marlow, Janine McGuinness, Danie Mellor, Selina Ou, Sanja Pahoki, Sonia Payes, Patrick Pound, Ruiqi Qiu, Kiron Robinson, Angus Scott, Cecilia Sordi Campos, David Stephenson, Margot Stewart, Cyrus Tang, Lyndal Walker, Hilary Wardhaugh, and Lydia Wegner.

Charlotte Swiden, And Then One Flew, (detail), 2022, acrylic, oil pastel and impasto on canvas.

17 November—10 December A Gentle Unwinding This exhibition will explore the relationship between relaxation, tension and the various stages of unwinding. For this exhibition we invited artists from the Modern Times family, along with some new faves, to reflect upon the year, and present works which represent the state of your world, be that internal or external. This exhibition will provide an opportunity to come together to share these reflections, be they positive, negative or neutral. Opening Thursday 17 November 6pm–8pm.

Monash Gallery of Art www.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.

Paula Mahoney, Together in the valley (with the shadow) of death, 2022, from the series This landscape holds grief, pigment ink-jet print 80 x 120 cm.

Courtesy of the artist and Fletcher Arts (Melbourne).

29 September—13 November This landscape holds grief Paula Mahoney MGA and the MGA Foundation are proud to introduce the inaugural Wai Tang Commissioning Award exhibition.

Mahoney’s exhibition This landscape holds grief is the result of a residency at Q Bank Gallery in Queenstown Tasmania. This body of work explores the relationship between personal loss, our history and how grief can echo in the Australian landscape as an absence. Curated by Anouska Phizacklea, MGA Director.

25 November—15 January 2023 Lovers and misfits Peter Milne 25 November—19 February 2023 Tamara Dean

Monash University MADA Gallery www.artdes.monash.edu/gallery Narelle Autio, Life Less, 2022, from the series Trashed, pigment ink-jet print 100 x 148 cm. Courtesy of the artist and Michael Reid Gallery (Sydney).

29 September—13 November William and Winifred Bowness Photography Prize Michele Aboud, Kay Abude, Narelle Autio, Jack Ball, Ramak Bamzar, Yuriyal Eric

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.

18 November—3 December MADA Now Fine Art Graduate Exhibition 143

Gallery & Advisory

Gallery & Advisory

Level 1 2, & 322 2, 322 Brunswick Street Level 1& Brunswick Street Wurundjeri Country, Fitzroy Wurundjeri Country, Fitzroy VIC VIC 30653065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au

YirrkalaPrintspace Printspace opening 4 Dec Yirrkala opening 17 17 NovNov – 4 –Dec 20222022 Image: Djulpan Dorothy), 2186-22, Djakaŋu Yunupiŋu, 2022,2022, linocut, 65x50cm.

Image: Djulpan(Seven (SevenSisters Sisters Dorothy), 2186-22, Djakaŋu Yunupiŋu, linocut, 65x50cm.

brunswickstreetgallery.com.au

VICTORIA

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

Commission. The Gallery will be hosting a special Front Beach, Back Beach exhibition between 10 December 2022 and 19 February 2023. The project is supported by the Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative.

National Gallery of Victoria— NGV International

10 December—19 February 2023 Collection+ Judith Alexandrovics / Julian Opie

180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

See our website for latest information.

Curated by Angie Taylor.

The third iteration of the Collection+ exhibition series, pairs the work of internationally renowned British Artist Julian Opie with the work of late Melbourne Artist Judith Alexandrovics.

www.ngv.vic.gov.au

27 August—12 June 2023 Jewellery and Body Adornment from the NGV Collection

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Judy Watson and Helen Johnson, The red of history: loose ends. Installation view, National Gallery of Australia, Kamberri/Canberra.

10 September—12 November The red thread of history, loose ends Judy Watson and Helen Johnson

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

Richard Mosse, Broken Spectre, 2022, (still). Courtesy of the artist and Jack Shainman Gallery, New York.

30 September—23 April 2023 Richard Mosse: Broken Spectre 7 October—29 January 2023 The Global Life of Design 6 October—January 2023 MECCA x NGV Women in Design Commission: Tatiana Bilbao

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

Tiger Palpatja, Wanampi Tjukurpa, 2007, synthetic polymer paint on canvas, 152 x 101.5 cm. National Gallery of Victoria, Melbourne Purchased, NGV Supporters and Patrons of Indigenous Art, 2007. © Tiger Palpatja, courtesy of Tjala Arts.

15 April—29 January 2023 Indigenous Art from the NGV Collection October—29 January 2023 The Rigg Design Prize 2022

Xu Zhen (designer and artist) MadeIn Company, Shanghai (manufacturer), New, 2016–17, painted bronze, 46.0 x 14.0 x 10.5 cm. National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Asian Art, 2020. © Xu Zhen®.

Tiger Yaltangki, AC/DC, 2021, (detail), acrylic paint on paper and found poster.

Courtesy of the artist and Alcaston Gallery, Melbourne.

13 August­­­­—27 November 2022 National Works on Paper National Works on Paper supports and promotes contemporary Australian artists working on or with paper. This diverse exhibition provides a survey of what’s happening in contemporary art across Australia today. Visit the website to see the list of finalists.

4 November—27 November Front Beach Back Beach An ambitious public art project presented

by Mornington Peninsula Regional Gallery and Deakin University’s Public Art

15 October—20 February 2023 China – The past is present

Fred Williams, Australia 1927–82, worked in England 1952–56, Elephant, 1953, conté crayon, 25.2 x 31.8 cm (sheet). National Gallery of Victoria, Melbourne. Presented by the Art Foundation of Victoria by Mrs Lyn Williams, Founder Benefactor, 1988. © Estate of Fred Williams.

21 October—29 January 2023 Fred Williams: The London Drawings

16 November 2022 2022 NGV Architecture Commission: Temple of Boom 3 December—10 April 2023 Freedom of Movement: Contemporary Art and Design from the NGV Collection 3 December—10 April 2023 Julian Opie: Studio for Kids 11 December—16 April 2023 Alexander McQueen: Mind, Mythos, Muse 145

at14.com.au 2021-Gould-Creative-@14-Art-guide-144x105-pink-FA-2mm.indd 1

13/9/21 7:28 am

Sofi’s Lounge, Level One, 7am—8pm

5 November 2022—28 February 2023 Atrium: Donna Marcus 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.

Sofitel Melbourne On Collins

25 Collins Street Melbourne 3000

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

Donna Marcus, Syrup (detail), 2022. Anodised aluminium.

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

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

See our website for latest information.

Andy Butler, The Agony and the Ecstasy, 2022, video still. Commissioned by the University of Melbourne. Courtesy of the artist.

27 September—2 June 2023 Collective Unease Andy Butler, Lisa Hilli and James Nguyen

PG Gallery www.pggallery.com.au Kevin Lincoln, The Water Jar, 2022 oil on canvas, 102.3 x 162.5 cm.

19 October—12 November the water jar Kevin Lincoln

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

In a world where technology, spectacle and excess can sometimes eclipse quieter contemplation of the interconnectedness of nature and culture, how do we reconcile our position as a virus with shoes that makes cities and internets of ineffable complexity? Has nature been assimilated into the artifice of culture? Or is culture simply nature that humans produce?

What role can art play in negotiating and mediating understandings and anxieties related to our place in the world? For this exhibition, art is implicated within the natures of phenomena itself. Here, the nature of appearing becomes inseparable from that which we think of as nature itself. Welcome to the megacosm.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm.

See our website for latest information.

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.

Project8 Gallery www.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.

Circle Series 12, 2017 acrylic on board 24 x 366 cm RHS and Circle Series 2, 2015 acrylic on board 24 x 366 cm LHS. 16 October–5 November Asher Bilu

Gunter Christmann, Galaxy of stars, 2005 acrylic on canvas, 122 x 91 cm.

6 November—26 November Monty Osewald

16 November—10 December Silhouettes Gunter Christmann

27 November—17 December Graeme Rowe 18 December—5 January 2023 Sisca Verwoert

Old Quad, the University of Melbourne

RMIT Gallery

www.about.unimelb.edu.au/oldquad/exhibitions Building 150 (Parkville Campus) The University of Melbourne, Parkville, VIC 3053 [Map 5] 03 9035 5511 Tue to Fri 10am–4pm, Sat 11am– 4pm.

Summer closure: 10 December 2022 until 13 February 2023.

See our website for latest information.

www.rmitgallery.com

Irene Hanenbergh, Ampussy, 2014, oil on canvas, 25 x 20 cm. Courtesy of Neon Parc.

11 November—24 December Megacosm Simone Douglas, Irene Hanenbergh, Lotta Petronella, Kate Rohde, Benedict Sibley, Utako Shindo

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

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

Until 20 October Liquidarium: Vera Moller Until 19 February 2023 Social Ceramics: A SAM Collection Show 23 July—29 January 2023 Kaleidoscope: Ceramics from SAM Collection 23 July—29 January 2023 Flow: Stories of River, Earth and Sky in the SAM Collection

Jude Worters, Malajusted (Hiding), 2021, Digital photograph. Photograph by Gary Moore.

This exhibition is a part of The Big Anxiety festival 2022 and imagines new ways of sharing the felt dimensions of trauma.

Includes the work of Rushdi Anwar, Peta Clancy, Maree Clarke, Simon Crosbie, Mig Dann, Graeme Doyle, UNSW fEEL Lab, Julie Gough, Jenny Hickinbotham, Brian McKinnon, Rebecca Moran, Yi Won Park, Dominic Redfern, Mariela Sancari, Julie Watkins, and Jude Worters. Collectively curated

by Kelly Hussey-Smith, Grace McQuilten, Helen Rayment and Andrew Tetzlaff, and with the support of Jill Bennett, Renata Kokanovic and a community advisory.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm.

13 August—4 December 2022 Indigenous Ceramic Art Award 17 September—27 November 500 Strong Ponch Hawkes 17 December—26 February 2023 4th National Indigenous Art Triennial: Ceremony

Sofitel Melbourne on Collins www.sofitel-melbourne.com

Emma Borland, Colour bank 1, 2020, fused Youghiogheny glass, 61 x 43 cm.

Borland’s original and personal imagery remains true to her ‘uncultured’ childhood drawings and sculpture pre-art school.

Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information.

Exhibition programme managed by Global Art Projects. gap.net.au. @ globalartprojectsmelbourne.

1 December—31 March 2023 Atrium Gallery, Level 35, 7am–8pm: Emma Borland

Stephen McLaughlan Gallery

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.

www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2]

Kaleidoscope, SAM collection exhibition image, 2022, Shepparton Art Museum.

Photograph: © Shepparton Art Museum.

Shepparton Art Museum → Kaleidoscope, SAM collection exhibition image, 2022, Shepparton Art Museum.Photograph: © Shepparton Art Museum.

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VICTORIA

Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment.

See our website for latest information.

26 October—12 November Peter Brook

Manuel Ocampo, (detail) 2022, acrylic on canvas. Courtesy the artist and STATION. 15 October—12 November Labor, Mystery, Labor, Dream Yevgeniya Baras 19 November—17 December Tom Polo Paul Zika, Stellar 25, 2021, 100 x 85 x 6 cm, acrylic on wood.

16 November—3 December Paul Zika

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

See our website for latest information.

Jenny Loft, Differencing, 2022, 23 x 15 x 15 cm, cast bronze, patinated.

16 November—24 December Jenny Loft

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

15 October—12 November Paintings The Lord Taught Us Manuel Ocampo

Laetitia Olivier-Gargano, Painting 1 (Orange & blue), 2022, gouache, epoxy resin, polymer paint on board, 40 x 40 cm.

3 December—8 January 2023 Veiled Pleasures Rhett D’Costa 3 December—8 January 2023 Angela Hayes

The Substation www.thesubstation.org.au 1 Market Street, Newport VIC 3015 [Map 4] 03 9391 1110 Wed to Sat 12noon–6pm.

The Substation champions contemporary and experimental arts. Housed inside a former industrial building steeped in the rich history of Melbourne’s inner west, The Substation is an arts destination unlike any other in Australia. From our local community in Newport to our national and global network of collaborators and cultural partners, we celebrate artists and ideas that encourage transformative conversations between wide-ranging audiences.

EJ Son. Photograph: Anna Kucera.

Cecilia Fogelberg, Pot with ears, 2022, woven raffia, 54 x 46 x 47 cm.

22 October—27 November We Are All Crackpots Cecilia Fogelberg 22 October—27 November Making sense of nonsense Laetitia Olivier-Gargano 22 October—27 November To the River Pip Byrne (Presented by Craft contemporary).

3 December—8 January 2023 Scenography (Abridged) Tom Borgas

10 November—23 December Woke in Fright Bringing together artists who challenge a myriad of dystopian functions of our absurdist society. Curated by Nikki Lam and Mat Spisbah.

15 November—19 November Body Crysis Harrison Hall, Sam McGlip, NAXS Future and Han Yu-Feng Performance Performed simultaneously at The Substation and online, Body Crysis is the culmination of two years of experiments in motion capture and digital choreography by two artists who are fast gaining a reputation for their visionary approach to genre fluid performance.

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24 November—25 November With Water Up to Her Knees Lisa Lerkenfeldt and Tristan Jalleh Set in present day Naarm, within an amphitheatre of abandoned infrastructure, composer Lisa Lerkenfeldt presents the premiere of new work With Water Up To Her Knees.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

See our website for latest information.

Swan Hill Regional Art Gallery offers a lively program of changing exhibitions as well as displaying works from the permanent collection and from local artists. An ever-evolving calendar of events is organised, ranging from school holiday programs and art workshops, to live outdoor music and concerts featuring our magnificent 1923 Steinway & Sons grand piano.

Lisa Lerkenfeldt. Photograph: Alexander Kelaart.

26 November Open / Station Taking place across The Substation, Open / Station invites audiences to an afternoon of once-off performances, workshops and experiments.

2 September—20 November Swan Hill Print & Drawing Acquisitive Awards See award-winning prints and drawings.

More than 300 entries were received for this year’s National Print and Drawing Acquisitive Awards, from some of Australia’s finest contemporary artists. Our expert judges have chosen 53 finalists, which will be on display.

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

See our website for latest information.

Peter Booth, Untitled, 1995, oil on canvas 167.5 x 305 cm. The University of Melbourne Art Collection, Michael Buxton Collection. Donated through the Australia Government’s Cultural Gifts Program

by Michael and Jane Buxton 2018. © Peter Booth.

Sullivan+Strumpf www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Mark Dober, House (Castlemaine).

25 November—29 January On the Land–Mark Dober Mark Dober is a landscape painter who lives in Castlemaine, central Victoria. He makes his work on site in the surrounding forest and pastoral landscape. Mark also paints further afield, and will be undertaking a residency in our region to make work for his exhibition of wallsized watercolours at Swan Hill Regional Gallery. Working flat on the ground, Mark responds in a tactile way to the near and the far: grasses and weedy plants, logs and trees, fences and farm houses, water and sky, the weather and the season, light and space. Mark’s work conveys a sense of being within the landscape. Landscape is experienced as environment.

Tony Albert, Remark Aboriginal Bow, 2022, acrylic and vintage appropriated fabric on canvas, 183 x 137 cm.

Photograph: Mark Pokorny.

10 November—10 December Remark Tony Albert

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25 November—29 January Retrospective - 21 Years Of Mallee Artists Mallee Artists Swan Hill Swan Hill’s longest running art group Mallee Artists Swan Hill will celebrate with a range of works spanning their 21 year history. Past and present members come together showcasing a variety of talents in this diverse and uplifting retrospective.

Peter Booth, Painting, 2013, oil on canvas, 153 x 112 cm. Private collection. © Peter Booth.

26 November—13 March 2023 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 despoilation and the resilience of nature.

VICTORIA

Town Hall Gallery → Jumaadi, Love will find its way, 2019, acrylic on cloth, 150 x 285 cm, image courtesy of the artist and King St Gallery on William. Photography: Agung S.

Town Hall Gallery

The Victorian Artists Society

www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

See our website for latest information.

1 October—17 December Tell Me a Story

www.vasgallery.org.au Kieren Karritpul, Many fish traps in the billabong, 2022, acrylic on canvas, 83 x 198 cm.

29 October—19 November Making the ancestors smile Kieren Karritpul

Tell Me a Story is a major exhibition at Town Hall Gallery celebrating the ancient art of storytelling. Humans have always drawn on the social and cultural practice of sharing narratives to better understand the world we live in, developing techniques and customs to hold memory, commemorate experiences, and record knowledge. The featured artists aim to deepen our understanding of the human psyche, our past and future, and our relationship to natural and constructed environments. Detailing accounts of love, conflict and the everyday, Tell Me a Story reveals the enduring power of the story to secure bonds between people and communities across space and time.

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm, during exhibitions.

9 November—29 November Fleeting Moments Ray Hewitt A solo exhibition of Ray Hewitt’s recent works, including seascapes and landscapes.

10 November—15 November Vision of Light Les Pascoe Australian artist Les Pascoe presents an exhibition exploring his love of painting composed of paintings done from 2019 to 2022. This exhibition features works painted en plein air using oils to capture the amazing scenery of brilliant light and colour.

Tolarno Galleries www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

Dan Moynihan, No need for alarm, 2022, vintage clock radios, dimensions variable.

26 November—17 December Out of Interest Dan Moynihan Gwen Krumins, Rubescence, oil, Winner 2021.

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17 November— 1 December 2022

Opening event: Friday 18 November, 6–8pm.

A Very Late Meeting Bianca Lyla Clifford, Claire Lambe, Justine Walsh, Parker Lev Dupain

MILK Gallery

1/222 Johnston St Wurundjeri woi-wurrung Country Collingwood Victoria 3066 milksite.art

@milk_archive_ milksite.art

Claire Lambe, Liverpool, UK, 2022, video still.

Courtesy of the artist.

VICTORIA The Victorian Artists Society continued...

11 November—28 November VAS Mavis Little Artist of the Year 2022 This impressive exhibition features snapshots of the practice of over 30 top Victorian Artists Society artists who have been invited to participate after receiving the highest number of votes from their peers.

7 November—28 November Ellsworth Overton 1 December—13 December VAS Little Treasures 2022 The annual Little Treasures exhibition features a large variety of small artworks, showcasing the many talents of our artists. For sale prices of $250 and under.

26 November—24 December Game Night Beau Emmett and Elvis Richardson This exhibition of sculptures rearranges familiar domestic objects, materials and activities to play with characterisations about “lifestyle choices”. Is one’s circumstance determined by astrological, age appropriate or socio-economic predictors? Your own self-help and hard work is the solution and a government that’s okay with perpetuating generational rent in a stolen country. Share house rules and Bong Witch spells cast in a game of generational rent. Who’s playing the game and who is getting played.

imagined worlds and apocalyptic stories.

Recently, ‘the before times’ has taken on new significance as our lives changed dramatically and we fondly remember times before Covid-19. The five artists have used this phrase as a starting point— some taking their practices back to basics or celebrating the return of inspiration and materials while others explore types of memory or envisage a dystopian future that might await us.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

5 November—12 February 2023 A Portrait of Australia: Stories Through the Lens of Australian Geographic

Julian Bruere VAS FVAS, Le Vengeur sinks, 1794, watercolour. Thomas Somerscales Trophy Winner 2021.

2 December—13 December VAS Maritime Exhibition 2022 This exhibition features artworks including tall ships, peaceful beach scenes and the ever changing moods of the ocean.

The Thomas Somerscales Trophy is presented at the official opening of the Maritime Exhibition to the winning artist.

2 December—14 December Hailebury College Partership Showcase

A Portrait of Australia: Stories Through the Lens of Australian Geographic is touring the country as part of an unprecedented partnership between the National Museum of Australia and Australian Geographic. This exhibition celebrates the bush, the outback, the coast and the people who live there. Featuring photographs from the Australian Geographic archive, it will transport you to some of the most rugged and remote parts of the country where you will discover the remarkable stories of ordinary Australians.

A showcase of the top works by senior art students at Hailebury College.

Sarah Maslankiewicz, IANTHE, 2022, photography, giclee print. © Sarah Maslankiewicz.

21 September—14 December What Lies Beneath Sarah Maslankiewicz A series of new works by Sarah Maslankiewicz continuing her experimentation with photographing the human form in water; the writhing bodies, refracted light and swirling fabrics suggest paintings by old masters. Maslankiewicz asks us to consider the impossible ideal image of beauty some of the most iconic works in art history imposed. “Today, we grapple with the perfect pictures we see in the media, just as these classic paintings must once have provoked . . . ” — Sarah Maslankiewicz.

14 December—1 March 2023 Creature Comforts Abi Thompson Thompson’s mixed-media drawings Creature Comforts, explore Australia’s inland landscapes’ unique textures, colours and patterns. These works reflect Thompson’s interest in their ancient relationship to time and place. The beauty and fragility of these vulnerable environments and the timelessness of the animals that inhabit them communicate Abi’s concern about the destruction of these habitats. The resulting threat to wildlife underpins this series.

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

See our website for latest information.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts

Elvis Richardson, Settlement in Relief, 2022, digital print, 80 x 60 cm. Image courtesy of the artist.

Phong Chi Lai, You're Somebody's Baby, 2022, reclaimed/deadstock cotton, linen, silk and natural dyes. © Phong Chi La. 12 November—18 December The Before Times Phong Chi Lai, Tara Glastonbury (curator), Caroline Hadley, Diana Vandeyar, Jessica Wheelahan and Lorena Uriarte.

The term ‘before times’ dates back centuries and has a long association with

Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm.

See our website for latest information.

11 October—18 November Surveyed We look, but we do not see. Ordinary streets are passed, change occurs without us registering or absorbing 153

richardknafelc.com

VICTORIA Walker Street Gallery continued...

Manifold shall meander the streets of our municipality and record en plein air: ordinary scenes, along with the reactions of those who he encounters via his GoPro. While Giordano Biondi offers clay models of imagined cities expressed through the peculiarity of its architecture, whereas the bold palette of Amaya Iturri demonstrates the possibility of transforming perception of place through colour. Together, they provide a method of recording this place: City of Greater Dandenong.

29 November—27 January 2023 Inked

Amaya Iturri, Liquidnails, 2022. its impact. How we adapt and change to the ever changing environment is the underpinning premise behind the exhibition Surveyed. Artist Harley

Celebrating the art of the thriving tattoo industry, photographers Bronwyn Watson and Tommy Kuo use their own unique photography styles to record Inked—intimate stories told in new ways.

Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

Bronwyn Watson, Shane.

Dean Bowen, Bird on a Wire, 2003. © The artist.

22 October—17 December GIFTED – From the Whitehorse Art Collection The Whitehorse Art Collection has been the recipient of many generous gifts since its establishment in 1927. In its early years, the collection flourished with the continuing tradition of donations. In recent years several significant artists have donated artworks to the collection through the Australian Government Cultural Gifts Program. Artists featured in the exhibition include Dean Bowen, Philip Davey, Sue McFarland and Jill Symes.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays.

See our website for latest information.

27 October—18 December WILAM BIIK 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), 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.

Wyndham Art Gallery → Kent Morris, Barkindji Blue Sky – Ancestral Connections #4, 2019.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2022

New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

NEW S OUTH WALES Take a journey through the arts and cultures of Asia, looking at time, place and the natural elements. Displayed over two floors, the Art Gallery’s Asian Lantern galleries present works from the Art Gallery’s collection of Asian art, which stretches from Indonesia to Mongolia, from Japan to Iran.

4A Centre for Contemporary Asian Art www.4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 See our website for latest information.

Until 12 February 2023 Sol LeWitt Affinities and Resonances Discover the affinities and resonances between one of the 20th century’s most influential artists, Australian Central Desert painting, and contemporary American and Aboriginal musicians.

Bart Was Not Here, Ne Win, 2017, inkjet print on matte poster paper, 65 x 49 cm. the region. All works are for sale. Artists include Agugn Prabowo, Bart Was Not Here, Bussaraporn Thongchai, Dias Prabu, Emily Phyo, Fitri DK, Imhathai Suwatthanasilp, Malcolm Smith, Mohamad Yusuf (Ucup), Prihatmoko Moki, Richie Htet, Sekarputri Sidhiawati, Thee Oo and Trinnipat Chiasittisak.

TextaQueen, Shama (The Flame), 2022, india ink marker, watercolour, coloured pencil and synthetic polymer on cotton paper, dimensions variable. Courtesy of the artist.

22 October—18 December TextaQueen: Bollywouldn’t Bollywouldn’t is a catchphrase decolonised; it is an imagining of utopia and reclamation of power. Bollywouldn’t deconstructs all the “-isms” in the Bollywood genre, giving agency back to South Asians, particularly those marginalised within our cultures through sexuality and gender identities. Working predominantly in felt-tip pen—aka ‘texta’—TextaQueen positions Bollywouldn’t as a balm to diasporic displacement.

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment.

See our website for latest information.

19 November—17 December 16albermarle Revisited An exhibition featuring highlights from our first 11 exhibitions. Including art and artists from Indonesia, Myanmar and Thailand, the exhibition shows the broad range of concerns dealt with by artists in

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

Daniel Boyd, Untitled (PI3), 2013, private collection, Bowral. © Daniel Boyd. Photograph: Jessica Maurer, courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Until January 2023 Daniel Boyd: Treasure Island Treasure Island is the artist’s first major exhibition to be held in an Australian public institution. Featuring more than 80 works from across his nearly two-decade career, the exhibition unpacks the ways in which Boyd holds a lens to colonial history, explores multiplicity within narratives and interrogates blackness as a form of First Nations’ resistance.

Ongoing Elemental and Correspondence Asian Lantern

Rosemary Laing, brumby mound #6, 2003, Art Gallery of New South Wales © Rosemary Laing.

8 October—19 February 2023 From Here for Now Presents works by Australian and international artists from the Art Gallery’s collection in ten spaces, exploring interrelated themes relevant to our current moment.

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

See our website for latest information.

Sophie Howarth, Adalita Srsen, Magic Dirt, Big Day Out, 2002, photograph.

2 November—13 November Homage to Chicks Sophie Howarth This exhibition represents over 20 years of imagery from Sophie Howarth’s music photography archive. Homage to Chicks is a series of 126 photographs which create a complete artwork with a single message of reverence for the many women she has documented over the years. To them, Howarth ‘pays homage’ and establishes them at the centre of this story. The series captures key moments, such as Bjork’s theatrical beauty on stage, Channel V 157

ar t g ui d e .c o m . au Art Space on the Concourse continued... presenter, Yumi Stynes—heavily pregnant—backstage at the Big Day Out, and artist Courtney Love as she screams out to her audience.

16 November—27 November The Commons Tony Manning This exhibition represents shared spaces where individuals, friends and families can revel in their local community. Historically, the commons is an ancient expression of social and natural resources made available for all to enjoy.

Freedom of movement should not be taken for granted and these artworks celebrate the people and places that mark our emergence into expansive natural and built environments.

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm.

See our website for latest information.

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.

7 October—16 November FUSE Glass Prize FUSE Glass Prize is Australasia’s foremost prize for Australian and New Zealand glass artists. This exhibition is presented as part of Sydney Craft Week Festival in partnership with the JamFactory.

Peter Neilson, Suddenly again, 2014, oil on linen, 150 x 300 cm.

7 October—16 November Seed Stitch Contemporary Textile Award

8 November—27 November The Unfinished Fact Peter Neilson

Seed Stitch Contemporary Textile Award highlights the ideas, materials and processes explored by textile and fibrecraft artists based in NSW and ACT. This exhibition is presented as part of the Sydney Craft Week Festival.

Fangmin Wu, Sydney Harbour from the rocks, 2022, oil on canvas.

30 November—11 December From Urban to Floral Rocks Fangmin Wu Fangmin Wu’s paintings reflect the feeling of returning to nature following our urban confinement during two years of lockdowns. Featuring famous urban landmarks and familiar neighbourhoods, this exhibition acts as a timeless representation of our urban and natural environments.

14 December—22 December Naruter Association of Korean Visual Artists in Australia (AKVAA) Naruter means ‘wharf’ in Korean. It reflects the platform from where individuals depart with optimism and enter the unknown. Members of the Association of Korean Visual Artists in Australia (AKVAA) use different painting techniques to take their own exploratory step into the unknown, and use their mediums to explore different perspectives, presenting various interpretations of the concept, naruter.

Ema Shin, Hearts of Absent Women #5, 2022. Photo: Matthew Stanton.

22 November—21 January 2023 Hearts of Absent Women Bruce Latimer, Lantana with souvenir, 2022, oil on copper, 77 x 42 cm.

8 November—27 November Sightseeing Bruce Latimer 6 December—22 December Peter Kingston

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm.

Entry by donation.

See our website for latest information.

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Ema Shins’ soft and fleshy textile sculptures memorialise unnamed women in patriarchal traditions and folk-art histories. Their untold stories are celebrated in this feminine expression of cultural rebellion.

24 November—28 January 2023 Alchemical Worlds: Reflections The pattern of the Great Basin bristlecone pine (Pinus longaeva) and brain coral (Diploria labyrinthiformis) in this thought-provoking textile work by Agnieszka Golda and Jo Law draws attention to these living entities that hold climate data beyond human records.

29 November—21 January 2023 Beyond design as usual Beyond design as usual provides a professional exhibition opportunity for students completing studies in social innovation, visual communication, photography, product design, and fashion and textiles.

NEW S OUTH WALES

Bathurst Regional Art Gallery → Liam Benson, Above and Below, 2020, digital print on Solve Glaze cotton rag, edition of 5 + 2AP, 120 x 170 cm.

UTS and Sonny Vandeveldt, 2019.

Connecting designers, institutions, and curators with students to encourage professional networks. This exhibition is presented in partnership with the School of Design, University of Technology, Sydney (UTS).

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm, Closed Mon. Facebook: facebook.com/ bathurstart or Instagram: @bathurstregionalartgallery 4 November—15 January 2023 Liam Benson Virtue Without Stain Virtue Without Stain (Virtus sine macula) is the motto of the Russell Clan, a connection Liam Benson shares with his

grandmother. “The clan crest features a set of scales, which is my star sign (Libra).

As a Libran, I feel bound to the characteristic of always weighing up both sides of opposing perspectives. I never completely settle on an opinion. For me, the concept of Virtue Without Stain is impossible because my idea of virtuous is to acknowledge that I’m capable of both good and bad. My amended clan motto would be ‘Virtue is a Stain.’” (Liam Benson, 2021).

A BRAG Exhibition curated by Richard Perram OAM.

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

See our website for latest information.

Ruby Davies, Water as life: the town of Wilcannia and the Darling/Barka, 2007, giclee pure pigment print. Broken Hill City Art Gallery Collection.

8 July—12 February 2023 returning to a subject through a lifetime - Part Two returning to a subject through a lifetime: part two presents work from the Broken Hill City Art Gallery Collection in conjunction with loans from artists and material from the Broken Hill City Library’s Outback Archive. The exhibition expands upon artist Hannah Bertram’s installation Temporarily Unavailable, refocusing interest in artistic practice in the Collection.

The exhibition negotiates the terms of the archival through the work of artists, historians, and collectives whose outputs emerge from sustained engagement with Broken Hill and the Far West of NSW, its stories, people, and landscapes across many years.

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

Bundanon is many things. An art museum embedded in the landscape. A wildlife sanctuary set on 1000 hectares. A gift to the Australian people. The vast array of experiences at this South Coast art destination means every visitor’s journey here will be different. The establishment of Bundanon represents one of the most significant acts of philanthropy in the history of the arts in Australia. Arthur and Yvonne Boyd’s gift of Bundanon in 1993 was driven by a big vision, which has been built upon by subsequent acts of private 159

ar t g ui d e .c o m . au Bundanon continued... generosity and government support, creating the cultural institution for artistic enjoyment and learning that thrives today in the Shoalhaven.

15 October—8 January 2023 Robyn Caughlin

Bundanon. Photograph: Zan Wimberley.

26 November—12 March 2023 Siteworks 2022: From a deep valley 25 artists, 15 scientific researchers. A major exhibition and program of installations, performances, talks and workshops that draw on climate research, critical thinking, First Nations knowledge and technologies and creative digital spaces.

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

Blak Douglas, WIRAMBI (18 carat gold), 2017. Photo by Anthony Hodgkinson.

15 October—8 January 2023 Looking at Gold Blak Douglas, Amy Hammond, Megan Hanson, Ramesh Mario Nithiyendran, Monica Rani Rudhar, Marcia Swaby, Abdullah M.I Syed, Hiromi Tango, Tom Yousif.

And a collection of silk batiks from the Utopia Collection Bequest to Tamworth Regional Gallery.

Chalk Horse www.chalkhorse.com.au

3 November—26 November FIREWORKS Jasper Knight

Benedict dos Remedios, SPOTS Red & red, 2022, diptych (detail), acrylic, gouache & pencil on canvas, 300 x 122 cm.

1 December—22 December CATFISHED 2.0 Benedict dos Remedios 1 December—22 December Trent Whitehead

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry.

Weekdays 10am–5pm, Thurs evenings until 9pm, Weekends 12noon–4pm.

167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm.

See our website for latest information.

Kate Harding, Carnarvon, 2020, textile and appliqué, attached thread bags.

Robyn Caughlan, Aboriginal Wedding Dress, 1998, taffeta, nylon, plastic, metal.

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Jasper Knight, Fireworks II, 2022, e namel, gloss acrylic and gesso on linen, 180 x 174 cm.

Until 29 January 2023 Through a lens of visitation D Harding with Kate Harding.

NEW S OUTH WALES Descendants of the Bidjara, Ghungalu and Garingbal peoples, D Harding and Kate Harding’s multi-layered practices are motivated by the cultural inheritances of their family, who originate in the Fitzroy Basin and the Maranoa River headwaters territories in central Queensland.

Through a lens of visitation specifically explores the artists’ relationship to Carnarvon Gorge and pays particular homage to matrilineal family figures—engaging and bringing forth their stories.

D’s works are known for their poetic and political approach to materiality and process, while Kate, a textile artist, has created several new quilts to tell her stories of family, culture and Country.

Cooee Art Gallery www.cooeeart.com.au 17 Thurlow Street Redfern, NSW, 2016 02 9300 9233 Tue to Sat, 10am–5pm 31 Lamrock Avenue, Bondi Beach, 2026 02 9300 9233

Rachel Ellis, Claret Ash, Bathurst, 2021, oil on linen on plywood. Winner of the Calleen Art Award 2021.

Pammy Foster, Bush Floweers, 2022, 90 x 90 cm.

Mian Cheng, Evening examination, 1965, relief print, University Art Collection, UA2001.15.

Until 2 April 2023 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.

The dynamic spirit of this supple yet robust material and medium is highlighted in this exhibition through diverse creative forms: paintings, rubbings, prints, sculptures, paper-cuttings, photographs, political posters and rare books.

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.

Until 2 April 2023 Australian Seashores Coastal areas are some of the most highly impacted and vulnerable environments in the world, particularly in Australia.

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.

The exhibition celebrates the writers, the book and their impact on Australian marine science.

20 October—11 November Cooee Art and Barkly Regional Arts Present: Alpeyt Mwerrangker | Good Blossoms Ada Pula Beasley, Annette Nungala Peterson, Fiona Pwerl Corbett, Jessie Kemarr Beasley, Julie Pwerl Beasley, Lindy Nungarrayi Brodie, Lorna Pwerl Corbett, Pammy Kemarr Foster, Rita Kemarr Beasley, Susie Ngwarrey Peterson and Vicky Napurrula Pope.

12 November—3 December Wayne Quillam 10 December—24 December A Cooee Christmas

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10pm–2pm.

Admission Free.

See our website for latest information.

9 October—20 November Calleen Art Award 2022 Open to artists across Australia the Calleen Art Award is an acquisitive painting prize in any subject and style. The award was founded in 1977 by Mrs Patricia Fagan OAM and is made possible by the generous support of the Calleen Trust.

The winner of the Calleen Art Award 2022 will receive $25,000 and the winning artwork will join the Calleen Collection at the Cowra Regional Art Gallery. This year the Calleen Art Award offers the work of

49 finalists selected from over 300 entries by a panel of art professionals. A non- acquisitive People’s Choice Award of $1,000 is awarded at the end of the exhibition.

Recent winners include Rachel Ellis (2021 - NSW), Zoe Young (2020 - NSW), Wendy Sharpe (2019 - NSW), Brian Robinson (2018 - Torres Strait), and Zai Kuang (2017 - Victoria).

Eliot Roberts, skin and bones, soft, 44 x 140 x 50 cm. Winner of the Sculpture Award upstART 2020.

27 November—11 December upstART 2022 Back after missing a year due to COVID-19 UpstART is a “must-see” exhibition of work by young artists from high schools in the region in stages 5 and 6. The exhibition includes a broad range of subjects and creative approaches to painting, ceramics, mixed media, photography and sculpture made during the past 12 months.

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

Ana Pollak, Vinelines, clay wash and binder on burnt plywood, 91 x 224 cm.

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Belinda Wilson The Joy Effect

Belinda Wilson, Catching Clouds, 2022, oil on linen, 95 x 125 cm.

10 to 24 November

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

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NEW S OUTH WALES Defiance Gallery continued...

12 November—3 December Ana Pollak Opening Saturday 12 November, 3pm–5pm.

12 November—3 December Defiance Award Winners Joe Blundell and Pamela Honeyfield Opening Saturday 12 November, 3pm–5pm.

Fairfield City Museum & Gallery www.fairfieldcity.nsw.gov.au/fcmg 364 The Horsley Drive, Smithfield, NSW 2164 02 9725 0290 Tue to Fri 10am–4pm, Sat 10am–3pm.

See our website for latest information.

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

See our website for latest information.

FCMG is a multi-award winning exhibition space and Fairfield City Council’s largest cultural facility. Throughout the year we offer a changing program of contemporary art, social history and community based exhibitions.

22 October—15 April 2023 Shopkeepers

6 x 6 x 6” Miniature Sculpture Show.

10 December—24 December Defiance Gallery 6 x 6 x 6” Miniature Sculpture Show 2022

Shopkeepers tells the stories of Fairfield’s drapers and bakers, barbers and butchers. It outlines the changing retail landscape and developing commercial centres where general merchants make way for specialty stores and suburban shopping malls.

Opening Saturday 10 December, 3pm–5pm.

Gallery76

www.darrenknightgallery.com

www.embroiderersguildnsw.org. au/Gallery76

840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm.

See our website for latest information.

76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays.

See our website for latest information.

Marikit Santiago, Apple of my Eye. Photograph: Garry Trinh.

12 November—1 April 2023 We Eat This Bread Marikit Santiago

29 October—26 November ...and the earth flew off its axis Elizabeth Newman

30 November—17 December Harbour City Kevin McKay Opening Saturday 26 November, 4pm–6pm.

Darren Knight Gallery

Elizabeth Newman, Untitled, 2022, oil on linen, 100 x 70 cm.

Kevin McKay, Red Buoy - Goat Island, oil on canvas, 40 x 60 cm.

We Eat This Bread features work inspired and influenced by artist Marikit Santiago’s Filipino ethnicity and Australian culture.

The title of the exhibition references the memorial acclamation in liturgical mass.

Self-portraits and that of her family in this exhibition reflects the interweaving cultures of her ethnic and social identity, representing simultaneous, conflicting sensations of acceptance and rejection.

“My practice examines a personal conflict of cultural plurality at the conjunction of Filipina ethnicity and Australian nationality. My work navigates the simultaneous sensations of acceptance and rejection of adopted and inherited cultures, which has been conditioned by autobiographical experiences within and between developed and developing worlds.” — Marikit Santiago. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Launch Event: Saturday, 12 November, 3pm–6pm.

3 November—28 November Living Treasures Alison Snepp Alison Snepp has been a professional embroiderer since 1981. She is an experienced tutor, has studied in significant museums and private collections throughout the world, is an accomplished presenter and has even hosted an embroidery tour through England. Alison has been an active member of the Embroiderers’ Guild NSW for over 40 years. In honour of her considerable contribution, it is exhibiting a selection of her incredible work including furnishings, accessories and more.

Student Showcase – traditional work by student Sheila Clancy.

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NEW S OUTH WALES Gallery76 continued...

Kiata Mason, Mother Rock, 2022, acrylic on canvas. unique understanding of mark making, colour and abstraction. A visual conversation that questions how we define a landscape, each artist drawing new ways to interpret and inform, whilst also seeing the landscape as a way to transcribe physiological space.

Student Showcase – contemporary work by student Margaret Smith.

2 December—22 January 2023 Student Showcase Embroiderers’ Guild NSW The Embroiderers’ Guild NSW is a non-profit membership body for anyone and everyone who loves to stitch or would like to learn. Teaching is core to its mission, and it delivers a comprehensive offering.

This showcase of student work includes beginners through to those who have been stitching for many years, but all bring creativity, skill and a willingness to learn something new. Featuring both traditional and contemporary styles, audiences will be astonished at the quality and innovation on show.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

3 September—27 November Moments in Colour Exhibition A group exhibition by artists Kiata Mason, Justine Muller, Tim Allen, Charmaine Pike and Joanna Logue.

Five artists brought together by their common interest in landscape painting, translated through their own highly indivi dual lens.This exhibition highlights their

An exhibition that celebrates the importance of the commitment to artistic practice with Australian landscape painting, that it is a core conceptual art form.

Moments in Colour showcases the vibrancy and complexity that our landscapes provide and acknowledges how privileged we are to inhabit them. The Glasshouse Regional Gallery supporting Contemporary artists.

definitions of drawing to shift and evolve with each exhibition, depending on the entries of the artists and the perspectives of the judges. The Dobell Drawing Prize #22—the 22nd exhibition in the Prize’s storied history—continues this tradition of fostering conversations around the changing role of drawing within contemporary art practice. The winner of the Dobell Drawing Prize is awarded $30,000 and their work becomes part of the National Art School Collection. The judging process is initially undertaken digitally by a panel of practising artists. In 2021, the panel included Michelle Belgiorno (artist and trustee at the SWDAF), Simon Cooper (artist and head of studies at the National Art School) and Lucy Culliton (artist and 2021 guest judge). After 64 finalists were selected out of a record 948 entries from around the country, guest judge Lucy Culliton chose the outright winner at the Prize exhibition in March 2021. A National Art School touring Exhibition.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au

5 November—22 January 2023 Dobell Drawing Prize #22 The Dobell Drawing Prize is an unparalleled celebration of drawing technique and innovation. This National Art School touring exhibition showcases 43 of the 64 finalists from the 2021 Prize and includes Euan Macleod’s winning work, chosen by guest judge and acclaimed artist Lucy Culliton. Presenting a range of material approaches – from animation, collage and paper weaving, to charcoal, ink and watercolour – the exhibition demonstrates the remarkable vitality and scope of contemporary Australian drawing. William Dobell’s love of drawing was recognised in 1993 when the Sir William Dobell Art Foundation (SWDAF) initiated a drawing prize in his name at the Art Gallery of New South Wales. For twenty years, the annual Dobell Prize for Drawing encouraged excellence in drawing and draughtsmanship among Australian artists. Past winners include Kevin Connor, David Fairbairn, Virginia Grayson, Nicholas Harding, Ann Pollak, Gareth Sansom, Jan Senbergs, Garry Shead and Aida Tomescu. Building on the legacy of this respected award, the National Art School partnered with the SWDAF in 2019 to produce the biennial Dobell Drawing Prize.

This new competition preserves an important attribute of the original prize, by not stipulating what a drawing is in the terms and conditions of entry. This allows

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

See our website for latest information.

Yvette Coppersmith, Untitled Movement (Magenta), 2022, oil on jute. Private collection. Image courtesy of the artist and Sullivan + Strumpf. Photograph: Matthew Stanton.

21 October—21 January 2023 Bright Emma Beer, Vivienne Binns, Yvette Coppersmith, Lara Merrett, Gemma Smith, Esther Stewart and Margaret Worth.

Bright brings together a group of Australian artists who each explore colour and Abstraction in their practice. Taking inspiration from diverse sources including architecture, dance, design, nature and music, these artists’ works are bold and teeming with energy. The exhibition spans a range of forms, scale and materials, 165

ar t g ui d e .c o m . au Goulburn Regional Art Gallery continued... celebrating artists who challenge assumptions and expand possibilities.

Featuring pioneering and contemporary artists, with newly created pieces presented alongside key existing works, Bright shows the ongoing relevance of Abstraction as a visual language. At different moments, the exhibition exudes a sense of discovery, contemplation and optimism, engaging viewers in works which express the breadth of colour, line and movement.

Maree Azzopardi, 40 Days, 2022 (detail).

Coast beaches. In her works, Azzopardi questions the human condition in contexts of war, grief, loss and regeneration and where we stand in the bigger picture of the challenging world.

Judith Reardon, Fantastic Weirdness #1, 2022, digital photograph, dimensions variable. Courtesy of the artist.

21 October—26 November An Exotic World of Fantastic Weirdness Judith Reardon Reardon’s practice is informed by the concept of collaboration between artists and the more-than-human world. After the devastation of the Black Summer Bushfires in 2019-20, Reardon interrogated the impact of the fires through a process of observation, recording, and interaction. Reardon’s discovery of an abundance of fungi led to the artist’s collaboration with Mycelium, a root-like branching structure of fungus which creates organic shapes and transforms in unexpected ways. Playfully documenting Mycelium’s actions through video and animation, the artist prompts audiences to reflect on the state of the environment and encourage a more sustainable connection with the natural world.

Gosford Regional Gallery www.centralcoast.nsw.gov.au 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.

29 October—13 December Fireworks Maree Azzopardi Central Coast based international artist Maree Azzopardi presents her new exhibition of recent works in solo exhibition Fireworks. This new body of artwork has been created over the past 18 months with ink, works on paper, paintings, embellishments of gold and charcoal scavenged post bushfire and flood from Central 166

James Hazel, video stills from Scoring the Commons, 2022. Images courtesy of the artist.

5 November—29 January 2023 Underscoring the Commons James Hazel A project by James Hazel, who uses sound to explore the idea of the shared ‘commons’—the relationship between communities and the social/physical environments that are integral for sustaining lives and livelihoods. Through each iteration of Underscoring the Commons, Hazel works with communities to construct a musical-score of the geographic and social ecologies of sites with complex working-class histories. This exhibition has been produced with the support of Gosford Regional Gallery 2022.

Bailee Lobb, Big Blue, installation view, 2021. Courtesy of the artist and Granville Centre Art Gallery. across our society, and being denied access is the everyday lived experience of being disabled. Reframing the narrative and subverting the traditional expectations of what disability should look like, Out of Order seeks to hold nothing back, creating an interactive transformative space that incorporates the sensations of both comfort and adventure.

Bringing together stories from across the disability spectrum disrupting and recreating a new accessible reality.

A reminder this will be an ableism-free zone where we value community, connection and vulnerability.

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

5 November—29 January 2023 Lionel’s Place: Lionel Lindsay from the Maitland Regional Art Gallery Collection

Granville Centre Art Gallery www.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.

6 September—10 December Out of Order Guest curated by Amy Claire Mills Being disabled/chronically ill is an incredibly complex experience; you have to navigate a world that wasn’t built for you.

Ablest structures are deeply entrenched

Susie Dureau, Summer Cicadas on Yaegl Country, NSW, 2022, archival pigment print, 110 x 145 cm.

4 November—26 November Untethered Alyson Bell, Ingrid Bowen, Susie Dureau, Amanda Fuller and Colleen Southwell Untethered creates works that engage with a sense of freedom associated with letting go of familiarity. Themes of weightlessness, ethereality and transcendence are balanced against grounded states and earthy connections to nature.

NEW S OUTH WALES

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

Free admission.

See our website for latest information.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm.

‘Liminal’ is defined as a transitional space where something new might reveal itself.

In the landscape, ever changing forces of weather, seasons, light, tides, and time of day constantly shift the boundaries— nothing remains static. Debbie Mackinnon’s paintings and drawings explore this unfolding landscape, creating a profound dialogue with the natural world.

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

See our website for latest information.

Made/ Worn: Australian Contemporary Jewellery, Liam Benson, Coat of Arms, 2009. Image: Steven Cook.

26 November—29 January 2023 Australian Design Centre at Hazelhurst Celebrate design at Hazelhurst with three leading Australian Design Centre exhibitions; Made / Worn Contemporary Australian Jewellery, Living Treasures: Masters of Australian Craft \ Prue Venables and Profile Contemporary Jewellery and Object Award.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG

Jan Cristaudo, Ghost Gums, 2021, oil on canvas.

26 October—13 November

By The Way Jan Cristaudo

Exhibitions continuously change around various themes with a focus on the Australian landscape—the reef, Sydney Harbour and the foreshore—as well as the artist’s personal environment. See the most extensive collection of original works, as well as the latest release limited editions prints.

Colour has always fascinated Jan Cristaudo. It is the first thing she sees, and then comes shape and form.

As an abstract artist she uses colour to interpret the way she sees the world.

This exhibition is based on Cristaudo’s recent trip to the outback. To the places that are hidden and places that she had wanted to return to and spend time in, to feel the essence and to capture the energy they give out.

14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—4pm, Sun 2pm—5pm.

See our website for latest information.

Ken Done, Yellow reef, 2022, oil and acrylic on linen, 138 x 122 cm.

13 October—15 December New Work Ken Done

Hurstville Museum & Gallery collection.

Photograph: Silversalt.

29 October—29 January 2023 Guraban – Where the Saltwater meets the Freshwater Combining historical items and photographs sourced from public and private collections with the work of leading First Nations artists, Dennis Golding, Nicole Monks & Jenine Boeree, Djon Mundine, Marilyn Russell and Jason Wing , the exhibition highlights multiple perspectives on historical and contemporary connections to the river, its people and places. The exhibition has been developed in collaboration with First Nations groups, individuals, artists, the Gujaga Foundation and Create NSW.

Olena Vigovska, Yellow on blue - golden wattle, 2022, oil on canvas.

16 November—27 November True Blue and a little bit of Yellow: Australiana Tetiana Koldunenko, Nataliya Kravchenko, Elena Levkovskaya, Olena Vigovska, Nataliia Vyaz and Olena Zubach.

As ‘true blue’ friends, Ukrainians and Australians both have a deep connection with nature, a shared admiration for its beauty and a passion for caring for the environment. This group of artists use painting, photography and mixed media to capture this shared connection. The exhibition is raising funds for humanitarian aid for the people of Ukraine.

30 November–18 December Unfolding Debbie Mackinnon

The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 29 July—28 January 2023 Storymakers in Contemporary Japanese Art Masahiro Hasunuma, Yūichi Higashionna, Tomoko Kōnoike, Maki Ohkojima, and Fuyuhiko Takata.

Storymakers presents a selection of works by contemporary Japanese artists evoking images from traditional tales of wonder across cultures; including a journey through the enchanted forest, 167

DYARUBBIN 29 OCTOBER 2022 - 5 FEBRUARY 2023

HAWKESBURY REGIONAL GALLERY

This exhibition shares Dharug stories of Dyarubbin using oral histories, art & Dharug words, to empower us with greater understanding of this astonishing landscape & its culture.

HAWKESBURY REGIONAL GALLERY

300 George Street, WINDSOR 2756 | (02) 4560 4441 | gallery@hawkesbury.nsw.gov.au Weekdays: 10am-4pm & Weekends: 10am-3pm (Closed Tuesday & public holidays)

hawkesbury.nsw.gov.au

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Image: Aunty Edna Watson, Yellamundi, 2010, acrylic on canvas.

NEW S OUTH WALES The Japan Foundation Gallery continued...

1 November—26 November The Tree of Life Jumaadi

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

Fuyuhiko Takata, film still from Dream Catcher, 2018. Image courtesy of the artist. marriage between different species, and a princess dreaming in a secluded tower.

The fairy tale, a genre of narrative that has long told stories about nonhuman beings and nonliving things as agents, can give us clues to imagining a more-than-human world that transforms the way people perceive and experience life. Curated by Emily Wakeling and Mayako Murai, Storymakers features works across a variety of media, including drawings, animation, sculpture and performance art.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm.

Joanna Logue, Breakneck creek-Hulls Cove, 2022, acrylic on linen, 126 x 130 cm.

29 November—23 December Echoes Joanna Logue

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

See our website for latest information.

25 November—27 January 2023 Finalists’ show of KAAF Art Prize 2022

Jumaadi, New Work, 2022, acrylic on cow hide.

The Korean Cultural Centre Australia (KCC) is to present the finalists’ show of the Korea-Australia Arts Foundation (KAAF) Art Prize in its gallery for two months from 25 November 2022 as the exhibition and venue partner. The KAAF Art Prize is an annual occasion that aims to foster the Australian multicultural society by bringing artists together from diverse ethnicities. In its 9th year since its establishment in 2013, the KAAF Art Prize is open-themed and medium to 2D artworks with both acquisitive and non-acquisitive cash prizes totalling $24,000 for the artists. Candidates must be 18 years or older and must be Australian citizens or permanent residents.

John Coburn, Study for Bird Ritual.

Whitlam Prime Ministerial Collection, 22812. Reproduced with kind permission from the Coburn Family.

18 October—13 November DEDICATED to the DEDICATED: Whitlam, the Arts and Democracy This impressive exhibition documents how Gough Whitlam viewed the arts as not just as a means of enriching quality of life, but as a fundamental human right and a precondition for a healthy democracy.

Featuring artworks by John Olsen, Brett Whiteley, Lloyd Rees, John Coburn, Arthur Boyd and more, all of which were gifted to Gough and Margaret Whitlam in 1979 in recognition of their landmark support for the Arts in Australia.

A touring exhibition of The Whitlam Institute within Western Sydney University.

There will be a special Sunday opening for the exhibition on Sunday 13 November 2022, 1 pm to 4 pm, to coincide with the 50th anniversary of Whitlam’s It’s Time election campaign speech in Blacktown.

Korean Cultural Centre Australia → 2021 Winner, Catherine O’Donnell, Still Lives.

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Kevin McKay Harbour City 30 November—17 December Opening Saturday 26 November, 4–6pm

Kevin McKay, Vancant Shop - Rose Bay, oil on canvas.

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

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

See our website for latest information.

Lavendar Bay Society www.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.

3 November—26 November RAS Art School Student Exhibition Opening Friday 3 November, 5.30pm– 8pm. Awards and presentation 6.45pm.

Light refreshments served.

Ambrose Reisch, The Tribute Money (detail after Masaccio), 2022, oil on canvas, 45 x 45 cm. Courtesy of the artist.

Melding Italian aesthetics with the raw and rough terrain of the Hawkesbury, Reisch has produced works that reflect those encounters.

The exhibition conveys the socio-political context of the Hawkesbury where Reisch sensitively explores the relationship between the river and the encroaching effects of human occupation and industry.

Reisch’s long-held fascination with the river can be gauged through the symbolic narratives his works present in this exhibition that features both paintings and drawings. The sub thematic division of The Mysterious Swimmer creates a synergy of the metaphysical spaces the artist employs within his overall practice.

EJ Son, Dear Freud, 2020, print.

Courtesy of the artist.

9 October—27 November PLAYGROUND Lucas Abela, Billy Bain, Tiyan Baker, Kalanjay Dhir, Oliver Harlan, EJ Son and Meng-Yu Yan.

Karen Atkins FRAS. 2 December—January 2023 Small Blessings Christmas Exhibition Opening night Friday 2 December, 6pm–8pm. Christmas nibbles.

Macquarie University Art Gallery www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Closed on Monday 7 November. Group bookings must be made in advance.

See our website for latest information.

28 October—9 December The Mysterious Swimmer Ambrose Reisch

Alex Seton, Droplet, 2022. Documentation: Mark Pokorny.

3 December—5 February 2023 Everything was beautiful, and nothing hurt Alex Seton 3 December—5 February 2023 Double Rainbow Michelle Gearin

The Mysterious Swimmer focuses on the practice of contemporary artist Ambrose Reisch; how it has developed and changed over a 30-year period. Reisch studied classical drawing in Florence, Italy, which edified his approach to painting. In 1988, Reisch settled in Brooklyn, New South Wales, there he found a visual language that drew upon subject matter from the rugged glamour he realised from the Hawkesbury River and its surrounds.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm.

Café 8am–3pm. Free entry, donations always welcomed.

20 August—6 November 2022 Brenda Clouten Memorial Art Scholarship Various artists.

6 September—20 November Luminosity: Inscription of time by light Kris Smith 10 September—27 November Brokenback John Adams 10 September—27 November Material Sound Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent & Vaughan O’Connor and Ross Manning.

17 September—4 December Tales from the Greek Marco Luccio 26 November—19 February 2023 Many Hands Make Life Work – Deborah Kelly and the moving image 2011 - 2021 Deborah Kelly 171

Fellia Melas Gallery Robert Dickerson, “Three Geishas”, Pastel on Paper, 94x68cm

Summer Exhibition Works now available by: 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.

Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only.

(02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au fmelasgallery.com.au

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NEW S OUTH WALES Maitland Regional Art Gallery continued...

Martin Browne Contemporary www.martinbrownecontemporary.com

Deborah Kelly, The Gods of Tiny Things, [still], two-channel digital animation, colour, sound.

12 November—5 March 2023 A Rare Sensibility Valerie Marshall Strong Olsen December—January 2023 Escapade Tinky 3 December—19 February 2023 Harbingers: Loie, Artemisia, Pixie, Sarah and Lilith Hannah Gartside

15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm.

See our website for latest information.

David Thomas, Taking a Timeline for a Walk, (Min Sun Red), 2011. create site-sensitive installations of discrete works for the experiencing of abstract art in a way that is temporal, open, sensory and real. It invites the viewer to move beyond theoretical definitions and to experience abstract art as a unique and multifaceted way of elaborating, questioning and revealing the simple complexity of our encounters that are paradoxically both real and abstract.

13 October—5 November Terracotta Peter Cooley

21 October—3 December Resonance Featuring selected works by the 2022 Advanced Diploma graduates from Northern Beaches TAFE Ceramics; Angela Maryska, Anna Weaving, Caressa Gonsalves, Cathy McMichael, Dorine Louwerens, Lesley Murray, Lisa Wiley Strong and Nicky Cooney.

Alexander McKenzie, Return of the Gardener, 2022, oil on linen, 153 x 137 cm.

10 November—3 December Paradise of Exiles Alexander McKenzie

Mosman Art Gallery

Ileigh Hellier, Mirrored Lagoon, 2021, oil on archival card.

www.mosmanartgallery.org.au

3 December—26 February 2023 Yellow Sun, Blue Gum Ileigh Hellier 10 December—12 March 2023 Monster Mash Kate Rohde 10 December—12 March 2023 A Little Potluck Party Pai Ti Kong with the Ghosts (Double-Happiness) Jayanto Damanik Tan 10 December—12 March 2023 Protection Jane Lander

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

See our website for latest information.

21 October—3 December Abstract Realities: The MAG&M Project Julian Goddard (Perth), Sarah Robson (Sydney) and David Thomas (Melbourne)

Lyndal Irons, Physie series 1, photograph.

1 Art Gallery Way, Mosman 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, closed public holidays.

9 December—25 February 2023 Fair Play An exhibition of artists working in multi-disciplinary and experimental art practices who use sport as motifs and metaphor to inspire the viewer to reflect on the broader social issues that confront contemporary society such as post-colonialism, environmentalism, belonging, masculinity and mental health. Curated

by Ben Rak and includes artists working across painting, video, printmaking, ceramics, installation, and performance; Billy Bain, Amber Boardman, Kellie O’Dempsey, Michael Garbutt, Rew Hanks, Lyndal Irons, Ben Rak and Abdullah M.I. Syed.

9 December—25 February 2023 Ruth Downes: Barely Wearable This body of work is a continuation of Ruth Downes’ passion for reappropriating everyday materials and objects which question our accepted values and how we award status by projecting these everyday materials into the realm of art.

Justine Youssef, In exchange for a twisted shield, (still), 2022, single-channel video, 08:00 minutes. Courtesy the artist and Mosman Art Gallery. © The artist.

12 October—11 December Keeping Score: Tracing Time Collaboration with Parramatta Artist Studios Oscillating in and out of lockdown has compelled us to collectively reflect on the passage of time in more pronounced ways. This exhibition brings together artists who dissect public and personal memory, observe cerebral and emotional sensations of temporality or conflate 173

$25,OOO Acquisitive Painting Prize

EXHIBITION OF FINALISTS 9 OCTOBER TO 2O NOVEMBER 2O22 Deirdre Bean Michael Bell Joe Blundell GW Bot Kate Briscoe Annabel Butler Anthony Cahill Jane Canfield Ian Chapman David Collins Raphe Coombes Tony Cosata Bruce Daniel Katie Daniels Inel Date J Valenzuela Didi

Tracy Dods Ashley Frost Melissa Guest Joanne Handley Alan Harding Geoff Harvey Greg Hill Jude Hotchkiss Tim Hutchinson Wendy Jagger Kerry Johns Dylan Jones Solomon Karmel-Shann Dominika Keller Fiona Kent Yasmin Khadembashi James Lai

Graham Lupp Angela Malone Marie Mansfield Nic Mason Kerry McInnis Matilda Michell Annabel Nowlan Derek O'Connor Amanda Penrose Hart Hal Pratt Petra Reece Wendy Teakel Ross Townsend Sally West Judith White Sarah Yee

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794 ADMISSION FREE Hours Tuesday-Saturday 1Oam-4pm, Sunday 1Oam-2pm, Mondays closed T (O2) 634O 219O E cowraartgallery@cowra.nsw.gov.au The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council cowraartgallery.com.au

NEW S OUTH WALES Mosman Art Gallery continued...

12 August—5 March 2023 What Remains

past and future to find new vocabularies to measure time. Keeping Score features new work from Parramatta Artists’ Studio Alumni: Tom Blake, Harriet Body, Jessica Bradford, Cindy Yuen-Zhe Chen, Kerrie Kenton, Garry Trinh and Justine Youssef.

What Remains draws together the works of fourteen artists within the Murray Art Museum Albury Collection, including six works recently acquired by the Museum.

Central to the exhibition is a series of abstract sculptures by Wiradjuri artist Nicole Foreshew, titled Remain. The idea of connection to land and impacts on the land and its people are expanded on in the work of First Nation artists Michael Riley, Karla Dickens, Kevin Gilbert, Treahna Hamm and Hayley Millar Baker.

24 September—31 June 2023 Chromakinda Mikayla Dwyer

Katrina Crook, Untitled #1, 2020, woven photograph - archival pigment print, Kozo Paper Thin, 70 x 120 cm. Courtesy of the artist. © The artist.

Chromakinda by Mikala Dwyer is the first installation commissioned for the Museum’s new Kids Gallery. This new permanent space is dedicated to imagination and play through contemporary art.

10 September—20 November Katrina Crook: In Silence

28 October—19 February 2023 Bound

In Silence is a body of photographic work reacting to the avalanche of youth mental health challenges facing our community.

Katrina’s work aims to give young people a voice, a safe environment to stimulate conversation, destigmatise mental illness and create dialogue to work towards solutions that encourage mental fitness and enable those suffering to ask for help.

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

Thread practices weave through cultures and generations, a creative process providing both opportunities for social connection, and individual expression.

From functional objects to aesthetic works to social projects to more political practices—Bound brings together local and international artists artists together with members of our local community to present new commissions, contemporary artworks, and a range of public programs that will feature throughout our Summer exhibition program.

21 October—19 February 2023 Minor truths Spence Messih In a major new commission, artist Spence Messih presents Minor truths, an installation of glassworks, sound and text work in the Museum’s atrium. This new work incorporates experimental kiln formed glass panels set in jarrah armatures, set against an audio composition sourced from recordings involving shells, and

printed copies of a text written by Hil Malatino. The installation extends the artists’ research into abstraction as a tactic to both reveal and conceal, considering the possibly of opacity and recognition – specifically of oneself and others.

18 November—29 January 2023 Five Ways to Say I’m Home Gillian Kayrooz In a new body of photo-media work, Sydney based artist Gillian Kayrooz explores the ways in which migration has influenced the streetscape and local architecture in Albury. Five Ways to Say I’m Home captures the important role that local grocery stores play in the community. The small family-owned businesses highlighted in this exhibition offer a vast selection of ingredients for home cooked meals, provide employment opportunities, foster a sense of community and encourage moments for cultural exchange.

Composed of archival footage and newly generated photography, Five Ways to Say I’m Home compares the diverse ways in which migration is reflected on the streets of Albury alongside images of the artist’s home neighbourhood in Western Sydney.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays.

Ongoing MCA Collection: Perspectives on place Bringing together artworks that explore the social and physical aspects of place.

It has been imagined as an expanded map, which weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

Katie West at Cossack, 2022. Image courtesy of the artist and FORM. © The artist. Photograph: Peacock Visuals.

4 November—12 February 2023 Primavera 2022: Young Australian Artists Sundari Carmody (SA), Angela Goh (NSW), Julia Gutman (NSW), Amrita Hepi (VIC), Jazz Money (NSW) and Katie West (WA).

Nicole Foreshew, Remains, 2015, clay and iron oxide. Murray Art Museum Albury collection.

Gillian Kayrooz, Tess’ Place, 2022, c-type print. Image courtesy of the artist.

The MCA’s annual exhibition showcasing the work of Australian artists aged 35 years and under. In its 31st year, Primavera 2022: Young Australian Artists is delivered by guest curator Micheal Do, 175

ar t g ui d e .c o m . au MCA continued... drawing upon mediums from choreography to moving image to refocus our attention on the here and now.

Do Ho Suh, Staircase-III, 2010, installation view, Museum Voorlinden, Wassenaar, 2019, polyester fabric, stainless steel. Tate: Purchased with funds provided by the Asia Pacific Acquisitions Committee 2011. Image courtesy of the artist, Museum Voorlinden, Wassenaar, Lehmann Maupin, New York, Hong Kong, Seoul and London. © Do Ho Suh. Photograph: Antoine van Kaam.

4 November—26 February 2023 Do Ho Suh South Korean artist Do Ho Suh is known for his large-scale sculptures and architectural installations, which address the complex relationships between the body, memory and space. Presented as part of the 2022/2023 Sydney International Art Series, Do Ho Suh is the artist’s first solo exhibition in the Southern Hemisphere.

Exclusive to Sydney.

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

Viola Bromley, Rock Patterns, 1958, oil on canvas on hardboard, 51 x 67.5 cm.

Winner Festival of the Valley Art Prize 1958, Local Section, Muswellbrook Shire Art Collection.

31 October—17 December Viola Bromley Art Prize Viola Bromley was part of a small group invited to arrange the Festival of the Valley Art Prize in 1958 – the forerunner to the Muswellbrook Art Prize. Bromley also played a significant role in the construction of an art gallery at the Muswellbrook Town Hall 176

site in 1975/1976, and in gaining the newly built Muswellbrook Municipal Art Gallery regional gallery status. The Viola Bromley Art Prize is a celebration of local art across the disciplines of painting, works on paper, sculpture and photography, and open to all artists resident to the Muswellbrook, Singleton and Upper Hunter Shires. The winning acquisitive work from each section will be awarded $1,500 and join the Muswellbrook Shire Art Collection alongside key local artists including Max Watters, James Clifford and Viola Bromley herself. The exhibition of the Viola Bromley Art Prize affords visitors to the gallery the opportunity to experience the art of our region, and that which builds our collection and the community’s story through the visual arts.

31 October—18 February 2023 Formwork Janice Hanicar and Samantha Haničar ‘Artworks about motherhood or portraits of the artist’s mother or daughter are common, yet finding examples of two-person exhibitions of mother and daughter artists is surprisingly difficult. Formwork is a duo exhibition by just such a pair.

Individually, the works are fascinating and hold their own, yet together, it becomes a conversation between two artists who share the most defining relationship of people’s lives.’ - Caterina Leone.

to insights into his time spent as a writer and poet, to the rebirth of his career as an artist in the 1980s.

5 September—18 February 2023 Unleashed: A Dog’s Life Coinciding with Muswellbrook Shire Council supported events ‘The Great Cattle Dog Muster’ (10 September) and ‘The Blue Heeler Film Festival (22 October), Unleashed: A Dog’s Life is an entertaining glimpse into the life of the working dog through the lens of three passionate canine photographers.

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

31 October—18 February 2023 Manooka Park Halls As former Director of the Muswellbrook Regional Arts Centre, Brad Franks is known as a great advocate for arts and culture in the Upper Hunter Region, often personally supporting artists directly through patronage. His continued support comes in the form of a donation, with thirty-seven works taken from Franks’s own walls gifted to the Muswellbrook Shire Art Collection. These works are selected for their connection to Muswellbrook and the surrounding regions.

The resulting exhibition, Manooka Park Halls, across paintings, prints, drawings and sculpture, provides a unique snapshot of the local arts community.

Dianne Gall, Nobodys gonna hurt you baby, 2022, oil on linen, 57 x 57 cm.

10 November—26 November Forever Now Dianne Gall 10 November—26 November Zoe MacDonell, Tony Mighell and Peta O’Brien.

James Gleeson, Faultline, 1983, oil and varnish on linen, 92 x 133 cm. Loan courtesy of Andrew Grady, Muswellbrook Shire Art Collection.

5 September—17 December In the Frame James Gleeson The In the Frame series focuses on the practice of a selected artist through work held in the Collections at Muswellbrook Regional Arts Centre. In the Frame: James Gleeson glimpses at distinct points in the career of Australia’s foremost surrealist painter – from work made as an 18-year-old in his first year studying art at East Sydney Technical College in 1934,

Kim Leutwyler, A, Torso, 2022, oil on canvas, 30 x 35.5 cm.

1 December—17 December Queer Corporeality Kim Leutwyler

NEW S OUTH WALES

New England Regional Art Museum → Just Not Australian, installation view, Artspace, Sydney, 2019. Photograph: Zan Wimberley.

New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

See our website for latest information.

18 November—29 January 2023 Conditions James Rogers

Galleries of NSW. 18 November—29 January 2023 From Whence We Came Debbie Taylor-Worley Debbie Taylor-Worley investigates the colonial frontier and the relationships formed between her ancestors, both wadjin (white women) and yinarr (Gamilaraay women) delineated by their relationships to the land and water.

Working across textiles, ceramics and photography Taylor-Worley juxtaposes colonial and Indigenous histories.

in this interactive and musical exhibition.

National Art School Gallery www.nas.edu.au 156 Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sun 11am–5pm.

See our website for latest information.

James Rogers’ sculptures engage with the rhythms and building blocks of life, reflecting on gravity, on organic structure, on movement and pattern. He leads us to experience the reciprocal relationships between parts and wholes, with forms which are crafted from sturdy materials but seem captured in their natural, active state.

18 November—29 January 2023 Just Not Australian Various Artists Just Not Australian brings together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood.

Just Not Australian interrogates what it means to be Australian at this challenging point in time. Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums &

NAS Graduate Exhibition. Photograph by Peter Morgan.

Aaron McLoughlin, Eat Metal, 2016, linocut. NERAM Collection.

11 November—20 November National Art School Postgrad Show

18 November—29 January 2023 Strike up the Band!

Various Artists

9 December—18 December National Art School Grad Show

Guitars, violins, drums, bagpipes, trumpets and a variety of other musical instruments appear surprisingly frequently in works in the NERAM collections. Kids can explore a variety of sounds and activities

Discover Australia’s next crop of emerging artists at the National Art School’s annual Grad Show’s, featuring graduating Bachelor, Master and Doctor of Fine Art students.

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OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Fri 10am–6pm, Sat 10am–5pm, Closed Sun and Mon. See our website for latest information.

Orange Regional Gallery www.orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 02 6393 8136 Open daily 10am–4pm.

See our website for latest information.

3 September—27 November Therefore Richard Morecroft Richard Morecroft explores human interaction with the environment and the way understanding and then utilising space are inextricably intertwined. With mixed media from gravel to glue and bitumen to rust, these symbolic abstractions reflect on history, memory and the colonization of landscapes.

Martin Coyte, We/Me, Watercolour on paper, 022, 74 x 106 cm. Courtesy of the artist.

3 December—29 January 2023 Before you Know Martin Coyte Recent intuitive and flowing watercolours by artist Martin Coyte.

PIERMARQ* www.piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm.

Sheard, Charlie, Green Painting, 2018-21 acrylic and oil on polyester, 198 x 214 cm.

2 November—26 November Olsen Gallery: Charlie Sheard 9 November—26 November Olsen Annexe : Kenny Pittock Jenni Kemarre Martiniello, Seaweed bicornual, 2021, hot blown glass with canework, 22 x 26 x 13 cm.

1 October—27 November Confluence Jenni Kemarre Martiniello Jenni Kemarre Martiniello presents glass vessels that reimagine the weave, colours and intricate designs of Aboriginal fish traps, eel traps, dilly bags, tungas and bicornuals. Working in response to weaving and her experience of place, her work is a confluence—a merging of practices, processes and experiences—one that celebrates weaving culture and expands upon its tradition.

Thorbjørn Bechmann, UT2092, 2020, oil on canvas, 180 x 140 cm.

20 October—6 November No Debts, No Contracts, No Ongoing Fees Thorbjørn Bechmann

19 November—22 January 2023 Backblocks Idris Murphy

Vipoo Srivilasa, A Smile is a Flower of Love, 2021, glazed ceramic and gold lustre, 68 x 35 x 15 cm.

30 November—17 December Olsen Gallery: Vipoo Srivilasa 30 November—17 December Olsen Annexe : Teo Treloar

This survey 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.

Galina Munroe, The Recipe Book, 2022, oil paint, gloss paint, charcoal and collage on canvas, 160 x 140 cm.

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NEW S OUTH WALES 10 November—27 November Tending To The Tender Things Galina Munroe 1 December—18 December For Ever Yours Cannon Dill, Bel Fullana, Gabrielle Graessle and Bill Saylor.

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

Amanda Adrian, Carwoola Summer, 2019-2020, hand coloured lino cut print, 15 x 15 cm.

21 October—12 November Julie Rrap

Lynn Savery, Kindred spirits, oil on linen.

The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The non-acquisitive award of $30,000 for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit. The finalist exhibition presents the work of 58 artists which is important in nurturing and celebrating the contribution of Australian women artists.

21 October—12 November James Angus 18 November—22 January 2023 Daniel Boyd

12 November—28 November Prized Possessions Helen Peart, Eastern Rosella, watercolour, 45 x 35 cm framed.

John Wolseley, Chains of ponds, contour banks and the return of the reed warbler, Bibbaringa 1, 2019-2020, oil on masonite, 73 x 122 cm.

Late January—February 2023 John Wolseley

Rusten House Art Centre www.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.

See our website for latest information.

Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility.

Opening for the first time to the public as a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council.

29 October—19 November Enigmatic Pathways Amanda Adrian, Prue Power and Lorri Blackwell.

Adrian, Power and Blackwell are working down ‘enigmatic pathways’ creating images that reflect their life experiences, current realities, fears, delights and their hopes for the future and our environment.

29 October—17 December Feathered Helen Peart, Wendy Antoniak and Margaret Steele Helen, Wendy and Margaret are experienced artists who met at the Botanic Art Group at the Australian Botanic Gardens.

They work in varying media including watercolour, coloured pencil, acrylics, scratchboard, graphite and inks. This exhibition is a collection of works resulting from the study of birds, their movements and habitat, along with reference material from photographs.

An exhibition that brings together some of the finest pieces from the National Trust collections including the recently revealed Dutch masterpiece, gifted to the National Trust in 1979 as part of the contents of the Woodford Academy in the Blue Mountains. The exhibition will also highlight some magnificent examples from the Trust’s extensive collection from colonial engravings and watercolours and much more.

26 November—17 December OFF THE WALL for Xmas Various Artists Queanbeyan local and regional artists will showcase an eclectic mix of artwork styles and mediums in a bumper end of year exhibition. Works will be priced from $50 to $500 dollars and will be immediately available for that special Xmas gift.

S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.

Closed 19 December—3 January.

Eveline Syme, Sydney tram line, 1936, linocut, printed in colour, from three blocks (vermillion, viridian, burnt umber). National Gallery of Australia. Purchased 1979.

Until 6 November Portia Geach Memorial Award

Celebrating the artistic friendship of Melbourne artists Ethel Spowers and

3 December—12 February 2023 Spowers and Syme

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Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and JamFactory

GLASS ART OF PROMISE

GLASS ART OF PROMISE Louis Grant, thought you’d never be replaced, 2022. Photo by Ashley St George / Pew Pew Studio.

waggaartgallery.com.au

NEW S OUTH WALES 19 October—12 November Surfacing Julie Blyfield

S.H. Ervin Gallery continued...

Eveline Syme, Spowers & Syme presents the changing face of interwar Australia through the perspective of two remarkable women artists. The exhibition offers rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia – where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ‘40s. Much-loved for their innovative approach to lino and woodcut techniques, Spowers & Syme showcases their dynamic approach through prints and drawings whose rhythmic patterns reflect the fast pace of the modern world through everyday observations of childhood themes, overseas travel and urban life. Spowers & Syme is a National Gallery Touring Exhibition supported by Visions of Australia, Major Patron David Thomas AM, and the Gordon Darling Foundation. Spowers & Syme is a Know My Name project.

SCA Gallery www.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.

16 November—10 December Loss of Horizon Jacquie Meng, Brigitte Podrasky, Neil Beedie, Jemima Lucas and Claire Welch.

Studio Altenburg Fine Art Gallery www.studioaltenburg.com.au

Orson Heidrich, Form, 2021, sand cast aluminium, 135 x 90 x 15 cm. Photograph: Simon Hardy. Courtesy of the artist and STATION. 7 October—5 November Mechanical Advantage Orson Heidrich 12 November—17 December Sundogs Séraphine Pick

Stanley Street Gallery

104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thurs to Mon 10am–4pm.

See our website for latest information.

Studio Altenburg was established by the Altenburg family in 1978 and has a long history of community relationships, promoting fine art and craft, and good design.

Studio Altenburg proudly supports the Australian National University School of Art and Design Emerging Artists Support Scheme (EASS) by offering exhibition opportunities to selected artists annually.

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

Mark Sullivan, Untitled, 2022, acrylic on canvas, 35 x 40 cm.

New Contemporaries, Installation view, 2022. Photograph: Document Photography.

1 December—10 December New Contemporaries 2022

John Donegan, Spring, 2021, Epson Ultrachrome K3 pigment inks on Canson Pro Canvas, 110 x 72.5 cm. Photograph: COTA. 19 October—12 November The Broken Creek John Donegan

At the end of each academic year, Sydney College of the Arts celebrates our graduating cohort and the culmination of their collective research and practice-based outcomes. We invite you to visit us at The Old Teachers’ College or online to see this year’s Graduation Show and enjoy the work of our students across disciplines.

STATION

Surya Bajracharya, Untitled, 2022, charcoal on paper, 80.5 x 61 cm.

www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

Julie Blyfield, Segmented, #1 Neckpiece, Bi-metal copper/sterling silver, patinated finish, wax sealant, 240 x 235 x 10 mm, Photograph: Grant Hancock.

14 October—12 November Gallery One: Mark Sullivan Gallery Two: Surya Bajracharya 181

'Worship Wild Woman' Melissa Mladin

VENUS VULVAS RAINBOWS MELISSA MLADIN NOVEMBER 1 - 20

Opening reception Friday 11th November 6-8pm

0415 152 026 | hello@twentytwentysix.gallery 17 O'Brien Street, Bondi Beach, 2026 twentytwentysix.gallery

twentytwentysix.gallery

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Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Opens 3 December Yiribana Gallery The newly relocated Yiribana Gallery is the first gallery that visitors encounter in the Art Gallery of New South Wales’ new building. The inaugural display is inspired by a word from the Aboriginal language of Sydney: burbangana. Meaning to ’take hold of my hand and help me up’, burbangana is akin to an invitation. It is imbued with generosity and care, and emphasises the connections between people.

3 December—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 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.

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

See our website for latest information.

The Tweed Regional Gallery & Margaret Olley Art Centre is housed in a large, modern, architecturally award-winning building with views to Wollumbin / Mount Warning. The Gallery was relocated to this site in 2004 and extended in 2006. The Margaret Olley Art Centre opened as a purpose-built extension in 2014.

Karen Black, I will shade you from the world, 2022, oil on canvas, 213.6 x 198.5 cm. Photography by Mark Pokorny.

24 November—17 December Gentle Pulse Karen Black

Lindy Lee, Moonlight Deities, 2019–20, installation view, Lindy Lee: Moon in a Dew Drop, Museum of Contemporary Art Australia, Sydney, 2020, mixed media.

Image courtesy of the artist and the Museum of Contemporary Art Australia, Sydney. © The artist. Photograph: Ken Leanfore.

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

This once in a generation project is an important transformation of our flagship public institution into a two-building art museum that will almost double the space for the display and enjoyment of art, providing more art for more people.

A new standalone building, public art garden and revitalised historic building will bring together art, architecture and landscape in spectacular new ways, with dynamic galleries, site-specific works by leading Australian and international artists, and extensive outdoor spaces for everyone to enjoy.

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

3 December—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.

3 December—2024 Outlaw Showcasing historical collection works that reveal how outlaw iconography has evolved over time, this exhibition on lower level 2 of the Art Gallery of New South Wales’ new building assembles an unruly cast of characters.

Opens 3 December Making Worlds

Michael Riley, Untitled (Feather), 2000, Art Gallery of New South Wales © Michael Riley Foundation / Copyright Agency.

2 December—26 February 2023 Lindy Lee: Flowing everywhere and always

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.

David Kelly, High rise, two gundal (canoe), 2018, digital photographic print.

2 December—26 February 2023 In the Grey: Saltwater Story 25 November—26 February 2023 Shanti Des Fours: Stories I’ve Been Told Until 5 February 2023 Transcending Likeness: Contemporary portraits from the collection Until 12 March 2023 Margaret Olley: The Art of Flowers Until 30 April 2023 Michael Cook: The Mission

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KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Yellow reef, 2022, oil and acrylic on linen, 138 x 122cm

kendone.com

NEW S OUTH WALES

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

the past two decades. Selig works at the intersection of visual art and experimental music, using humble materials such as thread, paper, light and sound to articulate intangible notions of form, space, and time. Rather than a chronological overview, the exhibition responds to Selig’s site-specific and iterative practice.

Liam Fleming, Compositon #3 in AG, 2022, mould blown glass, coldworked, fused and slumped. Image courtesy of the artist, Adelaide/Tarntanya. Photograph: Grant Hancock.

Various works as part of Venus Vulvas Rainbows exhibition.

1 November—20 November Venus Vulvas Rainbows Melissa Mladin 22 November—11 December Peggy Zephyr

Minka Gillian, Personal Icon, acrylic and ink on found canvas, 45 x 45 cm.

1 December—31 December Group Show Martine Emdur, Steven Alderton, Minka Gillian, Jai Vasicek, Sue Meyer, Bianca Pintan and more.

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12noon–5pm. Closed public holidays.

27 August—20 November exploring Giant Molecules Sandra Selig exploring Giant Molecules is the largest exhibition to date of Australian artist Sandra Selig, bringing together key examples of her interdisciplinary projects from

Consuelo Cavaniglia, untitled, 2022, timber, acrylic paint, kiln formed glass.

Image courtesy of the artist and STATION, Melbourne/Naarm.

15 October—27 November through the door that holds you Consuelo Cavaniglia through the door that holds you presents a new body of work that expands upon Cavaniglia’s interest in the colour and optics of glass. The work of Consuelo Cavaniglia considers how we see and understand space. She is interested in how bodies inhabit spaces, often developing immersive installations that expose the ways in which the structure of a space situates and shapes us. The work unsettles the relationship between viewer and space using reflective and transparent materials and subtle structural devices. Her work challenges the perceptual expectations of forms and surfaces through angling, layering, and offsetting reflections and shadows.

15 October—27 November Out of Line Mel Douglas Out of Line explores the potential and flexibility of glass as a material for drawing. In her words, “objects and drawings are often thought of as two separate entities. My works explore and interweave the creative possibilities of this liminal space, where the form is not just a support for drawing; but a three-dimensional drawing itself. Using the unique properties of the material and the rich potential of mark-making on and with glass, I am using line to inform, define and enable three-dimensional space”.

15 October—27 November Falling into Space Liam Fleming Falling into Space presents a new body of work resulting from further experiments with coldworking techniques, giving over to chance in the workshop and a philosophical exploration of the kinds of objects and qualities afforded by the medium of glass, which can take on different behaviours and potentials

during fire polishing, fusing, and slumping.

Fleming’s distinctive vocabulary of forms and techniques test the constraints of glassblowing while exploring the complicated relationship between craft, art, design and architecture. These concerns are evident in his beguiling objects that capture a moment of transformation through the “controlled demolition” of mould-blown forms. They are captivating in demonstrating expert technique, uncertainty, and imperfection.

15 October—27 November awash Louis Grant awash brings together a collection of new works in which Grant pairs back materials to their pure, honest form, allowing the glass medium to be both fragile and robust. For Grant, the glass forms are an abstract exploration of queer experience and ideas of love, loss, celebration, desire, shame, nostalgia, and melancholy. Louis Grant works between studio glass and interdisciplinary practice, exploring the potential of traditional craft skills to push the boundaries of glass making and contemporary sculpture.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

See our website for latest information.

24 September—4 December F.Stop @ the Gallery: Future Photographers Lab The Gallery is partnering with F.Stop Workshop to develop the artistic practice of early career Riverina photographers.

Over a 10-week period, audiences will have the opportunity to get a ‘behind the scenes’ view of artist’s studios as they develop ideas / bodies of work for exhibition within the Gallery’s Project Lab space.

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GLASSHOUSE REGIONAL GALLERY

glasshouse.org.au

NEW S OUTH WALES Wagga Wagga Art Gallery continued...

24 September—22 January 2023 Eight More: The Art Factory

and intricate patterns. These dream-like places are populated by humanoid clones and cryptic symbols, and explored via a network of travellators and gateways.

Brae Tye, Aunty Lorraine Tye, Lorraine O’Hara, Sarah McEwan, Isobel Lambert, Julie Montgarett, Liam Campbell and James Farley.

Wester Gallery

Eight More celebrates the cultivation of work by four creative duos working collaboratively over several months to explore individual and shared practices and diversity between artists with and without disability.

16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

www.wester.gallery

Louis Grant, thought you’d never be replaced, 2022, hot sculpted and cold worked glass, blown glass neon, wood, paint, mirror. Photograph: Ashley St George / Pew Pew Studio.

21 October—15 January 2023 Glass Chrysalis - Glass Art of Promise 11 Contemporary glass artists Glass Chrysalis – Glass Art of Promise celebrates artform development and individual creativity, innovation, skill, and technique from eleven of Australia’s premier early career glass artists.

Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and Jam Factory Adelaide, Glass Chrysalis showcases developing trends in the contemporary studio art glass scene.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm.

See our website for latest information.

We love Australian art. Wentworth Galleries have been in the Sydney CBD connecting people with Australia’s best visual artists for more than 20 years.

We take great pride in working with such talented people and great pleasure in hanging artworks in homes and offices that will be admired and appreciated for generations to come. There is no better, more affordable way in which to beautify and enrich your home and your life than with a well selected piece of art.

Shanon Bellamy.

4 November—26 November Persephone’s Garden Shanon Bellamy Persephone’s Garden explores the interconnectedness of life and death, new growth and a change of season, and the balance between chaos and serenity in nature. Hypnotised by tiny details, textures and patterns of the natural world, Shannon documents the changing seasons of local bushland and curb-side gardens. Persephone, Queen of the Underworld and Goddess of Spring, symbolises the death and regeneration of nature and ourselves. A reminder to find balance and accept the ebb and flow. For Shannon it’s all about the flowers, which seemingly mimic moments of personal growth, change, love, loss and hope. Each piece is a celebration of discovery, tiny blessings and daily rituals; and an exploration of the incomparable elegance and chaos of nature.

Ken Knight, The Sea Has Many Voices, oil on board, 128 x 130 cm.

Martin Place: 3 November—14 November Ocean & Earth, A Survey Exhibition Ken Knight

Vicki Torr, Tazza, 1987, Ian Mowbray Collection.

21 October—15 January 2023 A Cutting Edge – Vicki Torr A Cutting Edge – Vicki Torr, celebrates the exceptional talent of one of Australia’s most significant glass artists. Supported

by Ausglass, the exhibition brings together many examples of Torr’s glass works from public and private collections across Australia. This is a rare chance to see Torr’s work within the context of the Wagga Wagga Gallery’s national glass collection.

10 December—5 February 2023 Jess Johnson & Simon Ward: Terminus Inspired by sci-fi, comics and fantasy movies, Terminus is a virtual reality (VR) installation that transports the viewer into an imaginary landscape of rich colour

Emily Persson, Portsea Passage Looking North, oil on Belgian Linen, 137 x 137 cm.

Nothing Can Stop Us Now. 2 December—24 December Nothing Can Stop Us Now James Rhode, Lauren Bamford, Brett Piva, Justin Lees, Ryan Nix, Rosie Turner, Alexandra Plim, Adam Leng and more.

Martin Place: 17 November—20 November Between Trees and Calm Seas Emily Persson Martin Place: 7 December—8 December New Works John Maitland 187

centralcoast.nsw.gov.au/recreation/venues-and-facilities/galleries/gosford-regional-gallery

NEW S OUTH WALES

White Rabbit Contemporary Chinese Art Collection → Sin Wai Kin, It’s Always You, 2021, two channel video 4 min 5 sec.

Western Plains Cultural Centre, Dubbo www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

Rodney Pople, Roulette, 2021, oil on linen.

Image © the artist.

to house prices and employment levels, 2021 was a year to expect the unexpected.

The 2021 Cartoonist of the Year is Glen Le Lievre, whose work has appeared in The Age, Sydney Morning Herald, MAD, Private Eye, Reader’s Digest, The New Yorker, Time and The Wall Street Journal.

Behind the Lines is an annual onsite and travelling exhibition developed by the Museum of Australian Democracy at Old Parliament House. Curated by Holly Williams, The Curator’s Department.

1 October—12 February 2023 2° Euan Macleod and Rodney Pople Friends and well-known Australian artists, Euan Macleod and Rodney Pople, undertook artist residencies in Dubbo during 2021, observing people and animals in zoos produced sketches and preparatory studies and expanded on these later in the studio.

For their first co- exhibition, they have produced large-scale paintings and portraits of animals and humans, revealing a sustained engagement with the act of looking and its reverse—being looked at. This exhibition has been supported by funding from Create NSW. Curated by Kent Buchanan.

1 October—4 December Terminus: Jess Johnson and Simon Ward Inspired by Sci-Fi, comics and fantasy movies, Terminus: Jess Johnson and Simon Ward is a virtual reality installation that transports the viewer into an imaginary landscape of colour and pattern populated by human clones, moving walkways and gateways to new realms. A National Gallery of Australia Touring Exhibition.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

29 October—27 November Behind the Lines: The year in political cartoons: 2021: Prophecy & Chance Behind the Lines 2021 is rummaging in the fortune-teller’s chest for the crystal ball.

Just as predictive models have become ever-present in the news cycle, the exhibition’s current theme, Prophecy & Chance, acknowledges our discomfort with uncertainty and our quest to know what the future holds. Peering into the swirling mists of the ‘Canberra bubble’ our talented political cartoonists have illuminated the complex issues of 2021’s ‘new normal’—a year peppered with big reports, unexpected outcomes and floundering forecasts. From COVID-19 case numbers,

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

Pixy Liao, Holding, 2014, chromogenic print, 75 x 100 cm.

2 July—13 November I Loved You Group Show Love turns up in unexpected places. From old rickshaws to a pool of dazzling lights.

The 28 artists featured in I Loved You show us that love can be a time, a place, or even a memory. Its traces can be found on our father’s wristwatch, our lover’s skin, or our grandparent’s home.

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Australia’s Highest Value Art Prize for Women

Lara Merrett Dusking (Nature Banner), 2022 Professional Artist Winner

Professional Artist Prize $35,000 acquisitive

ENTER NOW

Emerging Artist Prize $5,000 acquisitive Indigenous Emerging Artist Prize $5,000 acquisitive

ravenswoodartprize.com.au

Peoples’ Choice Award $2,000 Entries Open 15 November 2022 | Entries Close 15 February 2023 | Opening Night 12 May 2023 (midday DST Eastern Australia)

P R O U D LY S P O N S O R E D B Y Gold Community Partner

Gold Media Partners

Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls P-12 | Henry Street, Gordon NSW | A Positive Education and IB World School

ravenswood.nsw.edu.au

NEW S OUTH WALES

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

27 August—6 November Drawn By Stones Ray Chan See Kwong with Chuen Lung. community members, Dean Cross, Penny Evans, Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Biyimu, Ruth Ju-Shih Li, and Jody Rallah.

27 August—20 November Hiromi Tango: Healing Garden Illawarra A participatory journey that explores how art and nature can contribute to well-being for each of us. Using recycled materials from the community, artist Hiromi Tango brings together the neuroscience of arts engagement—mindful art-making and movement along with colour, light, texture and even aroma—with elements of nature from our own backyard, to create joyous and reflective spaces.

3 September—27 November Boundary Strider Lukifer Aurelius, Carrie Ann Baade, Oliver Benson, Kim M Evans, Martina Hoffmann, Cameron Potts, Bruce Rimell, Roku Sasaki,

Oliver Benson, The Exiles and the Path, (detail), oil on paper mounted on wood, 1991–2011, 81 x 58 cm.

Liba Waring Stambollion, Madeline von Foerster and Iain Whittaker.

Celebrating a provocative fusion of metaphysical transformation and ecological interconnectivity merging mythic universes with the natural world, Boundary-Strider presents a dynamic group of International and Australian painters converging in a way never possible before the advent of social media.

Curated by Iain Whittaker.

3 December—5 March 2023 Thinking Through Pink Curated by Dr Sally Gray, the exhibition juxtaposes diverse cultural objects inviting pleasure and speculation around the many manifestations of pink—the colour and the idea. Thinking Through Pink includes works from invited contemporary artists; works from the Wollongong Art Gallery collection and carefully

thesydneyartstore.com.au

Patricia Piccinini, (detail), Blush, 2019, ABS plastic and automotive paint.

WAG collection. selected objects from the Powerhouse, Sydney—notably ceramic and glass works from the 18th, 19th and 20th centuries chosen for their visual, conceptual and historical resonances.

Until 28 March 2023 Languages of the Land: Works from the Collection 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. Curated by Alinta Maguire.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2022

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

QUEENSLAND

Caboolture Regional Art Gallery → APT10 Kids mascot Dok Rak and friends, 2021. Created in collaboration with Vipoo Srivilasa.

Commissioned for APT10 Kids with support from the Tim Fairfax Family Foundation. Image courtesy of QAGOMA.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

2 September—27 November Tales of the Lyre Bird Curated by Ron McBurnie and Helen Cole, Including artists such as Tate Adams AM, George Baldessin, Anneke Silver, Ray Crooke and Juli Haas.

27 August—20 November Figuratively Speaking Including paintings by Rosella Namok, Davida Allen and Clara Adolphs.

27 August—20 November Echo Forest—the Eloquence of Trees Veronika Zeil 2 December—19 February 2023 Underground Spandex Ryan Vella 26 November—5 February 2023 Focus on the Collection: Formed Work from the Mackay Regional Art Collection.

Caboolture Regional Art Gallery www.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.

10 September—19 November Three Echoes—Western Desert Art Curated by Djon Mundine OAM FAHA, Three Echoes—Western Desert Art is a stunning exhibition exploring the poetic notion of echoes—how metaphorically and metaphonically we can echo a thought, a sentiment or a consciousness.

2 September—20 November The Wall D Harding

In the 1970s, Australian Aboriginal people from the desert began talking to the world through art, transferring their creation stories of the land and people to canvas.

Now in the 2020s, this foundational echo is going back and forth. No longer a one-sided, outward calling, it reverberates multi-dimensionally within wider Australian and global communities.

Niloufar Lovegrove, Offerings, (detail) 2022, lino print on lokta paper, edition AP, 53.5 x 31 cm. Image courtesy of the artist.

26 November—5 February 2023 Too Little, Too Much Niloufar Lovegrove 2 December—5 February 2023 Asia Pacific Contemporary: Three Decades of APT Ryan Vella, Morton Stone: Undertaker, 2021, ink, acrylic and, whiteout on paper, 42 x 29.5 cm. Image courtesy of the artist.

Presented by Queensland Art Gallery I Gallery of Modern Art.

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 OAMFAHA. 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.

26 November—4 February 2023 Swelter Bella Deary, Dylan Mooney, Hailey Atkins, Amelia Hine, Abigail Varney, Grant Stevens, 193

18 NOV 2022 - 26 FEB 2023

Tony ALBERT CHILIPHILLY Leah EMERY Erica GRAY Julia HIGGS Patricia HOFFIE Drew Connor HOLLAND Peter HUDSON Freya JOBBINS Locust JONES Ed LUCE Euan MACLEOD Paul MUMME PHILJAMES Ben QUILTY Bruce REYNOLDS Jack ROGERS Monica ROHAN Lale WESTVIND Manda WOLF Curated by Jonathan McBURNIE

ROCKHAMPTON MUSEUM OF ART 220 Quay Street Rockhampton QLD

rmoa.com.au

QUEENSLAND Caboolture Regional Art Gallery continued...

Margaret Wilson, Notes (about place), watercolour on Arches paper, 25 x 36 cm.

Bella Deary, Blood Boiling; Tides Rising, (detail) 2021, latex, dowel, pine wood, red bricks, twine. Courtesy of the artist.

1 November—30 December Summmer Margaret Wilson

Kenny Pittock, Catherine Parker and Salote Tawale.

‘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?

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

See our website for latest information.

Hannah Lange, Giwang Bagarra - Moon Rising, 2022, acrylic on cotton canvas, 61.2 x 76.2 cm.

November—December Murriyan Hannah Lange A mini-series of three works inspired by the ocean, the moon and bodies of water — “glistening on the water’s surface as the moon rises higher into the sky, flowing straight across the ocean or circling out from a pebble dropping in the river, waves rolling without crashing and currents subtly pulling in different directions…”

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 07 4197 4206 [Map 13] 3 September—27 November The Light Fades but the Gods Remain Bill Henson Colours of Australia Hervey Bay Spinners, Weavers and Fibre Workers.

November—December Far North Queensland Caroline Cameron Far North Queensland is revealed through scenes within a private nature reserve and its immediate surroundings. These works aim to seize an alternate identifier of place — a rainforest bounded by banana and sugar cane farms at the base of the Wooroonooran National Park.

Gallery 48 www.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.

Kunmanara Carroll, Yumari, (detail), 2020, acrylic on linen. Photograph: Grant Hancock.

15 October—27 November Ngaylu Nyanganyi Ngura Winki (I can see all those places) Kunmanara Carroll

Doris Naumo, Omie Tapa cloth. Image courtesy of the artist and Joan Winters.

21 October—4 December Sihot’e Nioge: When Skirts Become Artworks Omie Tapa (painted, beaten, bark cloth) artists; Oro Province, Papua New Guinea.

Gallery Rayé www.galleryraye.com Based on the Sunshine Coast.

Presently online only.

See our website for latest information.

Anne Lord, Connections: Grass VII, 2022, acrylic on canvas, 36 x 55 cm.

1 November—30 December Connections Anne Lord

Fiona Foley, The Magna Carta Tree #2, 2021. Inkjet print. Courtesy of the artist and Andrew Baker Art Dealer, Brisbane.

Photograph: Mick Richards.

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HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

where artmaking and activism fuse.

The exhibition presents perspectives on historical and contemporary issues affecting Aboriginal and Torres Strait Islander peoples through sculpture, printmaking, video, and large-scale painting—all in the biting satire and critique Gordon Hookey’s work is best known for. Curated by Liz Nowell and José Da Silva and developed in partnership with UNSW Galleries, A MURRIALITY features a significant new commission that draws inspiration from Hookey’s vast collection of political posters and continues his acclaimed series of protest banners.

Logan Art Gallery www.loganarts.com.au/artgallery Logan Art Gallery Corner Wembley Road and Jacaranda Ave, Logan Central, QLD, 4114 07 3412 5519 Tues to Sat 10am—5pm.

17 September—8 January 2023 Josephine Ulrick and Win Schubert Photography Award I Captured, 20 Years

Institute of Modern Art www.ima.org.au

Anna Gonzalez, When the tree shake, the dance begin, 2022, pastel on paper, digital print on archival paper, 156 x 120 cm.

21 October—26 November The story of landscape Phuong Ly

Judith Wright Arts Centre 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm.

When the tree shake, the dance begins Anna Gonzalez

Gordon Hookey, Reiteration in Perpetuity, 2010. © Gordon Allan Hookey/ Copyright Agency, 2022. Image courtesy of the artist and Milani Gallery, Brisbane.

Jessica Skeen-McKinnon (Muralappi), Welcome, 2020, acrylic on canvas.

22 October–23 December A MURRIALITY Gordon Hookey A MURRIALITY is the first survey of renowned Waanyi artist Gordon Hookey, charting three decades of practice 196

www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

25 October—12 November Zographos – Life Writer Leonard Brown 15 November—3 December Hugo Michell Gallery at Jan Murphy Gallery 6 December—24 December Two Places Marina Strocchi

Metro Arts www.metroarts.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 weekend hours.

3 November—12 November University Of Canberra Honours Exhibition Isabelle Falconer and Marney Lindsay.

Wani Toaishara, do black boys go to heaven.

Wani Toaishara

Jan Murphy Gallery

Home and habitat Kris Estreich Choices and conundrums Jeffrey Service

Presented by the University of Canberra, and TAFE QLD. Isabelle Falconer and Marney Lindsay take over all three of Metro Arts’ galleries to share and celebrate the culmination of their 2022 Honours degree.

19 November—26 November Brisbane Portrait Prize Presented by Metro Arts and Brisbane Portrait Prize. A showcase of emerging artists from the 2022 Brisbane Portrait Prize submissions. Brisbane Portrait Prize celebrates Brisbane portrait artists and their sitters, while encouraging public engagement with the arts.

2 December—21 January 2023 Family ties Jessica Skeen-McKinnon (Muralappi) Hidden in the folds Chrys Zantis Ripple effect: out of Artwaves Sally Hoang Bespoke: made in Logan

Photograph: Rovel Hagos.

QUEENSLAND 3 December—22 December CTRL+ALT+DEL: [ALL CAPS] Presented by Metro Arts and Conscious Mic. Synonymous with the computer system command pressed by a user to terminate an application and shut down the operating system, Ctrl+Alt+Del is a multidisciplinary arts event that reboots and reclaims arts and cultural spaces.

Building on previous Ctrl+Alt+Del events, this iteration will be in the form of an exhibition and publication. Expect visual art, spoken word, music, dance and culture by artists and communities who identify as First Nations, Pacific Islander and/or culturallyand linguistically diverse.

Dale Marsh, Wildflowers. available works are shown on our website and in the gallery.

Mia Boe, K’gari means Paradise in Butchulla, 2020, acrylic on stretched linen. Photograph: Carl Warner. Commissioned with support from Jane and Michael Tynan, Museum of Brisbane Collection. Courtesy of the artist.

Lorraine Rogers, Pandanus Path.

Betty Russ, Boundary Myth, 2021.

3 December—22 December A Leakage of Wholes Betty Russ Presented by Metro Arts And Firstdraft.

Working across sculpture, assemblage, installation, sound, and embodied research, Betty Russ’s practice refers to science fiction, hauntology, spirituality, the-weird-and-the-eerie.

A Leakage of Wholes is an installation of living matter constructed with industrial and found materials, and embodies pop cult interrogations in and around the current global crisis.

Russ is the first artist to exhibit her work as part of the Firstdraft x Metro Arts Program, following a competitive open call.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm.

Over 40 artists on permanent display.

Featured artist for December Lorraine Rogers An experienced watercolourist, Lorraine captures the light and colours of Queensland. Painting subjects are primarily around the Sunshine Coast Hinterland and Glasshouse Mountains, and the Noosa Headland with its many coves and tree-lined beaches. They are available to view on our website and in the gallery.

Museum of Brisbane www.museumofbrisbane.com.au

With these questions front of mind, Making Place presents more than 100 historical and contemporary depictions of the Brisbane region from our Collections.

Museum of Brisbane invites you to explore our ever-changing city through new eyes: from the past, to the present and into the future.

Become immersed in a newly commissioned sound artwork by Artist in Residence Lawrence English, Site Listening : Brisbane, that captures the city’s many soundscapes and surround yourself in the textures and nuance of Jenna Lee’s installation, Growing Place, illustrating her insightful reflection on ‘place’. Making Place features audio descriptions and Auslan translations which can be accessed on your device via Museum of Brisbane’s website. MoB’s Artist in Residence program is supported by Tim Fairfax AC.

Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Mon to Sun 10am–5pm.

Free entry.

NorthSite Contemporary Arts

26 March—1 October 2023 Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Jane Grealy, Danie Mellor, Kenneth Jack, Sam Fulbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more.

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm.

Featured artist for November Dale Marsh

Place, in Brisbane, is not a static thing. We are at a crucial point in Brisbane’s urban development, with extreme changes to the city predicted over the next decade.

An impressionist painter of monumental talent, Dale has an exceptional pedigree in art being taught by Vida Lahey and later going on to win prizes, have retrospectives, books published about his works, regional and national gallery representation and dozens of exhibitions. This collection is not to be missed. All of Dale’s

With the city we know shifting so rapidly, this is the ideal moment to ask—what makes a place? Which sites are significant for individuals and communities and why? Are the landmarks we recognise as characterising the city today the same landmarks we’ll see in the future? And can memories make a place?

www.northsite.org.au

Barbara Dover, Reckoning, 2022, concrete, found fur, hide, horse hair, courtesy of the artist. Photographer: Michael Marzik.

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18 November—28 January 2023 Meanwhile Sixfold Project: Raewyn Biggs, Barbara Dover, Louisa Ennis-Thomas, Julie Poulsen, Rose Rigley and Jennifer Valmadre Presenting the works of Australian artist group, Sixfold Project, this exhibition embraces simultaneous art production across disparate geographic locations, time zones and emotional conditions.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

See our website for latest information.

recently completed works straight from artists’ studios to our gallery walls.

This allows very fresh ideas and experimentation to gain an audience much earlier than solo shows. rightNOW presents works to collectors and curators in a more immediate way and provides the opportunity for some artists to show in Brisbane for the first time, even if they have had considerable careers elsewhere.

We are delighted to present Ricky Emmerton, a Kalkutungu man, who has recently completed his Master of Philosophy in Creative Arts at James Cook University together with Prita Tina Yeganeh, an emerging multidisciplinary artist whose cultural self-exploration has led her to ancient Iranian dyeing practices.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Estelle Yunkaporta, Christmas Ornament, hand-painted native seed pod, 2021. Image courtesy of NorthSite Contemporary Arts.

21 November—28 January 2023 NorthSite Art Market: Christmas Cubes NorthSite Member Artists Wrap up your Christmas shopping straight from the gallery wall at NorthSite this season; with unique, handmade and affordable gifts created by Queenslandbased artists and designers!

Noosa Regional Gallery www.noosaregionalgallery.com.au

Matt White, Star Storm’ Winton, Qld, 2021.

22 October—31 December THUNDERCLOUDS Matt White

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment.

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.

Alicia Sharples, Ask the Birds, mixed media with augmented reality, 60 x 90 cm. Courtesy of the artist.

5 November—29 January 2023 A Bit More Paint Alex Lange, Pippa Makgill, Alicia Sharples, BJ Murphy, Casey Hewitt and Thom Stuart.

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Ricky Emmerton, Tharrapatha (Leichhardt River), 2022, acrylic on canvas, 112 x 66 cm. Photograph courtesy of the artist.

4 November—3 December rightNOW 2022 November sees the third iteration of our ‘rightNOW’ model, which fast tracks very

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

16 September—27 November Facing North: Cutler Footway Cutler Footway’s Facing North comprises of three bodies of work reframing the artist’s last two decades of practice into a compelling and cohesive whole. These series include a clutch of small, erotically charged images recording the painter’s attempt to resume the natural and psychological environs of his birthplace after an absence of many decades. The second section of the show explores the gradual maturing of Footway’s picture-making.

The concluding section of the exhibition introduces a miscellany of life drawings, all in the medium of oil crayon on paper.

Curated by Gitte Weise.

Julie Fragar, The single bed, or cheers to forty years, 2017, oil on board, 135 x 100 cm. Griffith University Art Collection.

Purchased 2017. Image courtesy of the Artist. Photograph: Carl Warner.

QUEENSLAND 2 December—19 February 2023 Biograph Julie Fragar

26 November—23 April 2023 Air

One of the most acclaimed painters in Australia today, Julie Fragar’s work reaches into her own life via personal photographs and fascinating family history, resonating with audiences in a profound and personal way. Biograph, Fragar’s first major survey exhibition, sets out to present fresh selections of work.

Narrative, autobiography, identity and memory are all dissected and reassembled through process and the lush materiality of paint. With works from throughout the artist’s career, Biograph will itself question the intricacies of autobiography as closely as the artist herself. Curated

by Jonathan McBurnie.

13 August—22 January 2023 Embodied Knowledge: Queensland Contemporary Art

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 [Map 15] 07 3480 3905 Tue to Sat 10am–4pm.

GOMA | Ticketed

QAG | Free

practice. Pinnacles Gallery is currently closed for the Riverway Library Renovation Project. However, keep an eye out for updates regarding the Gallery reopening later this year.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

18 October—12 November Michael Zavros 15 November—10 December Nicholas Harding 15 November—10 December Kirsten Coelho

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au

Phoebe Paradise, Stacked, 2022. Courtesy of the artist.

Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Joe Furlonger, Bathers, 1987, watercolour over pencil on wove paper, triptych: 44 x 32 cm (each). Purchased 1988. Andrew and Lilian Pedersen Memorial Prize for Drawing 1987 (winning entry). Collection: QAGOMA. © Joe Furlonger. Photograph: Natasha Harth, QAGOMA. 27 August—29 January 2023 Joe Furlonger: Horizons QAG | Free 3 September—18 June 2023 Courage and Beauty: The James C. Sourris AM Collection GOMA | Free

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

5 November—25 February 2023 Sunburnt in the suburbs Phoebe Paradise Join a vivid, hyper saturated exploration of the suburban summer. Inspired by the streets of Strathpine, Bray Park and Albany Creek, Phoebe Paradise’s world is filled with giant ice-creams, fantastical houses and never-ending holidays.

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information.

Pinnacles Gallery is a dynamic art space committed to community engagement, artistic development and contemporary

Mona Ryder, Garden of heavenly delights, 1989, watercolour.

8 November—26 February 2023 Minefield: The Art of Mona Ryder 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.

Minefield: The Art of Mona Ryder presents a major focus exhibition exploring the evocative and visceral works of this significant figure in Australian art. Since the 1980s, Ryder has worked across a number of mediums and has been exhibited and collected by major institutions nationally.

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Employing a strategy of domestic agitation to challenge gender roles, memory, social and political structures, her art can be deeply unnerving and has been described as ‘dangerous’, ‘raucous’ and ‘darkly tragic’.

developed to enhance the Moreton Bay Regional Council Art Collection and exhibition program. The exhibition highlights recent works by Australian artists, presenting diverse voices and ideas.

11 December—22 January 2023 Richard Randall (1869-1906): An Artist and Young Birkdale Gentleman remembered 11 December—22 January 2023 In Focus 2022

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899

William Robinson, Sunset with riders, 1986, oil on linen. Private collection, Brisbane.

27 September—10 September 2023 Love in Life & 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.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

Lindy Lee, Stealing bamboo shoots, 2011. Moreton Bay Regional Council Art Collection.

10 December—28 January 2023 Heat Lindy Lee, Jordan Azcune, Peta Berghofer, Elisa Jane and Sonja Carmichael, Stephen Newton, Kirralee Robinson, Yasmin Smith, Shireen Taweel and Megan Cope.

Heat shares the works of contemporary artists who utilise air, sun and fire to create.

Shannon Garson, 3 moon vases, (detail) 2019, porcelain. Courtesy of the artist.

12 September—8 November Vessels and Bird Stories Shannon Garson

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

16 October—4 December Redland Art Awards 2022

Julie Manning, Floodplains, Peel River, (detail) 2020, oil on canvas. Courtesy of the artist.

14 November—10 January 2023 Land Lines Julie Manning

Robyn Bauer Studio Gallery www.robynbauerstudio.com 54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat only 9.30am–4.30pm and by appointment on other days.

Courtesy of Moreton Bay Regional Council.

11 October—3 December 15 Artists 2022 Tully Arnot, Atong Atem, Hannah Brontë, Johnathon World Peace Bush, Elizabeth Duguid, Dennis Golding, Michelle Hamer, Taloi Havini, Susan Hawkins, Daniel McKewen, Teho Ropeyarn, Joan Ross, Elizabeth Willing, Justine Youssef and Paul Yore.

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Richard Randall, Self portrait, n.d, oil on canvas. Randall Collection, 1925.

City of Brisbane Collection, Museum of Brisbane.

Sarah Matsuda, Cover of children’s book Snuggled Away.

QUEENSLAND

Gail Mabo in her exhibition House of Cards, Umbrella Studio Contemporary Arts, Gurambilbarra (Townsville) 2021.

Courtesy Umbrella Studio Contemporary Arts.

29 October—19 February 2023 House of Cards

Robyn Bauer, Know the Green Good Fig Tree 2, charcoal on gesso on card, 108 x 84 cm.

The gallery features original paintings, drawings, prints and books by mother and daughter Robyn Bauer and Sarah Matsuda. There is a particular focus on Australian subject matter including flora and fauna. See our Instagram @robynbauerstudio2 @sarah.matsuda

Gail Mabo mines her personal and emotional archive to share a testament to the lives of her parents, Eddie Koiki Mabo and Bonita Mabo, as well as her own adult life in all its fragility. Through life-sized impressions of their respective childhood homes and laborious detail, viewers are transported through time to each mise-en-scène.

Arthur Streeton, Kosciusko n.d. (1933), oil on canvas, 87 x 99.7 cm frame.

Lionel Lindsay Gallery and Library Collection 027.

10 September—27 November Deep Impressions: European Landscapes from the Collections Australian Impressionist landscapes by Tom Roberts, Arthur Streeton and Frederick McCubbin. Displayed with paintings that emerged from a mix of British, Dutch and other European landscape traditions.

Selected from the Gallery’s three permanent collections.

5 November—4 December Creative Generation Excellence Awards in Visual Art 2022 The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state and non-state schools.

Robyn Bauer is well known for her colourful urban landscapes and large charcoal works. Sarah Matsuda is a children’s book illustrator and her original paintings celebrate Australia’s unique landscapes, wildlife and ecology.

This regional exhibition displays the creative talents of students from the Darling Downs and South-West Queensland region for 2022. The Creative Generation Excellence Awards in Visual Art would like to thank program sponsor QAGOMA for their ongoing support.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Admission free.

See our website for latest information.

13 August—12 February 2023 Collection focus: Vipoo Srivilasa Thai-born Australian artist Vipoo Srivilasa skilfully creates figures from porcelain and earthenware that represent his cross-cultural identity. These sculptures are brought to life through their character-filled faces and teddy bear bodies.

Drawn from RMOA’s collection and recent works by the artists, these ceramics show Srivilasa’s dedication to spreading hope through art and cuteness.

15 October—15 January 2023 Collection Focus: The Colour of Country The Colour of Country reimagines the Rockhampton Museum of Art’s collection to illuminate the relationships between land and waterscapes, and Indigenous people. These works depict the ancient, present, spiritual, and physical vibrancy of Country. Curated by Melinda Mann and Mario Mabo.

Freya Jobbins, (b. 1965), Batman Mask, 2019, plastic assemblage, 22 x 19 x 6 cm.

Courtesy of the artist.

19 November—26 February 2023 Wrestlemania Wrestlemania examines the professional wrestling arena. This examination of compelling and dynamic entertainment by 20 contemporary sculptors, painters, cartoonists, and new media artists responds to wrestling in all its spectacle, psychology, and humour. Curated by Johnathan McBurnie.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 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.

Michael Schlitz, Fragment xvii, 1996, diptych etching, 76 x 113 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 444. © The artist.

5 November—4 December These Fragments ‘These fragments I have shored against my ruins.’ – from T.S. Eliot, The Wasteland (1922).

Fragmentation is a fundamental process of the industrialised world, the fragment its chief product. Visual artists often take the fragmentary as a significant form and motif for aesthetic play. These Fragments assembles collages and other works that collect and configure fragments. Each artwork is self-contained, a whole unto itself, resolved to its creator’s satisfaction.

Each artwork is also a fragment, temporarily detached for this exhibition from the 201

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UQArt Museum → Amrita Hepi, The Anguilla Pursuit, 2021, image still from two-channel video, colour and sound, 16:9, 4:31 minutes.

Courtesy of the artist and Anna Schwartz Gallery, Melbourne.

Toowoomba Regional Art Gallery continued... growing creature that in large part lives in our storerooms, namely Toowoomba Regional Art Gallery – Toowoomba City Collection.

3 December—19 February 2023 Needle and Bite: Etchings by Lionel Lindsay and his Contemporaries Etchings by Lionel Lindsay, other eminent Australian etchers and lesser-known makers. The show reveals the needling and biting involved in the etching process as well as in personal dynamics inside the printmaking world. Selected from the Gallery’s three permanent collections.

One exhibition each year enables Umbrella’s artist members to participate and exhibit their work. Following recent lofty themes which captured the zeitgeist, Cats vs Dogs was inspired by banter around whether dogs or cats are better.

The exhibition theme was intended to lighten the mood, inviting members to be inspired by the fun, literal animal terms or more ‘highbrow’ interpretations, including concepts or critiques of polarity, politics or binary forces.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

A Young Indigenous Printmakers linocut awaiting printing on the press; Mercya Day (Thuringowa State High School student), Because of Her, 2021. Image courtesy Townsville City Galleries.

18 November—18 December Young Indigenous Printmakers Heatley Secondary College and Kirwan State High School students

Ron McBurnie, Don’t Lose It, 2004, linocut print, 30 x 42 cm.

18 November—18 December Cats vs Dogs: 2022 Umbrella Members’ Exhibition 202

This exhibition is the result of a collaborative outreach project and partnership with Townsville City Council Galleries. The exhibition features linocut prints created by high school students from the Townsville region. The students undertake skills development workshops with established artists at their schools and in the Umbrella studio, supported by artist mentors Martina Ah Sam and Margaret Robertson.

UMI Arts Gallery www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm.

See our website for latest information.

UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions.

UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander arts peoples to participate in the maintenance, preservation, and protection of culture. UMI is a Creole word that means ‘You and Me’ – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

Shenane Jago, Turtle #2, ceramic, 2022.

Exhibited in My Country of the Norgin, September 2022. Courtesy of Lovegreen Photography.

QUEENSLAND 19 July—17 December Oceanic Thinking Amrita Hepi, Madison Bycroft, Ensayos Collective, Angela Tiatia

Sippy Downs QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm.

Shirley Yumala Collins, Emu & Spinifex, coolamon and bowl, mixed media, 2021.

Exhibited in The Summer Show, Nov 2021.

Courtesy Lovegreen Photography.

11 November—1 February 2023 The Summer Show The Summer Show is UMI Art’s annual showcase of fine art and gift wares created by our talented member artists, and particularly celebrates those artists experimenting with new techniques and styles. This year’s colourful, eclectic show features paintings, works on paper and ceramics by emerging and establishedIndigenous artists from across Far North Queensland.

Dylan River, Kaytetye people, Untitled (Bungalow), 2022, commissioned by the National Gallery of Australia, Kamberri/ Canberra for the 4th National Indigenous Art Triennial: Ceremony with the support of the American Friends of the National Gallery of Australia with the assistance of the Christopher and Francesca Beale Private Foundation. Image courtesy of and © the artist.

UQ Art Museum

27 August—26 November 4th National Indigenous Art Triennial: Ceremony

www.art-museum.uq.edu.au

University of the

Building 11, University Drive, Sunshine Coast Art The University of Queensland, Gallery St Lucia, QLD 4067 [Map 15] 07 3365 3046 www.usc.edu.au/art-gallery Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, UniSC Sunshine Coast, - Half Page Print 2.0.pdf 1 13/10/2022 12:50 pm Sunday andSOTE public holidays.

90 Sippy Downs Drive,

20th Nov - 4th Dec

Calligraphy by Otagaki Rengetsu (1791-1875), Ceramist unknown, Rabbit, 1867, glazed porcelain, 19 x 15 x 18 cm.

UniSC Art Collection. Arija and Richard Austin Bequest, 2015. Photograph: Maite Sajovic.

23 November—28 January 2023 An Acquisitive Instinct: The Arija and Richard Austin Collection In 2015, Arija Austin bequeathed her and her late husband Richard ‘Dick’ Austin’s art collection of over 200 works to UniSC. An Acquisitive Instinct: The Arija and Richard Austin Collection celebrates their generosity and includes a diverse range of artworks and artefacts from Australia, Asia and the Pacific.

9am - 3pm Daily

Arts Connect Inc. presents

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Free Event At Flaxton Gardens Sunshine Coast Enjoy a pre ordered picnic box to eperience in the grounds or dine in for two sittings per day For pre bookings call Wednesday to Sunday 5445 7450

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A–Z Exhibitions

NOVEMBER/DECEMBER 2022

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

AUSTRALIAN CAPITAL TERRITORY

Canberra Glassworks → Hannah Gason preparing kiln formed work. Photograph courtesy of Canberra Glassworks.

Aarwun Gallery www.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.

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our Indigenous artists including paintings, printmaking, ceramics, glass, bronze and sculpture.

02 6247 8736 Wed to Sun 12noon–5pm.

See our website for latest information.

The Australian National Capital Artists Inc. (ANCA) is an independent not-forprofit artist-run initiative in Canberra, Australia. ANCA was established in July 1989 as a collaboration between the ACT Government and representatives of Canberra’s Visual Arts community. ANCA provides affordable and professional studio and exhibition space to artists. ANCA has 35 studio spaces that it leases to professional artists across two campuses (Dickson and Mitchell).

Margaret Hadfield, Mist In The Valley, oil.

A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery, and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Wendy Sharpe, The woman that she was, oil on linen, 76 x 90 cm.

12 November—4 December Paintings about Magic and Time Passing Wendy Sharpe

Australian National Capital Artists (ANCA) Gallery www.anca.net.au

Jacquie Meng, somewhere in between worlds I am riding my horse and driving my truck, 2022, oil on canvas, 110 x 80 cm. Photograph: David Paterson.

22 October—27 November the stuff in between Annual ANCA Tenants exhibition.

1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 205

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Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm.

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

on her research into colour and optics.

Sheets of variously coloured glass will float seamlessly in the space. As individual sheets, the glass forms a field of one colour, but multiple sheets hung together challenge our understanding of sight, colour, space and scale. This work explores the boundaries of reality and illusion, suggesting that our understanding of forms and spaces is tied to perception. This work was developed through a residency held in 2022 at Canberra Glassworks, which allowed her to explore the use of handmade glass for the first time.

5 October—27 November Hannah Gason Canberra based artist Hannah Gason will create a body of new work that continues Gason’s series looking at colour, light and pattern. Wall and floor works will consist of small tiles arranged to form patterns that play with repetition and disruption.

Each flat tile is unique and through careful arrangement, the subtle tonal differences give the impression of depth. The final compositions suggest a constantly moving, changing surface.

1 December—16 December M16 Artspace Drawing Prize 2022 Entries open to the public.

Studio 22 – Emerging Artist Support Scheme Lucy Chetcuti and Rosie Armstrong

Nancy Sever Gallery www.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.

M16 Artspace Alexander Boynes, Blood Moon, 2022, ink and enamel on aluminium composite panel, 60 x 60 cm.

3 November—19 November Still time Alexander Boynes Paintings

www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

Tim Johnson, Kurukulla, (detail), 2022, acrylic on linen, 152 x 163 cm.

6 November—4 December Metaverse Tim Johnson

3 November—19 November Small big things Kyoko Imazu Prints and ceramics 24 November—23 December Small Works Various Artists

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005

Elise Stanley, Untitled, 2022. CMYK screenprint, 76 x 112 cm.

10 November—27 November The uncertain nature of time Megalo Print Studio Dust Murray Kirkland

Janenne Eaton, Beautiful Fragrant Eucalyptus, 2016, oil on linen, 50 x 65 cm.

11 December—29 January 2023 Paintings Janenne Eaton

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

See our website for latest information.

Consuelo Cavaniglia coldworking during her residency at Canberra Glassworks.

Photograph courtesy of Canberra Glassworks.

5 October—27 November Consuelo Cavaniglia In response to the unique space of the Smokestack Gallery, Consuelo Cavaniglia will use reflection, refraction and light to create an immersive installation based 206

Katharine Campbell, Dissonance, 2022, pencil and charcoal on paper, 50 x 35 cm.

10 November—27 November Intersecting Nature Katharine Campbell

11 June—29 January 2023 Rauschenberg & Johns: Significant Others 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

AUSTRALIAN CAPITAL TERRITORY Directly inspired by her surroundings, for over 40 years the Gadigal/Sydney-based artist has transformed commonplace experiences from her life into single edition prints and painted woodblocks.

Ongoing Worldwide Ongoing Australian Art

National Portrait Gallery www.portrait.gov.au

Jasper Johns, Gemini G.E.L., Figure 1; from Color numeral series, 1969, colour lithograph printed from one stone and two aluminium plates, 69.6 h cm, 55.6 w cm, National Gallery of Australia, Kamberri/ Canberra, purchased 1973. © Jasper Johns. VAGA/Copyright Agency.

Michele Grimston, Virtual Hugs, 2020, wool felt with cotton and metallic threads, installation dimensions 50 x 35 cm.

King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

their run-down New York studios, Robert Rauschenberg and Jasper Johns began a private creative dialogue that introduced everyday signs, objects, and media into their work, collapsing the distinction between art and life. While their relationship would end after seven years, their art would continue to radiate the new ideas of their creative exchange.

13 August—5 February 2023 Project 2: Kara Walker This exhibition explores the narratives of race, gender, and sexuality in the work of leading North American artist Kara Walker. It is the first monographic exhibition of Walker’s art to be held in Australia. Major new acquisitions will be shown for the first time in Canberra alongside a selection of works curated by the artist exclusively for the National Gallery.

29 October—29 January 2023 Project 3: Angelica Mesiti Angelica Mesiti’s videos are portraits that consider how communities are formed through shared movement and communication. A leading voice of her generation, she represented Australia at the 58th Venice Biennale with the three-channel video installation ASSEMBLY.

Michael Riley, Maria (from the series Portraits 1984–1990), 1986. © Michael Riley/Copyright Agency, 2021.

1 October—29 January 2023 WHO ARE YOU: Australian portraiture Merging the traditional and unconventional, WHO ARE YOU: Australian Portraiture is a co-curated combination of collections from the National Gallery of Victoria and National Portrait Gallery.

Featuring 130 works across painting, film, photography, screen printing, sculpture, and then some – it explores our inner worlds, outer selves, intimacy, isolation, celebrity and more.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

Cressida Campbell, Japanese Hydrangeas, 2005. Private collection. © Cressida Campbell.

24 September—19 February 2023 Cressida Campbell Cressida Campbell is among Australia’s most significant contemporary artists working with painting and printmaking.

Tuggeranong Arts Centre offers visitors a host of activities with free exhibitions across three gallery spaces, a regular program of events, and a range of workshops and classes. For more than 25 years, the Tuggeranong Community Arts Association has delivered artistic programs and events, with a focus on participation and accessibility, and helped shape a sense of pride in the local community.

Emma Rani Hodges, I’m your unfinished shadow, you’ve gone where I can’t go, and I know the sunbeams must miss you, 2021, mixed media.

5 November—17 December All That Glitters Helen Braund, Tiffany Cole, Romany Fairall, Michele Grimston, Emma Rani Hodges Sparkling, multifaced, shimmering.

Scientists have posited that our innate attraction to all things shiny is linked to our biological dependence on water, the ultimate glistening surface and giver of life. Across time and culture humans have used shimmer and shine to denote preciousness, sacredness, and value, risking much to unearth gemstones and precious metals. We covet the mystery of these materials, drawn to the way that light flickers across their surfaces and sends refractions dancing across space.

5 November—17 December SWOON! We are dizzy with JOY! Hands On Studio Artists 5 November—19 November Inspire 2022 St Mary Mackillop College 24 November—17 December Eclectic Eccentricities Messengers

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NOVEMBER/DECEMBER 2022

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

TASMANIA

Bett Gallery www.bettgallery.com.au

Colville Gallery www.colvillegallery.com.au

Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

See our website for latest information.

28 October—19 November Up Early David Keeling

Colville Gallery is a Hobart based gallery specializing in Contemporary and Modern Fine Art. The Gallery presents works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions.

Selected International Artists are also periodically shown. Colville Gallery actively promotes its represented artists through participation in national art events and art fairs including Melbourne Art Foundation Art Fair.

25 November—17 December Low to no filter Mish Meijers

25 October—15 November Recent Paintings Stephen Lees

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

See our website for latest information.

The Devonport Regional Gallery showcases a diverse program of exhibitions including in-house curated exhibitions, guest curated exhibitions and touring exhibitions. The Gallery collects and promotes Tasmanian art, craft and design and runs an emerging artist program to support local and statewide artists 24 September—12 November Older? Wiser? Stronger?

2022 Solo Commission Exhibition Nanna Bayer Take a journey with Finnish artist Nanna Bayer into a world of re-discovery. Coming from a land of lakes and forests; of extended periods of darkness and magical Arctic lights, the connection to nature determines much of her aesthetics.

Annika Koops ,2021, Double Binds #2 (red s3), oil on Primed Paper, 40 x 30 cm.

Photograph: Matthew Stanton.

25 November—17 December Shadow Moves Annika Koops

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm.

See our website for latest information.

Nadia Refaei, 2022. Contemporary Art Tasmania.

19 November—11 December CAT Annual Members’ Exhibition

Kylie Elkington, Melaleuca, Dove Lake, 2022, oil on linen, 104 x 78 cm.

22 November—12 December Native Anew Kylie Elkington

Nanna Bayer, a magna laetus flos 1, 2022, coloured porcelain (nerikomi), fox fur, felted wool, wire, glass beads, diameter 86 cm, height 62 cm. Photograph: Peter Whyte.

10 December—28 January 2023 tidal.22 City of Devonport Tasmanian Art Award

Leanne Halls, Pastural Mood, 2022, oil on linen, 91 x 122 cm.

13 December—9 January 2023 Tarns to Tarkine Colours and Moods of the NW Coast Leanne Halls

tidal is a contemporary art award linked to the theme of water and tides to acknowledge Tasmania’s rich maritime history.

Since 2010, the exhibition has been an acquisitive award. To relate more strongly with the Gallery’s Acquisition and Collection policy, the award is since 2020 open to artists who identify as Tasmanian by either birth, or by demonstrating a strong and ongoing association with Tasmania.

The $20,000 award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee.

The People’s Choice Award is sponsored

by One Agency Collins Real Estate.

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17 December—24 July 2023 Oceans of Air Tomás Saraceno

exhibitions), Closed Sun, Mon and pub hols (see website for Christmas opening hours and the latest information).

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

Zanny Begg, The City of Ladies, (still) 2017.

Co-directed with Elise McLeod. Image courtesy of the artist.

Winner of tidal.20: Janine Combes, Kelp Elegy, 2020, fine silver, sterling silver (partly oxidised) and stainless-steel brooch pins).

9 December—25 January 2023 These Stories Will be Different Zanny Begg

30 April—14 January 2023 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. 2022 Selected Artists: 5 November–10 December: Elizabeth Braid; 17 December–21 January 2023: Armie Sungvaribud.

Tim Price, hands on the building, 2021.

11 November—2 December <y<s To Hands Tim Price

Handmark

Bringing together three of the artist’s most significant video installations that explore contested histories, including The City of Ladies (with Elise McLeod), The Beehive, and Stories of Kannagi. The videos tell stories, but they also challenge the politics of storytelling itself and invite you to see the world differently.

A UNSW Galleries and Museums & Galleries of NSW touring exhibition. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Queen Victoria Museum & Art Gallery

www.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.

www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm.

See our website for latest information.

Julia Castiglioni Bradshaw, Untitled, 2022, acylic on polyester, 180 x 120 cm.

Mairi Ward, New Works.

9 December—26 December Ceramics Group Show

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm.

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9 December—2 January 2023 The best colours are good Julia Castiglioni Bradshaw

Plimsoll Gallery, University of Tasmania www.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

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.

27 August—27 August 2023 Queen Victoria Art Gallery, Inveresk : HJ King: cameras and carburettors

TASMANIA

Plimsoll Gallery → Zanny Begg, Stories of Kannagi, (still) 2019. Image courtesy of the artist.

Although HJ King’s photographs are more commonly seen than you might realise, the photographer himself is less wellknown. In this exhibition we explore the man behind the camera, who was HJ King?

Tasmanian Museum and Art Gallery

Detached Cultural Organisation and presented by TMAG.

www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm. Free entry.

Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians.

Tasmanian artist Tony Smibert holding a watercolour painting in his studio. Image: QVMAG.

Ancestor (unknown Tasmanian Aboriginal maker), Claw necklace, c.1830, Echidna and Wombat claws strung on animal sinew, likely to be claw necklace taken by George Augustus Robinson, 1830, Sandy Cape, Tasmania. Purchased by the Friends of the TMAG from Mr Leo Fortess, Hawaii, USA, 1999.

4 December 2021—6 November Queen Victoria Art Gallery, Royal Park : Tao Sublime Tao Sublime is the latest temporary exhibition to feature at the Art Gallery at Royal Park, bringing together the vast knowledge of painting practice from internationally renowned Tasmanian artist Tony Smibert.

22 October—8 January 2023 Queen Victoria Art Gallery, Inveresk : Archie 100: A Century of the Archibald Prize Celebrating 100 years of Australia’s most renowned portrait prize, this landmark exhibition explores the Archibald prize across its history, revealing fascinating stories behind 100 carefully selected artworks. This project has been assisted by the Australian Government’s Visions of Australia program.

1 October—12 February 2023 taypani milaythina-tu: Return to Country Lucienne Rickard (b. 1981), Extinction Studies, 2019, graphite on paper.

From 18 February Extinction Studies Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

The Tasmanian Museum and Art Gallery’s (TMAG) major exhibition for spring–summer 2022, taypani milaythina-tu: Return to Country, is a response from 20 contemporary Tasmanian Aboriginal artists to cultural objects, many long held overseas.

This important exhibition is an ambitious project of reconnection between people, objects and Country.

Extinction Studies is commissioned by 211

A–Z Exhibitions

NOVEMBER/DECEMBER 2022

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

S OUTH AUSTRALIA

Adelaide Contemporary Experimental www.ace.gallery 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.

Don’t miss the first major Australian survey exhibition by pioneering contemporary Indian artist Nalini Malani. Spanning five decades, Gamepieces showcases Malani’s radically inventive practice in film, video, photography, large-scale multimedia installation, painting, and animation.

Social Sciences North building Humanities Road adjacent carpark 5.

See our website for latest information.

Hayley Millar Baker, I’m The Captain Now, Untitled 8, 2016. Inkjet on cotton rag, 20 x 20 cm. Courtesy of the artist and Vivien Anderson Gallery, Melbourne.

4 October—16 December There we were all in one place Hayley Millar Baker (Gunditjmara) Gerry Wedd, born 1957, McLaren Vale, South Australia, WAVE urn, 2022, Port Elliot, South Australia, earthenware, 63.6 x 50.0cm. © Go Patterson Films and Adelaide Contemporary Music Festival.

Photograph: Grant Hancock.

19 October—8 January 2023 WAVE

Chelsea Farquhar, Beaded mask, (2021), styled and modelled by Matthew Smith.

Courtesy of the artist.

12 November—17 December Studios: 2022 Ash Tower, Cecilia Tizard, Shaye Durong, Chelsea Farquhar and Dani Reynolds.

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry.

See our website for latest information.

See Gerry Wedd’s iconic ceramics brought to life a genre-defying 360-degree immersive installation in collaboration with composer Gabriella Smart, director Mark Patterson and Jumpgate VR.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online.

Gallery & stockroom open by appointment only.

Flinders University Museum of Art

There we were all in one place is an early career survey exhibition of cross-cultural artist Hayley Millar Baker (Gunditjmara).

A UTS Gallery and Art Collection Touring exhibition curated by Stella Rosa McDonald.

Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5245 08 8388 7250 Open 7 days a week 10am–5pm.

16 September—6 November Ed Douglas The downstairs gallery features archetypal characters; we are confronted with illness and abandonment but there is also a suggestion of light emerging through simple joys, compassion and creativity.

In the upstairs gallery religious myths prevail with references to pagan beliefs along with Eastern and Western religious figures such as Buddha and Mary the mother of Jesus. Here in the stillness of the images one finds a mind at play, possibly dancing, in the search for threads of wisdom and balance in the complexity of our current world.

www.flinders.edu.au/museum-of-art

Installation view: Gamepieces by Nalini Malani, 2015, MoMa, New York.

5 November—22 January 2023 Nalini Malani: Gamepieces

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

Manyitjanu Lennon, Mamungari 'nya, acrylic on Belgian linen. Represented by Kaltjiti Arts Centre, Winner of the Heysen Prize, 2020.

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19 October—6 November Winners of the Heysen Prize for Landscape A selection of previous Heysen Prize for Landscape winners from the Hahndorf Academy Collection will be shown in the gallery, a precursor to the Heysen Prize for Landscape finalist exhibition 2022.

19 November—22 January 2023 Heysen Prize for Landscape Finalist Exhibition Heysen Prize for Landscape is a contemporary art prize established in 1997 to commemorate the life and work of the internationally renowned, artist, Sir Hans Heysen (1877-1968). It is a biennial event celebrating emerging, mid-career and established artists and their connection to landscape and place. The word ‘landscape’ includes all possible aspects of the natural, rural, and urban landscape. This year, Hahndorf Academy’s Heysen Prize for Landscape has a focus on the environment and climate concerns. In an era of rapid climate change, battling fire and flood, drought and destruction, Australia has one of the highest loss of plant and animal species in the world. The Heysen Prize for Landscape 2022 invites artists to express their deep connection with—or concern for—protecting the Australian environment and to pay homage to Hans Heysen as an artist and environmentalist. Exhibition launch 6pm Saturday 19 November 2022.

Jessica Loughlin, resonance i, 2022.

Photograph: Rachel Harris.

Seppeltsfield Road: 8 October—11 December JamFactory ICON Jessica Loughlin: of light

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm.

Closed Mon and public holidays.

Jimmy Barnes at The Coogee Bay Hotel, 1984 by Grant Matthews Collection: National Portrait Gallery, Canberra.

Gallery Exhibition. Supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9 am–5pm, Sat 10am–4pm. Sun Closed.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm.

Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Abbey Morrison, Biblically Inaccurate Angel (detail), 2021, acrylic spray-paint on canvas. 2021 Youth Art Prize 2nd Place 21-25 years.

1 October–13 November Youth Art Prize 2022 Celebrating the diverse artistic talents of young people, our annual Youth Art Prize aims to empower young people to pursue their creative aspirations. A platform for young people to express their views about collective and personal experiences, this year’s exhibition has drawn entries from across the Murraylands, Adelaide Hills, Fleurieu Peninsula, Coorong and Adelaide.

Peter Walker, Gondwanablue, 2022.

Photograph: Grant Hancock.

Morphett Street: 30 September—27 November Tanglewood Peter Walker 214

26 November—15 January 2023 Pub Rock This vibrant (sometimes sweaty) exhibition of homegrown rock ‘n’ roll, punk and pop features works from the National Portrait Gallery collection alongside images by leading Australian music photographers. A National Portrait

Ruby Allegra, The Throne, 2021, digital illustration, 21 x 29 cm.

4 November—3 December From My Room Ruby Allegra Viewers are invited into Ruby Allegra’s colourful disabled world, to explore queercripple joy, pride, pain and pleasure, celebration and identity.

S OUTH AUSTRALIA

Riddoch Arts & Cultural Centre → Zetta Kanta, High Country Sunrise, 2017, wool, silk, black diamond bamboo.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm.

See our website for latest information.

As a curated exhibition space, Praxis assists and supports distinctive contemporary ventures by Australian artists at all stages of their career, providing art collectors and buyers with the opportunity to purchase artworks at the forefront of contemporary practice.

Cathy Brooks, They’re not meerkats, they’re red pandas!, 2021, mixed media collage print on Fine Art paper, 30 x 35 cm.

9 December—14 January 2023 Dream Tetras Mike Ladd and Cathy Brooks A collaboration between artist and poet, these digital prints, texts and 3D works are based on dreams, internet searches, and coincidences with waking life.

www.nexusarts.org.au

Nexus Arts are leaders in culturally diverse and intercultural artistic practice.

We are the only contemporary arts organisation in South Australia with this focus. Nexus presents contemporary art which explores, promotes and celebrates cultural diversity.

24 November—16 December Aida Azin and Tara Rowhani Farid

www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Until 13 November Unlemon – a meandering tale of citrus Alison Mitchell Unlemon – a meandering tale of citrus reveals a multi-layered story of citrus—its origins, trajectory, diversity and tenacity.

It begins with a reimagining of seventeenth century Dutch art where paintings of citrus—peel unfurling—evoked representations of wealth, exoticism, trade and expansion. Underpinning this is the crucial role played by Australia’s own native citrus. This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia.

Until 20 November Soft Landscapes Zetta Kanta

Nexus Arts Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

Riddoch Arts & Cultural Centre

Simon de Boer, GRO22GVISR-1, 2022, acrylic on canvas, 121 x 107 cm.

Photograph: Machiko Abe. Courtesy of the artist.

18 November—10 December Personal Histories Simon de Boer 18 November—10 December Sleeping Series Jasmine Crisp 18 November—10 December New Work Sasha Grbich

Drawing inspiration from nature, Soft Landscapes is a reflection on patterns, light and our human connection to the land with a focus on sustaining our precious resources. Combining a felting technique with materials such as wool, silk, black diamond bamboo, raw flax and cotton, this exhibition is about the interconnected symbiotic relationship of all living things.

Until 27 November Electric Sheep Luke Pellen Riffing on themes in Blade Runner, local artist Luke Pellen’s exhibition Electric Sheep features a collaboration with a twist. Luke’s collaborator recently celebrated her first birthday. She has studied the techniques of the “old masters”— Da Vinci, Raphael, Rembrandt; 215

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Sauerbier House Culture Exchange → Harriet Geater-Johnson, Bushland Beach, 2021, ceramic earthenware, lustre, 55 x 45 x 5 cm.

Photograph by Evan Bailey.

Riddoch Arts & Cultural Centre continued...

Inspired by her immediate environment, Hobson’s works reference her family’s political and social engagements as well as her own personal engagement with her Country and community. This regional South Australian tour is presented in partnership with the Art Gallery of South Australia and Country Arts SA. 26 November—22 January 2023 A Pretty Folly Kate Rohde

Luke Pellen, Orphan, 2021, digital. she has developed her imagination from surrealists—Ernst, Dali, Magritte; she can emulate Lichtenstein, Picasso or Warhol.

This remarkable collaborator is an Artificial Intelligence (AI), and together she and Luke create new, imagined worlds.

19 November— 22 January 2023 Adolescent Wonderland Naomi Hobson Naomi Hobson is a Southern Kaantju/ Umpila woman who lives in Coen, a small town of 360 people in far north Queensland. A multidisciplinary artist, she regularly works across the mediums of painting, ceramics and photography.

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A Pretty Folly, an exhibition by Kate Rohde, sees the exhibition space transformed into an installation brimming with bold colour and life. Rohde will present a selection of her functional sculptural pieces which celebrate everything animal, vegetable and mineral in their creation. Setting the stage for her object based works, the gallery walls will be adorned in several elaborate wallpaper designs.

[GRAFTd] Exhibitions: 5 November—3 December Road Toll Harriet Geater-Johnson Harnessing the fragility of clay GeaterJohnson recreates the distorted and painted bodies of the roadkill she documented whilst relocating from Far North Queensland.

5 November—3 December Tempus Fugit Kathleen Munn

Sauerbier House Culture Exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

Alan Cook, Sentinel, 2021, digital photograph. Image courtesy of the artist.

S OUTH AUSTRALIA Using the floral imagery of 16th-17th century Vanitas genre, Munn insulates the viewer against the primary message of her work; that of impermanence.

Artist in Residence Exhibitions: 10 December—28 January 2023 Re-Sounding Ngangkiparri: Reverberations Of Complex Biographies Alan Cook Recording the chaos of human activity interwoven with natural sounds at sites along the river, Cook captures daily life in its reality and the acoustic suffocation of the Onkaparinga estuary.

10 December—28 January 2023 Variant Emiliano Fernandez

Soda Jerk, Hello Dankness, (production still), 2022. Courtesy of the artist.

An exploration of local natural environments generates a state of proximity and respect for the variations presenting as subtleties and imperfections.

18 October—16 December Open Sauce Soda Jerk

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

South Australian Museum www.samuseum.sa.gov.au

Julius Csotonyi, Cretaceous extinction.

24 November—6 February 2023 Six Extinctions The death of the dinosaurs is the most famous extinction, but it is only one of the five past mass extinction events that have decimated life on the planet. Many scientists speculate that we are in the middle of a sixth extinction due to climate change.

Explore the extinction periods and meet a full-sized cast of Scotty the Tyrannosaurus at Six Extinctions.

North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

See our website for latest information.

praxisartspace.com

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A–Z Exhibitions

NOVEMBER/DECEMBER 2022

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment.

have when you are still at home’. A series of portraits and landscapes that pays homage to lives and habitats lost or irreparably damaged through the carelessness of humans.

26 November—17 December Of Ghosts and Angels Lesley Duxbury, Sarah Elson, Galliano Fardin, Derek O’Connor, Gregory Pryor, Paul Uhlmann, Toni Wilkinson We are living through an undeniably turbulent period. At times this leads to a form of collective mental paralysis. Art has a way of identifying lived experience and gives form to unnamed emotions; for example, the stasis of Dürer’s androgenous angel who listlessly takes in a shooting comet (Melencolia I, 1514). This exhibition is a cry to break the ice, to find solace within events and to find a moment’s peace. It embraces the creative process as a positive human act.

Nigel Hewitt, The Call, 2022, ash and polymer on plywood, 150 x 210 cm, (9 panels).

22 October—19 November Echoes from the Forest Nigel Hewitt Paintings made from ash samples collected from bushfire sites across Tasmania.

The tones of the ash vary depending on the vegetation and the differing temperatures of the wild fires. The artist brings these charred organic compounds together to create pictorial, almost photographic, tributes to landscape. They are a plea for action. A call from the forest, awaiting a response.

The Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

Lin Zhipeng (aka No. 223), 花床 Kiss on Flower Bed, 2011, archival pigment print.

Courtesy the artist. © Lin Zhipeng (aka No. 223).

18 November—23 April 2023 I have not loved (enough or worked)

Rebecca Dagnall, Portrait of the Dead #2 (Black Cockatoo), 2021, archival pigment print on Canson Photographique paper, 100 x 67 cm, ed. 5.

22 October—19 November Portraits of the Dead Rebecca Dagnall A contemplative look at the notion of Solastalgia, coined by Australian philosopher Glenn Albrecht, and defined as, ‘the lived experience of negative environmental change’, akin to ‘the homesickness you

is full of life, poetry and feeling and is comprised of paintings, paste-ups, drawings, posters, banners and flags from across the span of their individual practices.

The Simon Lee Foundation Institute of Contemporary Asian Art (SLF ICAA), a major new curatorial and creative initiative at AGWA supported by the Simon Lee Foundation. This first exhibition I have not loved (enough or worked) presented by SLF ICAA brings together films, 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 formations of globalisation, colonialism, technology and capitalism.

Until 8 January 2023 Speech Patterns; Nadia Hernández and Jon Campbell Speech Patterns is an entwined and layered conversation between the work of contemporary artists Nadia Hernández and Jon Campbell. This vibrant exhibition

Khaled Sabsabi, Guerilla, 2014, (detail), acrylic, watercolour and gouache on colour photographs, 9.3 x 14 each (image) 33 units. The State Art Collection, The Art Gallery of Western Australia.

Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2014.

Until 29 January 2023 The Cost of Living This collection display explores how understandings and misunderstandings of value shape art and everyday life.

Featuring several new contemporary acquisitions alongside collection highlights, it looks at what and how we place value on impacts how we relate to each other physically, emotionally, economically.

Until 26 March 2023 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. Heysen’s and Street’s paintings are accompanied by other works from the Collection to give context to the historical narratives of the time.

Until 20 November Media Space This exhibition presents documentation of the multi-disciplinary projects undertaken by Perth-based art collective Media-Space across its life-span, 19811986. Curated by Julian Goddard and one of the founding members Paul Thomas, it sheds light on a period in Western Australian art when artists dissected the social and political role of art to examine, amongst other issues, the colonial power structures that shaped life in this state.

Until 20 November The Lester Prize The Lester Prize is one of the country’s most recognised and prestigious fine art prizes—an award that places artists and the community proudly front and centre.

The prize pool available to professional and emerging artists is over $105,000.

This includes the Richard Lester Prize for Portraiture of $50,000.

Until 4 December puberty Wong Ping 219

kolbuszspace.com

WESTERN AUSTRALIA The Art Gallery of Western Australia continued...

Boldly located in the Gallery foyer, this newly commissioned installation draws on Wong’s trademark humour to explore how human connections are shaped within technologically mediated worlds where reality and fantasy blur in the strangest and most unsettling of ways.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 0418 900 954 Open daily by appointment around our exhibition program.

See website for exhibition information.

Working with remote community Aboriginal art centres since 2004.

Claire Woolhouse, Numbat on my mind, acrylic paint, 2022, 42 x 60 cm.

29 October—18 December Frightfully Funny Claire Woolhouse 3 December—26 February 2023 A Colourful Life Robyn Bischoff

Anna Louise Richardson, What am I gathering (crow), 2022, charcoal on cement fibreboard, 132 x 90 cm.

5 November—23 January 2023 Still Watching A collaborative exhibition by Anna Louise Richardson and Abdul-Rahman Abdullah, Still Watching embodies different experiences and perceptions of mutual observation in the natural world.

Embracing both the magical thinking of childhood and the pragmatism of raising a young family in a rural environment, Anna Louise Richardson and Abdul-Rahman Abdullah articulate a personal lore, voicing their relationships with other creatures and the mythic qualities of the worlds we occupy.

Alison Lionel, Likara (Bark), 150 x 120 cm. © Ernabella Arts, Artitja Fine Art Gallery and the artist.

29 October—20 November INUNTJI PUTITJA – Colours of the Desert Artists from Ernabella Arts A group exhibition featuring new paintings and ceramics made in community at Pukatja, SA. Exhibition venue: Earlywork, 330 South Terrace, South Fremantle

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Follow our socials to stay up to date. @bragwa BRAG hosts nationally touring exhibitions from around the country - featuring some of the finest contemporary art being produced in Australia. With six different gallery spaces, BRAG is able to present a wide range of exhibitions, ensuring there is always something for everyone to get excited about.

15 October—15 January 2023 In Place Group exhibition presented by The South West Printmaker.

Kelsey Ashe, DeepTime_Future, (detail).

10 December—6 March 2023 Epic Works: Selections by the Director from the Lloyd and Liz Horn Collection Lloyd Horn Collection

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Katie Breckon, Hill near Wunaamin Miliwundi Ranges, 120 x 160 cm, incised paint on aluminium, 2021. Photograph: Emma Daisy.

5 November—23 January 2023 Backtrack Katie Breckon is an Aotearoa-born artist, educator and remote community arts worker whose practice explores the transient and transformative notion of home and questions one’s place in the natural world. In Backtrack, Breckon explores expanded drawing and mark making practices through the lens of mapping personal and physical geographies.

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5 November—23 January 2023 A Gift and A Shadow A happy magpie dancing in a sprinkler, a ghost asking politely to be let in, finding a fortune in the street. A Gift and a Shadow are two sides of the same coin, the choice and consequence, the path followed and the road less travelled and the use of an object and all the uses not yet imagined. Exploring the absurdity of life, and the magic in the everyday, Sally Bower presents a new body of work that extends an open invitation to interact, engage and play.

5 November—23 January 2023 The RinDin Dai In this newly commissioned exhibition, Walyalup-based artist Tyrown Waigana explores sacrifice and reward, and notions of the unexpected, creating a world for the Hongels and their creator, Vord. As visitors to this world, we bear witness to rituals and ceremony never seen before, but we are also asked the same questions as the Hongels, what would we be willing to sacrifice to have a wish answered?

Gallery Central www.gallerycentral.com.au

and private world of the backstage. In Brennan’s figurative oil paintings, paint slips, overlaps, blends, and melds making visible the otherwise unseen space and liminal affects present within the backstage site. The paintings do not so much illustrate the physicality of the backstage world, although visual motifs from the backstage are present in the works, but rather elucidates the experience, affects, and sensations, linked to acting processes, backstage behaviours, and what she identifies as the threshold, present in the backstage site. The works have a link to Perth’s theatre culture as the starting point for the project, and some of the visual imagery present in the works, has been gathered from the backstage spaces of the Heath Ledger Theatre, The Octagon Theatre and The Sunset Cultural Precinct in Dalkeith. The primary source of many of the motifs is related to the 2019 Black Swan Theatre Company Production of The Torrents by Oriel Grey.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. Closed public holidays.

Jacky Cheng, …that awaits at the end of life, 2022. John Stringer Prize 2022, John Curtin Gallery. Photograph: SueLyn Moyle.

7 October—4 December John Stringer Prize Artist Jacky Cheng is the winner of the John Stringer Prize 2022 for her series of woven textiles combining papers and fibres that map esoteric and social relationships of their origins and newfound home. The exhibition showcases new works by all finalists: Amanda Bell, Bruno Booth, Jacky Cheng, Guy Louden, Katie West and Holly Yoshida, plus the late Mrs. Janet Dreamer’s work Walkabout, as a tribute to the leading artist and matriarch of the Halls Creek arts community, Yarliyil Arts. The John Stringer Prize was inaugurated by The Collectors Club in 2015 in celebration of the memory of one of Australia’s most acclaimed art curators, the late John Stringer. A long-term friend and mentor to the members, in 1996 he established The Collectors Club in Perth to promote informed collecting and patronage of Western Australian art. The John Stringer Prize strives to continue his important legacy and since 2018, the John Curtin Gallery has been proud to present this annual exhibition celebrating artists making a major impact on contemporary practice in Western Australia.

Joan Peters, Pentecost, 2022, acrylic on board, 120 x 120 cm.

2 October—27 November The Unknowns The Unknowns brings together five prolific artists who have set aside their arts practice while they pursued professional careers and the business off everyday life. Most have only rarely exhibited, some not at all. The Unknowns features Chris Pullin, Joan Peters, Richard Robison, Annie Kavanagh and Jo Thorpe.

Emily Rose Brennan.

24 October—11 November Illuminating the Backstage Emily Rose Brennan This exhibition is the culmination of Emily Rose Brennan’s PhD research into painting the affective atmospheres that haunt the backstage of a theatre during a live performance. Brennan uses the qualities inherent in paint, and the processes of studio painting, to reveal and make manifest the otherwise shrouded 222

John Curtin Gallery www.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.

Spinifex Women’s Collaborative (Kanta Donnegan, Ivy Kaidlaw, Myrtle Pennington, Ngalpingka Simms, Tracey Simms), Kungkarungkalpa, 2019, acrylic on linen, 200 x 228 cm. Curtin University Art Collection. Acquired with funds donated through Curtin Foundation, 50fifty Acquisition Initiative, 2020. Courtesy of the artists and Spinifex Arts Project.

7 October—4 December Recent Acquisitions Following the success of our 50fifty Acquisition Initiative which ran from 2017-2020, the John Curtin Gallery has continued to acquire important works that reflect the world in which we live. This exhibition presents works acquired over the last two years that have not previously been on

WESTERN AUSTRALIA display at the gallery, covering painting, photography, mixed media, textiles, ceramics, video, drawing and print. Included are significant purchases and donations of artworks by leading contemporary artists such as James Angus, Brent Harris, Joan Ross, Christian Thompson and Aida Tomescu; as well as important Western Australian artists, recent Curtin Fine Art graduates, and significant First Nations artists, including a major Spinifex Women’s collaborative. We thank all our Donors who have made these acquisitions possible.

KolbuszSpace www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

7 October—4 December Carrolup coolingah wirn Curated by Michelle Broun, this exhibition features works from the Herbert Mayer Collection of Carrolup Artworks created by children of the stolen generations and now part of the Curtin University Art Collection. Ms Broun said the exhibition is one of many about the Carrolup collection and the child artists at the centre of the story.

It is built upon decades of research and documentation across institutions which has been enhanced and enriched by community engagement programs. After an incredible 65-year journey circumnavigating the world including a 40-year hiatus in the US, where the works lay undiscovered in storage, Colgate University in New York granted Curtin University’s John Curtin Gallery custodianship of the Collection in 2013, where they are cared for under the guidance of the Carrolup Elders Reference Group (CERG).

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209 See our website for latest information.

30 December—21 January 2023 Circle Culture Caroline Christie Coxon

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm.

The gallery will be closed from 11 December to 11 February 2023.

See our website for latest information.

Matthew McAlpine, Boundless Plains, acrylic paint, sand, fluorescent pigment, and binder on canvas, 60 x 60 x 4 cm.

25 November—27 November Anthem Matthew McAlpine Matthew McAlpine is an emerging, interdisciplinary artist who lives and works in Whadjuk Nyoongar Boodja (Perth, Western Australia). His practice explores the complexities and problems of celebrating colonial history and legacies which whitewash history, deny Indigenous culture and rapidly degrade the environment. McAlpine graduated from Curtin University in 2016, after which he has been a regular finalist at art awards and described as an important artist to watch.

Contemporary art gallery showcasing the work of exceptional australian and international artists making a significant and distinguished mark on the city’s cultural life.

Caroline Christie Coxon, 11 11, 150 x 150 cm.

selected artist studio-direct and quality / collectible stockroom works.

Gaye Jurisich, Into the Landscape of Discontent, oil on canvas, 152 x 110 cm.

9 December—11 December Group Show Following the success of ART MART in 2020, KolbuszSpace again presents

Kevin Robertson, Two women in an interior, 1988, oil on canvas, 45.5 x 45.5 cm. Collection of Douglas and Magda Sheerer. © The artist. Photograph: Robert Frith / Acorn Photo.

10 September—10 December Kevin Robertson: Paintings 1984-2022 This retrospective exhibition traces the artistic development of Western Australian artist Kevin Robertson from the mid-1980s to the present day.

Robertson began his career amid a resurgence of interest in the medium of painting and, more particularly, figurative painting, in Perth and internationally.

Over four decades Robertson’s painting practice has continued to evolve—utilising traditional aspects of the craft; while contemplating the limits of representation and proposing new ways of visualising the world in all its mystery.

Clare McFarlane, Vision stance (self portrait), 1997, oil on canvas, 60 x 85 cm.

Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist.

10 September—10 December Cristina Asquith Baker, Gemma Ben-Ary, Dorothy Braund, Lina Bryans, Mary 223

ar t g ui d e .c o m . au 21 October—24 December Cherubino Wines Margaret River: Aliquas Partes Tony Hewitt

Lawrence Wilson Art Gallery continued...

Edwards, Linda Fardoe, Margaret Francis, Adrienne Gaha, Bessie Gibson, Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’Connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie Wilson-Foster and Sue Wyatt - From The Cruthers Collection Of Women’s Art. This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art—portraiture and the work of respected Australian artist, Susan Norrie.

Norrie’s dark and weighty paintings are placed directly opposite a chronological run of portraits from the collection.

10 September—10 December Dwelling with Place: Education Space + Collection Works Dwelling with Place is the first of a series of iterative exhibitions by the Berndt Museum at UWA that explores our custodianship of significant Indigenous collections on Noongar Boodjar, and considers our connections to communities and places on campus, locally, and across Australia.

These exhibitions are also being led by our role as a teaching museum, developing Indigenous-led pedagogies with the UWA School of Indigenous Studies, and linking our exhibitions to new curricula.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au Mikaela Miller at Swan River Print Studio.

Photograph: Miles Noel Photography.

29 October—19 November West Perth: Print Matters Swan River Print Studio: Jo Darvall, Katie Glaskin, Kylee Larsen, Claire Lawson, Nigel Laxton, Joy Lefroy, Annemie McAuliffe, Mikaela Miller and Harvey Mullen.

Engaging with themes including loss and regeneration, ephemera, technology and the current state of the world, the Swan River Print studio’s Print Matters exhibition contains a range of works which celebrate colour, line, form, the beauty of abstraction and the natural world. Displaying a range of printmaking techniques, the exhibition speaks to printmaking’s long history and reflects its contemporary and experimental expressions. Swan River Print Studio members have been finalists in national printmaking awards.

8 November—27 November Subiaco: Rottnest Revisited Leigh Hewson-Bower ‘Rottnest Island has become a part of many Perth dwellers’ lives. It certainly has been for me since the early nineties, discovering the extraordinary beauty above and below the waterline that in some respects reminded me of the Greek Islands.’ —Leigh Hewson-Bower

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm.

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

17 October—6 November Subiaco: Journey Pippin Drysdale and Yinjaa-Barni Artists Drysdale reflects on her outback journeys, with particular reference to the Pilbara. The ancient craton holds mineral wealth, the oldest rock formations, spectacular flora and fauna, and has been home to the original custodians of this land for over forty thousand years.

Drysdale is joined by selected artists from Yinjaa-Barni Art Centre.

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276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

See our website for latest information.

Denise Lithgow, Amphora Vessel No. 1/A, 2019, felt merino and cross breed wool stopper twined dried leaves metal stand, 106 x 50 x 33 cm.

28 November—22 December Subiaco and West Perth: Directors’ Choice Selected Gallery Artists Linton & Kay Galleries are thrilled to welcome Jeffery Mincham and Denise Lithgow to the stable of artists. Directors’ Choice showcases the depth and variety of artists whose work we are fortunate to show and includes figurative, abstract and three dimensional work.

Nikki Green, Words by Renee PettittSchipp, A Window of Time, 2022, digital print, 56 x 76 cm. Photograph courtesy of the artist.

19 November—18 February 2023 Tracing Gondwana Monika Lukowska, Nikki Green and writer Renee Pettitt-Schipp in partnership with Gondwana Link.

Tracing Gondwana is a collaboration between printmakers Monika Lukowska and Nikki Green and writer Renee PettittSchipp in partnership with Gondwana Link. This exhibition builds awareness of the value of the biodiversity hotspot in the Great Southern, promoting its cultural and ecological significance through combined creativity. The accompanying public program will include a screening of Gondwana Link’s film Breathing Life into Boodja, followed by a panel discussion, artist talk and print workshops.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Formed in 1979 by a group of dedicated volunteers passionate about providing a focus for arts and culture in the Perth hills, Mundaring Arts Centre (MAC) has remained true to its origins. Over the years, the MAC staff, volunteers and

WESTERN AUSTRALIA artists have delivered a diverse range of creative arts experiences, annually engaging thousands of individuals of all interests and ages.

MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm..

See our website for latest information.

Founded and directed by Margaret Moore, MOORE CONTEMPORARY is a space dedicated to the presentation and promotion of major contemporary art.

Nikki Green, Words by Renee Pettitt-Schipp, A Window of Time, 2022, digital print, 56 x 76 cm. Photograph courtesy of the artist. Hans Arkeveld, Aquinas Maquette, 1982, cement fondue, 42 x 92 x 6 cm; Joan Johnson, Waste Can Be Beautiful, 2022, aluminium cans, wood, paint, 23 x 43 x 20 cm. Photograph:

by Churchill Imaging.

Pilar Mata Dupont, La Maruja: La Mano, 2021, photo print, acrylic face mounted on aluminium, 20 x 90 cm. Photography production by Tony Nathan at Studio OPPA. Image courtesy of the artist and MOORE CONTEMPORARY. will be the most ambitious iteration of her highly personal body of work in which she attempts to distil and reconcile varying interpretations of her family’s histories and memories of 20th-century Argentina.

8 October—26 February 2023 Transpositional Hans Arkeveld and Joan Johnson Partners in life, artists Hans Arkeveld and Joan Johnson are quite disparate in their work practices and use of materials.

Whilst Hans’ figures and materials are classic and solid, Joan’s are contemporary, light and translucent—but both are interlaced with a quirky sense of humour and wry questioning of personal and societal values.

Marita Fraser, Pattern Recognition She Said, 2020. Oil, acrylics, graphite, fabric dye on linen, 96 x 76.5cm.

26 November—23 December Group Show: Summer Show Including Marita Fraser and Matthew Hunt.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Nathan Beard, King Mongkut (1956), 2022. Courtesy of the artist and sweet pea.

24 September—26 February 2023 The Sum of Us

28 October—8 January 2023 Las Hormigas/The Ants Pilar Mata Dupont

The Sum of Us celebrates the work of a group of students brought together by a botanical art course in Perth with artist and fellow student Margaret Oversby.

The group continued to meet with Margaret arranging sessions in Bullsbrook to allow the pursuit of their passion and exploration of various styles of botanical art. Margaret has since passed away.

This exhibition acknowledges her role in the formation of this diverse, supportive, and talented group, with a selection of her works on display.

Latinx visual artist and filmmaker Pilar Mata Dupont presents a vivid exploration of intergenerational storytelling and the fragmentation of memory in Las Hormigas/The Ants told across video, photography, and performance. Influenced by her background and upbringing in the settler-colonial states of Brunei, Argentina and Australia, Mata Dupont uses dark, absurdist humour to reflect on her Argentinian family’s complicated past, and how trauma manifests over large geographical and temporal distances. Las Hormigas

Boorloo (Perth) multidisciplinary artist Nathan Beard present a mischievous reflection on Thai diasporic identity and its construction in A Puzzlement.

Margaret Bradford-Seeley, Banksia attenuata (Candlestick Banksia), (detail), 2020, watercolour on paper, 65 x 55 cm.

Photograph: Churchill Images.

28 October—8 January 2023 A Puzzlement Nathan Beard

Drawing on his Australian-Thai heritage, the artist places items from his own family archive alongside broader cultural objects. Juxtaposing his mother’s Buddhist shrine statues and 90’s fast-food Thaithemed toys, Beard playfully interrogates ideas of authenticity and the complex influences of colonial archives, pop culture, and collective memory in forming western characterisations of ‘Thainess’.

The exhibition presents works created during Beard’s 2022 residency at ACME 225

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Studios in London, drawing from his research into the archives of The British Museum, Victoria & Albert Museum, British Film Institute and Kew Gardens.

Stala Contemporary www.stalacontemporary.com.au 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment..

2 November—19 November Memory Card Ellen Norrish Memory Card is the latest solo exhibition from West Australian figurative painter Ellen Norrish. Exploring the simultaneous pleasure and problem of excessive image accumulation, this new series of oil paintings respond to the artist’s own digital hoard of travel photos, taken on a Nikon D70 camera between 2010 and 2014. Of these 11,400 jpegs, the exhibition features a minute sample reproduced as painted landscapes, portraits and interiors from abroad - captured at a time when DSLR cameras were the primary tool of travel photography with the practice having not yet transitioned to smartphones. Memory Card offers viewers an intriguing set of paintings of disparate subjects, small worlds that can only be connected by undisclosed personal narratives of the artist traveling in her late teens and early 20s.

Exhibited together, the various subjects offer a multifaceted portrait, one view of life and its accumulated imagery.

2 November—19 November Orange & Mango Wade Taylor

Ellen Norrish, Of Daniel Buren’s “Echoes, Works in situ” 2011, 2022, oil on board, 46 x 61 cm.

Wade Taylor, Same Clothes as Yesterday, 2022, oil on wood, 57 x 61 cm. the lens of social media, artless snapchats and shaky instagram stories. An ode to backyard parties, boozy evenings and late-night fishing expeditions, Taylor’s subjects are both winners and losers that stare the viewer down through posturing and prowess. Neither critique nor celebration, Orange & Mango holds a mirror up to Australian lad culture.

In Orange & Mango, Wade Taylor brings together a collection of urban Australian scenes and nocturnal vignettes, a portrait of projected masculinity as seen through

David Giles Art Galleries Representing more than 30 Western Australian artists including: David Giles,Ross Calnan, Ingrid Holm, Penny Rulyancich, Jackie Peach.

David Giles Art Gallery 49B High Street, Fremantle WA Open 7 days a week 11am-4pm Studio 11 Art Gallery 11 Captains Lane, Fremantle WA Open Thursday to Sunday 11am-4pm

davidgilesartgallery.com 0416 079 204 David Giles, Beautiful day down by the river, 80 x 60 cm, acrylic on canvas.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2022

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

NCCA → Matty Van Roden, Am I My Brothers Keeper?, 2022, encaustic wax on wooden panel, scripture, digital video, projector, light, 116.8 x 213.1 x 5 cm.

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm.

11 November—5 February 2023 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.

2 December—19 February 2023 The Portrait of a Senior Territorian Art Award 2022 Now in its 24th year, this art award continues to foster excellence and creativity in the art of portraiture by artists who are residents of the Northern Territory.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

See our website for latest information.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

29 September—12 November Retribution: What Happens Next?

Franca Barraclough, Rupert Betheras, Fabian Brown, Jonathan ‘World Peace’ Bush, Liss Fenwick, Crystal Love Johnson Kerinaiua with Jens Johnita Cheung, Elizabeth Martin, Eve Pawlik and Matthew Van Roden.

Curated by Carmen Ansaldo.

6 August—15 January 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Aboriginal and Torres Strait Islander art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists.

Thomas Higgs, Matriarch and Pioneer Garlil, 2021, portrait of Garlil Jane Christophersen. Winner of the Portrait of a Senior Territorian Art Award 2021.

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The annual exhibition demonstrates the richness and diversity of current contemporary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts.

Rachael Wellsich, Recuperated Material Monuments, 2021, hand-dyed salvaged household textiles, dimensions variable.

24 November—17 December Members’ Show 2022: 24HR Art NCCA Members Celebrating our 30th year in Parap with art around the clock.

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1, 111

42, 154 154 26, 120 120 155

Colville Gallery (TAS)

Glen Eira City Council Gallery (VIC)

127

Gosford Regional Gallery (VIC)

160

Goulburn Regional Gallery (NSW)

159

Grace Cossington Smith (NSW)

160

Griffith University Art Museum (QLD) 10 Granville Centre Art Gallery (NSW)

160

H Hamilton Gallery (VIC)

129

203

Handmark Gallery (TAS)

204

Contemporary Art Tasmania (TAS) 203

Hahndorf Academy (SA)

207

Counihan Gallery (VIC)

Hawkesbury Regional Gallery (NSW)

162

121

Cowra Regional Art Gallery (NSW) 155, 168

Hazelhurst Regional Gallery (NSW)

161

Craft Victoria (VIC)

Hervey Bay Regional Gallery (QLD)

189

120

D

Annandale Galleries (NSW)

34

Heide Museum of Modern Art (VIC)

129

Ararat Gallery TAMA (VIC)

112

DADAA Gallery (WA)

215

Horsham Regional Gallery (VIC)

129

ARC ONE Gallery (VIC)

112

Darren Knight Gallery (NSW)

157

Home of the Arts (HOTA) (QLD)

36, 190

Hurstville Museum (NSW)

156, 161

Artitja Fine Art Gallery (WA)

215

David Giles (WA)

Artists Shed (ACT)

199

Deakin University Art Gallery

220

Hyphen – Wodonga

Artspace Mackay (QLD)

187

at Burwood (VIC)

122

Library Gallery (VIC)

Art Collective WA (WA)

213

Defiance Gallery (NSW)

155

I

Art Space on The Concourse (NSW)

151

Divisions Gallery (VIC)

ArtSpace REALM/Maroondah (VIC)

111

D’Lan Contemporary (VIC)

121

Art Gallery of Ballarat (VIC)

111

Devonport Regional Gallery (TAS)

110, 121 203

E

Art Gallery of New South Wales (NSW)

151

Art Gallery of South Australia (SA)

207

129

Incinerator Art Space (NSW)

161

Incinerator Gallery (VIC)

129

Institute of Modern Art (QLD)

20, 190

Ivanhoe Library

Everywhen Artspace (VIC)

122

F

and Cultural Hub (VIC)

131

J

Art Gallery of Western Australia (WA) 9, 213

Fairfield City Museum & Gallery (NSW) 157

JamFactory (SA)

208

Arts Project Australia (VIC)

Federation University (VIC)

122

Jan Murphy Gallery (QLD)

190

Fellia Melas (NSW)

166

Jacob Hoerner Galleries (VIC)

Fiona and Sidney Myer Gallery (VIC)

123

The Japan Foundation

Flinders Lane Gallery (VIC)

123

38, 112

Australian Design Centre (NSW)

152

Australian Centre for Contemporary Art (ACCA) (VIC)

13, 113

Australian Galleries (NSW)

113, 152

Australian National Capital Artists

Flinders Street Gallery (NSW)

199

Australian Tapestry Workshop (VIC)

115

B Bathurst Regional Art Gallery (NSW)

153

of Art (SA)

Gallery (NSW)

157, 164

John Curtin Gallery

33, 207

The Johnstone Collection (VIC)

Flinders University Museum

(ANCA) Gallery (ACT)

131

Curtin University (WA)

Footscray Community Arts (VIC)

123

Jan Murphy Gallery (QLD)

fortyfivedownstairs (VIC)

123

Jewish Museum of Australia (VIC)

Fox Galleries (VIC)

124

14, 161 29, 216 32 190 131

K

Bayside Gallery (VIC)

116, 115

Frankston Arts Centre (VIC)

124

KAMILĖ GALLERY (WA)

217

Beaver Gallery (ACT)

30, 200

Fremantle Arts Centre (WA)

215

Kelly & Gemelli Gallery (VIC)

133

FUTURES (VIC)

125

Ken Done Gallery (NSW)

fYRE Gallery (NSW)

162

Kingston Arts (VIC)

Bendigo Art Gallery (VIC) Bett Gallery (TAS) BLINDSIDE (VIC)

44 203 115

G

161, 178 133

King Street Gallery (NSW)

35, 163 214, 217

Brenda Colahan Fine Art (NSW)

156

GAGPROJECTS (SA)

207

Kolbusz Space (WA)

Broken Hill City Art Gallery (NSW)

153

Gallery 48 (QLD)

189

Koorie Heritage Trust (VIC)

133

138, 117

Gallery76 (NSW)

157

Korean Cultural Centre Australia (NSW)

163

215

Gallery 152 (WA)

216

Brunswick Street Gallery (VIC) Bunbury Regional Art Gallery (WA) Bundanon (NSW)

L

17, 153

Gallery Central (WA)

216

Bundoora Homestead Art Centre (VIC) 119, 128

Gallery Elysium (VIC)

118, 125

Bunjil Place (VIC)

119

Gallery Lane Cove (NSW)

159

Lauraine Diggins Fine Art (VIC)

130, 135

Bus Projects (VIC)

117

Gallery Rayé (QLD)

189

Lawrence Wilson Gallery (WA)

217

Burrinja (VIC)

119

Gallerysmith (VIC)

125

The Leo Kelly Blacktown

Buxton Contemporary (VIC)

3, 119

Geelong Art Space (VIC) Geelong Gallery (VIC)

C

125 18, 125

Latrobe Regional Art Gallery (VIC) Lavendar Bay Society (NSW)

Arts Centre (NSW) Leonard Joel (VIC)

Caboolture Regional Art Gallery (QLD) 187

Gertrude Contemporary (VIC)

127

Linden New Art (VIC)

Caloundra Regional Gallery (QLD) 45, 189

Gippsland Art Gallery (VIC)

127

Linton & Kay Galleries (WA)

Canberra Glassworks (ACT)

Glasshouse Port

31, 200

Casula Powerhouse Arts Centre (NSW) 154 244

Macquarie (NSW)

159, 180

135 165

163 24 135 46, 218

The Lock-Up (NSW)

165

LON Gallery (VIC)

135

INDEX

Logan Art Gallery (QLD)

190

M

Noosa Regional Gallery (QLD)

192

200

Macquarie University Art

Art (NCCA) (NT)

222

NorthSite Contemporary Arts (QLD)

Gallery (NSW)

165

22, 142

S.H. Ervin Gallery (NSW)

Northern Centre of Contemporary

M16 (ACT)

Shepparton Art Museum (VIC)

191

173

Sofitel Melbourne on Collins (VIC) 140, 142 South Australian Museum (SA)

211

Stala Contemporary (WA)

O

220

Maitland Regional Art Gallery (NSW)

165

Old Quad (VIC)

141

The Stan Gallery (VIC)

114

Manly Art Gallery (NSW)

167

OLSEN (NSW)

172

Stanley Street Gallery (NSW)

175

134

STATION (VIC, NSW)

Martin Browne Contemporary (NSW) 167

Omnus Picture Framing (VIC)

McClelland Sculpture

Onespace (QLD)

Park + Gallery (VIC)

27, 136

37, 192

Orange Regional Gallery (NSW)

Metro Arts (QLD)

190

Metro Gallery (VIC)

136

Winton (QLD)

Melbourne Etching Supplies (VIC)

134

P

8, 172

Outback Regional Gallery, 192

Midland Junction Arts Centre (WA)

218

Perc Tucker Regional Gallery (QLD)

Mildura Arts Centre (VIC)

136

Perth Instiutute of Contemporary

Milk Gallery (VIC)

146

Modern Times (VIC)

137

PG Gallery (VIC)

Monash Gallery of Art (VIC)

137

Philip Bacon Galleries (QLD)

Monash University MADA

PIERMARQ* (NSW)

Gallery (VIC)

137

Monash University Museum of Art (VIC) Montville Art Gallery (QLD)

7, 219 141 193 172, 209

19 204

Powerhouse Museum (NSW)

5

167

praxis ARTSPACE (SA)

210

219

Project8 Gallery (VIC)

141

Mundaring Arts Centre (WA)

218

Territory (NT) Museum of Brisbane (QLD)

208

Nanda\Hobbs (NSW) National Art School Gallery (NSW)

Queensland Museum (VIC)

40

222

Art Gallery (TAS)

204

191

QUT Art Museum (QLD)

193

204 170 200 43, 170 171

177

The Substation (VIC)

143

T TarraWarra Museum of Art (VIC)

12, 144

Tasmanian Museum (TAS)

41, 205 145

Town Hall Gallery (VIC)

145

Tuggeranong Arts Centre (ACT)

201

Tweed Regional Gallery (NSW)

177

twenty twenty six (NSW)

176, 179

U Umbrella Studio (QLD)

196

UMI Arts Gallery(QLD)

196

University of Sunshine Coast (QLD)

197

UQ Art Museum (QLD)

197

V The Victorian Artists Society (VIC)

145

VOID Melbourne (VIC)

147

W Wagga Wagga Art Gallery (NSW)

174, 179

Walker Street Gallery (VIC)

R

147

Wangaratta Art Gallery (VIC)

Ravenswood Australian Women’s

N Nancy Sever Gallery (ACT)

11, 193

Queen Victoria Museum and

Museum of Old and New Art (MONA) (TAS)

141

Queensland Art Gallery/Gallery of Modern Art (GOMA) (QLD)

Museum of Contemporary Art (NSW) 169

Muswellbrook Regional (NSW)

Q QDOS Fine Arts (VIC)

Gallery (SA)

Sydney Modern Project (NSW)

Toowoomba Regional Art Gallery (QLD) 195

MOORE CONTEMPORARY (WA)

Museum & Art Gallery of Northern

185

Tolarno Galleries (VIC)

Mosman Art Gallery (NSW)

Murray Bridge Regional

144

The Sydney Art Store (NSW)

193

Plimsoll Gallery,

169

144, 177

Swan Hill Regional Gallery (VIC)

Studio Altenburg Fine Art Gallery (NSW) 175

University of Tasmania (TAS)

(MAMA) (NSW)

Sullivan+Strumpf (NSW)

193

Platform Arts (VIC)

Murray Art Museum Albury

39, 143

Pinnacles Gallery (QLD) 191 23, 139

142

Stockroom Gallery (VIC)

Pine Rivers Art Gallery (QLD)

139

Mornington Peninsula Regional Gallery (VIC)

Arts (PICA) (WA)

192

143, 175

Stephen McLaughlan Gallery (VIC)

114, 147

184

Wester Gallery (NSW)

181

Redcliffe Art Gallery (QLD)

194

Western Australian Museum (WA)

47

Redland Art Gallery (QLD)

194

Western Plains

Art Prize 2023

Riddoch Art Gallery (SA) RMIT Gallery (VIC)

209 28, 141

Robyn Bauer Studio Gallery (QLD)

194

Cultural Centre (NSW) Wentworth Galleries (NSW) Whitehorse Artspace (VIC)

183 158, 181 149

National Gallery of Australia (ACT) IFC, 200

Rockhampton Museum of Art (QLD) 188, 195

White Rabbit Collection (NSW)

183

National Gallery of Victoria -

Roslyn Oxley9 Gallery (NSW) 2, 173

Wollongong Art Gallery (NSW)

185

Rubicon ARI (VIC)

149

Wyndham Art Gallery (VIC)

Rusten House Art Centre (NSW)

173

The Ian Potter Centre (VIC)

139

National Gallery of Victoria NGV International (VIC) National Portrait Gallery (ACT)

139 4, 201

Neigbourhood Contemporary Art Festival (VIC) Printmaking Supplies (VIC)

S Samstag Museum of Art (SA)

16, 211

Sauerbier House 25

Neil Wallace New England Art Museum (NSW)

108, 149

134 171

Newmarch Gallery (SA)

208

Nexus Arts Gallery (SA)

208

Niagara Galleries (VIC)

141

Culture Exchange (SA)

211

Science Gallery (VIC)

110

Sculpture on the Edge (QLD)

197

South East Centre for Contemporary Art / Bega (SECCA) (NSW)

21

Sydney College of the Arts (SCA Gallery) (NSW)

15, 175 245

“I want more people to find other ways of creating outside of the institution where they’re still supported.”

– T E X TAQ U E E N , A R T I S T, P. 73

“That’s where the Blak Douglas style of work comes from, there’s an aesthetic enticement and then it sucker punches you.”

— B L A K D O U G L A S , A R T I S T, P. 8 5

“Art’s strength is its ability to be more than one thing at a time. I don’t believe that politics and aesthetics are separate.”

— J E M I M A W Y M A N , A R T I S T, P. 8 7

INDIGENOUS ART FROM THE NGV COLLECTION FREE ENTRY THE IAN POTTER CENTRE: NGV AUSTRALIA, FED SQUARE

PRINCIPAL PARTNER Installation view of Indigenous Art from the NGV Collection on display until 29 January 2023 at the Ian Potter Centre: NGV Australia, Fed Square Melbourne © The artists. Photo: Tom Ross

ngv.vic.gov.au