Art Guide Australia — November/December 2024

NOV EM BE R / DE CEM BE R 2 02 4 $9

C OV ER S T ORY On the significance of Archie Moore’s kith and kin PLUS Four artists respond to the magic of Yayoi Kusama PLUS The enduring appeal of art books

Inside this issue A Note From the Editor

STU DIO

PR EV IEW

Giselle Au-Nhien Nguyen and Leah Jing McIntosh

Courtney Kidd

A Stitch in Time

Neha Kale

Julie Mehretu: A Transcore of the Radical Imaginatory

On Scale

Michelle Wang Clay on Country: Ceramics from the Central Desert

Nathan Beard

F E AT U R E

Briony Downes Stranger than Fiction: Magritte and Cao Fei

Sally Gearon

Giselle Au-Nhien Nguyen

INTERV IEW

Rob McHaffie: We Are Family

Georgia Spain

Steve Dow

Elizabeth Mbitjana Pitijana

Giselle Au-Nhien Nguyen

Janine Combes: Paper towns and abandoned places

Briony Downes

Here and Now: Gold Coast Triennial

Sally Gearon

Kerameikos: the potter’s quarter

Michelle Wang

An invitation to dance

Sally Gearon

Ben Quilty: The Paradox of Painting

COMMENT

Speaking Volumes

Jane O’Sullivan F E AT U R E

11th Asia Pacific Triennial of Contemporary Art: Poetic Relations

Steve Dow F E AT U R E

Yayoi Kusama: To Infinity and Beyond

Hiromi Tango, Sam Leach, Glenn Barkley and Hannah Gartside F E AT U R E

20/20 Vision: On the Legacy of Un Magazine

Emma Phillips: this time last year

Andrew Stephens

F E AT U R E

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

Josephine Mead

Jack Ball: Self Reflections

Josephine Mead

Archie Moore: Family Ties

Maya Hodge

EX HIBITION LISTINGS

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A Note From the Editor

November/December 2024

Earlier this year, I remember listening to Archie Moore speak about the old English roots of the phrase kith and kin.

The acclaimed Kamilaroi and Bigambul artist had discovered that these words, which now refer to ‘friends and relatives’, once evoked a relationship with one’s country. This speaks to a First Nations understanding of kinship in which family ties are part of a constellation of connections—with trees and rivers, stars and galaxies.

In her cover essay for this issue, Lardil and Yangkaal writer and curator Maya Hodge reflects on the significance of seeing Moore present this work, which won the Golden Lion at the 60th Venice Biennale.

“To speak about the importance of kinship on such an international stage is monumental especially after the pain our communities endured with the failed referendum and its aftermath,” she writes. For Hodge, Moore’s work, which also reckons with colonial violence, is a form of truth-telling. Like the best art, it invites us to both pay attention to the world we’ve inherited and imagine it anew.

This issue gestures at language in all its forms—from the “ruin poetry” that inspires Dana Awartani, the Palestinian, Saudi, Jordanian and Syrian artist whose installation shows at the 11th Asia Pacific Triennial this year, to the lexicon of Yayoi Kusama. The legendary artist, who had a famously difficult childhood, has long spoken through her pumpkins and dots and infinity rooms and in this issue, we invited four artists to meditate on her legacy. The results are both moving and surprising.

Elsewhere, Jane O’Sullivan writes about the cultural revival of art books, an antidote to fleeting attention spans that, I think, reflects a desire for another kind of knowledge—the type that is absorbed slowly and stands the test of time.

Neha Kale Acting Editor-in-chief, Art Guide Australia

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The November/December 2024 issue has been produced by our editorial team of Neha Kale, Tiarney Miekus and Sally Gearon.

ACTING EDITOR–IN–CHIEF

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Sally Gearon WEB AND SOCIAL MEDIA COORDINATOR

Sally Gearon and Caitlin Aloisio Shearer GRAPHIC DESIGNER

Jack Loel PRODUCTION AND BOOKSTORE MANAGER

Caitlin Aloisio Shearer INTERN

Madeline Walling CONTRIBUTORS ISSUE #152

Giselle Au-Nhien Nguyen, Steve Dow, Briony Downes, Sally Gearon, Maya Hodge, Courtney Kidd, Leah Jing McIntosh, Josephine Mead, Jane O’Sullivan, Georgia Spain, Andrew Stephens, Michelle Wang SUB EDITOR

Paul Sutherland PRINT

Postscript Printing PUBLISHERS

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Art Guide Australia Wurundjeri Country, 43-47 Simpson Street, Northcote, Victoria 3070 Phone: 03 7044 9750 artguide.com.au Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia.

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Archie Moore, kith and kin, 2024, Australia Pavilion at Venice Biennale, 2024. photograph: andrea rossetti. © the artist. image courtesy of the artist and the commercial.

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Art Guide Australia is an independent bimonthly publication produced by Print Ideas.

ISSN: 091 091 593

Issue 152 Contributors

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

JOSEPHINE MEA D is a visual artist, writer and curator,

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

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

Australian writer and critic based in Naarm/Melbourne.

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.

SA LLY GEA RON works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing. She is the assistant editor at Art Guide Australia.

M AYA HODGE is a Lardil and Yangkaal emerging

writer and curator based on the lands of the Kulin Nation. Her practice is dedicated to disrupting colonial narratives and centering First Nations storytelling and sovereignty. Maya is published in Meanjin, Kill Your Darlings, Craft Victoria, Art Collector, Art Edit and Overland.

COURTNEY K IDD is a writer who has written for

numerous publications including the Sydney Morning Herald, British and Australasian Art Monthly, Artist Profile and VAULT. She is also an art consultant with Artbank, a federal government collection and art leasing organisation.

LEA H JING MCINTOSH is a critic, researcher, and

the founding editor of LIMINAL magazine.

living and working on Wurundjeri Woi Wurrung & Dja Dja wurrung Country (Australia).

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

GEORGI A SPA IN is a multidisciplinary artist based

in Naarm/Melbourne, Australia. Her practice spans painting, drawing, sculpture, music and film, and often sits at the intersection between figuration and abstraction, where she seeks to explore the nuances and uncertainties of the human experience. She graduated with a BFA in Painting from the Victorian College of the Arts, University of Melbourne in 2015.

In 2020, Spain was the recipient of the Brett Whiteley Travelling Scholarship and in 2021 was the winner of the Sir John Sulman Prize for her work, Getting down or falling up (2021).

A NDR EW STEPHENS is an independent visual arts

writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

MICHELLE WA NG is an art consultant and writer

based on Gadigal land. She curates public and digital art projects at Art Pharmacy, and her writing on film, fashion and art can be found in The Saturday Paper, Harpers Bazaar, The Monthly and The Guardian.

A RTIST CONTR IBUTORS for Yayoi Kusama

essay To Infinity and Beyond: Glenn Barkley, Hannah Gartside, Sam Leach and Hiromi Tango.

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Previews W R ITERS

Michelle Wang, Giselle Au-Nhien Nguyen, Courtney Kidd, Briony Downes, Steve Dow and Josephine Mead.

Sydney/Eora A Transcore of the Radical Imaginatory Julie Mehretu Museum of Contemporary Art 29 November—27 April 2025

Urgency, energy and interconnectedness underpin the stellar practice of Ethiopian-born New Yorker, Julie Mehretu, whose work will make its Australian debut at the Museum of Contemporary Art (MCA) this summer.

Often monumental in scale, Mehretu’s unique language of abstraction straddles the history of painting Julie Mehretu, Black Monolith, for Okwui Enwezor and architecture alongside contemporary themes (Charlottesville), (detail), 2017–2020, ink and acrylsuch as global capitalism, climate change and migration. ic on canvas. image courtesy and © julie mehretu, “Abstraction is something that you cannot define, you photogr aph: tom powel imaging. cannot necessarily hold it,” Mehretu says of her experiential paintings, “there is an opaqueness to how you think about and how one experiences the painting.”

Audiences have connected with Mehretu’s luminous work most recently at the Palazzo Grassi, Venice, and at the Sharjah Biennial, Gwangju and Venice Biennales. Curator Jane Devery says that Museum of Contemporary Art is the first venue to present a solo exhibition of Mehretu in the southern hemisphere.

It’s a distinct opportunity for audiences to view the artist’s impressive and multi-layered practice.

“Her extraordinary TRANSpaintings (2023-2024) are an exciting recent development,” says Devery. “These free-standing paintings, which are framed in aluminium sculptural supports made in collaboration with the Berlin-based sculptor Nairy Baghramian, are intricately layered and translucent, inviting a viewing experience that is dynamic and constantly changing.”

A historical overview of Mehretu’s drawings will also be shown alongside a recent body of iridescent gestural paintings, Femenine in nine (2023). They proffer a heady visual and sonic meditation on the conditions of darkness and instability that define the contemporary era. — COURTNEY K IDD

r ight Julie Mehretu, TRANSpaintings (oneiromancer), 2023, installation view, They departed for their own country another way (a 9x9x9 hauntology), White Cube Bermondsey, London, 2023, ink and acrylic on monofilament polyester mesh in an aluminum sculptural frame conceived by Nairy Baghramian. image courtesy and © julie mehretu, photogr aph: theo christelis.

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Canberra/Ngambri On Scale

Australian National Capital Artists Inc (ANCA) 20 November—8 December On Scale, an exhibition co-curated by Bruce Reynolds and Ruth Waller, asks 12 artists to explore scale: from the miniature to the monumental. The exhibition, which spans painting, drawing, textiles, sculpture and installation, addresses varied considerations particular to each artist’s practice. It also explores the relationship of these works to each other and the gallery space.

The show highlights the characteristics of weight and lightness, density and tension and the contemplation of scale as it shifts from the physical to the metaphysical and beyond. The responses range from engagement with the organic and ecological such as in the case of Dan Power’s intricate drawings and David Helmers’ sculpture, to systems of geometry in Emma Beer’s and Katrina Barter’s abstract paintings, and S.A. Adair, Scale of emptiness, (detail), 2024, mixed even cosmic scale, in Lisa Sammut’s collaboration with media on paper & wood, 200 x 125 x 60 cm.

David Greenhalgh.

To Waller, the scale at which each artist works requires a different level of bodily engagement, such as the “intensity and intimacy of an intricate small scale, or a more expansive level which engages the whole body.” Reynolds describes how this “scale relationship between the object and its author” imprints on the “performative nature of making, which displays a consideration of scale.” This translates into how the viewer perceives the works and the emotional value and meaning associated with scale.

The curatorial brief invites rich discussion but also reflects the distinct scale at which ANCA gallery and studios operate by providing artists with much-needed space to explore and share their practices. In this respect, On Scale is a celebration of the artistic freedom enabled by creative space—mentally and physically.

— MICHELLE WA NG

Alice Springs/Mparntwe Clay on Country: Ceramics from the Central Desert

New England Regional Art Museum 15 November—2 February 2025

In 2022, Apmere Mparntwe—the Australian Ceramics Triennale—was held on Arrernte Country. As a part of it, Artback NT developed Clay on Country, an exhibition that has since hit the road to showcase the diversity of ceramics from the region, featuring both established and emerging artists.

Jayanna Andy, Tjukula/waterhole, 2022, wheel Co-curators Jo Foster and Neridah Stockley have 40 thrown stoneware, underglazes, sgraffito, years of combined experience. The pair are familiar with 5.2 x 22.5 x 18.5 cm and 20 x 30.5 x 23.5 cm. artists and techniques from the desert. Workshops held image courtesy of sar a maiorino. in remote communities facilitated skill-sharing, assisting in the creation of new work from first-time makers.

A unique aspect of the show is its cross-cultural nature, featuring Indigenous and non-Indigenous artists. The First Nations work largely involves Tjukurpa—ancestral stories—while other work deconstructs colonial history

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and environmental concerns such as fracking. “You don’t often get a chance to get First Nations and other cultural groups exhibiting together, so that made it quite dynamic and exciting,” Stockley says. “People have all different types of practices that can work alongside each other and cross over.”

Set to tour the country until July 2026, Clay on Country is currently showing at New England Regional Art Museum (NERAM). “This is a wonderful opportunity for regional NSW audiences to see and engage with high quality, interesting ceramics coming from the Central Desert, and to connect with national First Nations and contemporary Australian arts discourse,” says Belinda Hungerford, exhibitions manager at NERAM. “To be able to present an exhibition of this calibre, which focuses on connections to Country, is an important way to show a different aspect of contemporary ceramic practice.”

Adds Stockley: “The desert is a very broad, diverse region. It’s about a 600km radius for this exhibition—it’s very true to the place.” — GISELLE AU-NHIEN NGU Y EN

Bendigo/Dja Dja Wurrung Country Rob McHaffie: We Are Family Bendigo Art Gallery On now—27 January 2025

Melbourne-born figurative artist and ceramicist Rob McHaffie takes a global view of human idiosyncrasy. His biggest exhibition to date, We Are Family, mostly covers the 46-year-old’s past 10 years of painting; the street life of commuters, dog walkers and hipsters in his adopted tree-change home in Castlemaine, in central Victoria, where he lives with his wife, Nartchanok (“Nok”), who is a chef, and their two young children.

There are some earlier works, too: a Henri Rousseauinspired 2012 piece called The Night We Met Was Wild, featuring Nartchanok in a jungle, hangs next to Nok in the Street in Carnegie, from 2018, depicting her against a brick wall with a child after the couple had eaten dumplings in the Melbourne suburb. “It’s a nice gap in time,” Rob McHaffie, Did you bring your Polaroid?, 2024, McHaffie laughs. The pair met at a film launch in Thailand, oil on linen. courtesy of the artist and darren after McHaffie took up an Asialink residency in Malaysia knight gallery.. at Rimbun Dahan in Kuang, near Kuala Lumpur, in 2011.

“There was a little bit of flirting and dancing that night,” he recalls. They fell in love on a subsequent trip to Bali.

A couple of Matisse-inspired gauche works depict their first child, born in Bangkok. Collage-based works come from the same period, when McHaffie would cut up Thai Vogue magazines and recompose them to make pictures of people who struck him during their time in the capital, such as a homeless man who watched the traffic all day. “I love eccentricities; they wake up my heart a bit,” he says. “I might do a journal drawing, perhaps a watercolour, and if they’re still with me, I’ll compose a painting out of it.” — STEV E DOW

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Melbourne/Naarm Elizabeth Mbitjana Pitijana Niagara Galleries 13—30 November

For Elizabeth Mbitjana Pitijana, the story of Arnwekety (bush plum) is a precious family gift. The Anmatyerr artist, who lives at the Camel Camp outstation in Utopia, about 250km northeast of Alice Springs, comes from a long line of painters, including her father, Motorbike Paddy, and late mother, Kathleen Ngale. Her parents’ dreaming was of Arnwekety, a food source in the Central Desert. Now, Pitijana dreams it to life, too.

Elizabeth Mbitjana Pitijana, Arnwekety (CAT# 8-24), 2024, acrylic on linen, 122 x 150 cm. courtesy the The artist has had her work shown at group artist and niagar a galleries. photo by anu kumar. exhibitions as far afield as London and exhibited with her father at Darwin’s Outstation Gallery in 2023—a show that included both of their interpretations of Arnwekety side by side. Her first solo show in Melbourne also focuses on the fruit, and rewards careful viewing and close examination to notice and appreciate all the intricate details. Every so often, a tiny splash of colour will disrupt the black and white.

“Her work is truly unique and striking—she has developed a recognisable and distinctive style utilising subtle tones to almost monochromatic effect,” says Bill Nuttall, director at Niagara Galleries.

The influence and love of her Country and culture is palpable in these paintings, but Nuttall admires, too, the echoes of other forms of contemporary art.

“For me, Elizabeth’s palette is remarkably evocative of important minimalist artists such as the late Robert Hunter and the late Ad Reinhardt, both of whom were well known for their spare white paintings, often with the inclusion of subtle undercurrents of primary colour,” he says.

This show may only include Pitijana’s paintings, but the memories of her family are there, too. Considered all together, their dreamings of Arnwekety make up a triptych of generational experience. — GISELLE AU-NHIEN NGU Y EN

Hobart/Nipaluna Paper towns and abandoned places Janine Combes Plimsoll Gallery 30 November—8 December 2024

Janine Combes, The words are here, 2024, vintage book box, engraved copper, patina, 12 x 8.5 x 7 cm. courtesy janine combes.

Janine Combes’s practice revolves around the meaning imbued within a place and the objects attached to it.

Exploring these ideas and how they translate into the experience of belonging, Combes has used her background as a jewellery maker to create a new body of work inspired by abandoned towns once marked for settlement in Tasmania.

“I am interested in materials as well as their stories,” says Combes. “My interest grew from the idea of using these towns as a poetic vantage point from which to view contemporary relationships to place, what we know and what we do not know of their pasts, and how these stories

r i g h t Elizabeth Mbitjana Pitijana, Arnwekety (CAT # 408-23), 2023, acrylic on canvas, 101.6 x 76.2 cm. courtesy the artist and niagar a galleries. photo by anu kumar.

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are connected to my history as a fifth-generation Tasmanian of both free settler and convict heritage.”

Much of Combes’s source material comes from objects gifted to her, found in op shops or abandoned in specific locations. Fragments of household items, old coins, wooden boats and metal buttons still speak to their history and former purpose, despite having been cut, heated and transformed by hand into something new. Along with texture, a defining feature of her work is a technique Combes calls ‘words with soft edges.’ Often inscribed into her metal surfaces is text that flows over the edges. “I’m riffing on the idea that people like the suffragettes used coins like an early form of social media,” she explains. “They engraved words into their coins and circulated them into the population.”

Coombes also repurposes antique furniture she has painted black as plinths.

In the gallery, the artist arranges her objects as though they are tumbling off the edges like scattered findings from an archeological dig, while others hang from the ceiling and are twined with barbed wire. As she puts it, “For me, learning to belong involves knowing the stories of place, acknowledging and learning how to fit with our history, and living in a way which is less exploitative and more connected to the environment.” — BR ION Y DOW NES

Gold Coast/ Yugambeh Country Here and Now: Gold Coast Triennial HOTA On now—16 February 2025

The Gold Coast Triennial launched at Home of the Arts (HOTA) in 2021, aiming to represent the depth and dynamism of the city’s artistic community. Three years Kathy Mackey, Artefacts of Leisure, 2024, (still on from the inaugural exhibition, Solid Gold: Artists image), 3 channel digital video installation. from Paradise, the Triennial returns for round two courtesy of the artist. © k athy mackey. with Here and Now. photogr aph: claudio kir ac. commissioned for “It really takes the temperature of the cultural sector here and now: gold coast triennial. of the Gold Coast at the moment” says Susi Muddiman OAM, director of gallery and visual arts at HOTA. “There are a lot of younger artists, their ideas and personal histories are quite contemporary, and reflect what’s happening in the world right now. We wanted to capture that in the title—it’s work that’s created now but it’s also about now.”

The exhibition has grown from 19 participating artists in Solid Gold to 42 in Here and Now—including Larissa Warren, Kathy Mackey, Llewellyn Skye, Shaun Daniel Allen (Shal), Meg Jeffery and Sebastian Moody—with six creating new commissions. Through seven interconnected spaces and a central salon-style display, the works range from installation, sculpture, ceramics, painting, printmaking and video. “It lends itself to a really engaging format for visitors. The artworks radiate off from the central location, and you can dip in and out of the artist’s sections.”

A range of events are programmed to run alongside—and complement—the exhibition, from cocktails with curators, panel discussions, ‘Artist in Conversation’ dinners from the culinary arts team, and ArtLab workshops that enable visitors to create and take home their own works that respond to the exhibition. “I think people will be surprised by what’s being produced,” says Muddiman. “We’re not a huge city, but there’s a lot to choose from.” — SA LLY GEA RON

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Sydney/Eora Kerameikos: the potter’s quarter Chau Chak Wing Museum On now—3 August 2025

Seven leading Australian ceramic artists are reinvigorating one of Australia’s oldest museum collections by creating a contemporary potter’s quarter–known as the ‘kerameikos’ in Ancient Greece.

In devising the ‘kerameikos’, the seven artists were brought together for a week-long residency at Sydney’s Chau Chak Wing Museum. This revolved around deeplearning sessions that saw the artists guided through Kerameikos (installation view of Kirsten Coelho’s the vast collection by the curatorial team. They offered works, Elegy for Twelve Maidens), Chau Chak Wing insights on items from Bronze Age Greek figures, to a Museum, 2024. photogr aph: jacquie manning.

Torres Strait bird specimen and Chinese ceramic cats, followed by periods of individual reflection and ideation.

For curator Candace Richards, fostering this intensely collaborative atmosphere for a group of artists who usually practice independently in their own studios was “curatorially the most enriching experience,” as she witnessed their knowledge sharing and joint problem solving. This collaborative framework further revealed to Richards the importance of having “multiple perspectives on a single moment” to move beyond the singular version of history represented by cultural institutions.

The works in the exhibition reflect this polyvocal focus. Juz Kitson’s terracotta sculptures re-interpret the legendary ancient myth of the Odyssey by representing the 12 maidens arbitrarily hung by Odysseus on his return home—an elegy to the historical and ongoing prevalence of gendered violence. Meanwhile, Glenn Barkley employs his signature kaleidoscopic usage of colour and form in a ceramic installation involving a shelf with collaged details representing artefacts, potters and kilns, surrounded by a round dell made of thousands of handmade coins, coin stamps and objects of antiquity. Monica Rani Rudhar offers a dazzling reinvention of ancient artefacts via oversized terracotta jewellery pieces with glistening gold and green lustres that speak to her own Romanian and Indian cultural heritage.

For Richards, the process of bringing this new exhibition and permanent collection to life is part of a far more expansive curatorial conversation around the role of museums today. It sheds light on the future of our cultural landscape—one that lies in igniting new connections between stories of the past and present, and building trust between cultural institutions and living artists. — MICHELLE WA NG

Fremantle/Walyalup An invitation to dance

PS Art Space, in partnership with Cool Change Contemporary 9 Nov—21 Dec

Kristen Brownfield, Jemi Gale, Audrey Tan, Jess Tan, Clare Wohlnick, work in progress, 2024, digital collage, dimensions variable.

An obvious statement: artmaking is integral to art.

Process can sometimes get lost behind product, but any maker knows that time spent in the studio playing with materials, trying new things out and pottering, is where the magic happens. Jess Tan is invoking the pottering methodology— “tinkering with things in a process-lead practice”—in a new exhibition at PS Art Space, in partnership with Cool Change Contemporary.

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An invitation to dance is a collaborative project between Kristen Brownfield, jemi gale, Audrey Tan, Clare Wohlnick, and Jess Tan herself, who says, “I wanted to make this connection between us because there’s a crossover of material ethics, of how we consume things and how our practices incorporate slowness and reuse, contemplating materials in the studio.”

Oscillating between rope woven from shredded corn husks, felt tapestries made with recycled wool offcuts, a curtain collaged from detritus, and lo-fi jewellery-based sculptures, the pieces in An invitation to dance are not just in conversation, they are playfully riffing off each other. “When I initially thought about the show, I wanted it to be about material curiosity,” says Tan. “I imagined materials dancing throughout the space, creating this levitating, meandering thing.”

Alongside individual pieces will be a collaborative installation between the artists, in an intentional “blurring of authorship”. The pieces are also not necessarily designed to be ‘complete’, in the traditional sense. “We’re not trying to produce a final outcome,” says Tan, who prefers to view materials as “things that are temporal, fleeting.” She says that they can “come together, be pulled apart, and then we can use them for something else.” The artist wants people to think about an alternative form of labour production: “a slow trickling but progressive rhythm that seeks to challenge the working method of being efficient and producing things.”

— SA LLY GEA RON

Melbourne/Naarm this time last year Emma Phillips

ReadingRoom 9 November—February 2025

Emma Phillips’s forthcoming exhibition at ReadingRoom will shine a light on the breadth of her practice. This will be her first exhibition with ReadingRoom since 2019, amalgamating several projects from the last decade. Phillips explains, “my work is one huge series, a continuation that builds. Like the ‘beach’ pictures from 2016— they are linked to the indoor portraits I make now, which are linked back to ‘dreamscape’ images I made when I started photography.”

Taking over both rooms of ReadingRoom, the exhibition will consist of several iterations, with installed works changed Emma Phillips, Untitled (portrait throughout the exhibition period. The first iteration will with melting ice cream), 120mm film, risograph print, 2016 (printed incorporate approximately 50 risograph printed snapshots 2024). courtesy emma phillips and from the summer of 2015-2016 and drawings, a new medium readingroom. for Phillips that she employs, here, photographically. The instantaneousness of her drawings can be likened to the immediacy of the snapshot. The show also includes large-scale silver gelatin prints of landscapes, portraits of Phillips’s friend Charlie, originally taken for a PHOTO / Metro Tunnel commission and works that engage the artist’s extensive polaroid collection.

The works will celebrate Phillips’s knack for catching moments of unbridled humanity, showing a deep respect for sitter and landscape while considering the functions, failures and possibilities of photography. As Phillips explains, “I like showing pictures that are aesthetically ubiquitous, too common, failed, under or overexposed. I’m not interested in making the perfect print.” It is this openness that allows Phillips to collapse and expand the ways we can ‘see’ a photograph.

— JOSEPHINE MEA D

r ight Emma Phillips, Untitled (bedside table), 2024, oil on canvas. courtesy emma phillips and readingroom.

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Self Reflections Jack Ball’s new work challenges the extractive history of the archive while searching for shapes that can articulate the complexity of trans life.

Jack Ball’s practice, eternally grounded in the object of the photographic print, has slowly begun peeling itself from the walls. Drawing on collage as queer methodology, Ball explores trans experience, queer intimacy and desire through colour, photographs and installation. Ball’s use of collage aligns with queer theorist Jack Halberstam’s “conceptualisations of trans bodies as made through a process of “continuous building and unbuilding”. Ball has consistently used the collage process to build and unbuild reflections of self. As the artist explains, “my practice was very architectural, structural. I was working with formal abstraction and making sets in the studio. In 2015 I made a shift. My early work was still very bodily, but much more contained and formal. Now the objects are coming in.”

The work Ball has developed for a solo exhibition at PICA titled Heavy grit, is both a departure from and reference to past projects, where sculptural elements have been formal and pragmatic—such as the rigidity and constraint of metal frames created to hold prints in works like PDA (2019–2021).

These frames remained rigid but began to become unsettled in Night Diver (2021). Ball’s embrace of collage as cutting device, through slicing prints into organic shapes for Heatwave (2022) and Sticky notes (2022) pushed further towards a relaxing of material. For this new work, Ball further embraces the organic, returning to methods of casting to create wax forms and sewing soft sculpture. Snake-like, amorphous, bodily appendages will be used as props

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Josephine Mead

for display—in a more relaxed fashion than their predecessors. They will squeeze and hold up images and act as visual frames. Images will entangle, still never departing too far from the considered and polished aesthetics synonymous with Ball’s work.

Ball’s close-up photographs of studio assemblages appear like visceral body parts. The viewer can never be quite sure of what they see. Ball plays with visual vocabularies to elude, without fixing. This ambiguity echoes the relationship between queer agency and vocabulary. We haven’t always had the words that we need to define our own (and collective) becomings.

We’ve often existed inside the spaces of lack within language. Ball has found their own visual language to examine this complexity. A series of new photographic works for the show, created from staged studio assemblages, have an alphabetic quality.

Simple acts, like inverting the colour of an image—a visual reference to the Xray—speaks to the medical engagement that can accompany trans experience and the queer history of the word ‘invert’. The viewer doesn’t need to be privy to these deeper conceptual choices. These decisions create a sense of queer experience—opening space for the viewer—without being overt. Queerings of time, colour, and form speak for themselves. r ight Jack Ball, from the exhibition Heavy grit, 2024, inkjet print on hemp rag, 110 x 160 cm. image courtesy the artist and sweet pea, perth/boorloo.

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“Ball plays with visual vocabularies to elude, without fixing. This ambiguity echoes the relationship between queer agency and vocabulary. We haven’t always had the words that we need to define our own (and collective) becomings.” — JO SE PH I N E M E A D Jack Ball, from the exhibition Heavy grit, 2024, inkjet print on hemp rag, 135 x 170 cm. image courtesy the artist and sweet pea, perth/boorloo.

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Jack Ball, Tight Crop 5&6, 2023. image courtesy the artist and sweet pea, perth/boorloo.

For Heavy grit Ball has mined daily images that have been circulating in their studio for the past few years. While the artist’s practice has consistently assembled and drawn from archives, it’s important to distinguish that this work is not just a personal archive project. Ball explored the Australian Queer Archives, commenting that “at the AQuA I found a collection of scrapbooks made over a long period of time, with newspaper clippings referencing trans people.

Experiences of archives pop up in different ways throughout the show and are not always super visible.

I’m dealing with fragments and glimpses of archives.”

We cannot know for certain the intent behind archival material, unless we are able to communicate with the person said material originated from—and even then, memory can play tricks. Ball is sensitive to the complexities of this. They are welcoming, rather than filling, the gaps.

This sense of fragmentation extends to notions of longing, echoing the slippery uniqueness of trans and queer experience. When we spoke, Ball didn’t mention the name of the owner of the journals. They are just as careful to ensure their wider practice speaks to their truth, leaving spaces for others to find reflections

of themselves without trying to define or speak for anyone else. This is work that is cognisant of the sensitivities and conditions that shape trans experience.

It is work that recognises how these conditions and the personal and social outcomes they create, are individual and in flux. Ball recalled feelings of transphobia in the scrapbooks—an experience they have personally reckoned with, coupled with suggestions of deep care and desire. This new work uses shapes from newspaper clippings, rather than textual content, to create an abstracted glimpse, rather than a document of the archive. Ball is always careful to reference, without extracting. Their abstracted reflections of archives nod to historical and personal queer stories, without speaking for bodies that are not their own.

Through collage Ball has developed a material approach for trans and queer art making, allowing space for new modes of personal world-building.

Heavy grit

Perth Institute of Contemporary Art (Perth/Boorloo WA) 25 October—22 December 2024

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Family Ties For Lardil and Yangkaal writer and curator Maya Hodge, Archie Moore’s presentation at this year’s Venice Biennale is a powerful symbol of reckoning—one that asks the world to bear witness to the long shadows of colonial violence and clears space for possibilities ahead.

W R ITER

Maya Hodge

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a ll im age s Archie Moore, kith and kin, 2024, Australia Pavilion at Venice Biennale, 2024. photograph: andrea rossetti. © the artist. image courtesy of the artist and the commercial.

When the news broke that Archie Moore’s kith and kin won the Golden Lion for Best National Participation at La Biennale di Venezia 2024, it was historic not just for Aboriginal art but for so-called Australia. This exhibition, arguably the most prestigious award in the art world, will be remembered as a turning point.

Seeing the news of Archie’s win shared widely on social media by Blackfullas in the arts and beyond, was heart-warming for our communities. Reading Archie’s acceptance speech represented a moment of profound recognition. “Aboriginal kinship systems include all living things from the environment in a larger network of relatedness, the land itself can be a mentor or a parent to a child,” he says. “We are all one and share a responsibility of care to all living things now and into the future.” His words made our people feel heard.

To speak about the importance of kinship on such an international stage is monumental, especially after the pain our communities endured with the failed referendum and its aftermath. In Native Title is Not Land Rights! a 2023 book by Common Room Editions, Gumbaynggirr activist, academic and writer Professor Gary Foley, writes that, “History would be a wonderful thing, if only it were true.” His words have resonated with me. I’m struck, in particular, by the way that Archie investigates through his research how the real history of this country has been obscured, unveiling it through his practice. Professor Foley reminds me of the immense power that Aboriginal artists and activists hold, channelling truth through material and memory.

Archie’s earlier works, United Neytions (2018), permanently displayed at Sydney Airport’s International Terminal, is a pivotal example of how his practice challenges misconceptions of national identity. This series of 28 flags critiques anthropologist R.H. Mathews’ inaccurate map, which falsely suggested that there were only 28 Aboriginal nations.

This work weaves a narrative that confronts the false histories written by those in power. Euahleyai/ Gamillaroi legal academic, writer, filmmaker and advocate Larissa Behrendt AO states that United Neytions provokes questions about our relationships to national identity and how we represent ourselves.

This relates, more specifically, to the way tourism propels this at an international level. kith and kin builds on these ideas, expanding them in scope and audience. kith and kin presents a hand-drawn familial tree in white chalk across black chalkboard walls and the ceiling. At the room’s centre are rows of redacted coronial inquests detailing the deaths of 557 Aboriginal people murdered in custody since 1991, each document displayed at various heights. A shallow pool of water surrounds these papers, reflecting the kinship tree above. kith and kin is a ground-breaking and deeply-felt reflection on the racism that still occurs today.

The installation encapsulates the power of art to convey stories of survival, grief, and resistance.

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“The work is both deeply personal and intensely political, reminding us of the ongoing fight for justice. It sets a precedent in global art for the ways we can collectively, as a nation, move forward in truth which honours our kinship systems.” — M AYA HOD GE

This powerful and heart-wrenching image connects Archie’s ancestors, family, and kin who have perished at the hands of colonial violence. The work is both deeply personal and intensely political, reminding us of the ongoing fight for justice. It sets a precedent in global art for the ways we can collectively, as a nation, move forward in truth which honours our kinship systems.

This is also the first time an Aboriginal artist— or any Australian—has won this accolade. Archie’s long-spanning career has been defined by researchbased representations of personal identity, national histories and the structures of racism. He addresses these complex concepts by recreating his childhood memories, creating rooms of the significant moments in his young life. Archie’s practice sparks a conversation between archival and family research in speaking to policies and injustices.

Dwelling (Victorian Issue), which was shown at Gertrude Contemporary in 2022, explores these ideas through an immersive installation. In a 2022 conversation with Paris Lettau, Moore describes the work as “a kind of metaphor for the failure of reconciliation…and more so personally, the failure of others to understand me.” This series will expand, in its seventh iteration, into a new moving image work presented at the Samstag Museum of Art as part of this year’s Adelaide Film Festival. This version of Dwelling, like kith and kin, will speak to memory and the ongoing effects of colonisation, as a vessel of truth-telling, family stories and healing.

As a young Aboriginal woman emerging in my own practice, writing this reflection feels daunting as I’ve admired Archie since art school. However, there’s a common thread between myself, Archie and every single Blackfulla. As Kombumerri and Wakka Wakka

academic and author Dr Mary Graham writes in a 2008 article in the Australian Humanities Review: “The two most important kinds of relationship in life are, firstly, those between land and people and, secondly, those amongst people themselves, the second being always contingent upon the first. The land, and how we treat it, is what determines our human-ness.”

Meaning the common thread between Aboriginal people is our relationship with the land, and therefore, with one another. This connects to the everyday resistance that we all experience. kith and kin offers a raw insight into identity, truth, and the legacies of colonial violence. The time Archie spent drawing this kinship tree and stacking the 557 piles of inquests, is testament to the way that he has carved out space to speak to injustice and the way our people persevere in shifting narratives.

His practice, creativity and vision allow us to glimpse the horizon of common ground. kith and kin creates dialogue and space that enables our communities to envision a world where our existence is acknowledged. He asks us all to confront the past and the present in the hope of forging a pathway where our storytelling isn’t written on the wall but upheld with care and respect for future generations.

kith and kin

Australia Pavilion, Giardini di Castello, La Biennale di Venezia 2024 On now—24 November

Dwelling

Samstag Museum of Art (Adelaide/Kaurna Country SA ) On now—29 November

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Studio

Nathan Beard

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AS TOLD TO

Giselle Au-Nhien Nguyen

PHOTOGR A PH Y BY

Leah Jing McIntosh

Symbols and images dance across Perth/ Boorloo artist Nathan Beard’s vast body of work, all connecting back to his Thai-Australian heritage. From photography and rendered sculpture to drawing, the multidisciplinary artist uses a range of materials, methodologies and archival research to playfully and thoughtfully investigate the layers of meaning in his cultural and social background and surroundings.

Through his work, he brings a new perspective to age-old questions of diasporic identity, memory, authenticity and influence.

Beard is a Gertrude Studio Artist, working out of the studio space in Preston, Victoria.

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“The way that my mum decorated was ephemera, bric-a-brac, anything colourful and nice and shiny. It was a very earnest way of trying to elevate her own taste.”

— N AT H A N BE A R D

P L AC E

N AT H A N B E A R D : I moved to Melbourne at the end of

June last year to start the residency program here for two years. It’s definitely created a lot of organic opportunities—you’re thrust in people’s faces a bit more than being in Perth.

This is not like my previous studio, which was predominantly storage of works. It’s much more of a working area because the space is such a luxury—so this is where I’ve been doing messier stuff, like casting and pouring things. I try to prioritise being here at least four or five days a week. There’s a new sense of discovery in getting to know the other people in the studio.

PROCESS

N AT H A N B E A R D : I don’t really have a regular process;

I work in very spontaneous bursts. Right now, the studio process is focused on repairing and remaking things and trying to finesse them. A lot of the time it’s basically forcing myself into a second space so I can commit to administrative duties—easing into the day with emails and things like that, the boring stuff they don’t prepare you for in art school. I’m pretty intuitive—there’s a lot of messing around on the internet and trying to find a spark for my next idea.

I did the research into the David Jones Art Gallery archive last August, so it’s taken a while to get these ideas off the ground and going, but I enjoy the luxury of moving slowly. I like pondering ideas, sitting on it and thinking through it.

PROJ EC TS

N AT H A N B E A R D : I’m creating a single body of work

across two solo exhibitions, Ratana at Sweet Pea Gallery and Sedula Cura at FUTURES next year.

The common throughline is examining Thai cultural objects in Australian state and national institutions that were purchased from David Jones’s art gallery from the late 60s through to the 80s, when they would frequently have exhibitions of Thai and Southeast Asian art. I’m interested in the art gallery as a conduit between the commercial retail space and the museum; and status, taste and luxury.

Not all of the works are going to be straight up reproductions but reimagined in the style of visual merchandising that would be relevant to the department store setting.

There’s an angle of it being reparative in a way, because a lot of these artefacts are not on display— you have to request collection views of them and access the bowels of these institutions. These are mainly Buddhist objects which have a function in a religious sense, as part of a ritual. They’re denied that through this lack of visibility. In a way, this body of work is about trying to re-present them.

The way that my mum decorated was ephemera, bric-a-brac, anything colourful and nice and shiny.

It was a very earnest way of trying to elevate her own taste. Glass ties into that sense of ornamentation and decoration. It is a material that I’ve always been drawn to—it speaks to this idea of excess and

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ornamentation that I think is related to decoration around Buddhist Thai temples. I’m very interested in this idea of taking Thai artefacts and using technologies to try to reproduce them in an unexpected medium, reimagining them in a more esoteric craft way that speaks to a style of making more prevalent in Thai art historically.

I’ve used processes of casting and reproduction in my work before. The challenge here is that I’m trying to recreate objects that are traditionally found in other materials, like stone or bronze, but then reimagine them in another material.

The works for the FUTURES exhibition will be produced in cast glass, which is going to be more of an opaque form, and that is going to be produced through the assistance of Canberra Glassworks.

Ratana for Sweet Pea is imagining works in blown glass through the studio of a glass artist named Ruth Allen. That’s going to be more hollow— translucent and glossy forms that are produced through the blowing of glass into a mould form as opposed to the heating and pouring of glass. So, you’ve got one show of solid, transparent forms, and one of ghostly, hollow ones.

I’m interested in exploring Thainess and the different contexts and influences that shape an understanding of what Thainess is, especially within a Western context—it’s very much rooted in biography.

I’m interested in influences that shape perceptions or understandings and disrupting those expectations.

The sense of self-exoticisation that happens within Thailand and through diasporic Thai communities reinforces Western expectations. It reinforces the fraught nature of authenticity or the authentic self, and the slipperiness of these influences. That uncertainty is exciting for me because I think it can be expressed through a lot of different visual formats and materials.

Ratana was the name of my mother when she moved to Australia. It translates to crystal, or glass.

Ratana

Sweet Pea Gallery (Perth/Boorloo WA) 7 December—18 January 2025

Sedula Cura

FUTURES (Melbourne/Naarm VIC) 6 March—5 April 2025

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A Stitch in Time A new exhibition at the Art Gallery of South Australia shows us how textiles evoke material memories while keeping the radical lineage of needle and thread alive.

A radish is not what usually springs to mind when thinking about textiles. For Rebecca Evans, curator of decorative arts and design at the Art Gallery of South Australia, the connection is clear.

“When you think of a textile, you automatically have this vision of women of a certain age producing something very sweet and docile, but I like to go back to the origins of the word radical, which comes from the Old Latin word for root,” she says. “It was originally used to describe root vegetables like the radish. It is about coming back to what is important, the root of something.”

Bringing this idea to curating an exhibition, in Radical Textiles Evans and co-curator Leigh Robb look at textiles as an outlet for expressing what is truly essential or fundamental. Drawing a long bow to take in works from across two centuries, among the 150 pieces included in the exhibition are couture fashion, handmade banners, quilts, soft sculpture, photography and large-scale textile-based art works.

“We’re looking at not just purely visual art practice, we are also delving into community and communal projects,” says Evans. “That opens up a whole new world of opportunities to show other types of work.”

Also thematically linking the works together is a shared quality of existing outside of the status quo and using materials in unexpected ways. Artists Kait James, Sarah Contos, Paul Yore and Sally Smart combine text and materials like plastic beads, sequins, paint and PVC, while Meriam Mir designer Grace Lillian Lee incorporates techniques used in palm-leaf

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Briony Downes

weaving to create Future Woven Floral Forms (black) 3, 2020, a contemporary reimagining of her grandmother’s 1948 wedding dress.

Comparatively, history is layered onto fabric in British artist Grayson Perry’s huge 3.6 metre jacquard tapestry Morris, Gainsborough, Turner, Riley, 2021. Visually referencing the work of William Morris, Thomas Gainsborough, William Turner and Bridget Riley, looking at Perry’s work gives the impression of peering through time, as though ghostly apparitions of artworks bleed together in unison. Hanging nearby is The Adoration of the Magi, 1900–02 by Morris & Co, the only tapestry commissioned and made specifically for Australia by the English textile workshop.

Arriving in Adelaide in 1902, the tapestry contributes to the AGSA’s permanent collection of Morris & Co material—the largest of its kind outside of the UK. Best known for his whimsical, nature-inspired wallpaper designs, founder William Morris was a major driver in the revival of intricately crafted textiles in the mid-1800s. He is most recognised for Strawberry Thief, a highly decorated repeating design featuring thrushes stealing strawberries amid a lush garden. Evans points out appearances are not what they seem.

“When I think of radical textiles, I automatically go whizzing back in time to William Morris. More than a century later, we might mistake the cute little birds eating strawberries on the farm for being quite traditional.

But Morris is the ultimate radical in terms of art history. He was a socialist. He wrote amazing poetry.

Grayson Perry, Morris, Gainsborough, Turner, Riley, 2021, acrylic, cotton, merino wool, viscose, polyester, 274 x 360 cm. james and diana r amsay foundation 2023, art gallery of south, austr alia, adelaide, © gr ayson perry, courtesy victoria miro; photogr aph: jack hems.

Morris & Co., The Adoration of the Magi, 1900–02, designed 1887, wool, silk, 251.2, x 372.5 cm. morgan thomas bequest fund 1917, art gallery of south austr alia, adelaide.

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Various makers, AIDS Memorial Quilt, Block 70, early 1990s, mixed-media, textile, 360 x 364 cm. samesh (south austr alian mobilisation + empowerment for sexual health) and thorne harbour health. photogr aph: gr ant hancock.

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“Rejecting the view of textiles as a purely homely craft, in Radical Textiles the needle and thread is an accessible yet powerful vehicle for communication, reflecting moments of social change, politics and activism, as well as holding close deeply personal subject matter.”

— BR ION Y D OW N E S

He was aligned with the suffrage movement, and he was very interested in environmental concerns that were happening because of the industrial revolution.”

Displayed at AGSA for the first time, the NELL ANNE QUILT, 2020-2024 (named after the artist and New Zealand artist Anne McCahon) is a collective quilt making project initially developed as part of a residency that Sydney-based artist, Nell, undertook at Auckland’s McCahon House in 2023. Described as “a homage to women’s creativity and craft, work, and labour,” the quilt is sewn together from 441 handsewn patches featuring the names of women—both real and fictional—who have served as inspiration to the makers of each patch.

Holding memory in a similar way to the NELL ANNE QUILT is the AIDS Memorial Quilt. First developed in the USA in 1986, the quilt is made up of patches handsewn with the names of family, friends and lovers lost to HIV/AIDS. Now with multiple chapters across the world, Australia launched its own AIDS Memorial Quilt in 1988, and Radical Textiles features Quilt Block 70 from South Australia.

“At the time the AIDS Memorial Quilt began, it was politically, culturally and socially complex to talk about family members who had died of AIDS-related illnesses. Each quilted piece becomes like a surrogate for people and their stories. The NELL ANNE QUILT has over 400 names of women stitched by those whose lives they impacted. These works literally hold space for people whose names and contribution to the world is largely invisible.”

Rejecting the view of textiles as a purely homely craft, in Radical Textiles the needle and thread is an accessible yet powerful vehicle for communication, reflecting moments of social change, politics and activism, as well as holding close deeply personal subject matter. As Evans concludes, “Textiles always sit at the genesis of history, whether that’s industrial relations, the rights of women or the civil rights movement. The practice has always been there and there have always been amazing practitioners plowing along with their work.”

Radical Textiles

Art Gallery of South Australia (Adelaide/Kaurna Country SA) 23 November–30 March 2025

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Stranger than Fiction: Magritte and Cao Fei René Magritte and Cao Fei speak to each other across cultures and eras about the way that perception can unsettle reality—and the places the real intersects with the surreal.

I was about 15 when I decided my favourite artwork was René Magritte’s The Lovers, having seen an image of it in a high school art class textbook. I think it was the melodrama of the whole thing. The blatant challenge to us, the voyeuristic viewers. The question of the lovers’ identities—who are they? Do they know each other? Can we ever really know someone?

And why, among the melodrama, does it also feel so sombre? This last question, I later learnt the answer to. One interpretation of the shrouded faces is that they reference his mother’s suicide, which some Magritte scholars believe permeates much of his work. A gentle sadness peppered throughout a predominantly playful oeuvre.

Having found my first art crush, I progressed through the catalogue: relishing in the cleverness of The Treachery of Images and The Human Condition, the humour of The Listening Room, finally settling on a new favourite in The Empire of Light (it didn’t hurt that it influenced the iconic movie poster for The Exorcist.)

Nicholas Chambers of the Art Gallery of New South Wales (AGNSW) tells me that he had a similar experience of enamour after coming across a Magritte monograph at an early age. “He’s quite a singular figure in European modernism,” he says.

“One of the things that’s interesting about his art is that, from very early on, it is attuned to the philosophical dimension of images. When we look back on his practice, it’s less about formal or stylistic evolution, and more about a development of visual ideas.

He learnt the traditional techniques and subjects of European painting but used them to devise new ways of representing the world.”

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Sally Gearon

Chambers has curated Magritte, Australia’s first large-scale retrospective on the artist. The exhibition is part of Sydney’s International Art Series, which last year brought Louise Bourgeois and Kandinsky to the AGNSW. This time, two similarly different exhibitions take the stage. Magritte is occupying the gallery’s Naala Nura building, while the newer Naala Badu building is housing My City is Yours—the largest ever Australian retrospective of Chinese multimedia pioneer Cao Fei. “Cao Fei is a great world builder,” says Ruby Arrowsmith-Todd, curator of My City is Yours. “The exhibition is an invitation into her world, which is a world of neon, a world of street dance, a world of pop music, a city familiar and warped, real and virtual.” Whether building digital cities on Y2K-era virtual platforms (as she did in RMB City: a Second Life city planning, 2007), or a recreation of an iconic, now-closed Sydney yum cha restaurant (one of two new Sydney-specific commissions in the show), Cao’s work is at once of this world and of another entirely. It hints at the future while referencing the past. It’s the feeling you get watching a sci-fi film made in the 80s and set in our present.

“Her world is one that collapses boundaries,” says Arrowsmith-Todd. “It’s this artistic universe where time is out of joint, reality slips into fantasy, people tap in and out of virtual realms, and radical disjunctive upheavals are an everyday fact of life.

The works are sometimes very futuristic—she’s always been at the forefront of using new media—but at the same time she’s deeply interested in social history, and in technological pasts which never came to fruition. She’s interested in speculative worldbuilding that both looks forward, but also looks back.”

Cao Fei, Oz, 2022, (video still), dual-screen digital video, colour, sound, 1:36 min, 9:16, music: Ma Haiping. © cao fei. courtesy the artist, vitamin creative space and sprüth magers.

René Magritte, Golconda (Golconde), 1953, oil on canvas, 80 x 100.3 cm. the menil collection, houston, v 414 © copyright agency, sydney 2024, photogr aph: paul hester.

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“It’s this artistic universe where time is out of joint, reality slips into fantasy, people tap in and out of virtual realms, and radical disjunctive upheavals are an everyday fact of life.”

— RU B Y A R ROWSM I T H-T ODD

Cao Fei, Nova, 2019, (video still), single-channel HD video, colour, sound, 97:13 min, 2.35:1. © cao fei. courtesy the artist, vitamin creative space and sprüth magers.

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René Magritte, The face of genius (Le visage du génie), 1926, oil on canvas, 75 x 65 cm. musée d’ixelles, brussels, mj 31 © copyright agency, sydney 2024, photogr aph © photothèque r magritte / adagp images, paris, 2024.

In preparing to write this piece, I initially thought the connection I could make between Cao Fei and Magritte was obvious. In the Surrealist Manifesto, André Breton describes the intention of the surrealist movement to “resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality.” At first glance, Cao’s worlds fit within this description. They appear as futuristic dreamscapes toying with hyperreality. But the closer you look, the more you see her focus turned inward, examining the lives of the people around her.

She documents rapid urbanisation and digital revolutions because she is interested in lived realities, in “transformations on the street, in the factory, and at the family house.” It’s seen in the way she incorporates Sydney’s diasporic community into this exhibition.

Arrowsmith-Todd describes her determination “not to just have a blockbuster that’s transplanted from one city to another.” She says that the exhibition has been developed specifically for Sydney. “Cao Fei has taken a lot of inspiration for the history and material culture of Chinatown itself.”

Magritte, even as an unmistakable icon of the surrealist movement, had a similar predilection for a more inward focus. “Surrealism is often thought

about as a singular monolithic art movement,” says Chambers. “But within it there are so many different artistic positions, different versions of surrealism.” He describes how Magritte was less interested in the ideas that preoccupied his peers, such as automatism, psychoanalysis and the power of spontaneity. “He was someone who thought very deeply about the power of the image. He brought a more analytical perspective to the movement. He was also an artist tuned into the everyday—he revealed the strangeness embedded within the spaces and objects that surround us. The mystery of the ordinary.”

Magritte

Art Gallery of New South Wales Naala Nura, south building (Sydney/Eora NSW) 26 October—9 February 2025

My City is Yours

Cao Fei Art Gallery of New South Wales Naala Badu, north building (Sydney/Eora NSW) 30 November—13 April 2025 63

The Paradox of Painting

with Ben Quilty W R ITER

Georgia Spain

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Ben Quilty, Homeland, 2014, oil on linen, 202 x 265 cm.

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A Torana’s crumpled bonnet. The haunted gaze of a soldier. Skulls and Rorschach blots done in a thick, bruising impasto. The signifiers of a culture shaped by undercurrents of violence and a white, male psyche at war with itself have animated the paintings of Ben Quilty for the last two decades. Here, Quilty—the subject of Ben Quilty: 20 Years, an upcoming retrospective at Jan Murphy Gallery—talks to Georgia Spain about the wrestle with mythology that has defined his career. He also shares, with his fellow painter, the contradictions of joy and suffering and a belief in art as an antidote to an increasingly volatile world.

Ben Quilty, Kylie Asleep While I Draw Her, 2010, oil on linen, 50 x 60 cm.

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GE ORGI A SPA I N

Tell me Ben, what have you been working on?

BEN QU I LT Y

I’m about to go to Korea with Jan Murphy Gallery for a two-person show with Betty Muffler. I’m a huge fan of Betty’s. I’ve just been to her homeland Indulkana and art center, Iwantja.

Betty’s one of the senior people in that community. Jan wanted to put us in a show together and I couldn’t do that without at least contemplating a way of responding to Betty’s work. There’s Betty with 60,000 years of accumulated cultural knowledge, and here’s me with 160 years in Australia, and unknowable Irish DNA in my blood. I’m making more and more works that are delving into Catholicism from when I was a kid and the violence of that kind of upbringing. And how we create these myths and figureheads as a way of hiding from the fact that we don’t have a thousand years of accumulated cultural knowledge, let alone 60,000 years. So, I made a series of gnome paintings. The gnomes will just be a salon hang—almost like some colonial trophy wall of gnome heads. Then, in the other part of the space are these massive, mesmerisingly mythical paintings by Betty Muffler.

GS

They’re both tied to ideas of mysticism and myth.

But like you say, we have so little to grasp onto that we try clinging onto anything. It’s like, gnomes—that’ll do!

BQ

Yep that’ll do, that’s all we’ve got.

GS

They’re flimsy myths and there’s something comical about that too.

BQ

Yes, like Santa Claus. Santa’s this massive big bloke who smokes a lot of cigarettes and breaks into kids’ rooms in the middle of the night. There are ways to read the mythology around that Christian event.

It’s mad.

GS

Your work is humorous but it also carries a darkness and grittiness.

BQ

Thanks. Well, you and I are using paint to try and pose similar questions. I think that’s what drew me to your work at the beginning, that it felt like you were exploring. And without that cultural background, it’s an eternal search. I remember in the 90s, there was this big move to Buddhism, and then [the next decade] we see Buddhist monks running through refugee camps in the Rakhine State killing Rohingya people. I think with such short tracks on the planet culturally speaking, we are searching for something to cling onto. And you and I have painting. There [are] no rules, no guidelines. We can go anywhere.

GS

Yes, there’s this endless well of things to draw from: the turmoil, the anguish, the pain of the world. It’s overwhelming at the moment. It’s everywhere you look. That’s something I think about in my practice. How can I use painting as a way to process that?

BQ

At the end of the day we’re just trying to get ideas out of our head about who we are and how we feel about being alive on the planet. And for you and I, it’s very much within the boundaries of having this really short cultural and national genetic identity. So, what are we saying? How are we responding? We can’t tell people how we think, unlike Betty Muffler, who has the most profound way of communicating her understanding of who she is. I think that explains the mad fight for a search for our own identity in the West, because we are so brief.

GS

Many of your paintings [feature] images of fighters. That’s a recurring motif in your work.

Do you struggle with the act of painting? Does making paintings have to feel hard?

BQ

The harder it is the better they become. And really, hard in what context? We’re not living in a Rohingya refugee camp. For some reason our community has a lot of mental blocks around creativity. I think the notion of a ‘practice’ is an attempt to overcome all of that. It’s just turning on a tap rather than having to navigate writer’s block, which is all made-up rubbish.

We’re alive and we’ve got access to coloured mud and a brush. So, go for it and find the confidence to just pour out your ideas. The biggest part of that is not being worried about making a mistake.

GS

And to not worry what anyone else really thinks about it?

BQ

That’s the most important thing. And then it becomes as close as you can get to a spiritual pursuit, like a religious pursuit. You and your “God”, you know?

It’s powerful.

GS

It’s a powerful medium. Your paintings communicate who you are, they’re undeniably you. I think that extends to everything we make as artists, that we can’t escape or hide from who we are.

BQ

Yes, and yours too. But we’ve got to push it outside that. It’s so easy for that visual language to become the most important thing in a painter’s practice. You can get stuck in that. It’s like handwriting and your handwriting’s neat so then you just keep writing neatly. If I’m in a comfort zone, then I’ve got to get out of there.

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Ben Quilty, New York, 2000, oil on canvas, 94 x 99 cm.

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Ben Quilty, Self After Injury Study, 2018, oil on linen, 71 x 61 cm.

“There’s too much to make work about and a lot of it, for me, comes from anger, in the sense that injustice really boils me. — BEN QU I LT Y GS

How do you personally do that? Do you set yourself parameters?

BQ

I change materials often. I’ve been working in acrylic recently, which I find mind-blowingly difficult. It’s just not got the lustre. There are so many different ways of working—using ink or making sculpture. I’ve just made a bronze with oil-based clay. Then, when I come back to paint it always feels like I’ve reinvigorated something.

GS

Is painting always a place for letting out that anger, fury, rage?

BQ

I’m probably a much happier person because I have an outlet for that anxiety and anger. I think now in 2024, we’re more aware of what’s happening all over the planet. Whereas a hundred years ago, people were living in blissful ignorance.

GS

GS

It’s a blessing and a curse, I think, having access to everything. The constant reminder of the paradox that joy and suffering exist simultaneously.

BQ

I recently went down a bird flu rabbit hole about what was going to happen to several threatened bird species, particularly black swans in Australia.

My phone just keeps feeding me this stuff. Now [that] we have these phones where we can look at anything anywhere in the world right now without moving, it feels like a lot of us have become more parochial.

We have access to everything and seem to look inward more than ever.

I know you have a deep commitment to having a routine and structure around your practice. Is it a struggle to find the right balance with the other important things your life?

Well, there’s nothing I want to do more which makes it easy to have that practice so rigid, but it fits in around other people. There are three people in my home, and I have to fit around them. I don’t work into the middle of the night. I probably did a lot more late nights before we had kids.

GS

You’re not afraid to tackle the ugliness of the world in your work. You don’t paint pretty things for the sake of painting pretty things, right?

BQ

What’s the point of that when the most vulnerable humans are being decimated and I have Indigenous friends who are living with the greatest social inequality? There’s too much to talk about. There’s too much to make work about and a lot of it, for me, comes from anger, in the sense that injustice really boils me. And through painting you’re responding to something in a far more measured way than social media. You’ve got to go through a process, and it takes weeks, if not months or years to actually respond. It’s a far more sophisticated way of responding.

A lot of the work I’m making at the moment is about climate. About how, for example, Australia’s become the dumping ground for huge V8 cars. Most other countries have realised that encouraging self-indulgent burning of fossil fuels is going to kill us all. And yet we have more of them than most other countries on the planet. There is so much to make work about.

BQ

GS

How do you stay optimistic about the future of the world?

BQ

I’ve been criticised for being pessimistic in the past.

I am very aware that we’re a tiny blip in the universe and I have spent a lot of time camped out with people who have pretty profound understanding of how they fit into the universe. Most of my work is about humans, so it’s never going to be really pretty. But I like being human. I love being a dad. I love my kids. I love [my wife] Kylie. I love being alive, and spending time in my studio is such a privilege. At the same time, I want to make a difference. I want to stand up for stuff. I’m never going to stop doing that.

Ben Quilty: 20 Years

Jan Murphy Gallery (Brisbane/Meanjin QLD) 19 November—7 December

Twitcher

Maitland Regional Gallery (Maitland/Wonnarua Country NSW) 12 October—16 February 2025

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Speaking Volumes The growing cultural interest in art books reflects the enduring power of the printed word.

Jane O’Sullivan takes a closer look.

Art books are portable museums—or that’s how we like to talk about them. They can be inspiration or something to push back against. When Lindy Lee was a young artist, she found a Jan van Eyck book in the art school library and started photocopying.

The grainy images got her thinking about the original and the copy, identity and value. The moment led to works like Untitled (After Jan van Eyck) (1985) and The Silence of Painters (1989), and a critical new chapter in her practice.

Books are present in Anne Zahalka’s practice too.

For her Kunstkammer (2023), the photo artist made a life-size, trompe l’oeil recreation of her studio, complete with images of the neat binders on her shelves and a towering bookshelf. As an artist who works with historical compositions and methods of display, it was no surprise to see this proof of her research and curiosity, but the bookshelf in Kunstkammer felt surprisingly personal, like a mind laid bare. And that’s the thing. So many of us have stories about the books that have shaped us, from the chance discoveries to the treasured gifts from friends, and even the ones that got away. Books are research tools. They’re critical for artists, curators and audiences. But they’re often so much more.

Not to be coy. Monographs in particular have their role in the art market too. They’re markers of success. They record the breadth of an artist’s practice, and the critics, curators, galleries and institutions that have shown an interest. A good monograph has the power to set the narrative for decades.

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W R ITER

Jane O’Sullivan

That means that while the emphasis is firmly on the cultural value, like so much in the art world, there’s often an exchange rate.

As one Australian arts publisher says on their website, “A book is a lasting legacy.” We take it for granted that books stay in circulation a long time, though arts publishing has its challenges. The market here is small. Data is patchy but print runs can range from 200 for an artist photo book to 1,000 to 2,000 for a major monograph, while themed or survey titles can target a wider art and design audience. In this tough landscape, it’s no small achievement to see titles like Atong Atem’s photobook Surat, co-published

by Perimeter Editions and Photo Australia, reach a second printing.

The recent emergence of new art libraries points to further obstacles. Australia already has several specialist libraries but as Melbourne Art Library’s founder Nell Fraser notes, they typically only exist within the state galleries and larger institutions.

“It changes from library to library,” she says. “But some can be very difficult to get into unless you’re a student or a recognised researcher.”

The Melbourne Art Library was founded in 2020 to provide a more accessible option. It began as a doorstop-drop service and is now a lending library with a wide program of events, workshops and artists-in-residence. It’s growing quickly. The collection focuses on Australian art and history and includes magazines and ephemera like exhibition room sheets. There are already about 3,500 items, with more to be catalogued.

Illustration: Carla McRae.

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“So many of us have stories about the books that have shaped us, from the chance discoveries to the treasured gifts from friends, and even the ones that got away. Books are research tools. They’re critical for artists, curators and audiences.

But they’re often so much more.”

— J A N E O’ SU L L I VA N

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The new library has been welcomed by local artists. “Some are at university. Some have left university, or have never been to art school, but it’s a really wide range,” Fraser says. “We get a lot of people from design backgrounds too, so graphic designers and fashion designers, who love working with good quality art books as source material.”

One of Fraser’s guiding lights is Artexte in Montreal, a decades-old independent library with a substantial collection. “We want Melbourne Art Library to be a collection that has longevity,” Fraser says. “Setting up those formal structures so it exists in perpetuity, in the public realm, was really important.”

It’s run as a not-for-profit and overseen by a board.

But libraries are hardly money-making exercises and, as Fraser has discovered, they don’t easily fit existing grant programs either. Fraser hopes to continue building private support, and also to keep expanding the programming and collection. (Donations are welcome but please check with the library first.)

There are also growing networks in Sydney.

The Art Gallery of New South Wales now has a vast public reading room and children’s library. The private Magenta House Redfern has added a 2000strong library, open by appointment. 4A Centre for Contemporary Asian Art has also established a library onsite, cataloguing the thousands of books collected over the organisation’s 28-year-history.

“A lot of the books in the collection are quite rare and unique,” says director Thea Baumann. “They’re not books that have received extensive distribution.”

For Baumann, the 4A library is about addressing a significant gap in public resources on contemporary Asian art and culture. While it’s still new, she sees it becoming a resource like the Asia Art Archive in Hong Kong. “We’re hoping for it to be a research hub for independent curators and a broader public that want to find out more about contemporary Asian art and culture,” she says. The new catalogue is searchable online. Like Fraser, Baumann says she is also thinking about programming and events, “so it’s not a library that’s gathering dust”.

Libraries are just one sign of the work going into getting books into readers’ hands. There are specialist bookstores, including Perimeter and independent distributor Books at Manic, along with events such as the Melbourne Art Book Fair and Same Page Art Book Fair. There are also a surprising number of publishers. There are the traditional publishers, like the international heavyweight Thames & Hudson and Australian firms Wakefield and New South, along with dedicated arts specialists like Art Ink, Perimeter Editions and Formist, as well as an extensive cast of institutions, commercial galleries and arts organisations.

Many new publications are group efforts.

The Countess Report, an independent artist-run research project, self-published CoUNTess: Spoiling Illusions Since 2008 with support from Creative Australia and Creative Victoria. Meanwhile, Ramesh Mario Nithiyendran’s monograph, Ramesh, was backed by Create NSW. It was published by Thames and Hudson Australia, which also published Vincent Namatjira’s self-titled monograph, which coincided with his solo exhibition at the Art Gallery of South Australia and the National Gallery of Australia. Roslyn Oxley9 Gallery worked with Formist to produce The First 40 Years, and the immense new monograph on Dale Frank was co-published by Neon Parc and Perimeter Editions. Of course, there’s a long history of institutions and galleries taking on the work of documenting exhibitions and artists’ practices. What’s curious is that the scope and creative ambition of these projects seems to be growing.

Different pressures and trends are at work here, but they’re guiding art books further into the sphere of collectable design objects. Some new monographs are now marketed as limited editions, like Sarah Contos’s Eye Lash Horizon. This language is not all that distant from artist books. Price is perhaps one reason. Large format, heavily illustrated titles are expensive to produce. At the upper end, Roslyn Oxley9 Gallery: The First 40 Years is $110. The Dale Frank monograph is a cool $220. But arts audiences also place a high value on the experience. Dale Frank Artist, Artworks 2006–2023 is a hefty 37cm tall, signaling the grand scale of Frank’s works. Ramesh conjures a sense of the artist’s practice though bold colours and layouts, while Gemma Smith’s Found Ground from a few years ago had an inventive folding cover, setting out her playful approach to her practice. Art books are often creative statements in their own right.

At the same time, a wave of new art books is challenging dominant narratives, such as Variations: A More Diverse Picture of Contemporary Art, co-written by Tristen Harwood, Grace McQuilten and Anthony White and published by Monash University Publishing. Many of these new projects are guided

by First Nations artists and thinkers and embody decolonial approaches, like the stunning monograph Madjem Bambandilla on the Wergaia and Wemba Wemba artist and activist Kelly Koumalatsos. This year also brings the publication of Brook Andrew’s marramarra on Indigenous artists working with history and healing, and the substantial exhibition catalogue 65,000 Years: A short history of Australian art, edited by Marcia Langton and Judith Ryan. Art books are records of changing cultural values, among their many other roles.

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Poetic Relations Bringing together 70 artists from 30 countries, the 11th Asia Pacific Triennial of Contemporary Art fosters connections across cultures and borders, and translates cultural knowledge for the present day.

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W R ITER

Steve Dow

Dana Awartani, Saudi Arabia, Palestine b.1987, Standing by the ruins, (detail, installation view, Rabat Biennale, Morocco), 2019, compressed earth and pigment, Installed dimensions variable. courtesy of the artist. © dana awartani.

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left Wardha Shabbir, Paths to Portals, 2024, gouche on acid-free paper, 28 x 40.6 cm. courtesy: the artist and sabrina amr ani gallery, madrid. © wardha shabbir. r ight Lepamahanga Women’s Group working on Fala Kuta e Toa Ko Tavakefai’ana, 2024. photogr aph: aunofo havea funaki.

War and cultural destruction are echoed in art amid this deeply conflicted geopolitical moment.

In Standing by the Ruins, a floor-based installation

by Jeddah-born and based artist Dana Awartani at the 11th Asia Pacific Triennial of Contemporary Art in Brisbane, geometry and craft combine with the Arabic trope of “ruin poetry”. Today, the form, founded in pre-Islamic times, offers the inspiration of rebirth in the rubble.

Awartani, 37, who is of Palestinian, Saudi, Jordanian and Syrian descent, is creating a floor to be contemplated rather than walked upon; jewel-like with a subtle earth-coloured palette, and the repeating patterns that are found in mosques.

Reflecting on recent crises in the Middle East, Chris Saines, director of the Queensland Art Gallery and Gallery of Modern Art (QAGOMA), says the installation “talks about a sense of healing and reconciliation from the damage and the harm done by conflicts to the ordinary people who live through them”.

Awartani “works with artisans making these adobe dwellings with this long history in that part of Arab world”, adds Tarun Nagesh, curatorial manager of Asian and Pacific Art, citing Awartani’s installation as emblematic of this triennial’s emphasis on cultural knowledges that have been subject to devastation over decades and centuries. It will be the first time Saudi Arabia will be represented at the Triennial, which aims to make lost cultural heritage accessible again.

From November, the Asia Pacific Triennial, which was established in 1993, will present some 500 artworks from 70 artists across 30 countries for its 11th iteration. About 50 to 60 per cent the artworks are usually acquired by QAGOMA. “What really differentiates this project from others like it, is we travel and do in-country research, several times [in] each of the countries involved,” says Saines.

He says the Asia-Pacific curatorial team, working with the Australian and other curatorial teams, must deal with “tricky” logistics, working for instance, in Nepal, with the collective TAMBA and its video, woodcut prints, textiles, installation, music, photography and poetry. It’s one of four projects co-curated with arts professionals and community on the ground.

“We’ve been to Mongolia several times [but] we’ve only been to Uzbekistan for the first time this time—it just simply doesn’t have a cultural infrastructure, so obviously getting work out of that country is logistically very complex,” says Saines. Challenges include getting artworks out by small boat to be transferred to big vessels or planes, or Australian customs restrictions on materials that can be brought into the country.

Paired with the Saudi work will be an enormous weaving made of freshwater reeds from the Tongan island group of Vava’u, led by artist ‘Aunofo Havea Funaki and the Lepamahanga Women’s Group.

Nagesh says the work is an “extraordinary 15-metrelong woven mat that this huge group of women have created, incorporating various motifs and patterns,

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left Kim Ah Sam, Where our journey takes us, 2022, (detail, installation view, Outer Space Window Gallery, Brisbane), twine, raffia, bamboo and emu feathers, dimensions variable. image courtesy: outer space and kim ah sam. © kim ah sam. photogr aph: louis lim. r ight Rithika Merchant, Temporal Structures, 2023, gouache, watercolour and ink on paper, 105 x 150 cm. courtesy the artist and tarq, mumbai. © rithik a merchant. below Haus Yuriyal working with ground paints on Kuman (shield) designs, Jiwaka Province, Papua New Guinea, August 2023. © haus yuriyal and digine dickson / photogr aph: digine dickson.

“. . . the triennial acknowledges that contemporary art thrives in multiple ways throughout our region and [strives] to create a show not relying on American, Eurocentric understanding or approaches.”

— TA RU N N AGE SH

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and it nicely encapsulates one of the themes in the forthcoming triennial—the care relationships with the environment, for they are custodians also taking care of this fresh body of water”.

Such collectives are often located in remote regions, taking their time to yield material projects. In the case of the Haus Yuriyal collective of artists from the Papua New Guinea highlands, there is a notable diasporic approach, led by Brisbane-based artist Yuriyal Eric Bridgeman. Some of the collective live in live in the Jiwaka and Simbu provinces while others are based in Australia. In QAGOMA’s sculpture yard, they will exhibit paintings of fighting shields, carved tree fern sculptures and a video picture house in which films will be shown. They have also planted a harvest garden.

New commissions abound. Thai artist Mit Jai Inn, for instance, is building a maze-like installation in the institution’s water mall, with tunnels, curtains and scrolls, a little like the torqued steel ellipses of the late American artist Richard Serra but in “pure colour”, says Saines. For Nagesh, meanwhile, the triennial acknowledges that contemporary art thrives in multiple ways throughout our region and [strives] to create “a show not relying on American, Eurocentric understanding or approaches”.

One substantial body of work that is not a new commission is Māori artist Brett Graham’s Tai Moana Tai Tangata, which will occupy the full length of GOMA’s long gallery.

Graham’s Cease Tide of Wrong-Doing from 2020, a ten-metre high tower made of Kauri tree and metal, testifies to the relationship between Taranaki and Tainui Māori, centred around New Plymouth on New Zealand’s North Island. It also highlights their involvement in the Māori wars, fought with British troops.

On display will be a dray cart, a type of horsedrawn wagon, that Graham has recreated (and which QAGOMA has acquired). It was used by Māori to take food out to British surveyors, offering sustenance to strangers whose presence would only bring them harm.

“It was like a Mahatma Gandhi gesture,” says Saines, “and, to me, one of the most moving works in the show.”

11th Asia Pacific Triennial of Contemporary Art

Queensland Art Gallery | Gallery of Modern Art (Brisbane/Meanjin QLD) 30 November—27 April 2025

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Yayoi Kusama

15 December—21 April 2025 National Gallery of Victoria (Melbourne/Naarm VIC)

TO INFINITY BY

Hiromi Tango Sam Leach Glenn Barkley Hannah Gartside

A ND BEYOND

Mirrored galaxies that unfurl in all directions. Polka dots that seem to dance mid-air. Pumpkins rendered in Crayola colours that touch on something childlike in our consciousness. The work of singular Japanese artist Yayoi Kusama is remarkable for its ability to transcend language and reflect what it means to be human. In her art, darkness coexists with a capacity for joy and play and wonder. This December, the National Gallery of Victoria will premiere Yayoi Kusama, the largest-ever presentation of the artist’s work in Australia, featuring 180 works including the artist’s latest Infinity Room and a newly staged version of her legendary 1966 installation Narcissus Garden.

Ahead of the show, Art Guide invited four artists to respond to the influence of Kusama on their own practice—and meditate on what her work means to them.

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Hiromi Tango on the power of Kusama’s art

Portrait of Yayoi Kusama, c.1939. image courtesy of the artist. © yayoi kusama.

Etude—Love song for Kusama Yayoi Sensei Dear Kusama Yayoi Sensei, If this love song may ever reach you by any chance, I thank you deeply for freeing us. You have long been an inspiration and role model for me, as you have courageously used your art to open conversations about mental illness in a loving and generative way—in spite of societal taboos. Your expansive interior worlds have the power to bring us all into the beauty and chaos of your mind, which mirrors our minds in 2024.

I have always admired how you use art to learn how to live with the hidden monsters I believe are living in each of us. [Your] proliferation of dots, lights and colours seem like a prayer for peace and harmony, while also providing a means of exorcising 82

the cacophony of voices within. It becomes a beacon of hope for others who are struggling with internal chaos. The discipline of creating countless points of light as a means of quieting the mind generates a feeling of infinite beauty and calm.

As an artist with lived experience of anxiety and obsessive behaviours, I am so deeply grateful for your commitment and bravery. I want to continue to believe in humanity. I will continue to sing love songs with you.

With love and deep gratitude, Sincerely yours, Hiromi

Hannah Gartside on Infinity Mirror Room Phalli’s Field (1965)

Installation view of Yayoi Kusama’s Infinity Mirror Room – Phalli’s Field, 1965, at the Castellane Gallery, New York. © yayoi kusama.

In the early 2000s I remember visiting the Queensland Art Gallery and poring over the early 60s photographs of Yayoi Kusama. She was so sexy, and peaceful looking—partially nude, with heavily made-up eyes and covered in dots. From the ground level, I could hear the orbs in her Narcissus Garden clinking against each other as they bobbed about in the water. Kusama had made her own world, one in which she made perfect sense. I was in awe.

Kusama’s disgust of heterosexual sex first led her to cut out, stitch and stuff hundreds (thousands?) of phalli in the early 1960s. She attached them onto furniture and everyday objects to form

surprising sculptures. Through the repetitive acts of making her big thick worms she transmuted her fears [and] they became something funny.

Infinity Mirror Room Phalli’s Field (1965) is the first installation in which Kusama used mirrors in a way that sectioned off the known world. In her own words, the mirror’s repetition created “endless space”. The phalli (stitched out of red polka-dot cotton fabric) form a kind of landscape, and Kusama walks, stands, or lies in the field. The mirrors in Kusama’s Infinity installations also serve to place us, her viewers, completely within the realm of her imagination.

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Glenn Barkley on obsession in Kusama’s art

Yayoi Kusama. courtesy of ota fine arts. photogr aph: yusuke miyazaki. © yayoi kusama.

Yayoi is sitting in her studio waving at us. Endlessly making, forever and ever.

Surrounded by her work she seems happy and content—the work is the work. Here paintings are covered in loops and marks, nets that will envelop her and eventually us. It seems to me that this is the place where Yayoi might be happiest, in that space of no time—the studio.

When I think of Yayoi, I think about this impulse to work and the drive to transform. In all her work the idea of the horror vacui is apparent—every surface, every object, and in her Infinity Rooms, air and space itself is covered in repetitive marks, colour and shape.

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In some works, like her Obliteration Rooms, you become the obsessive and impulsive one but it’s always her guiding principle.

It’s in her paintings that this obsession seems most direct and personal—from her 60s webs and nets through to her recent work where searing colour and pattern burn its way onto the retina.

It is labour made manifest, fecund and overwhelming.

It’s a state to aspire to.

Hello Yayoi, I am waving back to you.

Endlessly making, forever and ever.

Sam Leach on Narcissus Garden

Installation view of Yayoi Kusama’s Narcissus Garden, 1966 at the 33rd Venice Biennale. courtesy of ota fine arts, victoria miro and david zwirner. © yayoi kusama

Kusama’s Narcissus Garden is a prophetic work that anticipated the fusion of art, self-reflection, and commodification. First shown in 1966, just a few years after the Soviet launch of Sputnik, her silver orbs evoke futuristic imagery. Much like the satellite reflecting the world back at its viewers, Kusama placed these orbs at the Venice Biennale, presenting the audience with their own image.

Narcissus Garden astutely suggests that one of the things people often seek from contemporary art is the feeling of being the sort of person who engages with contemporary art. This is especially true at events like the Venice Biennale, where attendance itself becomes cultural capital.

The orbs’ mirrored surfaces showed people this interaction long before social media allowed people

to record and display their cultural participation.

The multitude of orbs reflected and re-reflected the images thousands of times, [as if they were] being reposted in real time. Kusama went further by selling the orbs during her performance, allowing viewers to take a piece of their self-reflective experience home, or back to their super-yacht.

Though quickly halted by event organisers, this act prefigures her complex relationship with art’s commercialisation. Narcissus Garden critiques the commodification of both art and identity, offering a prescient view of the entanglement between cultural capital and late-stage capitalism—an ongoing theme throughout Kusama’s career.

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20/20 Vision: On the Legacy of un Magazine un Magazine was conceived to champion courageous art criticism in an art world too often shaped by power and influence, a mission that still endures two decades on.

In late 2003, artist Lily Hibberd was at an exhibition opening in a long-gone artist-run space when a friend opined about the hopeless situation of ever getting press coverage of their shows. “The complaint of my artist friend at the opening was in fact one in a series of conversations I’d had over several months, but it was definitely the final one,” Hibberd says. “I went home that night and decided that we’d just have to start one.” Two decades later, that publication is still thriving: un Magazine.

Back then, says Hibberd, the artist-run scene was blossoming with new and exciting spaces, but the local publishing landscape was bare, having seen a series of experimental art magazines rise and fall, including Arts Melbourne (1976-77), Lip (1976-84), Art and Text (1981- 2000), and Agenda (1988-95).

“As is the way of all things quasi-independent, each of these had come and gone, though not entirely forgotten,” she says. “In 2001, the most recent art magazine, called Like, had been folded by its institutional host, RMIT. This occurrence was at the root of the widespread despondency in the Melbourne art crowd, not only for artists hoping to get reviewed but for curators and critics wanting to share ideas or prompt debate.”

In starting un Magazine, Hibberd was hoping to tap into the desire of artists and curators to write about art in more experimental ways, but to also draw on the art world’s collective capital without relying on

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an institutional framework or “for someone powerful to throw money or influence” at the problem. “I guess I had to thank my childhood growing up among the madcap theatrical world of The Pram Factory, which remains Melbourne’s main paradigm for grassroots cultural collectivism.”

Within months, Hibberd and others had compiled a list of authors for the first issue, Brendan Lee worked on a design, and the first un Magazine committee was formed. Others, such as Phip Murray, Andrea Bell, Amelia Douglas, Anusha Kenny, and Bill Gillies came aboard and, as Hibberd recalls, without them “there would have been no un, let alone the outrageous fun we had for the next two years.”

Audrey Pfister, the current general manager of un Projects—the umbrella body for the magazine and its related ventures—is celebrating the 20th anniversary with a special ‘best of’ publication, an art-print fundraiser and a series of talks at the Meat Market in North Melbourne. Pfister says the magazine’s longevity is indebted to the vision Hibberd and her colleagues forged. The magazine has continued its focus on emerging artists and experimental writing, and she notes that some of the many guest editors (selected for an annual term) have been especially interested in developing the craft of fearless, insightful art criticism—something that can be difficult to attract given the way so many people in the visual arts know each other socially, professionally or both.

un 1.1 (march 2004) Edited by Lily Hibberd. Cover image: Darius Kesminas and The Histrionics, ART IS EASY & all music is the same, Cherry Bar, Melbourne, June 2004. photogr aph: paul bell. courtesy un projects. un 11.1 (april 2017) Edited by David Capra and Amelia Winata. Cover image: Erica Englert & Skye Hellmann, 2017. courtesy un projects.

un 1.2 (november 2004) Edited by Lily Hibberd. Cover image: Laresa Kosloff, Deep & Shallow. photogr aph: brendan lee. courtesy un projects. un 12.1 (may 2018) Edited by Neika Lehman and Maddee Clark. Cover image: Julie Gough, The Lost World (part 2), (video still), 2013, HDMI video, 16:9, 1:15:32 duration, colour, sound, editing by Jemma Rea. courtesy un projects.

un 8.1 ( june 2014) Edited by Robert Cook and Benjamin Foerster. Cover image: Liz Chang. courtesy un projects. un 13.2 (november 2019) Edited by Hugh Childers and Bobuq Sayed. Cover image: Ariane Jaccarini, You stand in a flat terrain strewn with unusual grey rocks, 2019. courtesy un projects.

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un 15.2 (november 2021) Edited by Snack Syndicate (Andrew Brooks and Astrid Lorange).

Cover image: Sarah Ujmaia, How to Write a Star, 2021, graphite on paper. photogr aph: christo crocker.

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“In the spirit of un, it was more about what we were trying not to become. We wanted to be free from institutional rules and whims. We wanted to avoid being predefined by themes or theories to give the community a space to come up with their own ideas.” — L I LY H I BBER D

“We recently recruited new board members to come on at the end of the year, which is exciting,” Pfister says. “Audiences have also changed over the years. Last year, when the board had a strategic planning meeting and a chance to reflect on the organisation, they noted that as the magazine ages, so does the audience. In recent years we have been trying to engage with younger audiences and universities and to branch more out of Melbourne and Sydney, to be more national.”

Hibberd says there was no thought of targeting particular audiences in the early days; rather, it was a matter of embracing the community the founders already moved within. “Without being arrogant about this achievement, the longevity of un Magazine attests to something stronger and deeper than the audience model,” she says. “A lot of this momentum came from the commitment of artists and the dynamic artist-run gallery community all over Australia.”

As for goals, the magazine founders were wary of anything too concrete. “In the spirit of un, it was more about what we were trying not to become,” Hibberd says.

“We wanted to be free from institutional rules and whims. We wanted to avoid being predefined by themes or theories to give the community a space to come up with their own ideas.”

This gave un considerable flexibility, adapting and reflecting the community as it continued, even while it remained committed to some core principles such as paying writers and artists while also being freely accessible to readers: the print-version of un now has a cover price, but the digital issue on the un Magazine website (live from the first issue) remains gratis—and notable, says Hibberd, as the first Australian art publication to be offered online. “While un has been carried and cared for over two decades by so many different people, its independent ethos remains strong and will hopefully keep it going for many decades to come,” she says. un Magazine celebrates 20 years of publishing across Friday 6 December and Saturday 7 December.

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mcclelland.org.au

thewag.com.au

EXPLORING THE ABSTRACT

17 November 2024 – 16 February 2025

IPSWICH ART GALLERY | d’Arcy Doyle Place, Nicholas Street, Ipswich FREE | Open 7 Days | 10am-5pm | Ipswichartgallery.qld.gov.au Jonny Niesche, Feeling the way (in your image), 2024 (detail).

Image courtesy of the artist, 1301SW, Melbourne and Sydney, and STARKWHITE, Auckland.

ipswichartgallery.qld.gov.au

VOID_ MELBOURNE

Suzie IDIENS The Warriors and The Missing 31.10 - 23.11.24 voidmelbourne.org

CHARLES NODRUM COLLECTION

Aspects of Abstraction TOWN HALL GALLERY WED 6 NOV 2024 – SAT 18 JAN 2025 HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770 Image: Sydney Ball, ‘Canto No 7’, 1965, acrylic on canvas, 183 x 176cm, image courtesy of the Sydney Ball Estate.

boroondara.vic.gov.au/arts

Saturday 16 November – Sunday 19 January five letters cinque lettere, is an evocative exhibition

by Filomena Coppola which explores Italian migration, family, cultural loss and identity.

Image: Filomena Coppola, The Journey (earth) (detail), 2022. Colour pencil on paper.

Mildura Arts Centre 199 Cureton Avenue Mildura VIC 3500

milduraartscentre.com.au

milduraartscentre.com.au

five letters cinque lettere

five letters cinque lettere Filomena Coppola

Clarice Beckett Paintings from the National Collection Orange Regional Gallery 7 December 2024 - 9 March 2025 Clarice Beckett: Paintings from the National Collection is a National Gallery Touring Exhibition supported

by The Australian Government through Visions of Australia

Clarice Beckett, Sandringham Beach, c 1933, oil on canvas, 55.8 x 50.9 cm National Gallery of Australia, Canberra, purchased 1971 orange.nsw.gov.au/gallery

DAVID FAIRBAIRN THE SPACE BETWEEN THE LINES 24 OCT – 16 NOV Image: Large Head B.F. No.5, 2024, Acrylic gouache, pastel, charcoal, etching & ink on paper, 200 x 177cm

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

nandahobbs.com

Tais, Culture & Resilience WOVEN STORIES FROM TIMOR-LESTE 24 SEPTEMBER - 10 DECEMBER 2024 BURKE GALLERY

Tuesdays | Thursdays, 10am - 4pm FREE ENTRY Trinity College 100 Royal Pde Parkville VIC 3052 trinity.unimelb.edu.au

trinity.unimelb.edu.au

Adventure, Elves & Gumnuts: Australian Children’s Book Illustrators of the early 20th Century 7 December 2024 – 23 February 2025 A whimsical journey through the story of the ‘golden age’ of Australian children’s book illustration. Featuring original works

by Ida Rentoul Outhwaite, May Gibbs, Norman Lindsay and others.

Ida Rentoul Outhwaite Dignity and Impudence (detail), c.1910s–1920s Watercolour, pen and ink and pencil on paper, 47.5 × 37.7cm Collection National Gallery of Victoria Gift of Andrée Fay Harkness through the Australian Government’s Cultural Gifts Program, 2020 © The estate of the artist

GOVERNMENT PARTNERS

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

gippslandartgallery.com

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

4426 MHM_artguide_241009_3.indd 1

mhm.org.au/underground

9/10/2024 4:58 PM

GO BEHIND THE SCENES TO SEE MELBOURNE’S HIDDEN TREASURES. EXPLORE OUR ART AND HERITAGE COLLECTION.

Book a free guided tour today scan the QR code.

Visit the collection at Melbourne Town Hall 90-130 Swanston Street, Melbourne VIC 3000 Explore the collection online citycollection.melbourne.vic.gov.au

citycollection.melbourne.vic.gov.au

NATURE IN FOCUS 31 AUGUST 2024 – 5 JANUARY 2025 South Australian Museum | Open daily 10am – 5pm Tim Burgess, Angel Wings (detail). Finalist in the Aerial category.

Principal Sponsor

Production Partner

Prize Sponsor

samuseum.sa.gov.au

BOOK NOW Unlimited free VIP entry for Museum Members

leonardjoel.com.au

bhartgallery.com.au

artsproject.org.au

hbrg.com.au

Brian Robinson | Blooms, Beasts and Beyond 22 November - 21 December 2024 Brian Robinson, Spring + Sprout II (detail), 2023, Vinylcut printed in black ink from one block, 100 x 200cm, 2AP + Edition of 10. Photo: Courtesy of the artist and Michael Marzik.

onespace.com.au

Jan Learmonth: Passage—A Survey 7 December 2024 – 23 February 2025

Passage presents an immersive voyage through the wide-ranging ecological practice of this mercurial South Gippsland artist, whose work has long been characterised by imagination and innovation.

GOVERNMENT PARTNERS

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

gippslandartgallery.com

Jan Learmonth Hulk III, 2019 Mixed media 33 x 58 x 31cm Courtesy the artist. © The artist

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

LAUNCH / SATURDAY

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OCTOBER / 3 - 5 PM 12 OCT / 17 NOV

ALICIA KING Phenomenal Bodies

STOCKROOM

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

Not from there (detail), 2024 oil on canvas, framed 61 x 61 cm stockroom.space

murraybridgegallery.com.au

2024

Beth O’Sullivans work installed for coral growth at the National Zoo and Aquarium, 2024 | Photograph by Tim Bean

10 D ACT AYS O ONE IVATIO F N M EXH ONTH S IBIT O ION F S!

REGENERATE

01 10 NOVEMBER EXHIBITIONS/ WORKSHOPS/ OPEN STUDIOS/ TOURS/ TALKS/ MARKETS/ KIDS www.craftanddesigncanberrafestival.org

ArtGuide Full Page Print.indd 1

craftanddesigncanberrafestival.org

25/09/2024 1:36:17 PM

lintonandkay.com.au

Celia Perceval Bush Diary 30 October - 17 November Subiaco

Celia Perceval, ‘Everlasting Wildflowers at Yalgoo, WA’, Oil on linen, 76 x 91 cm

Claire Beausein Feature Artist Ripple Effect 14 November - 8 December Cottesloe

Claire Beausein, ‘Smells Like Rain III’ 2024 [detail], Indigo dye and applique on washi paper 45x45 cm

Warrick Palmateer Feature Artist Leeuwin Current 2.0 13 - 30 December Cottesloe

Warrick Palmateer, ‘Leeuwin Current X’ 2024, Kiln-fired earth (Ceramic), 42H x 53D cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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

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

lintonandkay.com.au

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

canberraglassworks.com

Hanging Earth, Grounded Stars Paradoxa Collective

Sourcing clay from the Creswick Clay Pit to make beads, Paradoxa Collective artists bring the earth into the air and a constellation of stars to the ground to contemplate what the Dja Dja Wurrung community refer to as ‘our upside-down Country’. In doing so, the artists enact and encourage the possibility of renewal through small acts of caring and connection.

19 October – 8 December 2024

ArtHouse, RACV Goldfields Resort 1500 Midland Highway, Creswick VIC 3363

For more information visit racv.com.au/art Image credit: Creswick Clay Pit, 2024, photography Penelope Aitken

racv.com.au/art

1–30 March 2025

Lucy Allinson, Darcey Bella Arnold, Matthew Bird and Charity Edwards, Richard Collopy, Nicholas Currie, DarkQuiet, Naomi Eller, Carly Fischer, James Geurts, Natasha Johns-Messenger, Anne-Marie May, John Meade, Kerrie Poliness, Studio Forrest, Jen Valender, Chaohui Xie, Yusi Zang Curated by Simon Lawrie

This project has been assisted by the Australian Government through the Festivals Australia program, Regional Arts Fund, and Surf Coast Events.

Lorne Sculpture Biennale exhibits on Gadubanud Country and respectfully acknowledges the Traditional Custodians, their Elders past and present.

www.lornesculpture.com lornesculpture.com

id.art

art.art

Sculpture render for The Clumped Spirit. Courtesy Milani Gallery, Meanjin/Brisbane.

James Barth The Clumped Spirit

Exploring self-representation, portraiture, and still life.

Digital worlds transmuted into videos, paintings, and, for the first time, sculpture.

12 October— 22 December 2024

Institute of Modern Art Ground Floor, Judith Wright Arts Centre 420 Brunswick Street Fortitude Valley, QLD, 4006

Supported by

→ ima.org.au

ima.org.au

Media Partner

Image: Tamworth Regional Gallery Caption: Frances Hodgkins 1869 -1947, Hannah Woods (Maori Girl), 1898, watercolour on paper.

Gift of John Salvana 1919.

50 to 100

Exhibition runs 30 November - January, 2025 466 Peel Street Tamworth 2340 P: 02 6767 5248 Free admission www.tamworthregionalgallery.com.au Celebrating over 50 years of the National Textile Collection and 100 years since the inception of Tamworth Regional Gallery’s entire collection, we proudly present an exhibition that showcases the strengths and diversity of our holdings.

This exhibition features a curated selection from our collection of nearly 500 works by women, highlighting key themes and uniting a century of history.

tamworthregionalgallery.com.au

Bringing Art To Life

arteliajewellery

artelia.com.au

ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION 4 Russell Street, Toowoomba QLD Gallery Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art gallery@featherandlawry.com.au

GALLERY EXHIBITIONS KENDALL 28 October - 5 December 2024

featherandlawry.com.au/art

The Art Guide Bookstore is open!

Come and see our curated collection of the best contemporary art books.

OPEN TUESDAYS & FRIDAYS, 11AM–5PM BOOKSTORE 43–47 Simpson Street, Northcote, Melbourne/Naarm bookstore.artguide.com.au @artguideau.bookstore

A–Z Exhibitions

Victoria

NOVEMBER/DECEMBER 2024

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

ACAE Gallery

Ararat Gallery TAMA

acaearts.com.au

araratgallerytama.com.au

Wurundjeri Country, Australasian Cultural Arts Exchange, 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm.

See our website for latest information.

82 Vincent Street, Djab Wurrung Country, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm.

Nicholas Smith, body II, 2023, burnished terracotta, beeswax. Artbank Collection, purchased 2023.

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.

Alcaston Gallery alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment.

See our website for latest information.

Jane Théau, Conflagration, Regeneration, (detail), 2023. Photograph: Amy Piddington / Australian Design Centre.

Until 16 February 2025 Weaving matter: material experimentation

Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.

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

See our website for latest information.

Anna Schwartz Gallery

24 August—24 November Clarice Beckett: Paintings from the National Collection

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

See our website for latest information.

Lucas Grogan, The Universe Quilt, 2013, embroidery, cotton thread on black laminated cotton, 200 x 175 cm. Purchased with the assistance of the Robert Salzer Foundation, 2013. © The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: Andrew Curtis.

Until 9 March 2025 Works from the TAMA Collection

Artbank Melbourne artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Fri, 10am–4pm or by appointment for all leasing enquiries.

Courtesy of the artist.

November—December “blank words, but I use them” Samuel Beckett, The Unnamable Peter Tyndall at Anna Schwartz Gallery 2024

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the desire to hold onto the past. The works in this show all maintain a hold on the past. But they are contemporary ceramics that play with tradition: remaking, replaying and revisiting. They respond to their contemporary context but also reflect personal histories and their makers’ identity. The works process the past, while looking forward. Featured Artists: Stephen Benwell, Kunmanara (Pepai) Jangala Carroll, Alizha Panangka Coulthard, Cybele Cox, Tyza Hart, Katherine Huang, Rosanagh May, Georgia Morgan, Mai Nguyễn-Long, Ramesh Mario Nithiyendran, Ebony Russell, Nicholas Smith, Carlene Thompson, Paul Wood.

Clarice Beckett: Paintings from the National Collection presents an intimate, rarely seen collection by one of the most original artists of early 20th century Australia. Deeply sensitive to the effects of colour, light and atmosphere, Beckett painted the life and scenery of her coastal home in south-east Naarm/Melbourne with an eye for the commonplace and fleeting effects of nature. In 1972, the artist’s sister Hilda Mangan donated a group of Beckett’s works to the National Gallery. It is this collection that will be on view for the first time, their freshness and vitality recently restored by extensive conservation treatment. Clarice Beckett: Paintings from the National Collection is a National Gallery Touring Exhibition supported by The Australian Government through Visions of Australia.

24 October–20 December I Can’t Stop (Holding On)

2 October—2 February 2025 Medieval to Metal: The Art and Evolution of the Guitar

I Can’t Stop (Holding On) presents a selection of ceramics from the Artbank Collection, from older works to recent acquisitions. The title of the exhibition borrows from a The Cleaners From Venus song where ‘I can’t stop holding on’ echoes through the chorus, capturing

For those who rock, we salute you! Medieval to Metal: The Art & Evolution of the Guitar tours to Ballarat, Victoria this October. Exclusive to the Art Gallery of Ballarat, the exhibition features 40 iconic guitars on loan from the National Guitar Museum (USA) alongside an

VICTORIA ongoing artistic legacy, emphasising Josh’s love of family and community, drawing on a range of themes including cultural identity, the impacts and legacies of colonisation, mental health, addiction, personal loss and grief. Presented by the Koorie Heritage Trust and Art Gallery of Ballarat.

ARC ONE Gallery

Artpuff artpuff.com.au Dja Dja Wurrung Country, Studio 38, The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm.

Open public holidays.

See our website for latest information.

arcone.com.au

Joan Jett. Photograph: Tony Mott.

Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm.

awe-inspiring assemblage of photographs, paintings, drawings, illustrative designs, and objects. Medieval to Metal encompasses the journey of the guitar through creativity, innovation, and cultural catalysts. From medieval beginnings through to the guitar’s pivotal role in pop culture, the exhibition will include a collection of music-inspired masterpieces from Australian institutions and newly acquired works in the Art Gallery of Ballarat collection, representing almost two centuries of music symbolism in culture and art. Medieval to Metal: The Art & Evolution of the Guitar is exclusive to the Art Gallery of Ballarat.

Ann Thomson, 6 Oil, (detail), 1995, oil stick on paper, 65 x 50 cm.

Dani Marti, ROSA ARRISCADA - The Messy business of being Human, take 2, 2024, polypropylene on aluminium frame, 143 x 149 x 35 cm. Image courtesy of the artist and ARC ONE Gallery, Melbourne.

31 October—17 November ambiguity Kate Anderson, Vicki Grace, Hu Qinwu, Tony Scott and Ann Thomson.

Opening celebration Friday 1 November, 5pm–7pm.

2 October–9 November Summer Fruits Dani Marti

Josh Muir (Gunditjmara, Yorta Yorta, Barkindji),Forever I Live, 2015, digitalprint on aluminium. Private Collection, Narrm.

Inga Dalrymple, Light Fall, 2024, 102 x 82 cm.

26 October—2 February 2025 JXSH MVIR: Forever I Live JXSH MVIR: Forever I Live is the biggest retrospective of works by the late Josh Muir (1991–2022). Josh was a Gunditjmara, Yorta Yorta and Barkindji artist, born in Ballarat who passed away suddenly at the young age of 30 in 2022.

The works in the exhibition reflect Josh’s

Honey Long & Prue Stent, Water signal, 2024, archival pigment print, edition of 5 + 3 A/P, 58 x 38.7 cm. Image courtesy of the artists and ARC ONE Gallery, Melbourne.

13 November–1 February 2025 Body Heat Honey Long & Prue Stent

21 November—8 December Feast Kim Barter, Emily Besser, Inga Dalrymple, David Golightly and Kir Larwill.

Opening celebration Friday 22 November, 5pm–7pm.

12 December—22 December Artpuff 25 Small works by over 30 artists.

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

ArtSpace at Realm and Maroondah Federation Estate Gallery artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm.

consideration of the photographic medium, including its fallibility. Blurring, flare, visible emulsion – those things which are usually considered mistakes - are embraced and heighten the psychological intensity of her work. Through her practice, Magee reflects on the nature and power of photography, a medium which allows for fleeting encounters and feelings to be captured, contained and remembered.

Curated by Catlin Langford.

Arts Project Australia artsproject.org.au Wurundjeri Country, Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm.

See our website for latest information.

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

See our website for latest information.

Realm, Maroondah City Council’s library, learning and cultural centre, is located in the heart of Ringwood’s Town Square.

Realm’s designated ArtSpace is programmed with a wide range of contemporary visual and performing arts. There are also other pop-up exhibition and performance spaces throughout the centre.

Jacob Cartelli, Untitled, 2023, acrylic on canvas, 126 x 180 cm.

Gomathi Suresh-Jayaseelan, Commensal, 2024, porcelain, acrylics, mixed media on cardboard.

11 November—24 January 2025 Maroondah Federation Estate Gallery: Mutualism: a place called Bungalook Gomathi Suresh-Jayaseelan Drawing on the history of antimony mining in the Maroondah region during the nineteenth century, this exhibition explores a symbolic link between its industrial past and a critically endangered species of the present: the Kilsyth South Spider-orchid, of which only three plants are known to survive in the wild. The circular symbiotic dance of the orchid, the wasp and the fungus in the fragile ecology of Bungalook Conservation Reserve is the central theme of Mutualism. The exhibition invites a deep and embodied interrogation of our present-day urban lives, as a way to re-imagine our future.

Morganna Magee, Untitled, 2024, from the series The paddocks, gelatin silver contact print, 8 x 10 in.

18 November—26 January 2025 ArtSpace at Realm: Encounters Morganna Magee This exhibition brings together recent bodies of work by celebrated Australian artist Morganna Magee: extraordinary experiences (2020-ongoing), Beware of people who dislike cats (2023) and The Paddocks (2024-ongoing). Magee’s recent work responds to the notion of encounters - encounters between humans and animals, and the ways in which humans connect with each other and the natural world. Many of Magee’s photographs were taken on journeys in nature, where subjects reveal themselves to her. The resulting works are tender, close and considered studies of Magee’s surroundings, based on a deep care and respect for the people, animals and places she photographs. This care extends to her 126

19 October–23 November BOLD For many neurodivergent artists, merely partaking in the contemporary art world is a bold and courageous act. Held to coincide with APA’s 50th anniversary celebrations, BOLD highlights artists who are unapologetically themselves, and whose instinctive practices manifest in powerful and confident work. Subjects are distilled to their very essence, resulting in pure unadorned form.

Mirroring the fun, colour and joyful nature of the APA studio, BOLD features work by APA artists Adrian Lazzaro, Anna Dehm, Anthony Romagnano, Ian Gold, Jacob Cartelli, John Bates, Julian Martin, Michael Trasancos, Patrick Francis and Ruth Howard. Curated by Shell Odgers.

11 November—24 January 2025 Maroondah Federation Estate Gallery: Revealing the Line Studio 4 Artists Revealing the Line brings into public view rarely seen or exhibited artworks produced by Studio 4 Artists in their regular fortnightly life drawing sessions held at Maroondah Federation Estate in Ringwood. The exhibition invites viewers in to see the workings and processes and behind a life drawing session. Life drawing is a discipline, both in its own right, and as a foundation for wider art practices.

The exhibition features diverse works from multiple sessions reflecting the output of timed poses: from fast works that are crisp and raw and sing with their freshness to more developed works that exemplify complex individual expression.

Revealing the Line underscores the importance of life drawing to Studio 4 artists and aims to inspire other community members to participate.

Andrew Nicolaides, Jorja Smith, 2023, pencil on paper, 56 x 76 cm.

7 December Annual Gala In this special 50th anniversary Gala Exhibition, the achievements of APA studio and online artists are celebrated, highlighting their unique contributions to contemporary art. Over 200 artworks, including paintings, photography, drawings, printmaking, ceramics, and textiles, will be on display and available for purchase. Collectors have the opportunity to purchase artwork at the opening event and take it home the same night.

VICTORIA This year the event will span across Collingwood Yards, with an additional exhibit onsite showcasing APA’s video archive, and a series of portraits of APA artists by Penelope Hunt. APA’s new 50th anniversary publication and merchandise will also be available.

Opening Event, Saturday 7 December, 1pm–5pm. BBQ, screening and photos, 1pm–3pm. Gala (sales begin at 3pm), 3pm–5pm.

extraction, capitalism, and the subsequent social, cultural and political complexities and negotiations that stem from this. The Brio’s signature-style mark-making features across a range of painterly, sculptural, installation, video, drawing and performance practices that highlight the cultural power and rebelrousing attitude of Tennant Creek Brio’s contemporary art practice.

australiangalleries.com.au 28 and 35 Derby Street, Woiwurung Country, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm.

See our website for latest information.

22 October—9 November Held in the gaze of a stranger Peter Neilson

Australian Centre for Contemporary Art (ACCA)

22 October—9 November Imaginary gardens with real toads in them Kyoko Imazu

acca.melbourne Wurundjeri Woi-wurrung Country, 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm.

Australian Galleries

22 October—9 November Unique Nature Hilary Finch

Izabela Pluta, Ocean Current 1, 2019, (detail). Courtesy the artist and Gallery Sally Dan Cuthbert, Sydney.

7 December—16 March 2025 The Charge That Binds Zheng Bo, Climate Aware Creative Practices Research Network, Jack Green, Alicia Frankovich, Francis Carmody, Mel O’Callaghan, Tita Salina and Irwan Ahmett, Megan Cope and Brooke Wandin, Brett Graham, Izabela Pluta, Emilija Škarnulytė, Sorawit Songsataya.

Curator, Shelley McSpedden .

Tennant Creek Brio artists Rupert Betheras, Joseph Williams Jangarrayi, Fabian Brown Japaljarri and Jimmy Frank Juppurla, with Ancestor boards 2020, NIRIN, 22nd Biennale of Sydney, 2020.

21 September–17 November Tennant Creek Brio: Juparnta Ngattu Minjinypa Iconocrisis Fabian Brown Japaljarri, Lindsay Nelson Jakamarra, Rupert Betheras, Joseph Williams Jangarrayi, Jimmy Frank Juppurla, Clifford Thompson Japaljarri and Marcus Camphoo Kemarre.

Curated by Max Delany, Elyse Goldfinch, Dr Jessica Clark and Dr Shelley McSpedden.

The first major survey of Tennant Creek Brio, an artist collective living and working on Warumungu Country. Fusing First Nations cultural traditions, the industrial materiality of the mining industry, and regional and global art influences, the exhibition asserts and reimagines the artists’ cross-cultural identities, drawing upon the haunting wounds of post-contact histories, the renewal and remaking of cultural practices, and the collaborative resilience and audaciously punk attitude of a frontier community.

Alongside the presentation of significant works created over almost a decade, the exhibition at ACCA presents an ambitious, industrially-scaled scenographic assemblage that channel’s the power and strength of The Brio’s image-making, centring a pertinent critique on colonial

The Charge That Binds celebrates the dynamism, vitality and power of natural phenomena and the more-than human world, reminding us of what is at stake at a time of ecological emergency. Infused with both grief and optimism, the exhibition draws together works that celebrate a world composed of multifaceted, multispecies relations and pulses – foregrounding and reimaging modes of relationality and connection beyond the devastating, extractive logic of capital.

The exhibition is accompanied by a series of experimental workshops, discussions, performances and pedagogical investigations addressing the role of artists and art institutions in fostering collaboration, collective action and new imaginaries in response to our planetary emergency. The Climate Aware Creative Practice Research Network will host the Relational Ecologies Laboratory throughout the course of the exhibition, culminating in an intensive 2-day program of talks, discussions and workshops in late February 2025.

The Charge That Binds adopts a collective curatorial model, with oversight from a curatorial advisory group including Dr Michelle Antoinette, academic and lecturer in Modern and Contemporary Asian Art, Monash University; Professor Brian Martin, artist and Director of Wominjeka Djeembana Indigenous Research Lab; Professor Peta Rake, Director of University of Queensland Art Museum; and Professor Naomi Stead, Director of the Design and Creative Practice Enabling Capability Platform, RMIT University.

Danielle Creenaune, Resounding Vale.

22 October—9 November Glimmers Danielle Creenaune 22 October—9 November hummadraz August Carpenter 19 November—7 December Sculpture, Ceramics & Jewellery Jimmy Rix 19 November—7 December From the Garden Kate Hudson 19 November—7 December Catch a glimpse Rona Green

Australian Tapestry Workshop (ATW) austapestry.com.au Wurundjeri and Bunurong Country, 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm.

See our website for latest information.

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Bayside Gallery bayside.vic.gov.au/gallery

by contemporary artists. Our open studio space, bespoke dye lab and galleries are a creative hub for engagement with tapestry, textiles and contemporary art.

Mike Makatron, Nature of Nature.

15 November—8 December Nature of Nature Mike Makatron Opening 15 November, 6pm–11pm.

13 December—2 February 2025 Featherbed Morgan Blue Untitled, designed by Rollin Schlict, 1978, woven by Cheryl Thornton, Alan Holland and Kathy Hope, wool and cotton, 1.38 x 1.93 m.

31 October—25 January 2025 Tapestry Treasures: ATW Stock Collection Exhibition Step into the world of tapestry at the Australian Tapestry Workshop as we unveil treasures from our stock collection for sale. Artists include Brook Andrew, Mike Brown, John Cattapan, John Coburn, Lesley Dumbrell, Troy Emery, Belinda Fox, Roger Kemp, Julian Martin, Arlene Textaqueen, Guan Wei and John Young amongst others.

Backwoods Gallery backwoods.gallery Level 1, 25 Easey Street, Collingwood, VIC 3066 [Map 3] 03 9041 3606 Thu to Sun 12noon–6pm.

See our website for latest information.

Opening 13 December, 6pm–11pm.

Bayley Arts bayleyarts.com.au Bunurong Country, 1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Sat by appt.

Closed public holidays.

See our website for weekend hours.

Free admission.

Boonwurrung Country, 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.

Free admission.

See our website for latest information.

Bayside Gallery will be closed from 21 October to 9 May 2025 due to building works. We look forward to welcoming you back to Bayside Gallery in May 2025 for the Bayside Painting Prize.

Brunswick Street Gallery brunswickstreetgallery.com.au Wurundjeri Woi-wurrung Country, 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–5pm.

See our website for latest information.

15 November—21 November Brighton Arts Society Members show Annual members exhibition. Open Sat to Sun 10am to 3pm. Opening event Friday 15 November 6pm-8pm.

28 November—1 December Ali’s Art Studio end of year show Annual end of year student exhibition.

Vivienne Adeney, Soak, 2024, woodblock print with chine collé, 48 x 48 cm.

14 November—1 December Opening event, Friday 15 November, 6pm–8pm.

Float Vivienne Adeney Brimstone Kyra Hannah Robyn Doherty, Australia, 2023, posca markers on canvas, 45 x 45 cm. Courtesy of the artist and Bayley Arts.

9 December—15 January 2025 Bayley Arts Gala Show

Maya Irving, In The Exhale of One You Are Found.

18 October—10 November In The Exhale of One You Are Found Maya Irving 128

The exhibition celebrates the work produced by Bayley Artists during the year. Works include prints, paintings, textiles and sculpture. The joy of the exhibition lies in the notion that art is for all and celebrates artists diverse skills and imaginations. See website for artwork sales. Opening event Monday 9 December, 6pm–8pm.

What Happens Between Gabriela Mello & Jade Piltz Coastals Ben Björk Main kantri en dat trupi Karen Rogers Some Time Out Krystyna Katsouri Son of a Gun Mickey Mason 5 December—22 December Opening event, Friday 6 December, 6pm–8pm.

VICTORIA Australian urban life with colour, whimsy and humour in equal measure.

showcases works by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory. The exhibition of paintings, prints and batiks communicates important stories of tjukurrpa (Dreaming) and Country, and explores the poetic notion of echoes. Exhibition launch: Sun 10 November, 2pm.

Natalie Steer, Sap Sisters, 2024, acrylic, oil stick, oil, wax on canvas, 76 x 65.5 cm.

Centrepiece Group Exhibition

Waste to Wonder. © Natasja van Wyk and Macarena Ocea.

North-East Edwina Edwards The Form Of Nature Ronald Chu Spirit Trees Natalie Steer Painting and drawing David Griffith

Bendigo Art Gallery

James Clayden, Man in Hat with Woman flying past below, 2022, pastel, charcoal and ink on paper. Image courtesy the artist. Paul Guest Drawing Prize 2022 winner.

10 August—27 January 2025 Paul Guest Drawing Prize 2024 finalist exhibition

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

Rob McHaffie, Single Mums at the Res, 2024, oil on linen. Courtesy of the artist.

10 August–27 January 2025 Rob McHaffie: We are family From super cool hipsters to art world afficionados, street artists, mums and dads, commuters, dog walkers and lackadaisical youth, McHaffie’s keen observations of his everyday surroundings reveal the idiosyncrasies and absurdities of contemporary

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

See our website for latest information.

Ronnie Tjampitjinpa (born c.1943) Pintupi language group, Untitled, 1996, acrylic on linen, 122 x 122 cm. Photograph by Andrew Curtis. © the artist l Aboriginal Artists Agency Ltd. 9 November—19 January 2025 Three Echoes – Western Desert Art Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA, Three Echoes - Western Desert Art

19 October—1 December Waste to Wonder Natasja van Wyk & Macarena Ocea This innovative exhibition by Natasja van Wyk and Macarena Ocea transforms everyday soft plastic waste into extraordinary textile and mixed media art. Through punch needle embroidery, up-cycling, quilting and colour blocking, these layered artworks address pressing personal, environmental and social themes. By highlighting the urgent challenges posed by plastic waste, the exhibition aims to inspire and empower community members to become agents of change.

Bundoora Homestead Art Centre arts.darebin.vic.gov.au/ bundoorahomestead Woiwurung Country, 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm.

Hayley Millar-Baker, Untitled (The circumstances are that a whale had come on shore), (detail), 2018, inkjet print on cotton rag, 67 x 67 cm. Darebin Art Collection.

14 September—23 November Water | Reflections from the Darebin Art Collection Aunty Gwen Garoni, Hayley Millar-Baker, Shannon Smiley, Darren Trewin, Charles Troedel and David Wadelton.

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14 September—23 November Five rooms and house rules Curated by Tim Woodward. Featuring Steven Bellosguardo, Jessie Bullivant, Mitchel Cumming, Hilary Jackman, Erika Scott, Rachel Shenberg, Lilly Skipper and Charlie Sofo.

Raphy, The Mediterranean Exchange, 2024.

14 September—23 November The Mediterranean Exchange Raphy

are reimagining traditional and ceramic forms in ways that resonate with our current moment.

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

Buxton Contemporary’s dynamic program of solo and thematic exhibitions, artist commissions, publishing and learning initiatives connects contemporary art to new audiences, and demonstrates the transformative potential of creative thinking and art-led exchanges of ideas in an educational context.

Emily Eliades, Dew-dropped Bluebells and Dandelions, hard ground etching hand-painted with watercolour.

Bunjil Place Gallery

5 November—24 November love within flowers Solo Show by Emily Eliades

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

Gallery space available to hire with catering and beverage options: perfect for end-of-year celebrations, team-building, presentations, recitals, and social events.

Tony Clark, Jasperware (Landscape), 1993, acrylic on canvas. The University of Melbourne Art Collection. The Michael Buxton Collection.

Opening celebration Thursday 7 November, 6pm–8pm. All welcome and encouraged to attend.

1 November—1 June 2025 Tony Clark: Unsculpted Curated by Jacqueline Doughty.

Unsculpted presents a multifaceted overview of one of Australia’s most respected artists. For over four decades, Tony Clark has explored the capacity of painting to test the boundaries between genres and creative disciplines.

Clark’s paintings reinterpret motifs from the histories of art, architecture and the decorative arts in ongoing bodies of work that repeat and reconfigure familiar themes, building an iterative visual language that is distinctively his own.

Cleo Wilkinson, Then VII, mezzoprint tint.

Caelene Nee Glen Art Advisory and Gallery caeleneneeglen.com

Photograph: Jessica Tremp.

3 August–24 November Generation Clay: Reimagining Asian Heritage Curated by Vipoo Srivilasa.

Armie Sungvaribud, Asahi So, Casey Chen, Dai Li, EJ Son, Jayanto Tan, Mai NguyenLong, Monica Rani Rudhar, Nani Puspasari, Theodosius Ng, Yang Qiu, Yen Yen Lo, Yoko Ozawa, Zhu Ohmu.

An exhibition celebrating the vibrant versatility of clay, presented by a new generation of Asian-Australian contemporary artists. Together, these artists 130

Bunurong Country, 143 Martin Street, Brighton, VIC 3186 0437 776 903 Tue to Fri 10am–5pm, Sat 9am–12pm, Sun 11am–2pm.

See our website for latest information.

Applications now open for solo and duovoice exhibitions. Further details and applications, see www.caeleneneeglen. com.au/apply. Gallerist and art advisory service featuring artworks that encourage audiences to reconnect with nature, thoughtful contemplation, and the universe. Art collection services for individuals, businesses and corporate spaces.

28 November–5 January 2025 Summer Small Works Show & Prize 2024 Opening night celebration and prize presentations Thursday 28 November, 6pm–8pm. All welcome and encouraged to attend launch of 2025 calendar featuring prized artworks. Small works presented for sale specifically to promote artwork gifting during holiday season.

Support Australian artists by gifting creatively this year.

Cascade Art Gallery cascadeart.com.au Dja Dja Wurrung Country, The Church, 1A Fountain Street, Maldon, VIC 3463 [Map 1] 0408 844 152 Thu to Sun 10am–5pm.

Open public holidays and by appointment.

VICTORIA

City Gallery citycollection.melbourne.vic.gov. au/city-gallery/

David Frazer, Free, Ed: 50, 2023, linocut, 74 x 99.5 cm.

Wurundjeri Woi-wurrung Country, Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 8.30am–5pm.

Free admission.

See our website for latest information.

Convent Gallery, Daylesford conventgallery.com.au Djadjawurung Country, 7 Daly Street, Daylesford, VIC 3460 [Map 1] 03 5348 3211 Thu to Mon, 10am–4pm.

Barbara Hauser.

4 October—2 December Barbara Hauser

Image courtesy of City Gallery.

Until 14 February 2025 The Museum of Falling Curated by Patrick Pound.

David Frazer, Time Passes Together, 2023, etching, 149 x 131 cm, ed: 30.

31 October–24 November Time Passes Together David Frazer A large-scale exhibition by printmaker David Frazer of wood-engravings and linocuts. Frazer zooms in on intimate and melancholic moments in relationships. He captures the quirky - a couch sitting in a pastoral landscape. David’s images often resonate and linger in the mind’s eye long after they have been seen. To be officially opened by Caroline Field, curator, Australian Catholic University Art Collection and esteemed arts writer, Saturday 2 November, 2pm. All welcome.

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

See our website for latest information.

The gallery presents regularly changing solo and group exhibitions of modern and contemporary Australian art, with a strong focus on 1960s Australian abstract and alternative art movements – as well as some international art of the period.

The gallery also deals extensively on the secondary market – both selling work on consignment for clients and dealing on its own account.

The Museum of Falling unpacks the material history of civic space and the all-too-human experience of navigating it. Presenting a tragi-comic parade of falling images and objects, the exhibition-cum-installation reanimates the city collection in amusing and telling ways.

City of Melbourne Art and Heritage Collection Store citycollection.melbourne.vic.gov.au Wurundjeri Woi-wurrung Country, Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 [Map 2] Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm.

Bookings essential.

Big, gutsy, unforgettable work! Their size represents something of Barbara’s passion for people. She loves their stories, their imperfections, their raw character.

The colour of humanity is right out there, proud and strong. The works are physically large, painted on printed fabric which is Barbara’s trademark style. This method of painting on the floor means that she can create a ‘studio’ anywhere in the world.

Sandy Breen After decades in Advertising & Design, local Daylesford artist Sandy Breen will be exhibiting 42 paintings of flowers, which she calls her ‘Botanical Phase’. The works will be blooming in two gallery spaces.

Vicki Soar Vicki Soar is a registered Art Psychotherapist who celebrates the divine creativity in people through portraiture using mixed media. With a love for human expression, Vicki invites us to explore the beauty of each individuals unique spark. Join her as she showcases how art and therapy intersect, offering a profound journey into the creativity that defines us all.

In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collection​are now available to the public on Tuesdays, Thursdays and Fridays.

Book online: whatson.melbourne.vic. gov.au/things-to-do/art-and-heritagecollection-tour.

B Badral.

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&SAP25 Sorrento Art Prize

$125,000 Main Prize Artist Submissions Now Open www.andgalleryaustralia.net

andgalleryaustralia.net

VICTORIA Convent Gallery, Daylesford continued...

4 December—3 February 2025 Badral Buyantogtokh Mongolian-born contemporary artist, Badral, returns to the Convent Gallery after a successful exhibition in 2019.

Liadaan ‘I consider myself a contemplative painter and I work in the tonal method.

The light, atmosphere, mood and poetry of the subject is what I aim for. I favour late afternoon, misty and crepuscular subjects in my landscapes and contemplative poses in my figure paintings.’

Australian Printmakers: Out of The Convent vault Works by John Olsen, Charles Blackman, David Boyd, Adrian Lockhart, Garry Shead and more. Framed and unframed works on display.

correspondences correspondences.work Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Wed, Thu & Sat 10am–5pm, Fri 11am–8pm. Closed public holidays.

See our website for latest information.

bodies of historical work via a series of new site-responsive installations in three parts. Through site-based making, exhibition and conversation with the public and correspondences’ curator, Emma Thomson, Summa draws together several threads of thematic interest from theoretical physics to electronics, robotics and the secret life of trees and mundane household items like the digital alarm clock – all of which connect with Ravi’s touching, playful, sometimes downright humorous search for the ineffable.* *Ineffable - Causing so much emotion, especially pleasure, that it cannot be described: ineffable joy/beauty.

D’Lan Contemporary dlancontemporary.com.au

craft.org.au

Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm.

See our website for latest information.

Wurundjeri Country, Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.

See our website for latest information.

Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via exhibitions that combine mastery of materials with innovative techniques and big ideas and our rich program of festivals, talks, and community events.

Tiger Palpatja, circa 1920 – 2012, Pitjantjatjara, Wanampi 2011, synthetic polymer paint on canvas, 94 x 90 cm.

26 October–6 December Clever Men: Harry Tjutjuna, Dickie Minyintiri and Tiger Palpatja

21 September–21 December Summa Ravi Avasti

Harry Tjutjuna (c.1930–2019), Dickie Minyintiri (c.1915–2014) and Tiger Palpatja (c.1920–2012) are the most significant Pitjantjatjara artists of their generation; their traditional lands, when combined, spanned the length of the Anangu Pitjantjatjara Yankunytjatjara Lands (APY Lands).

Artist Ravi Avasti makes installations, sculptures, and drawings. His work examines the relations between body/ self and the temporal and spatial nature of the world and its phenomena, naturally occurring and human-made—what he calls the ‘rhythms and sparkles of his environment’.

This year, Ravi will undertake his Summa at correspondences. He will reflect upon, represent and respond to significant

Haag presents a selection of hand-picked unique works from some of the most respected Australian artists and craft practitioners working today, as well as some new faces – many of whom will exhibit at Craft for the first time. With her expert eye for interiors and design, Haag weaves a story of highly collectable works across the mediums of furniture, textiles, ceramics, beading and lighting.

Craft Victoria

Ravi Avasti, Human Acts at Stockroom Kyneton (installation view), April 2024.

Photograph: Lucy Foster.

The project title, Summa, references a period each year in Ravi’s studio practice when he reviews recent work and exhibitions and produces documentation of the works. Given the considerable energy involved in reviewing projects that have already been a significant undertaking, this time is balanced with playful experimentation and the development of ongoing concepts.

objects and artworks, celebrating the age-old fascination humans hold with storytelling and lore, and its ability to hold our attention captive.

Simone Haag. Photograph: Sarah Forgie.

14 November—25 January 2025 Fables & Folklore Curated by Simone Haag Internationally renowned Australian decorator Simone Haag curates Fables & Folklore, Craft’s final main gallery exhibition for the year. Making her curatorial debut, Haag presents a group exhibition featuring works by more than 30 Australian artists. The exhibition will delve into the narratives imbued in

All three men shared parallel lives and experience: they were born in the bush, and all lived a traditional life before moving to Ernabella Mission; they were senior lawmen and respected ngangkari – traditional healers. They all started painting at a late age during the mid-2000s, each developing a unique painterly style, and, at the peak of their careers, their cultural authority was unmatched, except by each other. It is an honour for D’Lan Contemporary to present this powerful single-owner collection of enormous cultural value and aesthetic beauty.

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Deakin University Art Gallery deakin.edu.au/art-collection/ Wurundjeri Country Building FA, 221 Burwood Hwy, Burwood, VIC 3125 [Map 4] 03 9244 5344 Mon to Fri 10am–4pm during exhibitions. Closed public holidays. Free entry.

See our website for latest information.

This generous donation is the largest philanthropic gift to the University Art Collection and is an historically significant contribution to the University. Using this exhibition as a starting point, read about the significance of the sculptures as you start your self guided tour through the works on display at the Melbourne Burwood campus.

Djaa Djuwima – First Nations Gallery djaadjuwima.com.au Bendigo Visitor Centre, 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–4.30pm, except Christmas Day. See our website for latest information.

Andrew Rogers, Flora Exemplar, 2000 Italian Carrara marble. Deakin University Art Collection. Donated through the Australian Government’s Cultural Gifts Program, 2023. Image © and courtesy of the artist. Photograph: Fiona Hamilton.

23 October—13 December Deakin University Art Gallery: Andrew Rogers: New Work Andrew Rogers is a leading contemporary Australian artist whose work is exhibited in major galleries across Australia and internationally. His work can be found in prominent public and private collections around the world. This exhibition will celebrate a selection of his most recent work, not previously seen in Melbourne.

As Rogers says, the challenge is always to use materials in a new and different way and make them convey meaning and turn them into a form that has not been seen before.

Tue to Fri 10am–4pm, Sat 10am– 2pm, closed public holidays.

Free admission.

See our website for latest information.

Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods.

Deirdre Jack, Basalt Mountain No. 2, Maharashtra, oil on canvas.

25 October–30 November Beguiled Deirdre Jack “The work for this exhibition has been created over a number of years. Each painting is a response expressing my feelings for the land and each is of a particular time and mood. In some, I aim for stillness and in others for vitality and immediacy where I employ more gestural mark-making.” Deirdre Jack, 2024.

25 October–30 November Glimpses of Environment Amanda Goodge Amanda Goodge’s latest exhibition captures the essence of the environment, offering viewers glimpses of nature, whether seen from a distance or through the intimate frame of a backdoor. “My hope is that each viewer will find themselves drawn into the painting or drawing, experiencing the essence of what I have tried to convey, beyond the limits of language.” Amanda Goodge, 2024.

5 September—6 February 2025 Fibre

Andrew Rogers, pictured left to right: I Am VI, 2016, I Am VIII, 2018 and I Am VII, 2016, bronze. Deakin University Art Collection. Donated through the Australian Government’s Cultural Gifts Program. Image © and courtesy of the artist. Photograph: Fiona Hamilton.

9 November—9 February 2025 Deakin University Library Melbourne Burwood Campus: Andrew Rogers: Campus Collection In 2023, Andrew Rogers generously gifted 31 sculptures, valued at $6.1 million, to the Deakin University Art Collection.

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Fibre showcases the diverse artistic expressions of First Nations artists from the City of Greater Bendigo region.

These artists blend traditional and non-traditional techniques, including cordage, coiling, traditional and random weaving, and the storing and dyeing of plant fibres, to create unique fibre art pieces. The exhibition features an array of woven objects, recycled materials, possum skins, baskets, and wall hangings.

More information via the website, visit djaadjuwima.com.au

East Gippsland Art Gallery eastgippslandartgallery.org.au GunaiKurnai Country, 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 1] 03 5153 1988

EGAG WRAP 2024 Small Artwork Prize.

6 December—25 January 2025 EGAG WRAP 2024 Small Artwork Prize EGAG WRAP 2024 is a small artwork prize with an $8000 acquisitive first prize. Open to every living artist anywhere. Subject to terms and conditions, we accept any subject, any medium and all works entered will be displayed. Artwork can be sold during the exhibition and taken at time of pur-

VICTORIA chase. East Gippsland Art Gallery takes no commission of artwork sales during EGAG WRAP 2024. Entries close 18 November 2024. All the details are on our website. Special opening event Friday 6 December, 5.30pm. All welcome. Free.

e.g.etal egetal.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 150 Little Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 5111 Mon to Sat, 10am–5pm.

An exhibition of new paintings celebrating women’s lore and culture from Ernabella Arts by Atipalku Intjalki, Carlene Thompson, Janice Stanley, Katrina Tjitayi, Lynette Lewis, Michelle Lewis, Tjulyata Kulyru and Renita Stanley. Plus a special selection of hand built ceramics by Carlene Thompson, Benyi Stewart, Derek Thompson and Elizabeth Dunn.

Opening event with the artists, Saturday 16 November, 2pm.

27 December—27 January 2025 The Summer Collectors Show 2025: Outstanding First Nation’s Art from around Australia

Federation University Post Office Gallery federation.edu.au/pogallery

Pearl Ring #8 in 18ct Yellow Gold featuring a baroque, one-of-a-kind South Sea Pearl by Laura Eyles. e.g.etal is a Melbourne gallery that represents and supports Australia’s thriving contemporary jewellery design movement. Celebrating 25 years as a Victorian icon, e.g.etal maintains a passionate commitment to contemporary jewellery, bringing world-class jewellery design to collectors worldwide. At e.g.etal each piece is unique, but each is alike: carefully conceived, beautifully crafted and sincerely passed on.”

Wadawurrung and Dja Dja Wurrung Country, Federation University Australia, Library, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tue by appointment.

See our website for latest information.

Fiona and Sidney Myer Gallery finearts-music.unimelb.edu.au Wurundjeri Woi-wurrung Country, Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm.

Free admission.

Five Walls Gallery & Projects fivewalls.com.au Level 1 / 119 Hopkins Street, Footscray, VIC 3011 [Map 4] 03 904 36704 Wed to Sat 12pm–5pm or by appointment.

4 October–9 November Autistic Artistic Vienna Drysdale Bischard

Everywhen Art everywhenart.com.au

Sean Hogan, SFS03BLUE, 2019, 12 x 16 x 3 in, powder coated steel.

Bunurong Country, Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318 Fri to Sun, 11am–4pm.

See our website for latest information.

15 November–7 December Nevermore Sean Hogan

Rachel Clark, Home, 2024, digital print on paper, 15 x 30 x 15 cm. Courtesy of the artist.

16 November–24 November EYE24 Arts Academy End of Year Exhibition

Carlene Thompson, Kalaya Tjkurkurpa, 2024, acrylic on linen, 121 x 151 cm.

Courtesy the artist and Ernabella Arts.

Presented at the Post Office Gallery, Ballarat, and Switchback Gallery, Gippsland, EYE, End of Year Exhibition, showcases work created by graduating students from Federation University’s Bachelor of Visual Arts and Bachelor of Education.

16 November—8 December Minyma ku Tjukurpa In partnership with Ernabella Arts

30 November–1 February 2025 Reveal: Works from the Permanent Collection

‘Nevermore continues my exploration of system theory and complexity science, which underpin the concepts of my artistic practice. By employing systembased processes and self-imposed structured sets of rules that utilise formal aesthetics such as geometry, colour theory, proportion, and materiality, these works interrogate the dualities of complexity/ simplicity, predictability/ unpredictability, order/ disorder and disconnection/ connection – Sean Hogan.

15 November–7 December Structured Visons II Curated by Cathy Blanchflower.

Daniel Argyle, John Aslanidis, Marieke Dench, Louise Forthun, Mit Jai Inn, Emma Langridge, Jane O’Neill, Salvatore Panatteri, Be Takerng Pattanopas, Giles Ryder, Alex Spremberg, Jurek Wybraniec Structured Visions II presents twelve artists from Australia and Thailand 135

ZOU YINONG Rhythms and Rhizomes ART021 Shanghai 7–10 November 2024 ACAE Gallery 82a Wellington Street Collingwood VIC 3066 AUSTRALIA acaearts.com.au

Zou Yinong, Song Yun no.2, 2024, Acrylic and ink on linen, 102 x 76 cm

acaearts.com.au

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VICTORIA Five Walls Gallery continued...

Dorothy Lipmann, The Vaulter, 2024, oil on linen, 122 x 92 cm.

19 November—30 November Walkaway Dorothy Lipmann

Rebecca Hastings, Dear Insentient, 2024, oil on polycotton, 100 x 83 cm.

Louise Forthun, Red + Mauve, 2024, 35 x 23 x 12.5 cm, synthetic polymer on folded Arches paper. Photograph: Christian Capurro. Courtesy of Charles Nodrum Gallery, Melbourne. working within the field of abstraction who each use individually developed processes to explore aspects of colour, form, space and perception.

This exhibition follows on from the first iteration of Structured Visions shown at cbOne Gallery in Abbotsford, Melbourne, August 2023.

15 November–7 December Fermata Kate Hendry 15 November–7 December Finn Leslie-Goldstraw

6 November—30 November Life and other Stories: Homebound Stuart McLachlan 3 December—21 December Horizons - FLG End of Year Group Exhibition

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

See our website for latest information.

19 November—30 November Poet Tree Chloe Vallance 3 December—21 December SMALL! Presented by fortyfivedownstairs

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

Flinders Lane Gallery flg.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition.

Emily Dober, Time after Time, 2024.

1 October—25 January 2025 Rhythm in Ruby Shoes Emily Dober

Frankston Arts Centre thefac.com.au Terry Swann, Spirit of Mount Borrodaile, Arnhem Land.

22 October—2 November Where Land Speaks- Across the Top End Terry Swann

Jo Davenport, Nothing But Blue Skies, 2024, oil on linen, 153 x 264 cm.

22 October—2 November Africa, the pain and the beauty Brigitte Marie Pascal

15 October—2 November Nothing But Blue Skies Jo Davenport

5 November—16 November Romantic Rebellion Justine McAllister

6 November—30 November Feed Rebecca Hastings

19 November—30 November Dark Waters Mary Koniavitis

Bunurong Country, 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm.

Please check website for current information on access and exhibition dates prior to your visit.

14 November–1 February 2025 The Extraordinarily Ordinary: A Celebration of Serendipity in the Outback Lainey Foster FAC – Mezzanine Gallery 137

Individually designed, hand-made jewellery

AUSTRALIA’S MOST AWARDED JEWELLERS MDTDESIGN.COM.AU

348 COLLINS STREET MELBOURNE AUSTRALIA • 03 9654 6805 • SALES@MDTDESIGN.COM.AU mdtdesign.com.au

VICTORIA Frankston Arts Centre continued...

Melbourne photographer Lainey Foster unveils an unconventional story of Outback Australia. Witness the magic of when gratitude intertwines with an open mind on the open road.

Contemporary classical realist painter Vicki Sullivan merges the timeless aesthetics of the old masters with a modern sensibility. She goes beyond capturing a mere physical likeness of her subjects and strives to encapsulate their essence and spirit to convey emotions, ideas, and themes that resonate universally. Meet the Artist, Saturday 7 December, 11am. Register online thefac. com.au or 03 9784 1060.

illustration of native flowers. Paintings of Rorschach native flower still life’s evoke the transient and paradoxical aspects of beauty, life, and decay, reflecting on the cyclical nature of existence.

28 November—20 December Because Esther Erlich

Geelong Gallery geelonggallery.org.au

Fox Galleries foxgalleries.com.au Woiwurung Country, 63 Wellington Street, Collingwood, 3066 [Map 3] 1300 278 829 Mon to Sun 10am–6pm.

See our website for latest information.

Aldona Kmieć, Neil Sugaa Family, photograph.

Wadawurrung Country, 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645. Director: Jason Smith.

Open daily 10am–5pm.

2 November—11 March 2025 A People’s Press—Noel Counihan Melbourne-born artist Noel Counihan (1913–1986) maintained a personal and artistic commitment to political and social justice throughout a lifetime punctuated by some of the most challenging and defining events of the twentieth century.

This exhibition looks at Counihan’s collective approach to printmaking, an aspect of his practice that was informed by his personal politics and involvement with several cultural cooperatives. A Geelong Gallery exhibition.

3 October—7 December Invisible Lives Aldona Kmieć Cube 37, Glass Cube Gallery and Art After Dark Invisible Lives is an immersive installation of photography and sound, which tells a story of hope and survival of one Tamil family seeking asylum in Australia.

Proudly supported by the Ventana exhibition program.

Matthew McVeigh, Butterfly Effect and Antipodes, 2024, acrylic on canvas, 150 x 110 cm.

31 October—23 November The Butterfly Effect and Antipodes Matthew McVeigh This exhibition explores the transition from Enlightenment ideals to colonization through the response to botanists’

Brook Andrew, The rallying, 2016, cut colour photolithograph over photolithograph; edition 8/9. Geelong Gallery, Purchased with funds generously provided by Christine Bell in memory of Dr Colin Holden and Christopher Bell, Robert Salzer Foundation Acquisition Fund, and the Sybil Craig Bequest Fund, 2017, © the artist.

9 November—9 February 2025 Social Studies Artists have long recognised printmaking as a democratic, inexpensive, and graphically striking way to communicate social and political messages, often referencing or incorporating historical printed matter for effect. This exhibition presents the work of Brook Andrew, Emily Floyd and David McDiarmid, who employ printmaking as part of their multi-disciplinary practices to explore a range of contemporary issues. A Geelong Gallery exhibition.

16 November—9 February 2025 The Sweet Spot—Between Art & Design

Vicki Sullivan, Portrait of John Waters, oil on linen.

14 November—1 February 2025 Australian Portraits: In the Limelight and in the Shadows Vicki Sullivan FAC Curved Wall Gallery

Esther Erlich, Because, 2024, acrylic on canvas.

This diverse selection of works comprising recent acquisitions to Geelong Gallery’s collection test the nexus between art and design and reflect the Gallery’s evolving strategy and growing commitment to exhibit and collect the works of key 139

UNEARTHED CERAMICS

the ceramics we live with...

www.unearthedceramics.com @unearthedceramicsmelbourne

unearthedceramics.com.au

VICTORIA Geelong Gallery continued... practitioners working at the tantalising and experimental intersection of art and design. From crafted wood and woven grasses, to forged metal and pinned textiles, these objects transcend their materiality and the process of making to become works of art. The Sweet Spot— Between Art and Design includes works

by Maree Clarke, Tammy Gilson, Helmut Lueckenhausen, David McDiarmid, Neil Roberts, Louise Saxton, and Blanche Tilden, among others. A Geelong Gallery exhibition.

Steven Rhall, ABORIGINAL ART DISCOUNT GLASSHOUSE, presented at Gertrude Glasshouse, 2024. Image courtesy and copyright the artist.

4 October–2 November ABORIGINAL ART DISCOUNT GLASSHOUSE Steven Rhall

Ted May, Blue Face, 137 x 168 cm, oil on canvas.

Exhibition opened by Mr. Eric Nash, Director of Benalla Art Gallery.

Jasper Johns, Gemini G.E.L., Bent ‘Blue’; from Fragments – according to what, 1971. National Gallery of Australia, Kamberri/Canberra, Purchased 1973, © Jasper Johns, VAGA/Copyright Agency, 2024.

Veronica Charmont, Sinistra, 2024.

8 November–14 December 2024 Emerging Curator Program: The limits of my language are the limits of my world Arthur Nyakuengama, Chloe Nolan, Rohan Schwartz, Stephanie Wilson, Steven Bellosguardo, Veronica Charmont.

16 November—9 February 2025 Rauschenberg & Johns— Significant Others Robert Rauschenberg and Jasper Johns are considered two of the most significant artists of the twentieth century. While their work is credited with changing the course of American art history, their individual artistic styles are the result of a private creative dialogue that began when they were young artists in a relationship.

Deliberately moving against the grain of Abstract Expressionism, the dominant art movement of the time, became the crucible for both their lifelong practices.

Rauschenberg and Johns—Significant Others draws upon the National Gallery’s Kenneth Tyler Collection of prints by both Robert Rauschenberg and Jasper Johns produced between 1968 and 1973.

A National Gallery Touring Exhibition supported by Visions of Australia.

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

Mon & Tue by appointment only.

See our website for latest information.

2 November—24 November Not only, but Also Ted May

Curated by Annabel Brown.

Hyperglyph N0.24, ink on Hanji paper, 137 x 122 cm.

30 November—22 December Perceptions David Freney-Mills, Ian Grigg, Mariana Shomero

Gertrude gertrude.org.au

Gallerysmith gallerysmith.com.au Wurundjeri Woi-wurrung and Bunurong Country, 40 Porter Street, Prahran, VIC 3181 [Map 6] 03 9008 4592 Tue to Sat 11am–5pm.

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

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

See our website for latest information.

2 November–15 December Gertrude Studios 2024 Arini Byng, Elyas Alavi, Grace Culley, Rebecca Jensen, Jordan Halsall, Moorina Bonini, Tara Denny, Yusi Zang, Chunxiao Qu, Francis Carmody, Nathan Beard, Jenna Lee and Georgia Morgan Curated by Amelia Winata and Brigid Moriarty.

Lori Pensini, Black Cockatoo, 2024, oil and acrylic on linen, 100 x 100 cm.

31 October–30 November Wild ‘n’ West Lori Pensini 141

NORTH-EAST EDWINA EDWARDS 5–20 DEC 2024

OPENING EVENT: FRI 6 DEC 6–8PM Brunswick Street Gallery Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au

brunswickstreetgallery.com.au

VICTORIA

Gippsland Art Gallery gippslandartgallery.com Gunaikurnai Country, Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm.

See our website for latest information.

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

Closed public holidays.

See our website for latest information.

Haydens haydens.gallery 1/10-12 Moreland Road, Brunswick East, Naarm, VIC 3057 [Map 3] Fri & Sat 12noon–5pm.

See our website for latest information.

Peter Gardiner, Elephant, 2024, oil pigment and glitter wax on linen, 180 x 200 cm, Winner, 2024 John Leslie Art Prize. © The artist.

7 September—24 November John Leslie Art Prize 7 September—24 November Figurative Fictions 7 September—24 November Tony Hanning: Into the Light—A Survey 7 December—23 February 2025 Jan Learmonth: Passage—A Survey

Graeme Drendel, Portrait of Peter, 2022, oil on paper, 30 x 26 cm. Courtesy the artist and Australian Galleries, Melbourne and Sydney.

1 November—12 January 2025 Look: Contemporary Australian Portraiture Yvette Coppersmith, Julie Dowling, Graeme Drendel, Prudence Flint, Julia Gutman, Lewis Miller, Michael Vale, Peter Wegner and Marcus Wills.

Curated by Diane Soumilas.

1 November—24 November Magic in Glen Eira Malakai Reed 26 November—12 January 2025 The Way Forward is Back Daniel A’Vard

Hamilton Gallery hamiltongallery.org

Ida Rentoul Outhwaite, Fairy beside sundial, undated, watercolour on paper, 32.5 x 26 cm. Collection Benalla Art Gallery, Ledger Gift, 1988. © The estate of the artist.

7 December—23 February 2025 Adventures, Elves & Fairies: Australian Children’s book illustrators of the early 20th Century Permanent and ongoing Borun & Tuk Gallery

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

See our website for latest information.

Hamilton Gallery has been the heart of visual arts in the Southern Grampians for over 60 years. Our internationally significant collection was seeded by a generous bequest of 981 objects, now numbering over 9000 with unique strengths in Decorative Arts, European, Australian and Asian Art.

Guy Grabowsky, Tape, 2023, archival inkjet print on cotton rag, 101.6 x 152.4 cm.

8 November—7 December Solo Exhibition Guy Grabowsky Haydens is pleased to present a solo exhibition by Guy Grabowsky. The works presented are the result of an exploration to decode, deconstruct, and reinterpret the photographic image. A visual literacy of repetition, colour, formality, and materiality functions as a narrative threading the photographs together with the objects and drawings positioned around them.

Heide Museum of Modern Art heide.com.au 7 Templestowe Road, Wurundjeri Country Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm.

See our website for latest information.

26 October—23 March 2025 Molto Bello: Icons of Modern Italian Design Curators: Kendrah Morgan and Laura Lantieri Molto Bello showcases some of the most significant achievements in the history of twentieth-century Italian design spanning the sixty year period from the first Milan Design Triennale in the 1930s to the Memphis Group of the 1980s. The exhibition tells the remarkable story of how, through 143

GALLERY ONE

JULIE ANDREWS NERINA LASCELLES QDOS BLUE CHIP SISCA VERWOERT ALEXANDRA COPELAND BEN STORCH DEBORAH HALPERN 2B or nor 2B

Nov 3 - 23 Nov 24 -Dec 21 Dec 22 - Jan 11 Jan 12 - Feb 1 Feb 2 - 22 Feb 23 - Mar 15 Mar 16 - April 4 April 5 - 27

RUSSELL PETHERBRIDGE LUCY MCEACHERN RIMONA KEDEM GARY RANCE RICHARD J MANNING IAN PARRY

Nov 24 - Dec 14 Dec 15 - Jan 4 Jan 5 - 25 Jan 26 - Feb 15 Feb 16 - Mar 8 March 9 - 29

GALLERY TWO

QDOS FINE ARTS Lorne www.qdosarts.com Est 1989

qdosarts.com

VICTORIA Heide Museum of Modern Art continued...

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

See our website for latest information.

23 August—17 November I ONCE WAS A GREAT LAKE Wesley John Fourie

Ettore Sottsass for Memphis Milan, Carlton Room Divider, 1981, wood, thermosetting laminate, metal, plastic, 196 x 189.7 x 40.2 cm (overall), National Gallery of Victoria, Melbourne Purchased with the assistance of the National Gallery Women’s Association 1985 © Estate of Ettore Sottsass.

Exploring ideas about distance, geography, history and storytelling, New Zealand based artist Wesley John Fourie has created a large scale, finger knitted model of the Murray River.

Sam Petersen, You Need Us, 2023, collage, paper, glue. critical issues shaping our world today, including Indigenous knowledge, queer histories, the climate crisis, class, gender, and identity.

the marriage of Italy’s rich craft tradition, technological and industrial advances and a capacity for creativity, experimentation and invention, Italian design became admired throughout the world.

Horsham Regional Art Gallery

Ezz Monem, The Pyramid Postcards: Following the Policeman #11, 2018-2019, silver gelatin print hand-coloured with oil paint.

horshamtownhall.com.au Wotjobaluk, Jaadwa, Jadawadjali, Wergaia (Were-guy-ya) and Jupagulk Country, 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

Therese Shanley, Tis the Season, 2024, oil on board, 20 x 24.5 cm.

18 October—2 February 2025 The World on the Inside Therese Shanley

Incinerator Gallery incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm.

See our website for latest information.

Tamara Dean, Follow me, 2022 from the series High jinks in the hydrangeas, pigment ink-jet print, 150 x 120 cm.

Courtesy of the artist and Michael Reid Gallery (Sydney + Berlin).

14 September—24 November Tamara Dean | Leave only footprints A Museum of Australian Photography (MAPh) touring exhibition.

Tamara Dean: Leave only footprints spans almost a dozen bodies of work that explore rites of passage, rituals and motherhood – underpinned by the artist’s longing and desire to be within and to protect nature.

Explore a diverse range of contemporary artworks, engage in thought-provoking conversations, and participate in creative art-making programs that celebrate the transformative power of art.

14 September—24 November Incinerator Art Award 2024: Art for Social Change Since 2014, the Incinerator Art Award has identified Australia’s emerging and established artists to address societal challenges and opportunities for social good. The Award program is a critical component of the Gallery’s mission, spearheading Australia’s creative industry in the northwestern suburbs of Melbourne. The shortlisted works explore

13 September—19 January 2025 The Pyramid Postcards: Following the Policeman Ezz Monem This iteration of Ezz Monem’s photographic series is displayed as three large-scale billboards at Incinerator Gallery, exploring authority, surveillance, and tourism through the juxtaposition of the Egyptian Pyramids and the figure of an anonymous local policeman.

7 December—19 January 2025 Planting a garden in my head Laetitia Olivier-Gargano This exhibition presents a suite of new hyper-surreal sculptures exploring the meditative qualities of suburban reality. Inspired by Japanese ‘suiseki’ or ‘scholar’s rocks’ that are valued for their aesthetic qualities, Laetitia creates compositions of organic matter in the form of rocks and food that can also be meditated on for their pleasing aesthetic qualities.

7 December—19 January 2025 Body Field Olivia Chin In this exhibition, artist Olivia Chin delves into themes of rest, chronic illness, and the interplay between the human body and the natural world. Grounded in the premise that the interior of the body reflects the exterior of the world, Olivia uses painting as a medium to document her experiences of place and identity.

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STEPHEN BOWERS: A Conference of Birds MARK THOMPSON: sine qua non New ceramic artworks, showing until 7 December

Mark Thompson A Juggling Pug 2024 earthenware, underglaze, declas h. 80 cm

Top: Stephen Bowers Blue Budgie Lamington Plate 2024 earthenware, underglaze colour, clear glaze d. 21cm. Bottom: Stephen Bowers Stubbs' Roo Meets Spode 2024 earthenware, underglaze colour, clear glaze d. 33cm

The Gallery will be exhibiting at the AAADA Sydney Fair, Paddington Town Hall, 7–10 November (Please check Gallery hours during this time)

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 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

Ivanhoe Library & Cultural Hub

31 October—March 2025 A Secret Chord JMA Collection and various artists.

banyule.vic.gov.au/ILCH Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Parallel Clay Practice, The Beginnings of a Crowd, 2024. creatives during lockdown in 2020. During subsequent weekly online meetings, PCP embarked upon a creative journey using weekly clay exercises in addition to weekly writing prompts to nurture their creative flourishing. This exhibition is a celebration of their journey thus far, including an insight into the development of the work.

Included in the exhibition will be a crowd of figures made by PCP and members of the public in workshops PCP held during their residency in the Mungga artist studios.

Danielle Brustman, Dora, 2024. Image courtesy of the Jewish Museum of Australia.

31 August—March 2025 I Could Have Danced All Night Danielle Brustman

Mungga Artist Studios: John Borrack, Valley of the Plenty near Heidelberg (1996).

Art Gallery 275: 11 October–24 November A Return to Heidelberg John Borrack John Borrack is recognised as one of Australia’s finest landscape artists. His work invites us to look at and reflect on the history and transformation of our ancient land. Borrack’s life as an artist has been heavily influenced by the rich cultural history of the Heidelberg district he absorbed while growing up in Ivanhoe from 1938 to 1962.

From an early age his father Leo, a geologist and teacher, instilled in him a lifelong interest in observing and discovering the natural phenomena of this timeless land.

Throughout his life, Borrack’s paintings have reflected the perpetual sensations experienced during his many journeys through the vast regions of Australia.

Celebration event: Friday 8 November, 6.30pm–8pm.

Books & Their People Artist Residency with Brett Scapin Local artist Brett Scapin will undertake a collaborative photo project that captures library visitors with their most cherished book. Throughout November, visitors to Ivanhoe Library are invited to sit for a portrait with the book (or series of books) that has played an important part in their life. Please visit Brett in the studios.

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

Closed on Jewish & public holidays.

Kingston Arts kingstonarts.com.au Boonwurrung Country, G1 and G2, Kingston Arts Centre, 979-985 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 03 9556 4440 Mon to Fri 10am–4:30pm, Sat 11am–4pm. Free admission.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale, VIC 3195 Wed to Fri 9am–5pm, Sat 12pm–5pm.

Art Gallery 275 Window Display – Foyer of ILCH: 29 November–5 January 2025 Lego Christmas Display Our LEGO Christmas windows are back.

Each year, we invite Melbourne LEGO User Group (MUGs) to create a Christmas LEGO display in the window of Art Gallery 275.

MUGs is a group of the best and brightest LEGO fans, designers and friends within Melbourne and the greater Victoria Area, and include several Lego Masters contestants. Come visit our ILCH Christmas windows this holiday season and wonder at these amazing Lego creations.

Merel May Tieland, Kingston Arts Centre.

Photograph: Yanni Creative.

14 October—10 January 2025 Magnify: Artists in Residence

Loft 275: 8 November–1 December Parallel Clay Practice Sally Adamson, Frida Birkic, Libby Muller Parallel Clay Practice (PCP) formed as a result of participating in Amy Kennedy’s Going Deeper online writing group for

George Dreyfus playing the bassoon, c 1980, Melbourne. Reproduced with permission of the Jewish Museum of Australia.© George Dreyfus.

Introducing 6 new artists to Kingston Art’s Artist in Residency Program, Magnify, that will host 20 artists over the year. We’re delighted to welcome another six brilliant artists to the program in Moorabbin and Parkdale. Throughout their residencies, these artists will experiment will with new approaches to their practices, collaborating and creating a nexus of artistic innovation and cultural exchange.

Two artists work out of Shirley Burke Theatre G3 in Parkdale. Keep an eye on the website kingstonarts.com.au/ 147

mes.net.au

VICTORIA Kingston Arts continued...

Until November SCAPE

MagnifyArtists to hear about Open Studios and meet the artists events.

Lander—Se presents a group exhibition of multi-disciplinary artists. An allfemale lineup of Mornington Peninsula based artists working in themes of landscape and environment. An intricate dialogue between landscape, spirit and materiality, SCAPE explores environment through a fresh feminine lens, offering a multilayered interpretation of nature across the Mornington Peninsula today.

The artists in residence will present a group exhibition, Magnify: Artists in Residence Exhibition at Kingston Arts Centre.

Magnify Artists in Residence: Daril Atkin, Jayne McSwiney, Lori Hakim, Merel MAY Tieland, Timothee Chalazonitis, Belinda Wilson, Kingston Arts Centre.

Photograph: Yanni Creative.

14 November—14 December Magnify: Artists in Residence Exhibition Immerse yourself in the creativity and innovation of Kingston Arts’ talented artists in residence. This group exhibition offers a glimpse into the artists experimental and collaborative endeavours, showcasing an array of fresh and boundary-pushing art. Join us to explore these new perspectives and be inspired by diverse works that challenge conventions and spark dialogue.

Kingston Arts is honoured to host 20 unique artists in its artists in residence program, Magnify. The first group of 6 artists has recently finished their residency and along with the current resident artists, are delighted to present their works in a group exhibition in G1 and G2 galleries at Kingston Arts Centre.

Throughout their residencies, the artists have experimented with new approaches to their practices, collaborated and created a nexus of artistic innovation and cultural exchange.

Unpredictable sweeps of color and organic forms meet sharp metallics and soft ceramic curves, humming with lifegiving energy and playful hues. Each work reflects the wildness and fragility of our inner and outer landscapes. Join us for SCAPE’s transformative journey, where nature is reimagined in a rhythmical, immersive installation.

The exhibition includes weavings, ceramics, sculptures, photographs and paintings by Emma Shepherd, Britt Neech, Tao Delves, Emma Labatallgia, Leyla Bulmer, Charlotte Swiden, Amy Leeworthy, Kelly Larkin, Sarah Austin, Hannah Nowlan, Natalie Bessell and Bri Horne. Creative Workshop Program - visit our website to book your ticket to our artist-led workshops.

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

Lander—Se landerse.au Boonwurrung Country, 585 Dunns Creek Road, Red Hill, VIC 3937 [Map 4] Open weekends 11am–4pm or by appointment.

See our website for latest information.

SCAPE, installation view. © Lander— Se, Red Hill.

play in our cultural and environmental heritage. Through a curated selection of works, Pastoral Vistas invites viewers to explore the continued appreciation and depiction of scenes with green hills, grazing livestock, golden fields and farming, capturing a moment of stillness in our fast-paced world.

Hans Heyson, Ambleside Landscape with Cattle, 1946, watercolour on paper. Latrobe Regional Gallery Long Term Loan from Murray Cook.

15 November—16 March 2025 Pastoral Vistas: Colours of the Countryside Latrobe Regional Gallery presents Pastoral Vistas - Colours of the Countryside, an exhibition showcasing pastoral scenes from our permanent collection and works by invited Gippsland artists.

This exhibition celebrates the serenity of rural landscapes, as well as agricultural practices that take place on pastoral plains. Offering a moment of reflection on the enduring beauty and simplicity of the countryside, the works are also a reminder of the vital role that rural landscapes

Helen Ogilvie, Banksia, n.d, linocut on rice paper, Ed. 37/50. Latrobe Regional Gallery Collection, purchased 1971.

15 November—16 March 2025 Botanical Life Botanical Life celebrates the diversity and intricate beauty of plant life represented in art and botanical illustrations. The exhibition includes pieces from the LRG Collection, ranging from prints incorporating Australian flora within still life arrangements, to photographs where flowers appear as symbolic elements of identity, and to a selection of delicate glass objects expressing the fragility, complexity, and wonders of the natural environment. Featuring alongside the collection pieces are botanical illustrations by Henry Tisdall, who as an amateur botanist, identified and illustrated Gippsland wildflowers and fungi. A series of his illustrations is held at LRG on long term loan from Moe Historical Society. As a continuation of the tradition, visitors will also have the opportunity to create their own botanical drawing with reference images and provided materials.

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

Other times by appointment.

See our website for latest information.

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

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ar t g ui d e .c o m . au 7 December—2 February 2025 Linden Postcard Show 2024-25

Lauraine Diggins continued...

Lyon Housemuseum lyonhousemuseum.com.au Dean Home.

23 October—10 November A Journey into the wild mountains Dean Home

217-219 Cotham Road, Kew, VIC 3101 03 9817 2300 Galleries: Wed to Sun 12pm–4pm.

Housemuseum: pre-booked guided tours. See our website for latest information.

Stephen Bowers, Sulphur Crested Cockatoo RH, 2024, earthenware, underglaze colour, clear glaze, d. 33cm.

Shaun Gladwell, Approach to Mundi Mundi, 2007. Lyon Collection.

Eolo Paul Bottaro.

Mark Thompson, Tondo, 2024, earthenware, underglaze, gold lustre, d. 58 cm Until 7 December A Conference of Birds Stephen Bowers sine qua non Mark Thompson 7 November—10 November AAADA Sydney Fair, Paddington Town Hall Please check gallery hours during this time.

Lennox St. Gallery

13 November—1 December Urbs Attenta Eolo Paul Bottaro 4 December—22 December A new exhibition by Jackie Wirramanda & Robby Wirramanda

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

See our website for latest information.

The Lyon Housemuseum is a contemporary art museum presenting works from the Lyon Collection of Australian Contemporary Art. Spanning over three decades, the collection includes paintings, sculpture, large scale installations, photography and video works by many of Australia’s most celebrated contemporary artists.

The museum comprises two interconnected buildings – the original Housemuseum, the former home and private museum of patrons Corbett and Yueji Lyon, and the Housemuseum Galleries. A regular series of public programs, including artists talks, workshops and interactive forums are presented across the two museum venues.

lennoxst.gallery Wurundjeri Woiwurrung Country, 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm.

See our website for latest information.

Lennox St. Gallery is committed to exhibiting contemporary Australian and International art by established, mid-career, and emerging artists. Through a program of regular cultural events, artist’s talks, and guided exhibition tours, Lennox St. Gallery continues providing education opportunities in a variety of areas in art and the art market for the gallery’s clients and general public alike.

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John Gollings, Kay St Housing with Kangaroos, 1983. Lyon Collection.

1 May–30 April 2025 Works From The Lyon Collection

Tom Sullivan, Sound Stage #2, 2023, sound installation; various found materials; dimensions variable. Courtesy of the artist.

31 October—1 December INSTRUMENTAL Tom Sullivan

This exhibition, presented in the Housemuseum Galleries, features selected works from the Lyon Collection including works by artists John Gollings, Shaun Gladwell, Patricia Piccinini, Howard Arkley, and a newly acquired painting by Stephen Bram.

VICTORIA

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

See our website for latest information.

Brian Robinson, Terraqueous: On Stranger Tides, 2024, vinyl cut, 100 x 200 cm. Image courtesy the artist and Mossenson Galleries. © the artist.

7 December—23 February 2025 Current: Brian Robinson The prevalence of explorers and voyages of ‘discovery,’ and their juxtaposition with Robinson’s intricate Zenadth Kes and Pacific designs and beautifully observed renderings of flora and fauna is revealing. At the heart of Robinson’s work are questions about the authority and empiricism of enlightenment and its ideals. His work encourages open-minded inquiry of Western narratives. Drawing upon his unbroken connection with one of the oldest living cultures in the world, his late-twentieth century childhood and hobbies, and boundless creative capacity, Robinson offers audiences an enriching understanding of Indigenous knowledge systems with a unique worldview. The exhibition will feature ambitious linocuts, vinyl prints and bring together several new sculptures.

Manningham Art Gallery manningham.vic.gov.au/gallery

30 October—14 December Retrace Your Steps!

Hootan Heydari and Lara Chamas Lara Chamas and Hootan Heydari present a selection of recent work in our main gallery, titled Retrace Your Steps!

This exhibition brings together two remarkable artists, each with unique styles and practices. While each artist approaches their mediums in distinct ways, their work shares a profound connection through the exploration of themes such as home, familial memory and generational migrant experiences of leaving their home countries due to war and political upheaval. Their works are both poetic and poignant, speaking to both personal stories and broader political histories.

By observing these subtle interactions, Arnold highlights the reciprocal relationship between spaces and their inhabitants, creating intimate encounters with objects, materials, and place, while challenging conventional perceptions of spatial and communal dynamics.

Lara Chamas is a Lebanese artist, born and raised in Naarm (Melbourne). Her work comprises of sculptural objects and installations that reflect on family, memory, and domestic life.

Hootan Heydari is an Iranian-Australian artist, who predominantly works in sculpture and photography. His art captures connections between the past and present, distilling echoes of history into contemporary expressions. Heydari is represented by Futures Gallery.

Please note that this exhibition contains artwork that explores themes of war and violence, which may be difficult for some visitors. To find local wellbeing support services, visit manningham.vic. gov.au/find-support. Please speak to our staff if you would like more information before attending by contacting us on gallery@manningham.vic.gov.au and 03 9840 9333. We thank you for your understanding.

Mary Cherry marycherry.com.au

jemi gale, pig sounds are associated with emotions (detail), 2024, acrylic paint, oil paint, collage, sunflower petals, canvas, 76 x 457 cm.

8 November–7 December every painting has a friend Jemi Gale

Melbourne Holocaust Museum mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tue to Thu 2pm–6pm, Sun 10am–6pm.

See our website for latest information.

42 Glasshouse Road, Collingwood, VIC 3066 [Map 3] Thu to Sat 12pm–5pm and by appointment.

Wurundjeri Country, Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm.

Unearthing the first part of the Ringelblum Archive. L-R: Michał Borwicz & Hersz Wasser. PAP/Władysław Forbert.

Beth Arnold, CAVES Performance, May 2023, found objects, metalised plastic film, string, timber, caster wheels, magnets, performance. Photograph: Storm Gold.

Hootan Heydari, 1357, 2022, steel, cassette tapes, plaster, 114 x 82 x 18 cm. Image courtesy of the artist and FUTURES Gallery.

environment, focusing on how spaces are constructed and experienced. Through her work, she examines how the site contextualizes and shapes the meaning of sculpture, often emphasizing transient details like light, air, and the unintentional marks within built environments.

4 October—2 November Interwoven Beth Arnold Beth Arnold’s first solo exhibition at Mary Cherry explores the intersections of architecture, community, and

17 November—30 March 2025 Underground: The Hidden Archive of the Warsaw Ghetto Melbourne Holocaust Museum (MHM) presents a special exhibition Underground: The Hidden Archive of the Warsaw Ghetto.

On display for the first time outside of Europe, Underground exhibits rare artefacts from the hidden archive of the Warsaw Ghetto. Led by historian Emanuel Ringelblum, a collective of academics, writers, and activists worked secretly inside the Warsaw ghetto to 151

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Originals and prints.

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VICTORIA Melbourne Holocaust Museum continued...

16 November–19 January 2025 five letters cinque lettere Filomena Coppola

and imagination that play brings to our everyday lives.

document the German-initiated mass murder of European Jews as it was happening. The exhibition brings home to the viewer the harrowing but ultimately successful attempt to write the story of the Holocaust from the perspective of its victims. The exhibition will also present testimony and artefacts from the MHM Collection to explore the personal experiences of those who survived Europe’s largest ghetto and immigrated to Melbourne after the war.

A contemporary interpretation of the experience of the post WW2 migration from Italy within the Mildura community as told by artist Filomena Coppola, a child of migrants and the first generation born in Australia. The works celebrate migration experiences, explores cultural loss, and expresses what it is to live between the culture she was born into and the one that her parents left behind. The exhibition is not only a personal story.

Mornington Peninsula Regional Gallery

Underground: The Hidden Archive of the Warsaw Ghetto is presented in partnership with the Jewish Historical Institute, Poland and the Munich Documentation Center for the History of National Socialism, Germany.

Bookings: mhm.org.au/underground

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

William Blamire Young (1862-1935), The Flight into Egypt, c.1913-14, watercolour on paper. Mildura Arts Centre Collection. Senator R.D Elliott Bequest, presented to the City of Mildura, by Mrs Hilda Elliott, 1956.

13 December–16 February 2025 An insatiable appetite for pictorial adventure William Blamire Young Known as the master of Australian watercolour, Blamire Young was critically acclaimed, loved by the public and venerated by contemporaries such as Julian Rossi Ashton and Norman Lindsay.

Mildura Arts Centre commemorates the 90th anniversary of Young’s death in 2025, with the exhibition, An insatiable appetite for pictorial adventure, guest curator Stephen Marshall has selected works which highlight Blamire Young’s preoccupation with nineteenth-century culture and deep love of the Australian and British landscape.

18 October–1 December Colour filled Mildura Arts Centre Collection.

Colour filled explores the vibrant spectrum of creativity through a selection of artworks from the Mildura Arts Centre Collection. Artists include: John Firth-Smith; Heather Heggie; Wes Placek; Herbert (Bert) Flugelman; Ian Bow; Franz Moishe Kempf; Sydney Ball; Ron Robertson-Swann OAM; Wilma Tabacco; Antonia Chaffey; Joseph Brown AO, OBE; John Waller; and ArtRageUs Studio.

18 October–1 December GLOSS Liv McCarten Liv McCarten’s 2024 solo exhibition, GLOSS, embarks on a nostalgic journey through the vibrant era of the 2000s, where each artwork resonates with cherished memories and communal connections. Capturing the essence of beloved icons from the early 2000s, McCarten’s collection immortalizes the cultural touchstones of growing up amidst famed symbols such as Tamagotchis and Bratz dolls.

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

See our website for latest information.

8 December—16 March 2025 The Ecologies Project: How Climate Changes Culture Maree Clarke, Jill Orr, Jacobus Capone, Lucy Simpson, Selena de Carvalho, amongst others This exhibition looks at the effects climate change has had on the deep time of human culture. With First Nations voices and time-old stories of need for sustainability, this show asks: how does a changing ecology change our culture?

Museum of Australian Photography (MAPh) maph.org.au Wurundjeri Woi Wurrung and Bunurong Country, 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Free entry.

Geoffrey Ricardo, Factory Kite, (detail), 1991, etching and drypoint. Mildura Arts Centre Collection, Print Council of Australia, Anniversary Edition, Transitional Times.

26 September–17 November Play Mildura Arts Centre Collection.

Discover the joy of creativity in Play, a captivating group exhibition featuring the works of Chris Beecroft, Sir Frank William Brangwyn, John Fuller, Jo Grant, Kristian Häggblom, Denise James, Phil May, Geoffrey Ricardo, Heather Shimmen, and Deborah Williams.

Explore a vibrant collection of paintings, prints, drawings, and photography that celebrates the multifaceted nature of play. Each artwork invites the viewer to rediscover the curiosity, creativity

Petrina Hicks, Memento mori, 2024, 120 x 90 cm, archival pigment print.

Courtesy of the artist and Michael Reid (Sydney).

23 November–26 February 2025 Snakes and mirrors/Mångata/500 strong 23 November–26 February 2025 Petrina Hicks, Amos Gebhardt, Ponch Hawkes

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CALL FOR ENTRIES CLOSE 21 FEB 2025 EXHIBITION DATES 9 MAY–22 JUNE 2025 baysidepaintingprize.com.au

Bayside Gallery Brighton Town Hall Cnr Wilson & Carpenter Streets Brighton VIC 3186 T: 03 9261 7111

Opening hours: Wed–Fri, 11am–5pm Sat & Sun, 1pm–5pm bayside.vic.gov.au/gallery @baysidegallery @baysidegallery

bayside.vic.gov.au/gallery

VICTORIA

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

See our website for latest information.

3 October—16 April 2025 MECCA x NGV Women in Design Commission 2024: Christien Meindertsma

03 8620 2222 Open daily 10am–5pm.

See our website for latest information.

Niagara Galleries

Now showing Wurrdha Marra

245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment.

See our website for latest information.

Now showing Bark Salon 23 August—2 February 2025 Reimagining Birrarung: Design Concepts for 2070 ASPECT Studios, Bush Projects, McGregor Coxall, Office, Openwork, Realm Studios, SBLA, TCL.

13 November—April 2025 2024 NGV Architecture Commission: Home Truth by Breathe

One Star Gallery instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm.

See our instagram for latest information.

Until November Lesage x Vionnet: Embroidery from The Krystyna Campbell-Pretty AM Fashion Research Collection

Render of NGV Architecture Commission 2024: Home truth by Breathe. Image courtesy of Breathe.

niagaragalleries.com.au

Reko Rennie, REMEMBER ME, 2020, LEDs, plastic, aluminium, electrical components, 254.0 x 1878.0 cm (installed), National Gallery of Victoria, Melbourne.

Gift of the Eva, Mila and Reko Collection through the Australian Government’s Cultural Gifts Program, 2023. © Reko Rennie. Photograph: Zan Wimberley.

11 October—27 January 2025 REKOSPECTIVE: The Art of Reko Rennie Reko Rennie

Tina Douglas, Sound Video, 2024.

24 October—10 November ART SOUNDS Group show and performances Tina Douglas, Mick Turner, Michelangelo Russo/Hugo Race, Leah Torly/Douglas Galbraith 14 November–24 November Photographs Wendy Joy Morrissey 28 November–1 December Broccoli Hua Li 5 December–15 December Press Play Matthew Ellery, Tracy Ellerton, Irene Christensen

Yayoi Kusama, The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe, 2019, at Kusama’s solo exhibition Yayoi Kusama: All About Love Speaks Forever at Fosun Foundation, Shanghai. Courtesy of Ota Fine Arts. © Yayoi Kusama.

Programme includes performances by Mark Steiner A.O. with film screenings to be announced. See our instagram @onestarlounge for more information.

15 December—21 April 2025 Yayoi Kusama 15 December—21 April 2025 Kusama for Kids Yayoi Kusama

National Gallery of Victoria—The Ian Potter Centre: NGV Australia ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2]

Parallel Projects the-art-room.com.au/ parallel-projects Théophile-Alexandre Steinlen, Poster for the Company of the Black Cat (Prochainement la très illustre Compagnie du Chat Noir), 1896, colour lithograph, 56.3 x 36.0 cm (image) 61.9 x 40.0 cm(sheet).

National Gallery of Victoria, Melbourne, Purchased, NGV Foundation, 2022.

1 November—20 July 2025 Cats & Dogs

138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.

See our website for latest information.

Our versatile space boasts a large movable wall that enhances the possibilities for 2 exhibitions simultaneously. We provide comprehensive support for artists to realise their projects, and our commitment extends to offering installation assistance.

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VICTORIA Parallel Projects continued...

Vivienne Adeney is an emerging printmaker from Naarm/Melbourne.

She graduated with a Bachelor of Fine Art from RMIT University in 2023. Her work explores the intricate tapestry of life on our water-rich planet, highlighting the ubiquitous presence of aqueous connections. She finds that this shared reliance on water not only unites us but also intertwines us with the bodies of various plants, animals, and bacteria as water flows through us and between us.

As a result, she finds that we become a part of these life forms, and they, in turn, become an integral part of us.

Robbie Rowlands, Cut and reconfigured found object from Ford Factory. Image courtesy of the artist.

Moona Williamson.

the erasure of collective identity associated with once-booming industrial sites.

7 October—9 November Fervour Moona Williamson Marketa Kemp, Syrah, mono print, 1/1, 33 x 25 cm.

Kathy Landvogt.

7 October—9 November Tribute Kathy Landvogt 18 November—7 December The Art Room end of year exhibition

PG Gallery pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm.

See our website for latest information.

Marketa Kemp is an emerging printmaker based in Naarm, Melbourne. Although primarily self-taught, she has studied with and learned from various artists in Australia and overseas, including The Aegean Center for the Fine Arts in Greece and Australian artist Wayne Viney who introduced her to printmaking in 2017.

Marketa finds inspiration in landscapes that have left a deep impression in her, places rich in atmosphere, hidden life and mystery. Her art aims to make the viewer feel something, to evoke emotion whether it be happiness, melancholy, reflection or distant memory.

Fordtown is an expanded documentary project exploring the closure of the Ford Motor Company’s manufacturing facilities and its impact on Geelong. In a post-industrial society, cities inevitably transition from ‘blue-collar’ industries such as manufacturing into knowledge industries.

Fordtown questions the human cost of this progress and documents the impact of Ford’s demise on the Geelong community through the stories of individual workers.

Platform Arts platformarts.org.au Wadawurrung Country, 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9am–5pm.

See our website for current weekend hours and for latest information.

19 October—30 November Assembled Lines Artist Robbie Rowlands and Writer Yasmin Mobayad

Vivienne Adeney, Greenery, woodblock and Chine colle, unique state, 38.2 x 38.2 cm.

19 October—30 November Fordtown (2024) Kaitlyn Church

Assembled Lines brings together a sculptural installation and essay response to the decommissioning of the Geelong Ford Factory. Through careful auction strategies, artist Robbie Rowlands procured equipment with unique and obvious signs of their history in use, with a number of the objects having already undergone sculptural intervention. Yasmin Mobayad’s research and poetic writings concentrate on the effects of de-industrialisation and

Honey Fingers in collaboration with Boris Portnoy, Bee Bread, 2018, sourdough starter inoculated inside beehive.

Photograph: Tess Maunder.

17 February—19 April The Honey Fingers collective Nicholas Dowse & colleagues Through the alchemy of fermenting, art, and collaboration, the Honey Fingers collective will explore poetry, food-stuffs, performance, and visual art as responses to the notion of fermenting. The project will foster a temporal setting in Geelong that amplifies awareness of honeybee communities in a hyperlocal context to 157

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8 Spring Street Fitzroy VIC 3065

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(03) 9417 6218 @meridiansculpture

VICTORIA Platform Arts continued... the Greater Geelong region. A wide range of audiences will be invited to respond, culminating in an exhibition and installation project at the intersection of interdisciplinary practice, food waste, environmentalism, and visual arts outcomes.

Print Council of Australia Gallery printcouncil.org.au Wurundjeri Country, Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tue to Fri 10am–4pm.

See our website for latest information.

Barbara A. Davidson, Window with Waratah-B, 38.3 x 28.3 cm, edition of 20.

12 November—29 November Barbara A. Davidson

Siying Zhou, production still on site at Dandenong Ranges National Park, Wurundjeri Country, 2023. Photograph by the artist.

19 October—30 November Chronomingle Curated by Cūrā8 and featuring Jia Jia Chen, Janelle Evans, Peter Hill, Priyanka Jain, Claire Lehmann, Abhijit Pal, Elif Sezen, Stickleback, Zamara Zamara and Siying Zhou.

Chronomingle is a neologism describing the interplay of storytelling practices across diverse media and art forms.

The artists in this exhibition combine visual art, performance, movement, song, literature, film and digital media to explore the fluidity of time and the interconnectedness of diverse cultural experiences.

In presenting a range of very different approaches to storytelling, Chronomingle seeks to capture something of the nature of stories that resonate across different historical and cultural contexts and bind us together through the languages of word, melody, object, space and image.

Pt. Leo Estate ptleoestate.com.au Boonwurrung / Bunurung Country, 3649 Frankston-Flinders Road, Merricks, VIC 3916 [Map 1] 03 5989 9011 Open daily, 11am–5pm (last entry 4.30 pm).

The Sculpture Park is an outdoor gallery within 330 acres of landscaped grounds that offer a gentle promenade as opposed to a strenuous trek around the network of winding paths that lead visitors past some 70 works mostly but not exclusively of large-scale.

Steven Patterson, Banksia, hand coloured relief print, edition of 15, 60 x 45 cm.

3 December—20 December An exhibition by Steven Patterson

Reko Rennie, Miri.

Art lover looking for more? Extend the wow of the recent NGV exhibitions featuring Reko Rennie and Yayoi Kusama and visit the stunning outdoor gallery, Pt. Leo Estate’s Sculpture Park just an hour’s drive from the city.

Experience breathtaking works including Miri by Reko Rennie and Pumpkin 19 by Yayoi Kusama against a backdrop of ocean views and surrounding vineyards of the Mornington Peninsula.

Open daily from 11am, immerse yourself in art, culture and natural beauty this Spring/Summer at Pt. Leo Estate and receive free entry when you show your NGV ticket for the corresponding exhibitions.

QDOS Fine Arts qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–6pm or by appointment.

See our website for latest information.

A curated art space representing a small collection of fine artists chosen for their artistic virtuosity and sheer mastery of practice. Qdos Fine Arts presents 10 solo exhibitions annually, our artists launch a new body of work biennially albeit offer a small but exclusive range of their work which is available for stockroom viewing.

Project8 Gallery project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.

Yayoi Kusama, Pumpkin 19.

Ongoing Reko Rennie and Yayoi Kusama

Julie Andrews, Ocean Side, 2024, oil on canvas, 63 x 93 cm.

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Yvette Coppersmith Seated portrait feeding cat 2024 Oil and sand on jute 113cm x 97.5cm Courtesy the artist and Sullivan+Strumpf, Melbourne and Sydney Photo: Matthew Stanton

Look

Contemporary Australian Portraiture 1 November 2024 –12 January 2025 Explore the intriguing range of approaches to contemporary Australian portraiture in this fascinating exhibition that unpacks themes of identity, diversity and gender, inviting the viewer into the subjects’ lives and stories.

Enjoy works by leading award-winning contemporary Australian artists including Yvette Coppersmith, Julie Dowling, Graeme Drendel, Prudence Flint, Julia Gutman, Lewis Miller, Michael Vale, Peter Wegner and Marcus Wills.

Glen Eira City Council Gallery Corner Glen Eira and Hawthorn Roads, Caulfield Monday–Friday, 10am–5pm. Saturday and Sunday, 1pm–5pm.

Closed public holidays. Free admission. www.gleneira.vic.gov.au/gallery gleneira.vic.gov.au/gallery

@gleneiraarts

VICTORIA QDOS Fine Arts continued...

3 November–30 November Julie Andrews

Cara Johnson, Paddock IV, (detail), 2023. willow, found baling twine. Image by Fred Kroh.

14 September–16 November Deep Material Energy III Cara Johnson, Inari Kiuru, Claire McArdle, Kelly McDonald, Victoria McIntosh, Neke Moa, Rowan Panther, Lisa Waup Curated by Heather Galbraith.

Nerina Lascelles, Jebbs Pool, 2024, mixed media on canvas, 152 x 152 cm.

1 December–21 December Nerina Lascelles

Collagism, JAWS, the Great White Shark, from the series Big Things for a Big Country, 2024.

RACV Goldfields Resort

exploration of how AI can be used, from concept to creation, crafting works that resonate with the echoes of the past while dreaming of the possibilities of the future.

racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

See our website for latest information.

RMIT Gallery rmitgallery.com Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 5] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.

Deep Material Energy III brings together the work of eight artists from Aotearoa New Zealand and Australia whose jewellery/object practices showcase a deep connection with and curiosity about materials.

RMIT First Site Gallery rmit.edu.au/about/culture/ first-site-gallery Wurundjeri Country, Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm.

Free admission.

See our website for latest information.

Image courtesy of Evangeline Clark.

Creswick Clay Pit, 2024. Photograph: Penelope Aitken.

19 October—8 December ArtHouse: Hanging earth, grounded stars Paradoxa Collective Sourcing clay from the Creswick Clay Pit to make beads, Paradoxa Collective bring the earth into the air and a constellation of stars to the ground to contemplate what the Dja Dja Wurrung community refer to as ‘our upside-down Country’. In doing so, the artists enact and encourage the possibility of renewal through small acts of caring and connection.

6 December—2 March 2025 RACV Goldfield Grounds: Digital Dreams, Analog Echoes Tom Blachford, Collagism and Sam Leach.

Digital Dreams, Analog Echoes harnesses nostalgia in the digital age, where memory and innovation coexist in a delicate balance. This outdoor exhibition is an

Mochu, GROTESKKBASILISKK! MINERAL MIXTAPE, 2022, digital video (still). Image courtesy of the artist.

23 August–16 November This Hideous Replica Joshua Citarella, Debris Facility, Heath Franco & Matthew Griffin, Liang Luscombe, Mochu, Diego Ramírez, Masato Takasaka, Anna Vasof and more.

Curated by Joel Stern and Sean Dockray.

Lifting its title from a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project—a concoction of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of- control.

15 October–8 November Lovely Bibbles Evangeline Clark Curated by Madeleine Sherburn.

Lovely Bibbles explores the embodiment of ‘girliness’ and new expressions of ‘girlhood’ in art. Focusing on interweaving painting and sculptural methodologies, this work challenges the dismissal of feminine-like aesthetics.

15 October–8 November Ecoside Sarah Lockey Concern for how humanity might better understand the challenges presented by climate change and biodiversity loss, this body of work explores how to convey a new understanding of the world and our place within it by stimulating reflection and encouraging fresh discourse through the medium of the worn object.

15 October–8 November PDA (Public Display of Affection) Jale Sezai 161

Exhibit With Us Applications now open for 2025/26

138 Cowper Street, Footscray @parallelprojects.au the-art-room.com.au/parallel-projects

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WH ERE PICTURE FR AMIN G IS AN ART 162

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VICTORIA

RMIT Design Hub Gallery

Shepparton Art Museum

designhub.rmit.edu.au

sheppartonartmuseum.com.au

Wurundjeri Country, Level 2, Building 100, RMIT University, Corner Victoria and Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt.

Gallery located below street level. to 11am–5pm 12pm–4pm.

Free admission.

See our website for latest information.

Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Weekdays 10am–4pm, Weekends 10am–4pm, closed Tue. See our website for latest information.

Stockroom Kyneton stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Mon & Thu to Sat 10.30am–5pm, Sun 11am–4pm. Closed Tue & Wed See our website for latest information.

Stockroom Kyneton is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s butter factory across 1000sq metres.

Located in Kyneton’s thriving style precinct of Piper Street.

RMIT Design Hub Gallery exists to ask questions about design’s role in the world today. Through exhibitions, conversations, performances and publications, we explore the process of design – making space to imagine, test and risk new ideas together.

Founded within RMIT University, the Design Hub Gallery has its roots in the city and in research practice. But most of all we are a public place, a zone for exploration and a platform for exchange, locally and internationally. We are an open space for discovery, questioning and experimentation.

Ross Creek Gallery rubypilven.com/ross-creekgallery Wadawurrung Country, 183 Post Office Road, Smythes Creek, VIC 3351 [Map 4] 0430 886 428 Fri, Sat & Sun 11am–4pm during exhibitions, Sat & Sun 11am–4pm outside of exhibitions.

See our website for latest information.

2 November—17 November Sue and Steve Sedgwick Work in progress Opening event Saturday 2 November, 1pm–4pm.

6 December—22 December Infuse Art Prize Opening event Friday 6 December by invitation only.

Julia Gorman, Reflection on reflection, Shepparton Art Museum, 2024.

Photograph: Leon Schoots.

Until February 2025 Julia Gorman: Reflection on reflection Until March 2025 Ceramics in Focus: Sanné Mestrom Until March 2025 Ceramics in Focus: Brendan Huntley 18 May—17 February 2025 Kenny Pittock: Can You Peel The Love Tonight In his signature humorous style, Pittock playfully elevates the humble can of fruit in celebration of the beloved fruit growing and preservation industries of the Goulburn Valley, and the region’s community, who stick together through thick and ‘tin’.

Ongoing Face in the Frame SAM Collection Until February 2025 Big Ceramic Entergy SAM Collection Curated from the SAM Collection, Big Ceramic Energy presents a selection of Australian, First Nations, and international contemporary artists whose creative practices push the boundaries of the ceramic medium.

Stories from the SAM Collection, installation view, Shepparton Art Museum, 2024. Photograph: Leon Schoots.

Ongoing Stories from the SAM Collection

Alicia King, Phenomenal Body (atmosphere), 2024, aluminium, iron, synthetic polymer, natural mineral pigments (detail image), 100 x 80 cm. Documentation: Remi Chauvin.

12 October—17 November An Uncertain Grasp Pia Johnson Phenomenal Bodies Alicia King Regeneration Victoria Lynagh

Steven Bellosguardo, Well Oiled Machine, (detail), 2023. Documentation: Andrew Curtis.

23 November—5 January 2025 What goes down must come up Steven Bellosguardo Grotto Welfe Bowyer 163

NERINA LASCELLES

1-21 December 2024

QDOS FINE ARTS Allenvale Road Lorne www.qdosarts.com Visit the exhibition online

BH: TFSS 9:00am - 5:00pm or by appointment

Devils Elbow 2024, Mixed Media and Epoxy Resin on Board, 120cm x 120cm

qdosarts.com

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VICTORIA

Sullivan+Strumpf Naarm/Melbourne sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

cifically female, for decades. Adornment has an ancient history, and its relation to the body is decorative, symbolic of gender, status, spiritual and cultural beliefs. Su san Cohn’s work considers the role of jewellery in the politics of society: as gift, symbol, memorial, and as a communication and sensory tool. Her work often responds to current issues, such as war, the plight of refugees and peace-making.

Through photography, video and neon, Eugenia Raskopoulos has used her own story of transmigration as a touchstone for a textual exploration of the body. As an artist living between two languages, she creates bodily actions and images, often interwoven with neon text, in Greek, English and binary code.

25 October—23 November Future Dreaming

While the exhibition includes several new works by each artist, it is conceived as an artistic collaboration between the two artists and the curator. It is a dialogue, one that has resulted in the final work in the exhibition, word of mouth, an actual collaborative installation made by Cohn and Raskopoulos.

The more than 250 artworks produced are the documents of their visions. Each painting measures 30 x 30cm and is affordably priced between $180-$330.

The Torch takes no commission on sales, meaning that 100% of the proceeds of each sale go directly to the artist. All artworks will be available to purchase online at thetorch.org/FD24.

An exhibition of 250+ artworks that dream a future, by First Nations artists who are incarcerated across Victorian prisons.

Re-entering society after incarceration is a challenging transition, with 50.2 per cent of incarcerated Aboriginal and Torres Strait Islanders returning to prison within two years of their release. The Torch works with artists to counter this trend and strengthen the cultural, economic, and social connections that help break the cycle of reoffending. Using brushes, paint and canvas, artists participating in Future Dreaming explore dreamt and possible identities or pathways ahead of their release.

THIS IS NO FANTASY thisisnofantasy.com

Natalya Hughes, The Second Marriage, 2024, acrylic on polyester, 182 x 148 cm.

108-110 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7172 Tue to Fri 11am–5pm, Sat 12noon–5pm.

31 October—30 November An Entertainment Natalya Hughes

TarraWarra Museum of Art twma.com.au 313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

Anthony Romagnano, 13 Cakes, 2021, pencil on paper, 28 x 36 cm. Courtesy of the artist and Arts Project Australia.

30 November—10 March 2025 Intimate Imaginaries Fulli Andrinopoulos, Samraing Chea, Alan Constable, Wendy Dawson, Bronwyn Hack, Julian Martin, Chris O’Brien, Anthony Romagnano, Lisa Reid, Mark Smith, Cathy Staughton, Georgia Szmerling and Terry Williams. Curated by Anthony Fitzpatrick.

The Torch Gallery thetorch.org/FD24 Su san Cohn, HubHead, 2002–2003.

Photograph: Greg Harris. Collection Anna Schwartz. Courtesy of the artist and Anna Schwartz Gallery. © Susan Cohn with Greg Harris.

Wurundjeri Woi-wurrung Country, 146 Elgin Street, Carlton, VIC 3056 [Map 5] Tue to Fri 1pm–5pm, Sat 11pm–3pm.

3 August–10 November (SC)OOT(ER)ING around Su san Cohn and Eugenia Raskopoulos Curated by Victoria Lynn.

An exhibition of new and existing works

by Su san Cohn, craft artist and Eugenia Raskopoulos, visual artist. The human body wears lived experience both on its skin, and within. It expresses the cultural, sexual, racial and diverse geographic experiences of individuals. Australian artists Su san Cohn and Eugenia Raskopoulos have explored the human body, often spe-

Ellen Dahl, The Edge of Time, 2024, archival pigment print on fibre rag, 100 x 69 cm, ed. of 5 + 1AP. 18 October—16 November Edge of Time Ellen Dahl

Installation view, Future Dreaming, The Torch Gallery, Carlton, 2023. Photograph: James Henry.

21 November—14 December Provenance Joel Arthur, Johnathon World Peace Bush, Ellen Dahl, Simon Degroot, Juan Ford, Ezz Monem, Haji Oh, Jill Orr, Jo Plank, Yhonnie Scarce, Alexandra Standen, Ali Tahayori, Oliver Watts.

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JULIE ANDREWS

GLOW

3-30 November 2024

QDOS FINE ARTS Allenvale Road Lorne www.qdosarts.com Visit the exhibition online

BH: TFSS 9:00am - 5:00pm or by appointment

qdosarts.com

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artelia.com.au

VICTORIA

Tolarno Galleries tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

the evolution and diversity of Australian abstraction and is curated from Charles Nodrum’s private collection.

participate after receiving the highest number of votes from their peers. This is a prestigious award and much sort after.

13 November—18 January 2025 Boroondara Summer Salon

The 2024 finalists are: Sarah Ackland, Nathalie Anne, Mark Bagally FVAS, Natasha Ber, Susannah Bond, Julian Bruere VAS FVAS, Sam Bruere VAS, Ted Dansey VAS FVAS, Rachel Dettman Smith VAS, Lucy Fekete, Melissa Fraser VAS, Adam Frith VAS, Genevieve GaddCarolan, Liz Gridley, Mary Hyde VAS, Don James VAS FVAS, Adrian Johnson VAS, Gwendoline Krumins VAS, Creagh Manning, Anne Melloy VAS, Liz Moore Golding VAS, Susan Morris, T.J. Murphy VAS, Des Parkin VAS, It Hao Pheh, Ron Reynolds, D’arcy Rouillard, Clive Sinclair VAS FVAS, Gregory R. Smith VAS FVAS, Ulrich Stalph VAS, Zoja Trofimiuk, Maxine Wain, Linda Weil, Ben Winspear VAS.

A curated group exhibition celebrating the creativity and diversity of the Boroondara community.

19 October—9 November Martin Bell

28 November—9 December Australian Guild of Realist Artists 50th Anniversary Exhibition 8 November–25 November Barbara McManus A solo exhibition from an award-winning pastel artist and former Artist of the Year recipient.

12 December—6 January 2025 Christmas Salon Brent Harris, The Lamp, 2024, oil on linen, 75 x 60 cm.

16 November—14 December Brent Harris

Eric Thake, A Message from our Sponsor, 1975, print on paper, 21 x 14 cm, Town Hall Gallery Collection.

Town Hall Gallery

20 November—1 February 2025 A Message from our Sponsor - the Works of Eric Thake

boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

A showing of small and affordable artworks by Victorian artists, perfect for a holiday gift.

14 November—9 December Eva Miller

Experience the wit and whimsy of Australian artist Eric Thake in an exhibition of engravings, linocuts, and photographs from the Town Hall Gallery Collection.

VAS Gallery I Victorian Artists Society vasgallery.org.au Wurundjeri Woi-wurrung Country, 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am-4pm, Sat & Sun 11am-4pm.

2024 Hansen Little Coterie artists, (detail).

20 December—13 January 2025 The VAS Hansen Little Coterie Showcase Genevieve Gadd-Carolan, Liz Gridley, Michael Smith, Natasha Ber, Rhi Edwards In 2024, the Hansen Little Foundation supported five early to mid-career artists to actively participate in a variety of VAS programs and cultivate their own artistic journey. This exhibition celebrates the technical proficiency and creative expression cultivated by these emerging artists.

20 December—13 January 2025 VAS Art Studio Exhibition

Sydney Ball, Canto No 7, 1965, acrylic on canvas, 183 x 176 cm, image courtesy of the Sydney Ball Estate.

Joe Whyte, Through the Clouds, VAS Artist of the Year 2023.

6 November—18 January 2025 Aspects of Abstraction: Charles Nodrum Collection

8 November—25 November The Hylton Mackley Artist of the Year Award 2024

Featuring key abstract artworks from the 1950s to the 1990s, this major exhibition at Town Hall Gallery showcases

This impressive exhibition features artworks by select Victorian Artists Society artists, who have been invited to

This exhibition showcases the range of artistic practices and mediums that are taught at the VAS Studio. Encompassing oil, watercolour, drawing, acrylic, and sculpture, both students and teachers works on show will reveal the diversity and creativity within the school. Also on display are artworks that have been created during our weekly Portrait and Life Group sessions with life models.

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Vivien Anderson Gallery vivienandersongallery.com Boon Wurrung Country, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm.

The exhibition invites diverse cultural dialogues through challenging traditional notions of love and commitment.

Public Programs – Sacred Unions: Queer Cinema, Performance, and Installation.

Thursday 14 November from 6pm at Walker Street Gallery and Arts Centre.

most acclaimed artists, Fran O’Neill. Having built a significant international career, particularly in North America, for her evocative and vibrant abstract paintings, O’Neill has now permanently established her studio in the idyllic surrounds of Cheshunt.

Azza Zein, Tashabok, installation at Bus Projects. Photograph: Christo Crocker.

10 December—28 February 2025 Tashabok Azza Zein

Angela Watson, Mamu Story, 2024, synthetic polymer paint on canvas, 122 x 122 cm. Provenance: Ninuku Arts, SA. 13 November–14 December Mamu: My Father’s Country Angela Watson

Tashabok is an evolving exhibition by interdisciplinary artist Azza Zein, showcasing ficto-critical videos inspired by collaborative drawing sessions and conversations with artists and participants.

Since 2020, this project has explored the counter-geography of displaced objects and alternative mappings of migrant materials through playful drawing and storytelling. Zein’s work delves into the fluid relationships between body, object, land, and labour, reflecting on the invisibility of labour and the violence of displacement.

This exhibition revalues the decorative act and migrant materials, linking modernity’s aesthetics with displacement. Join us for the exhibition opening Saturday 7 December, 6pm at Walker Street Gallery and Arts Centre.

Wangaratta Art Gallery Naomi Hobson, Compassion I, 2024, pigment print on archival cotton rag paper, 145 x 97 cm.

13 November–14 December Life on the River Naomi Hobson

Walker Street Gallery and Arts Centre greaterdandenong.vic.gov.au/arts Bunurong Country, Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 8571 5320 [Map 4] Tue to Fri 12pm–4pm.

24 September–15 November Matrimony Josphine Mead In Matrimony, multi-disciplinary artist Josephine Mead explores the meaning of ritual, union and love ceremonies from a queer perspective. Showcasing paintings of the artist’s bridal bouquet, installed as “spectators” in the gallery, accompanied by a digital sound score evoking anticipation akin to wedding preparations.

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wangarattaartgallery.com.au 56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

9 November—22 December Material Implications Tim Craker and Carole Wilson Material Implications features work by Ballarat based artists Carole Wilson and Tim Craker who use textile methodologies and materials to create their work.

Through recycling, rescue and reuse, each examine the embodied histories of the objects they utilise from old maps and atlases to bread tags, plastic lids and tops.

With its considered re-use of discarded materials, Material Implications reverberates with ideas of waste, loss, place and environmental degradation - pressing concerns for our time.

17 August—10 November Crossing Fran O’Neill Crossing brings together work completed over the last decade by one of the region’s

Hannah Gartside, The Sleepover, detail, 2018-19, found nighties and slips c.19651980, found synthetic fabric and cotton ribbon, milliner’s wire, thread (with assistance from Monika Holgar, Louise Meuwissen, Melanie Ward, Kate Woodcroft) 670 x 280 x 210 cm. Photograph: Louis Lim. Courtesy of the artist and Tolarno Galleries.

16 November—16 February 2025 Counterparts: Expanded Textile Practices Hannah Gartside and Britt Salt Counterparts: Expanded Textile Practices features new work by both artists in conversation, alongside formative work held in the Wangaratta Art Gallery Collection and the extension of previous bodies of work.

29 August—4 December Being Present Victoria Cooper and Doug Spowart Cooper and Spowart have worked individually and together as collaborators for over 30 years, creating both artists books and wall works. Employing the broad palette of photography from experimental to traditional practices, they are interested in movement across natural and social landscapes - the ways of river systems, animal tracks, desire paths and journeying.

6 December—12 March 2025 Awe Jan Osmotherly Jan Osmotherly’s photographs capture the majesty and wonder of the Warby Ranges. Looking beyond their benign appearance there are many awe-inspiring wonders to behold, as the Traditional Owners have always known. The Warby Ovens National Park is now listed with the International Union for Conservation of Nature as a site of significance due to its diverse range of threatened species and communities, such as the Grey Grass Tree, temperate woodland bird community, and Carpet Python.

VICTORIA

Warrnambool Art Gallery thewag.com.au Gunditjmara, Eastern Maar, Maar Nation, 26 Liebig Street, Warrnambool, VIC 3280 [Map 1] 03 5559 4949 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm.

16 November—16 March 2025 CLAW MONEY WORLD Taking you to the heart of New York’s graffiti scene through the eyes of pioneering and ground-breaking artist Claudia Gold (aka Claw Money). This world-first, Australian exclusive exhibition presents an intimate look into Gold’s global impact upon graffiti, fashion and design spanning 1990s to present day.

In this world-premiere, and on show for the first time at the Warrnambool Art Gallery this exhibition presents a suite of Gold’s key collaborations from Nike to NASCAR, alongside signature garments and accessories from her label, set amongst a vibrant installation of murals painted by the artist in-situ.

CLAW MONEY WORLD is proudly supported by the Victorian State Government through Visit Victoria and the Regional Events Fund, Creative Victoria, Warrnambool City Council, and Montana Paints. The Gallery is grateful for the contributions of the Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, The A L Lane Foundation, and The William and Lindsay Brodie Foundation.

Visions of Australia program as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund, supported by the Victorian Government through Creative Victoria.

National Exhibitions Touring Support (NETS) Victoria is supported by the Victorian Government through Creative Victoria, by the Australian Government through the Creative Australia, its arts funding and advisory body, and through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. NETS Victoria also receives significant in-kind support from the National Gallery of Victoria.

5 October—19 October 2025 Strong Spirit Merindah-Gunya Strong Spirit is an exhibition by MerindahGunya, a Peek Whurrung, Kirrae Whurrung, and Djab Whurrung woman, celebrating the resilience and vitality of Aboriginal culture. Through a diverse range of colours, Merindah-Gunya explores the deep connections between land, identity, and spirituality central to being an Aboriginal woman. This exhibition is proudly supported by the Australian Government through the Regional Arts Fund.

incredibly sensitive and moving. Creating a new body of work on ‘slow cinema for short attention spans,’ Akil has proposed a compelling multichannel installation that will reshape the viewers’ experience of cinema and stillness.” This project will be accompanied by a publication, developed by Akil Ahamat, Alexander Tanazefti and West Space and in partnership with UTS Gallery, Sydney.

Whitehorse Artspace creativewhitehorse.vic.gov.au/ venues/artspace Wurundjeri Woi-wurrung Country, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

West Space westspace.org.au Wurundjeri Country, Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.

Margaret Wilson, Ikebana arrangement, 2022. Image courtesy Sogetsu School of Ikebana, Victorian Branch, copyright the artist.

26 October—23 November Sogetsu Ikebana Victoria: Celebrating 60 Years This exhibition celebrates the 60th anniversary of Victoria’s Sogetsu School of Ikebana, and features works by teachers and students from the School.

Image courtesy of the gallery.

12 October—23 February 2025 Red Flags Kait James Red Flags is Wadawurrung artist Kait James’ most ambitious solo exhibition to date. Since 2018, James has been carving out a unique visual language based in the reappropriation of racialised products.

Colloquially identified as ‘Aboriginalia’, these mass-produced, commercial objects range from souvenir tea towels and pennant flags to children’s dolls and ceramic figurines.

Primarily created from the 1950s through to the 1980s for consumption by nonIndigenous tourists, they depict culturally insensitive and racially stereotyped imagery, designs and motifs.

Kait James: Red Flags is a Warrnambool Art Gallery exhibition, curated by Aaron Bradbrook and touring nationally with NETS Victoria. This project has been supported by the Australian Government through Creative Australia and the

Akil Ahamat, Dawn of a Day Too Dark to Call Tomorrow, 2021, still from moving image.

16 November—18 January 2025 Akil Ahamat: Extinguishing Hope West Space is proud to present new work by Akil Ahamat as part of their 2024 Commission series. Akil Ahamat is a Sri Lankan Malay artist, filmmaker and arts worker. Akil’s work across video, sound, performance and installation considers the physical and social isolation of online experience and its effects in configuring contemporary subjectivity. Among their research influences, Akil draw especially on the use of ASMR in online spaces as a self-administered therapeutic tool, translating its restorative effects into intimate audio experiences. West Space Board member James Nguyen says, “Akil Ahamat is an artist whose works continue to be

Barbara Schey, Clayton’s Handbag, 2006. Copyright the Artist.

30 November—19 December A Touch of Gold: Celebrating 50 Years of ATASDA This tactile exhibition invites artists from the Australian Textile Arts & Surface Design Association to respond to the theme ‘a touch of gold’.

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A–Z Exhibitions

New South Wales

NOVEMBER/DECEMBER 2024

NEW S OUTH WALES

Annandale Galleries annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

See our website for latest information.

Through varying styles and contexts the aim of Annandale Galleries is to show the best of Australian and international contemporary art. Recent exhibitions have included a range of artists recognised and revered the world over.

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

See our website for latest information.

Artbank Sydney artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment.

See our website for latest information.

Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Cao Fei, Nova, 2019, (video still). © Cao Fei. Courtesy of the artist, Vitamin Creative Space and Sprüth Magers.

30 November—13 April 2025 My City is Yours 曹斐: 欢迎登陆 Cao Fei In the largest exhibition of her work ever seen in Australia, Cao Fei (pronounced tsow fay) 曹斐 brings the energy of the contemporary metropolis into the Art Gallery of New South Wales with a retrospective that includes two new commissions.

Art Gallery of New South Wales – Naala Nura, South building

featuring more than 100 works, most of which have never before been seen in Australia. It journeys from the artist’s first avant-garde explorations and commercial works in the 1920s, to his groundbreaking contributions to surrealism, his surprising provocations of the 1940s, and the renowned paintings of his final years, before his death in 1967.

Until September 2025 Quiet Resonance Lee Ufan Within spaces designed by the artist, this exhibition by Lee Ufan distils over six decades of considered experimentation into a series of recent paintings and sculptures created especially for the Art Gallery of New South Wales. Lee’s sparing use of simple materials, including stone, steel and canvas, has a quiet force that encourages contemplation and consideration of the physical and intellectual self in relation to the work.

Art Leven (formerly Cooee Art) artleven.com Gadigal Country, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

See our website for latest information.

Our flagship premium 480 sqm gallery and auction space in the heart of Aboriginal Sydney, Redfern, offering a unique and informative insight into the world of Australian Indigenous art.

artgallery.nsw.gov.au

Ebony Truscott, Wrecked drum with jar, 2023, oil on linen. Artbank Collection, purchased 2024.

21 November—7 February 2025 (De)Nature Morte: Still Life from the Artbank Collection What does the still life genre tell us today?

Are we living in a time where art should be concerned with being human rather than manufactured or digital, or does it reflect our trajectory through the looking glass that we exist in a state beyond nature? (De)Nature Morte: Still Life from the Artbank Collection interrogates the significance and persistence of the still life genre and its standing in a post-digital / post-human age. Featured artists: Robyn Djunginy, Marian Drew, Max Dupain, Honor Freeman, Guy Gilmour, Gwyn Hanssen Pigott, Onrie Radovic, Jude Rae, Ebony Truscott, Bryan Westwood, Anne Zahalka, Michael Zavros.

Eora Nation, Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

See our website for latest information.

Barkly Regional Artists.

26 November–14 December Senior Ladies of Barkly An exhibition of works from Barkly Regional Artists.

René Magritte, The false mirror (Le faux miroir), 1929, Museum of Modern Art, New York. 133.1936 © Copyright Agency, Sydney 2024. Photo © The Museum of Modern Art, New York/Scala, Florence 2024.

26 October—9 February 2025 Magritte Magritte is an in-depth retrospective

Tuesday 12 November First Nations Fine Art Auction Art Leven (formerly Cooee Art) presents their second First Nations Fine Art Auction for 2024. Once more, the enthusiastic and dedicated team of Art Leven specialists have assembled an ethically curated collection of regionally diverse and historically significant First Nations paintings, sculptures and contemporary photographs. Sourced from collections around Australia, the Americas, and Europe.

Gala Preview: Thursday 7 November, 6pm–8pm. Viewing: 8–12 November, 10am–6pm.

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Art Space on The Concourse

Bankstown Arts Centre

willoughby.nsw.gov.au/arts

Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm.

Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm.

See our website for latest information.

6 November–17 November Sculpture on The Spot An exhibition of Sculptures by members of The Sculptors Society.

Sculpture On The Spot is an exhibition dedicated to showcasing artists who have turned their imaginative concepts into sculptures that can enrich home spaces or elicit emotional reactions from viewers.

The collection showcases a fascinating array of materials, from the bold to the subtle, vibrant to subdued, and smooth to textured, providing endless creative possibilities. With a diverse range of subjects—including animals, figures, abstract forms, and realistic representations—the exhibition invites viewers to engage deeply with the artists’ journeys.

Artists: Pat Anderson, Sally Aplin, Meike Davis, Chris Cowell, Ross Farrelly, Jenny Green, Amanda Harrison, Helena Lillywhite, Vivienne Lowe, Michael Vaynman, Feyona van Stom and Martin Williams.

cbcity.nsw.gov.au/arts-centre

Rena Czaplinska-Archer, Billabong, 2024, acrylic on 300 Archer paper.

4 December–22 December Desert Journeys – Desert Calling An exhibition of paintings and monoprints

by Rena Czaplinska-Archer.

The Australian desert confronts us all with its silent presence. Yet it also draws us in. As we let go of stories of who we are, what we know and what to expect we gradually enter into a silent conversation with the vast horizons and intimate spaces. Desert becomes our teacher.

After years of running Time for Drawing workshops at Riversdale and internationally, Rena ventured into Australian desert where Idris Murphy introduced her to Fowlers Gap. Forever grateful she has been returning there every year to keep exploring and to run Desert Calling Art Camps, walk the quartz ridges, paint and dream in the dry river beds, where changing colours, moving shadows and the sounds of birdsong, wind and crunchy stones grow into vibrating with life symphony, healing the senses and nourishing the heart. This exhibition is inspired by desert songs.

Australian Galleries australiangalleries.com.au 15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm.

Courtesy of Maddison Gibbs.

23 November—1 February 2025 Same Same Different – 3rd Bankstown Biennale Bankstown Biennale returns for a 3rd edition, helmed by a First Nations led curatorium with Coby Edgar (Larrakia, Jingli, Wardaman, Filipino, Chinese and Scottish) and Jason Wing (Biripi and Chinese-Chinese) , joined by Bankstown Arts Centre Director Rachael Kiang.

Barometer Gallery barometer.net.au 13 Gurner Street, Paddington NSW 2021 [Map 10] 02 9358 4968 Mon, Tue, Wed, Fri 10am-4pm.

Thu 10am-7pm, Sat, Sun 11am-4pm.

See our website for latest information.

Julia Norton, Wish you were here, oil on canvas.

20 November–1 December Echoes of Laughter A fundraising exhibition by Julia Norton for Giant Steps School.

In her latest series Echoes of Laughter, Julia explores the complex emotional landscape of mothering her children into adulthood particularly her significantly autistic son. The passing of clouds serves as a powerful metaphor for this transition of dependence to independence. The clouds represent the uncertainty and unpredictability of this transition; they shift and change reflecting feelings of joy, nostalgia, fear, and hope that accompany this letting go. Each cloud captures a moment of introspection—a memory suspended in the air, illustrating the duality of beauty and pain as children grow.

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Jennifer Keeler-Milne, Beech Tree drawing, 2023, charcoal on paper, 114 x 228 cm, framed size 140 x 256 cm.

Images by Greg Piper.

5 November—23 November In Nature’s Realm Jennifer Keeler-Milne 5 November—23 November Within sight Bruce Latimer 3 December—21 December The light I’ve seen from here Paul Miller 3 December—21 December Intimate moments Ross Harvey

Images by Greg Piper.

6 November–17 November Beneath the Surface

NEW S OUTH WALES Lucy Hookway, Lina Ocolisan, Susie Roberts, Tash Tribe Beneath the Surface is a group exhibition presenting the work of four graduating Advanced Diploma of Visual Arts students from Northern Beaches Tafe: Lucy Hookway, Lina Ocolisan, Susie Roberts and Tash Tribe. These ceramic artists explore themes such as nostalgia, grief, trauma, and the wonders of the ocean. The exhibition presents a diverse array of ceramic techniques and materials, reflecting each artist’s unique perspective and creative journey.

4Elements HipHop Festival 2023, photography by James Evans.

4ESydney is taking over The Leo Kelly Blacktown Arts Centre with Beyond the Elements, an exhibition and interactive installation reflecting on the past 10 years of HipHop in western Sydney.

Opening night Wednesday 6 November, 6pm–8pm. Artist talks Saturday 16 November 2pm–3pm.

Basil Sellers Exhibition Centre thebas.com.au Corner of Vulcan and Campbell Streets, Moruya NSW 02 4474 1333 Mon to Sat 10am–4pm.

7 December—1 February 2025 The Basil Sellers Art Prize The Basil Sellers Art Prize celebrates its 20th year, championing artistic excellence and supporting creative practitioners.

Join us for the opening of the finalist exhibition where the winners of the $30,000 prize pool will be announced on Friday 6 December from 5.30pm.

Bathurst Regional Art Gallery

Adam Norton, TV Tower Blob, 2015, synthetic polymer and pigment print on canvas, 122 x 91 cm. Courtesy the artist. Photo: Docqment.

Sometimes it seems like science fiction is coming true. From the Atomic Age to UFOlogy, and to our own dreams and expectations of the Space Age, Adam Norton reflects on versions of the future and how they have changed over time. His paintings fix on aspects we might have missed. He has visited Maralinga and Woomera in the South Australian desert, where the British government conducted their nuclear and rocket tests in the post-war era. He has visited some of the world’s UFO hot spots like Roswell and Area 51 in the USA. He has made special pilgrimages to where outer space collided with our planet at the two largest meteor craters in the world, in Arizona and Wolfe Creek in Western Australia.

Norton is part-anthropologist and part-futurologist as he remakes visions of the future into large colourful acrylic paintings. The works are influenced by the book covers, film posters and scientific billboards of the sci-fi and Space Age era he has lived through. The Signs Are Good is a canny retelling of our shared fantasy of the future. Adam Norton was born in the United Kingdom. He grew up in Lagos, Nigeria and Nairobi, Kenya. In 1984 he was awarded a BfA from The Ruskin School of Drawing and Fine Art, Oxford University. He has lived and worked in Gadigal/ Sydney, since 2002. Adam has exhibited widely in Australia and overseas and his work spans painting, installation, video and public art.

bathurstart.com.au

Blacktown Arts

Wiradjuri Country, 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, weekends and public holidays 10am–2pm, closed Mon.

blacktownarts.com.au

30 November–2 February 2025 The Signs Are Good: 20 years of painting the future A survey exhibition by Adam Norton.

Dharug Country, The Leo Kelly Blacktown Arts Centre, 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

See our website for latest information.

1 October–14 December Beyond the Elements with 4ESydney

Blue Mountains City Art Gallery bluemountainsculturalcentre. com. au Dharug and Gundungurra Country, Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply.

See our website for latest information.

12 October—24 November SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 A special Australian Design Centre On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary. This celebratory exhibition was guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett and video by Jane Curtis.

Anne Smith, Artist’s Garden, The Barbeque (Wentworth Falls), 1997, coloured etching, 20 x 25 cm. Donated through the Australian Government’s Cultural Gifts Program by Anne Smith 2023.

19 October—24 November New Acquisitions 2024 Vicky Browne, Bette Mifsud, Peachey & Mosig, Michael Shirley, Anne Smith and Leanne Tobin.

A Blue Mountains City Art Gallery exhibition.

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ar t g ui d e .c o m . au Blue Mountains City continued...

Campbelltown Arts Centre (CAC) c-a-c.com.au Dharawal Country, 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

See our website for latest information.

Katy B Plummer, The Cailleach Still Knows You, After All, 2023, 4K digital video, 5.00 minute, painted calico, cotton velvet, painted stools. Production still.

Image courtesy of Kuba Dorabialski.

30 November—9 February 2025 Cunning Revived Observes nine artists engaging in ritual and ceremony as an act of empowerment.

A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.

30 November—9 February 2025 Gulumun Dharug-Muringong artist Venessa Possum

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

See our website for latest information.

2023 Maari Ma Indigenous Art Prize Winner - People’s Choice Award: Sinele Bates, Emu Among the Snakes, river red gum. honours both emerging and established artists. Prizes include the $5,000 Open Art Prize, the $2,000 Emerging Artist Award, and the Nhuungku Prize for Excellence, along with awards for young artists and a $2,000 People’s Choice Award.

Bundanon bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm.

Created by interdisciplinary artist Charlotte Haywood and composer Sue Simpson, Same time/Same place reimagines how we connect with the natural world.

1 November—2 February 2025 2024 Maari Ma Indigenous Art Awards Exhibition Celebrating the creativity of Aboriginal and Torres Strait Islander artists from the Maari Ma / West Darling Arts region. Showcasing a diverse range of artwork, including painting, sculpture, photography, and more, the exhibition 174

26 October—6 December Fisher’s Ghost Art Award 2024 The Fisher’s Ghost Art Award is an annual art award and exhibition inviting artists to submit works in a variety of artistic categories and mediums. Now in its 62nd year, there is over $60,000 in prize money to be won across the categories.

In 2024, the celebrated Open Award, which is acquisitive to the Campbelltown City Council Art Collection, is valued at $50,000. Award announcement, 1 November.

Casula Powerhouse Arts Centre

1 November—2 February 2025 Charlotte Haywood: Same time/Same place (COEXISTENCE); a MULTISPECIES (KARAOKE) OPERA? This exhibition explores the dynamic relationship between art, nature, and sound in the arid landscapes of Wilkalyia and Barkandji Country. Inspired by the region’s dramatic transformation after rain, the show weaves together visual and sonic elements to reflect the rhythms of life—wildflowers blooming, birds flocking, and frogs awakening. Through a combination of multimedia installations, ecological documentation, and community involvement, the exhibition offers a unique multisensory experience of the environment’s vitality.

Fisher’s Ghost Art Award 2023, Campbelltown Arts Centre. Photograph: Silversalt Photography.

casulapowerhouse.com

Aunty Cheryl Davison, Ngaral, 2024, screenprint (detail).

Dharawal Country, 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm.

2 November—9 February 2025 bagan bariwariganyan: echoes of country Aunty Julie Freeman, Aunty Cheryl Davison, Jonathan Jones & Mickey of Ulladulla.

A body of works by renowned Gweagal/ Wandiwandian storyteller and artist Aunty Julie Freeman, leading Walbunja/Ngarigo artist Aunty Cheryl Davison, and Wiradyuri/Kamilaroi artist Jonathan Jones.

The season upholds and maintains Aboriginal values and kinships, featuring an immersive gunyah (home) installation including drawings by the significant Yuin artist Mickey of Ulladulla, a solo exhibition of paintings by Aunty Julie sharing grandmother stories of local plants, animals and weather patterns, and a new installation by Aunty Cheryl, representing the importance of Burrawang seeds, a key traditional food source.

Greg Semu, Body on the Line (series) (detail), 2010. Held in the Liverpool City Council Art Collection. © Greg Semu.

27 April—1 December The Views From Here (Part 1) Artworks from the Liverpool City Council Art Collection Presented at Yellamundie Art Gallery Level B2 at Yellamundie – Liverpool Library and Gallery 52 Scott Street, Liverpool.

NEW S OUTH WALES Until 30 November Krishna Heffernan, Jacqueline King, Gay Landeta, Nola Sindel, Elisabeth Muller, Yvoonne Cooper and Michael Hardman.

2025 Triennial Acquisition Sculpture Prize entries now open.

Submissions are now open for Ceramic Break Sculpture Parks 3rd Triennial $12,000 Acquisition Sculpture Prize.

Applications close 20 July, 2025.

To enter: form.jotform.com/ 242337787807873

The Corner Store Gallery cornerstoregallery.com

Judy Watson, Koori Floor, 1994.

Commissioned by Liverpool City Council (Casula Powerhouse Arts Centre), 1994. © Judy Watson.

Wiradjuri Country, 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm.

23 November—25 January 2025 The Views From Here (Part 2) Artworks from the Liverpool City Council Art Collection.

with the notion of buildings as “guardians of identity “ and “silent witnesses “ ( Alain de Botton, Architecture of Happiness 2006 ). The Central West has so many distinctive structures and scenes that tell stories of earlier lives and ongoing practices. These features exist in open space and light in a way that refresh and somehow comfort the city based artist.

1 December—24 December The Corner Store Gallery Stable of Australian Artists The Corner Store Gallery brings together artists and designers from all over Australia to join the gallery’s creative community, as it rightly takes a seat as one of Australia’s most popular emerging and collaborative art spaces.

Cowra Micro Gallery cowramicro.weebly.com Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat and Sun 10am–2pm.

Weekends or by appointment.

Presented at Casula Powerhouse Arts Centre.

Ceramic Break Sculpture Park cbreaksculpturepark.com.au Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Until 19 Dec: Thu to Sun, 10am–5pm and by appointment, 20 Dec to 28 Feb, 2025: open by appointment only.

See our website for latest information.

Ceramic Break Sculpture Park is the brainchild of award winning bronze sculptor Kerry Cannon. It features 3 galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.

Nerrida Parfitt, Paused.

6 November—16 November Pause Nerrida Parfitt Nerrida Parfitt’s oil paintings explore themes of solitude, impermanence, and the interplay between self and environment, blending Australian Gothic elements with surrealist undertones. In this exhibition titled Pause, she captures brooding landscapes and abandoned spaces, evoking a quiet tension through light, shadow, and profound stillness.

Ken Hutchinson, Wallow In The Wealth, acrylic paint, 23 carat gold leaf and black granite.

26 October–10 November The Inoffensive Name Art Show Not just another art exhibition, this art show won’t be playing it safe and will be sure to provoke viewers to contemplate what makes an artwork worthy of hanging.

Cat portrait paintings by students of Holman Place Public School.

23 November–1 December Holman Place Student Exhibition

Michelle Arnott, Blackheath by Night.

Yvonne Cooper, Orange Vase with Iris, acrylic, 45 x 45 cm.

20 November—30 November Vignettes: Ode to the Road Trip Michelle Arnott This series is congruent with the artist’s wider art making practice that resonates

Holman Place School presents an exhibition of artworks by students under the tutelage of Multi-disciplinary Award Winning Artist, Shani Nottingham. Holman Place School is a School for Specific Purposes catering for the needs of students with a range of additional needs.

The school is situated in Cowra, Central Western NSW. The school works with families to provide individualised educational programs designed to address student needs including academic, social-emotional and therapeutic supports and independence.

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Lismore Regional Gallery 6 December 2024 – 16 February 2025 An Art Gallery of New South Wales touring exhibition

This project is proudly supported by the NSW Government through the Create NSW Blockbusters Funding initiative

William Kentridge I am not me, the horse is not mine 2008 (still, detail), Art Gallery of New South Wales, gift of Anita Belgiorno-Nettis AM and Luca Belgiorno-Nettis AM 2017, donated through the Australian Government’s Cultural Gifts Program © William Kentridge

lismoregallery.org

joie de Noël!

22 November to 24 December An exhibition exhibition of of exquisite exquisite small small artworks artworks An

by BCFA’s BCFA’s roster roster & & special special guest guest artists artists by to be be opened opened by

by Dr Dr Hugh Hugh McDermott McDermott to MP, State State Member Member for for Prospect.

Prospect.

MP, BCFA will will donate donate 10% 10% of of sales sales proceeds proceeds BCFA to ARS ARS MUSICAMUSICA- the the charity charity providing providing to young artist artist scholarships scholarships in in music music young performance, dance dance and and visual visual arts. arts. performance,

ClaireYerbury, Yerbury,Soughing SoughingUpon Upon the the Hill, Hill, Claire mixedmedia mediaon onboard, board,30 30xx30 30 cm. cm. mixed

78BCharles CharlesStreet, Street, Putney, Putney,NSW, NSW,2112 2112 78B phone::02 029808 98082118 2118 hours hours:: Tue Tue&& Wed Wed by by appointment, appointment, Thu–Sat Thu–Sat 10am–5pm 10am–5pm phone brendacolahanfineart.com brendacolahanfineart.com

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Cowra Regional Art Gallery

Categories include painting, drawing, mixed media, photography and sculpture.

cowraartgallery.com.au Wiradjuri Country, 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission free.

Wheelchair access.

Nikki Lam, the unshakable destiny, 2101 (detail), 2021, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, 16mm film transferred to digital video, 2K, colour, soun. Image courtesy and © the artist, photograph: Zan Wimberley.

15 December—2 February 2025 Primavera: Young Australian Artists Amanda Penrose Hart, Shepherd’s Lookout, 2023, oil on canvas, 121 x 198 cm.

Courtesy the artist and King Street Gallery on William, Darlinghurst. Winner of the Calleen Art Award 2024 acquisitive prize for painting.

29 September–19 November Calleen Art Award 2024 The Cowra Regional Art Gallery is pleased to announce the winner of the Calleen Art Award 2024 is Sofala based artist Amanda Penrose Hart for her painting Shepherd’s Lookout 2023, oil on canvas.

This exciting acquisitive painting prize worth $30,000 is open to artists across Australia (18 years and over). The Calleen Art Award 2024 features 48 artworks by leading and emerging Australian artists selected from 254 entries by a panel of art professionals. The exhibition showcases a diverse collection of visually compelling, thoughtful and engaging paintings from landscape, still life, portraiture, abstract and non-representational in a range of painting styles.

The Calleen Art Award 2024 finalists are: Alyssa Aleksanian, Tim Allen, Susan Baird, Katie Barron, Anthony Bartok, Andrew Baylor, Lee Bethel, Kate Briscoe, Anthony Cahill, Spencer Calveley, Ham Darroch, Rachel Ellis, Julia Flanagan, Anne-France Fulgence, Joanna Gambotto, Tim Gregory, Melissa Guest. Geoff Harvey, Michelle Henry, Greg Hill, Margaret Hogan, David Isbester, Nicole Kelly, Graham Lupp, Angela Malone, Nicola Mason, Kerry McInnis, Lisa McKimmie, Peta Minnici, Tully Moore, Ingrid Morley, Anh Nguyen, Penelope Oates, Lucy O’Doherty, Amanda Penrose Hart, Lori Pensini, Sally Robinson, Michael Simms, Todd Simpson, Joanne Sisson, Gary Smith, Fiona Somerville, Brenda Stace Chat, Neridah Stockley, Zena Vix, Guan Wei, Madeleine Winch and Tim Winters.

24 November—8 December upstART 2024 This annual youth art exhibition and awards consists of works by young artists in stages 5 and 6 (years 9, 10, 11, 12) from high schools in the Central West.

For Primavera: Young Australian Artists, Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain and Truc Truong investigate themes of protest, perseverance, identity and history. Curator Talia Smith asks what are artists creating to challenge society’s prescribed structures, built by a select few to supposedly serve and protect us? Through new and recent works in various media, including installation, video, painting, sculpture, mark-making and text, Primavera is an exhibition as call to action.

Drawing on their lived experience, these early-career artists work to disrupt the dynamics of power and deliver compelling alternatives to the status quo. A Museum of Contemporary Art Australia and Museums & Galleries NSW touring exhibition, curated by Talia Smith. This project has been assisted by the Australia Governments Visions of Australia program.

Fairfield City Museum & Gallery fcmg.nsw.gov.au Dharug Country, 634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays and public holidays.

2 November—1 March 2025 Mehwish Iqbal: Submergence Mehwish Iqbal’s latest exhibition and installation, Submergence is a significant project that explores the relationships between survival and coping strategies for those who experience a new culture.

The underlying theme of the exhibition touches on complex global issues and speaks to the experiences of migrant communities living in Australia and all over the world.

Mehwish Iqbal: Submergence is supported by the NSW Government through Create NSW.

Photograph: Jacquie Manning.

Diamond Tat, Marrow, 2024, digital still.

Image courtesy of CuriousWorks.

16 November—25 January 2025 Tender Mohammad Awad (3awadi), Carielyn Tunion, Diamond Tat, Sharon Mani Tender seeks to challenge the stigmas and stereotypes representing western Sydney by revealing the nuances and gentle side of our communities through four interconnected films.

Each of these films welcomes viewers into an intimate exchange of personal narratives, revealing the tenderness in our communities and experiences that is often overlooked by mainstream media. This work was produced by CuriousWorks, under the creative and technical direction of Elias Nohra. It was commissioned by Sydney Opera House and supported by the NSW Government through Create NSW.

Gaffa Gallery gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am–5pm, Mon by appointment, closed Sun & pub hols.

See our website for latest information.

7 November—23 November Kudos Emerging Artist Award Kudos representing a selection UNSW Students and Alumni.

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2 November 2024 - 9 February 2025

bagan bariwariganyan

bariwariganyan: echoes of country exhibition of paintings by Aunty Julie Aunty Cheryl Davison is abagan sharing grandmother stories of local body of works by renowned Gweagal/ plants, animals and weather patterns, Wandiwandian storyteller & artist Aunty a new installation by Aunty Cheryl, Julie Freeman, leading Walbunja/Ngarigo Aunty Julie Freeman artist Aunty Cheryl Davison, & Wiradyuri/ &representing the importance of Burrawang seeds, a key traditional food source.

Kamilaroi artist Jonathan Jones.

Jonathan Jones Connected through new soundscapes, The season upholds & maintains the exhibition sings the stories of this Aboriginal values & kinships, featuring an Mickey of Ulladulla place, celebrating local traditions & the immersive gunyah (home) installation including drawings by the significant Yuin artist Mickey of Ulladulla, a solo

ongoing collaboration of these artists & cultural leaders.

bundanon.com.au Aunty Cheryl Davison, Ngaral, 2024, screen print (detail)

bundanon.com.au

NEW S OUTH WALES GAFFA continued...

13 November—27 November Poetry Sydney and Gaffa Gallery present Day Street Performances: Machine Assisted Street Poetry Featuring Steven Durbach aka Sid Sledge.

13 November, 20 November, 27 November, 12noon–2pm, Queen Victoria Building.

Fellia Melas Gallery fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

See our website for latest information.

16 November Miyavi Floristry Grand Opening Yuka Abe 28 November—7 December Intimacy Sue Beardman, Olivia Zandaro, Zoë Pollitt

The human body can appear alien yet beautiful under the microscope magnified surfaces of the lungs, digestive system, and even the neural networks of the brain present as intriguing artistic designs. In Mind and Body, UK based textile artist Helen MacRitchie explores the interplay between her academic background in science and her artistic practice. Wall hangings and sculptural works featuring hand dyed, felted wool, yarn and hessian promise to offer fresh perspectives and spark intriguing conversations.

Samantha Tannous, The Pastel Series 1-3.

24 October—18 November Self-covered Buttons Samantha Tannous

David Boyd, Centennial Park, oil on canvas, 91 x 123 cm.

Nina Franova, Beyond Being, 2024.

29 November—7 December Head On Festival: Beyond Being Nina Franova 29 November—7 December Head On Festival: Portrait: Indian Diwali celebration Hubert Barre 12 December—15 December Beautiful Japanese Flowers Expo JPEC

Works by: D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. Macleod, J. Gleeson, S. Dunlop, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack and many others.

Gallery76 embroiderersguildnsw.org.au/ Gallery76 Gadigal Country, 76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm. Free admission.

See our website for latest information.

Clare Dieckmann, Outlines in Clay, 2024.

12 December—21 December Outlines in Clay Clare Dieckmann

Helen MacRitchie, Detail of Neurons.

In this captivating exhibition, Samantha Tannous brings to life the joy and nostalgia of childhood sewing adventures. Featuring a whimsical collection of oversized buttons, it draws inspiration from the vibrant array of materials found in her beloved local haberdashery shop in the 1980s. Based on the NSW South Coast, fibre artist Samantha has a particular passion for felting with Australian-grown Merino wool. This exhibition has been supported by the Joyce Spencer Highly Commended Award.

23 November—28 January 2025 Student Showcase Embroiderers’ Guild NSW The Embroiderers’ Guild NSW proudly presents a stunning collection of student work produced over the past year. The Guild is a vibrant non-profit community for all stitching enthusiasts, whether a seasoned expert or just starting out. Teaching and sharing the joy of embroidery is the core of the organisation’s mission, and this exhibition is a celebration of that passion.

23 November–28 January 2025 Margaret Oppen and Roma Field Prizes Retrospective Embroiderers’ Guild NSW This retrospective exhibition features past winners from the two competitions held by the Embroiderers’ Guild NSW – the Margaret Oppen and Roma Field Prizes. Each is named after a visionary founder of the organisation, both of whom inspired countless individuals to explore their unique voices through embroidery, encouraging a blend of personal expression and respect for traditional techniques. Prepare to be amazed by the creativity and skill on display.

25 October—19 November Mind and Body – up close and personal Helen MacRitchie 179

The End & The Beginning

MELAM

daniel weber 2023 danielweberpaintings.com

danielweberpaintings.com

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Gallery Lane Cove + Creative Studios

Situated within 26 hectares of public reserve this one hectare facility incorporates the Edogawa Commemorative Garden, one of the best examples of Japanese Gardens in Australia.

gallerylanecove.com.au

26 October—1 December Call Me Old Fashioned Cathryn McEwen

Cameraygal Country, Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm.

See our website for latest information.

Within the genre of contemporary still life painting, Cathryn McEwen’s current work examines the world through a veil of glass. McEwen invites us to make a closer inspection and appreciate the translucent qualities of this fragile material, especially to discover the colours, shapes and the textural effects distorted in collectible glass bottles—nostalgic layers of another time and place. Opening Friday 1 November, 6pm.

6 November—30 November Bloom Hong Si

Geoff Crispin, Woodfired Vessel, approx 25 cm high.

Opening event, Friday 15 November, 6pm–8pm. Opened by Janet DeBoos, prominent Australian ceramicist, lecturer and author.

Dr Nicola Hooper, The Giant Flea, (detail), 2017, digital print of hand-coloured lithograph on foam board, 100 x 100cm and Ode to Morris Zoonotic Wallpaper, 2017, digital vinyl print of hand-coloured lithograph. Image courtesy the artist.

2 November—2 February 2025 ZOONOSES Nicola Hooper

Douglas Purnell, H81 TG, 100 x 76 cm.

6 November—30 November Through the Open Gate Douglas Purnell Reflecting on the journey from Being to Non-Being, a series of paintings reaching beyond where words will go, and, touching the ineffable. No answers, just quiet, respectful evocations, bringing new speech.

4 December—21 December Fun. Unlimited, A drawing Installation Abby Chambers This exhibition of charcoal drawings will be produced entirely onsite on the gallery walls.

Gallery Lowe and Lee gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Mon to Sat 10am–5.30pm.

See our website for latest information.

15 November—21 December A Potter’s Journey through six woodfire kilns Geoff Crispin celebrates his career in woodfired ceramics as he retires from this exciting but labour intensive practice to concentrate on smaller kilns and different methods.

Samantha Pettigrew, Cup with Sgraffito, porcelain, approximately 10 cm diameter.

15 November—21 December Christmas Collection Ceramics from over 60 artists from Korea, New Zealand and Australia. Find the perfect Christmas gift for friends, family or yourself: porcelain, stoneware, woodfire, sgraffito, sculpture, tableware and more.

Through drawing and lithography, Nicola uses fairy-tale iconology and rhymes to explore concepts surrounding zoonoses (animal diseases that can infect humans) and how we perceive certain animals in the context of fear and disease. ZOONOSES is a touring exhibition of works by Dr Nicola Hooper presented by Logan Art Gallery, Logan City Council, in partnership with Museums & Galleries Queensland.

This project has been assisted by the Australian Government’s Visions of Australia program, and is supported by the Queensland Government through Arts Queensland. Proudly sponsored by Haymes Paint.

Gosford Regional Gallery gosfordregionalgallery.com 36 Webb Street, Darkinjung Country, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm.

Free admission.

Located on the shores of Caroline Bay in East Gosford, Gosford Regional Gallery is one of the Central Coast’s leading tourist attractions. It provides an important cultural and educational resource for the community as well as a one of the region’s greatest family attractions.

Tomoko Oka, Temple, (detail), 2024, ink on paper. Courtesy of the artist.

7 December—28 January 2025 The Crane and the Kookaburra Tomoko Oka Opening Friday 6 December, 6pm.

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David Boyd, Centennial Park, Oil on Canvas, 91x123cm

Works by: D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. Macleod, J. Gleeson, S. Dunlop, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack 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

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

See our website for latest information.

Dionisia Salas, In the hellebores, 2024, oil on canvas, 102 x 102 cm. Photograph: Stephen Best. Image courtesy and © the artist. Private Collection.

23 November—1 February 2025 Of mouth and mind Dionisia Salas Of mouth and mind is a major solo exhibition of Braidwood-based artist Dionisia Salas, investigating the interplay between the physical and psychological aspects of the lived experience. Establishing drawing as the foundational underpinning of the artist’s practice, this exhibition presents physical articulations of the absurd while mining the subconscious.

Of mouth and mind embraces wandering shapes that meander through figuration and abstraction. With a vast array of paintings and drawings, the works included straddle the divide between alluring and abject. Salas’ seductive colours, sumptuous forms, and loose and

automatic mark making express feelings of desire, movement and ecstasy.

23 November—1 February 2025 Conversations with Bees Sammy Hawker Conversations with Bees is a solo exhibition that sees Kamberri/Canberra-based artist Sammy Hawker tease at reciprocal engagements between human and morethan-human worlds. Through Hawker’s multi-disciplinary practice encompassing text, photography and moving image, the artist creates a vast and perpetual archive documenting sites and moments of exchange. The European ritual of ‘telling the bees’, is a practice with origins in Celtic mythology, where bees are informed of recent deaths in a beekeeper’s household.

If uninformed, the bees may leave the hive and follow the deceased into the afterlife.

Over the past few years Hawker has been co-creating imagery with two hives of honeybees located north-west of Ngungara/Weereewa (Lake George), an endorheic lake that periodically fills and empties of water. The photographs taken around the lake record ecologically disturbed sites and a changing climate. Delivering them to the hive is to ‘inform’ the bees of the mass disappearance of more-than human lives in the roar of the Anthropocene.

Glasshouse Port Macquarie glasshouse.org.au Biripi Country, Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Grace Cossington Smith Gallery gcsgallery.com.au GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm.

Free admission.

Rachel M Scott, UNTITLED, 2024, oil on linen.

5 October—2 November Sense of Colour The paintings of Sioux Garside and Rachel M Scott are a response to sensations of light and orchestrations of the colour spectrum.

Kumanara (Ray) Ken, Kulata Tjuta, 2015, synthetic polymer paint on linen. Image courtesy of the Australian War Memorial.

9 November—2 February 2025 Art in Conflict An Australian War Memorial touring exhibition.

Juanita McLauchlan, Home is My Place, 2023, 200 x 165 cm, woollen blanket, possum skin, cotton thread, screen print, copper coins.

30 November—9 February 2025 Regional Creative Showcase 2024

Sammy Hawker, Honeycomb #3, 2023, pigment inkjet print on archival cotton rag, 110 x 136 cm. Image courtesy and © the artist.

The Regional Creative Showcase 2024 celebrates the diversity and vibrancy of local talent within our art, design, and creative industries from a selection of our senior high school and TAFE Creative Industry students.

8 November—7 December Encounter Sylvia Griffin, Pamela Leung, Juanita Mclauchlan, Lisa Pang and Sue Pedley consider themes of trauma, memory, identity, and migration, reflecting on the impacts of colonization, displacement, and environmental degradation.

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Granville Centre Art Gallery

Hawkesbury Regional Gallery

cumberland.nsw.gov.au/arts

hawkesbury.nsw.gov.au/gallery

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Sat 11am–3pm.

See our website for latest information.

Dharug and Darkinjung Country, Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm.

Closed Tuesdays and public holidays.

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

Free admission.

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

6 December—9 February 2025 Re|Purpose Some of the most fascinating objects in our Museum have stories that are a little unexpected. These objects don’t tell us stories about important historical events, they tell us about the everyday lives of people and the clever and sometimes humorous way they ‘made do’ – recycling, upcycling and repurposing old materials and objects into something new and useful once more. Re|purpose is an exhibition of objects sourced from the collection of Hawkesbury Regional Museum installed with wall drawings by Dan Kyle and Jennifer Brady.

Incinerator Art Space willoughby.nsw.gov.au/arts

30 November—25 January 2025 SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 Celebrating 60 years of the Journal Australian Ceramics this exhibition features twenty-two acclaimed ceramic artists from across Australia. The artists on show represent their contemporary peers and those who came before them and all have a strong and enduring connection to the JAC.

how we award status by projecting these everyday materials into the realm of art.

Hawkesbury Now, 2023, install view.

25 October—1 December Hawkesbury Now 2024 Hawkesbury Now 2024 is an annual exhibition program which celebrates the creativity of artists and makers working in the Hawkesbury and North-west regions of Sydney. The exhibition features traditional and contemporary artists, designers, and makers, from emerging to established, living, and working in Hawkesbury and beyond. All artworks in the exhibition are for sale.

Cammeraygal Country, 2 Small Street, Willoughby, NSW 2068 0401 638 501 Temporarily closed.

The Japan Foundation Gallery sydney.jpf.go.jp Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Nobuhiro Shimura, Afternote, 2024.

Tania Rollond, Revolution, 2021.

Photograph: Tania Rollond.

30 November—25 January 2025 Conduit An exhibition bringing together ceramic teachers from Hazelhurst Arts Centre, Gymea TAFE Ceramic Design Studio and suburban TAFE facilities throughout Sydney. Each teacher has selected a student to show alongside them, emphasising the centrality of inherited knowledge passed down through the medium.

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13 September—1 March 2025 Afternote: In the Shade of Cinema Nobuhiro Shimura Ruth Downes, Caffeinated, 2020, used coffee pods, neoprene 6 December—9 February 2025 Barely Wearable Ruth Downes Barely Wearable continues Ruth Downes’ passion for reappropriating everyday materials and objects to celebrate their intrinsic beauty. Materials for these ‘wearable’ artworks have been gleaned from a diverse range of sources – from aircraft headsets to coffee capsules. Detritus from nature has also been salvaged to be re-born as a fashion statement. By reimagining these materials, she has created works that transcend their utilitarian function, casting them in a fresh light. The works question our accepted values and

Afternote: In the Shade of Cinema is an exhibition focusing on the history of movie theatres in the provincial city of Yamaguchi, Japan. Together with records and materials related to the city’s cinemas, the display includes the latest work

by Nobuhiro Shimura, a contemporary Japanese artist who produces video installations exploring themes of memory and placeness. Also titled Afternote, this 79-minute documentary traces back the history of the movie “theatre” itself, which have since vanished from the city.

By unearthing the memories of local residents and what the cinema meant to them, Afternote reminisces on the days when movie theatres were considered the cultural centre, a part of daily life and the cityscape.

NEW S OUTH WALES

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

See our website for latest information.

by Korean traditional roof tiles, Giwa. Up on the roof shifts perspectives and enhances understanding through a formally beautiful installation that explores concepts of home and sanctuary from a unique cross-cultural viewpoint.

27 September–17 November Buruugaa Garaa Buruu Garaa Budgeramgali (Saltwater people Freshwater people stories) The ArtHitects Gary Carsley and Renjie Teoh Hannah Halle

Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

Blue Island. Photo Cherie Winter.

Courtesy of Lismore Regional Gallery.

2023 Winner, Michael Lindeman, Regression Painting (Pyjamas Cocktails...).

27 September–17 November Blue Island Nell Pearson and Matthew Brooks

22 November—17 January 2025 KAAF Art Prize Finalists’ Show KAAF Finalists

Sprung Dance Theatre: Sprung News

The Korea-Australia Arts Foundation (KAAF) Art Prize is an annual art prize that aims to foster the Australian multicultural society by bringing artists together from diverse ethnicities. As the exhibition and venue partner, the Korean Cultural Centre (KCC) Australia has been presenting the national finalists exhibition.

Ken Done, Pink Morning, 2024, oil and acrylic on linen, 100 x 80 cm.

16 October–12 December Ken Done: New Work

Korean Cultural Centre Australia koreanculture.org.au Ground floor, 255 Elizabeth Street, Eora Nation, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

Free admission.

See our website for latest information.

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

See our website for latest information

Lismore Regional Gallery

This window gallery exhibition showcases new artworks by the artist NOT, inspired

30 November–9 February 2025 Works from the Collection 30 November–2 February 2025 Koori Mail Indigenous Art Award 2024 Exhibition 15 November–5 January 2025 Tia Mavanie

Litsa Veldekis Bespoke Art Dealer litsaveldekis.com 26 Oxford Street, Woollahra, Sydney, NSW 2025 [Map 10] 0413 004 904 Tues to Fri 10am–2pm, Sat by appointment.

lismoregallery.org Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4602 Wed to Sun 10am–4pm, Thu until 6pm.

NOT, clumping bamboo, 2024, still life installation.

11 October—8 November up on the roof NOT

6 December–16 February 2025 William Kentridge: I Am Not Me, the Horse Is Not Mine

Suzanne Moss, Vanessa Series #10, The Heart of a Woman (after Vanessa Bell’s Portrait Mrs St John Hutchinson, 1915), 2023, acrylic on Belgian linen, 71 x 61 cm.

Buruugaa Garaa Buruu Garaa Budgeramgali. Photo Cherie Winter. Courtesy Lismore Regional Gallery.

5 December–17 January 2025 Vanessa Goes Home to Paint Suzanne Moss 185

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

The Lock-Up thelockup.org.au 90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm.

Committed to presenting multidisciplinary practices of local, national and international artists, The Lock-Up is a space that is dedicated to stimulating and challenging audiences. With an emphasis on producing artist-led projects that explore contemporary social issues, Our historical space is a platform for artists to create new works, experiment, create dialogue, share, learn and reflect.

Macquarie University Art Gallery artgallery.mq.edu.au Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2113 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

South Australian artist Anna Horne uses unlikely materials expertly to create curious and tactile sculptural forms. In this intimate exhibition, she explores the very human qualities of strength and vulnerability and our quest for ‘home’ and stability in an environment that seems to be ever-changing.

Still image from the work Temple, 2022 Collaboration: Leila Jeffreys x Melvin J. Montalban. Digital work. Multi-Channel, Continuous loop 6 minutes 26 seconds.

Leila Jeffreys is represented by Olsen Gallery, Gadigal/Sydney.

12 October—16 February 2025 Twitcher

Exhibition view of Khaled Sabsabi, 2024, The Lock-Up, Muloobinba/Newcastle.

Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Ben Adams.

14 September—24 November Khaled Sabsabi Presented for the first time at The LockUp, this is the most significant exhibition to date for Lebanese Australian artist Khaled Sabsabi. Featuring a selection of works produced over a nearly twentyyear period, including never-beforeseen works by the nationally and internationally renowned artist.

HIBALL, Composition for Mnemosyne (detailed still), 2024, two-channel video with sound, 8:00 minutes. Courtesy the artists.

30 November—23 February 2025 DATA MINDS Roy Ananda, Girl On Road, HIBALL, Jon Rafman & Brie Trenerry DATA MINDS surveys the practice of five artists working across analogue, contemporary and synthetic media. Encompassing photography, moving image, sculpture, installation, and internet-based media, each artist approaches AI and the internet not as ends to themselves, but as tools to be examined, exploited, and questioned.

Physical works become embedded with fictions, uniting the subconscious and the digital; the imagined and the real.

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Joanna Braithwaite, Artist’s Collective, 2023–24, oil on canvas, 200 x 200 cm.

Collection of the artist. Photograph: Jenni Carter.

22 November—15 January 2025 Thinking with Animals Joanna Braithwaite In partnership with Martin Browne Contemporary, Sydney. Curated by Tom Murray and Leonard Janiszewski.

Humans have been painting animals for at least 45,000 years. We celebrate and honour them, we fear and plead upon them, we employ, deploy, and eat them, and we are them. And never more so than in the work of Joanna Braithwaite. Beautiful, pompous, ridiculous, shy, curious, smart, sexy, funny, social, hierarchical, scared, lonely, competitive, and companionable - with a fantastically wry imagination Braithwaite paints a human-animal menagerie of situations, emotions and connections. In each image lurks a world in miniature, a politics of the superficial and the existential. And as a body of work Braithwaite offers us both a humorous question and a seriously political proposition: humans and animals, self and other, you and I, how do we navigate these challenging times?! Like this?!

Maitland Regional Art Gallery mrag.org.au Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am– 4pm. Café, 8am–2pm. Free entry, donations always welcomed.

28 September—2 February 2025 The Foundations Are Shifting Beneath Anna Horne

Abdul-Rahman Abdullah, Michelle Cawthorn, Tracey Depp, Philip Drummond, Mandy Francis, Todd Fuller, Anna-Wili Highfield, Martin King, Nigel Milsom, Leila Jeffreys x Melvin J. Montalban, Ginger Riley Munduwalwala, Nyangulya Katie Nalgood, Meagan Pelham, Hermannsburg Potters, Ben Quilty, Michael Riley, Joan Ross, Peter Speight, Bridie Watt, Trevor Weekes, Clare Weeks, Brett Whiteley Join MRAG as we celebrate the natural world with an exhibition dedicated to art and birds. We’ve brought together contemporary artists from across Australia who feature birds in many forms across their work. Scheduled to coincide with the great Aussie Bird Count 2024.

9 November—2 March 2025 Body Work Body Work is a celebration of flesh, bones and the mechanics that make up the wonder of the human form. Explore art that brings bodies to life as we present works from the MRAG collection alongside the monumental form of Ron Mueck’s Pregnant woman in all her anatomical glory.

9 November—2 March 2025 Robert Fielding: Tjukurpa | Handle It Robert Fielding is an artist, a storyteller and a keeper of Tjukurpa (ceremony and culture). Descendant of the first Afghan cameleers, and the Yankunytjatjara and Western Arrenda people of the central desert, Fielding lives and works in Mimili Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Over the past decade, he has built an eclectic and vast catalogue of works spanning and expanding the fields of paint, print, photography, poetry, drawing, film and sculpture, much of which is now housed in national and international institutions and collections. This portfolio due for exhibition at Maitland Regional Art Gallery in 2024 is a considered articulation of his practice, bringing together threads of his past and present to create a new conversation between times, places and cultures.

NEW S OUTH WALES

Manning Regional Art Gallery

Martin Browne Contemporary

manningregionalartgallery.com.au

martinbrownecontemporary.com

Biripi Country, 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm.

Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

Until 16 November Femme-Maison: Imagined Boundaries Women artists from the collection and beyond - Celebrating the 50th anniversary of the Women’s Art Movement in Australia in Macquarie University’s 60th anniversary.

Emma Rani Hodges, I Know the Dead Are Still Breathing, 2023, acrylic paint, found fabric on canvas.

Anna Louise Richardson in her studio.

Photograph: Bo Wong.

22 November–18 January 2025 Anna Louise Richardson | The Good

An exhibition that brings together a diverse group of artists whose works that reflect on what it means to have hyphenated identities. The exhibition will expand the audience’s appreciation of the immigrant experience, hybrid identities, and the Australian embrace of global diasporas.

Kevin Chin, Double Lake Double Take, 2024, oil on Italian linen, 138 x 199 cm.

10 October—2 November Mystic Meander Kevin Chin 10 October—2 November It’s harder than it looks Laura Williams

The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. Working primarily in charcoal and graphite, Richardson’s work explores ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in rural Australia.

The Good emerges from Richardson’s broader investigations into the complex relationships between humans and the natural world, tinged by grief and the competing demands of nurturing new life.

In a world increasingly defined by division and hardship, Richardson’s work points to the necessary act of radical optimism needed to seek goodness in all things.

The Good has been curated by Rachel Arndt, The Condensery and Dr Lee-Anne Hall, Wagga Wagga Art Gallery.

Manly Art Gallery & Museum magam.com.au Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm.

18 October—8 December Hyphenated Deanna Hitti, Emma Rani Hodges, Kirtika Kain, Pamela Leung, Jason Phu, Ben Soedradjit, Samuel Tupou, Jason Wing, and William Yang.

Alexander McKenzie, Remain in Light, 2024, oil on linen, 153 x 137 cm.

Anna Madeleine Raupach, Crosscurrents (frack, dam), 2024, embroidery thread on tarpaulin.

13 December—16 February 2025 The Water Understands Miguel Angelo Libarnes, Leah Bullen, Michael Cook, Tamara Dean, Keg De Souza, Shaun Gladwell, Phillip George, Gregory Hodge, Anna Madeleine Raupach, Doug Schofield and Angela Tiatia.

Ralph Waldo Emerson’s poem ‘Water’ serves as a starting point to unpack the water’s metaphorical ability to imbue us with knowledge which is at the core of this exhibition – knowledge of the past, cultural knowledge, traditional knowledge, poetic knowledge, political knowledge, and aesthetic knowledge – knowledge systems which inform the artists and artworks in this exhibition.

This exhibition is supported by Sydney Festival 2025.

7 November—30 November Remain in Light Alexander McKenzie

Mosman Art Gallery mosmanartgallery.org.au Cammeraigal and Borogegal Country, 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm.

Closed public holidays.

19 October—2 February 2025 Borrowed Landscapes Peta Clancy, Dacchi Dang, Simone Douglas, Yvette Hamilton, Alana Hunt, Danie Mellor, Hayley Millar Baker, James Tylor, Amanda Williams.

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COWRA REGIONAL ART GALLERY PRESENTS

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28 September to 17 November 2024

The Cowra Regional Art Gallery is pleased to announce the winner of the $30,000 Calleen Art Award 2024 is Amanda Penrose Hart for her painting Shepherd’s Lookout (see website).

Amanda Penrose Hart SHEPHERD’S LOOKOUT 2023 oil on canvas 121 x 198cm Courtesy of the artist and King Street Gallery on William, Darlinghurst

In painting there is a stillness. I try and go lightly over the landscape - I try to not leave a mark or a footprint. I don't want anyone to know I was there.

You can't catch a cloud, although I try to in a painting. You can’t see heat, but I try and paint it. You can’t see wind, but I try and show it. Ahhh it’s a never-ending challenge to paint what you can't see.

The Calleen Art Award 2024 features 48 artworks by leading and emerging Australian artists selected from 254 entries by a panel of art professionals. The exhibition showcases a diverse collection of visually compelling, thoughtful and engaging paintings from landscape, abstract, still life and non representational.

Image: Amanda Penrose Hart, Shepherd’s Lookout, 2023, oil on canvas. Winner of the Calleen Art Award 2024. Courtesy the artist and King Street Gallery on William, Darlinghurst.

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upstART 2024

PRIMAVERA: Young Australian Artists

24 November to 8 December 2024

UpstART showcases the work of regional students in Stages 5 and 6 (years 9,10,11 and 12) encompassing kind of genre. This includes innovative and experimental approaches to painting, drawing, mixed media, photography and sculpture. This is a “mustsee” presented in association with high schools from the Central West.

15 December 2024 to 2 February 2025

For Primavera: Young Australian Artists, Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain and Truc Truong investigate themes of protest, perseverance, identity and history. Curator Talia Smith asks what are artists creating to challenge society’s prescribed structures, built by a select few to supposedly serve and protect us?

Through new and recent works in various media, including installation, video, painting, sculpture, markmaking and text, Primavera is an exhibition as call to action. Drawing on their lived experience, these earlycareer artists work to disrupt the dynamics of power and deliver compelling alternatives to the status quo.

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW ADMISSION FREE Hours: Tuesday–Saturday 10am–4pm, Sunday 2pm–4pm (Mondays closed) T: (02) 6340 2190 W: www.cowraartgallery.com.au

2020

20 years

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...

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

See our website for latest information.

Mark Kimber, Evenings Empire #1, 2006, Lambda print, 80 x 100 cm. Murray Art Museum Albury.

James Tylor, The Darkness of Enlightenment III (Karrawirra I), (detail), 2024, Becquerel Daguerrotype. Image courtesy the artist and N. Smith Gallery, Sydney and © the artist.

1 November—27 April 2025 Dividing Range Brook Andrew, James Farley, Silvi Glattauer, Fiona Hall, Marion Hardman, Mark Hinderaker, Robert Jacks, Mark Kimber, Gloria Petyarre, Sam Shmith, Imants Tillers, Ingeborg Tyssen, Stephanie Valentin, Justine Varga, Robin WallaceCrabbe, Kim Westcott.

Borrowed Landscapes features the work of artists exploring and connecting with the Australian landscape and telling stories that have been previously overlooked. Featuring beautiful scenes from the Australian landscape, artists James Tylor, Amanda Williams, Hayley Millar Baker and Peta Clancy amongst others interrogate the grand narratives of colonial history through images that are questioning, unsettling and uncovering culture, connection and knowledge that has been lost.

19 October—2 February 2025 This Is How We Love Jazz Money This Is How We Love is an enveloping multichannel sound installation that invites audiences into a community of sound and love.

Taking its title from that of a featured work

by North-East Victoria based artist Kim Westcott, Dividing Range brings together a selection of photographs, prints and paintings from the Museum’s collection loosely connected by their explorations of human relationships to land and light.

Stephen Ralph, Evans Crown, 2023, Chillagoe Bianca Mist marble, 32 x 58 x 53 cm. Courtesy the artist and The Commercial.

20 September—16 March 2025 Hold the world to its word Hoda Afshar, Matthew Harris, Spence Messih, Stephen Ralph, Sandra Selig, Michael Riley, Susan Hiller, What, et al.

The giving of one’s word is an act of promise – an assurance of hope. When fulfilled, the trust held between parties is maintained and perhaps strengthened.

But what of a failed promise? How do we contend with optimism denied?

Jennifer Blau, Leaving home, 2023, from the series Between Me and the Sea, archival pigment print on cotton rag. Image courtesy and © the artist.

9 November—2 February 2025 In Profile: Jennifer Blau Living in an enchanted cottage overhanging the water near Chinaman’s Beach in Mosman for 35 years, award-winning photographic artist Jennifer Blau has drawn inspiration from the ever-changing light, tides and weather. Suspended above this intersection of land and sea, Jennifer explores the notion of a liminal space.

A place between love and loss, the familiar and the unknown, and between presence and impermanence.

Hold the world to its word recognises the notion of an inherently good and just world is a fragile one. That faith in promises held personally and collectively is easily eroded. The exhibition positions a group of artists within this environment of equivocal hope. The artists span geographies and generations, creating works that assert artistic agency and refute powerlessness while mapping delicate threads of connection between individuals. Key works address both cultural and personal pain and identify avenues of solace.

The exhibition features painting, photographic, text and sculptural projects by Hoda Afshar, Matthew Harris, Spence Messih, Stephen Ralph, Sandra Selig, and what, alongside the collective et al., and works by Michael Riley and Susan Hiller. Their offerings refuse the inwardness that can take root in times of doubt, instead suggesting that art can be an agent for good that questions, holds to account, and finds beauty and purpose in the world when optimism is lacking.

A 1969 abstract painting by Robin Wallace-Crabbe flaring yellow sits between more recent large-scale photographic works by James Farley and Justine Varga produced through direct exposure of paper and film. Across the room a small black and white 1978 photograph by Mark Hinderaker of a television broadcasting a thermonuclear explosion depicts intensely concentrated energy and light.

Elsewhere larger photographic works

by Brook Andrew, Mark Kimber and Sam Shmith illustrate ways in which landscapes of apparent grandeur are constructed for rhetorical purposes by artists, whether through reusing historical photographs, staging fabricated settings for the camera or digitally generating a scene. Gathered at the heart of the exhibition are a set of works by artists including Fiona Hall, Gloria Petyarre and Ingeborg Tyssen conveying more intimate relationships to place, both discrete gardens settings or wider Country.

25 October—19 January 2025 Nat Ward: Noreuil In this new body of work, local artist Nat Ward explores the connection between Noreuil Park in Albury and the village of Noreuil in France.

This new series of paintings draw upon field studies along the riverbank at Noreuil Park, alongside paintings inspired by research conducted in historical archives and travel to Noreuil village.

Nat Ward is an artist based in Albury who has been dedicated to her work for close to 20 years. Ward is primarily a painter of landscapes, with the Murray River and surrounding foreshores and wetlands providing constant inspiration.

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artbymejwg.com.au

NEW S OUTH WALES

Museum of Contemporary Art Australia

New England Regional Art Museum neram.com.au

mca.com.au

Anaiwan Country, 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm.

Closed Tuesdays.

See our website for latest information.

David Fairbairn, Head of B.F.No.2., 2024, acrylic, gouache, pastel, etching & ink on paper, 130 x 115 cm.

24 October—16 November The space between the lines David Fairbairn

Maria Pia Mosquera, Taken II, 2024, oil on board.

Julie Rrap, SOMOS (Standing On My Own Shoulders), (detail), 2024, bronze, image courtesy the artist and Roslyn Oxley9 Gallery, Sydney © the artist, photograph: David Suyasa.

28 June–16 February 2025 Julie Rrap – Past Continuous Acclaimed multidisciplinary artist Julie Rrap has examined representations of the body in art and popular culture for over four decades, often using her own body as the subject. Julie Rrap – Past Continuous is a solo exhibition featuring the Australian artist’s ground breaking feminist installation Disclosures – A Photographic Construct (1982) in dialogue with new and recent works. Free admission.

Nanda\Hobbs nandahobbs.com Eora Nation, 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

Nanda\Hobbs is passionate about art, supporting artists and building collections of the best contemporary art. Our represented artists are some of the most talented in Australia and abroad. We have a diverse exhibition program in our Sydney gallery and we also participate at international art fairs.

James Drinkwater, Chez Nenesse, Rue de Poitou, 2024, oil on linen, 100 x 120 cm.

21 November—14 December ÉCOLE DES ARTS – Just outside Toulouse James Drinkwater

National Art School NAS Gallery nas.edu.au Gadigal Country, 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm.

Free admission.

See our website for latest information.

The dynamic NAS Galleries program enhances the School’s role as a leading centre for visual art education in the Asia-Pacific, with ambitious group and solo exhibitions by Australian and Art, Artists and Community international artists that foster critical appreciation of art and innovative art practice. The NAS Gallery is one of Sydney’s most well-appointed and distinctive exhibition spaces, housed in a former cell block of the historic Darlinghurst Gaol, located in the heart of the campus.

8 November–17 November The Postgrad Show 2024 6 December–15 December The Grad Show 2024

27 September—10 November Women and Other Demons Maria Pia Mosquera Rooted in the aesthetics of medieval and Latin-American colonial art, Maria Pia Mosquera’s work wryly re-imagines the contemporary world through the lens of religious iconography and Colombian folklore. She explores our ambiguous relationship with death through oneiric imagery that challenges the macabre with whimsical humour and invites reflection on our everyday lives.

27 September—10 November Drawing from the collection Good draftsmanship is the foundation of all forms of art. This exhibition, sourced from the collections, highlights the variety and skill demonstrated by artists including Judy Cassab, Margaret Coen, Elizabeth Cummings, Lloyd Rees, Desiderius Orban, and Margaret Woodward amongst others.

27 September—10 November All the Excellent Dolphins Catherine Cassidy Catherine Cassidy investigates the emotive power of colour and mark-making to represent elemental and natural forces.

In this exhibition she explores the insistent history of marks, glyphs and images, and the urgent need to inscribe, record and re-invent our worlds. A partnership with AK Bellinger.

15 November—2 February 2025 Helen Eager Clay on Country Co-curated by Jo Foster and Neridah Stockley, and toured by Artback NT, 191

Willoughby City Council is gratefully acknowledged for the provision of Art Space on The Concourse.

Sculpture On The Spot at Art Space on The Concourse, 409 Victoria Avenue, Chatswood 2067.

6 to 17 November 2024 - Wednesdays to Sundays, from 11am to 5pm Opening party : Saturday 9 November from 3pm to 5 pm.

Randwick Town Hall Exhibition at 90 Avoca Street, Randwick, Sydney, NSW. 29 October to 3 November 2024 from 10am to 4pm Opening party - Tuesday 29 October from 5pm to 7pm.

Face to Form at Annie Wyatt Hall @ National Trust - next to S.H. Ervin Gallery on Observatory Hill, NSW. 2 to 9 November 2024 from 10am to 4pm Opening party - Saturday 2 November from 2pm to 4pm.

Feyona van Stom, Gentle Lady

Feyona van Stom, Lavender

Michael Vaynman, Signatures 13

Helena Lillywhite, Torus 7

Julian Ellis, Choice Bridget Whitehead, Dance like no-one is watching

Pat Anderson, Reclining Figure

Martin Williams, Head of Atilan

Chris Cowell, Sound of Ice

Alan Somerville, Duet

Pat Anderson, Geesis IV

Chris Cowell, Sound Of Ice

www.sculptorssociety.com www.sculptorssociety.com for forenquiries enquiries and and sales: sales: Feyona Stom - President Feyona vanvan Stom - Vice President feyonavanstom@gmail.com or feyonavanstom@gmail.com or0408 0408226 226827 827 Chris Cowell Treasurer Chris Cowell - Treasurer chrissycowell@gmail.com or0419 0419010 010 923 chrissycowell@gmail.com or 923 sculptorssociety.com

NEW S OUTH WALES New England Regional continued...

Kmit, Daryl Lindsay, Lionel Lindsay, Rodney Milgate, Godfrey Miller, Sidney Nolan, Justin O’Brien, Margaret Olley, John Olsen, Desiderius Orban, Ethleen Palmer, John Passmore, Carl Plate, Thea Proctor, Clifton Pugh, Lloyd Rees, Alison Rehfisch, William Rose, Loudon Sainthill, Michael Shannon, Arnold Shore, Jeffrey Smart, Treania Smith, David Strachan, Roland Wakelin.

Clarice Beckett, Evening landscape, c 1925, National Gallery of Australia, Kamberri/Canberra, purchased 1974.

Catherine Cassidy, Ruby Gorge, 2024, polymers, aerosol on polycotton.

Courtesy the artist.

Clay on Country: ceramics from the central desert, is an impressive survey of ceramic practice that includes over thirty artists and collectives. Some are established ceramic artists others are incorporating clay into their practice for the first time, all have produced accomplished insightful and contemporary works that reflect the culturally and historically rich and complex region where they live and work.

15 November—2 February 2025 Wild Rivers Lizzie Horne A journey to capture the essence of the wild rivers of New England on paper has taken Armidale printmaker Lizzie Horne far beyond the local gorge country. In Wild Rivers, Horne takes a deep dive into sugar lift etching, a process of spontaneity and precision, incorporating bold, painterly marks and all the discipline of chemical etching.

15 November—2 February 2025 Fusion Max Powell New England ceramicist and artist Max Powell’s latest exhibition at NERAM explores how the fusion of ideas transforms when using different media for expression in art making.

Ngununggula ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

14 September–17 November The Artworld Came to Us: The Macquarie Galleries 1938 - 1963 Jean Appleton, Ralph Balson, Jean Bellette, Nancy Borlase, Arthur Boyd, Rupert Bunny, James Cant, Margaret Cilento, Grace Cossington Smith, Ray Crooke, Desmond Digby, William Dobell, Russell Drysdale, Douglas Dundas, John Eldershaw, Ian Fairweather, James Gleeson, Thomas Gleghorn, Nancy Goldfinch, Elioth Gruner, Weaver Hawkins, Elaine Haxton, Sali Herman, Frank Hinder, Fred Jessup, Ena Joyce, J. Noel Kilgour, Michael

7 December—9 March 2025 Clarice Beckett: Paintings from the National Collection Archibald Prize 2024 finalist, Angus McDonald, Professor Marcia Langton AO. © the artist.

December March—9 March 2025 Local Artists Response to Clarice Beckett

30 November—27 January 2025 Archibald Prize 2024 Adrian Jangala Robertson, Angus McDonald, Anna Mould, Ben Howe, Ben Smith, Camellia Morris, Caroline Zilinsky, Craig Handley, Dagmar Cyrulla, Daniel Kim, Danny Morse, David Griggs, Digby Webster, Drew Bickford, Eliza Bertwistle, Emily Crockford, Guido Maestri, Holly Anderson, Janis Clarke, Jaq Grantford, Jessie Bourke, Jill Ansell, Julian Meagher, Karen Black, Kean Onn See, Kelly Maree, Kirsty Neilson, Kris Andrew Small, Laura E. Kennedy, Laura Jones, Laura Peacock, Liz Sullivan,Marcus Wills, Matt Adnate, Meagan Pelham, Mia Bowe, Mostafa Azimitabar, Natasha Bieniek, Natasha Walsh, Nick Stathopoulos, Nicola Higgins, Oliver Watts, Paul de Zubicaray, Robert Fielding, Sally Ross, Samuel Leach, Scott Marsh, Shaun Gladwell, Simon Richardson, Stephanie Galloway Brown, Thea Anamara Perkins, Thom Roberts, Tim Owers, Tsering Hannaford, Whitney Duan, Yoshio Honjo, Zoe Young.

Outback Arts Gallery outbackarts.com.au Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

Orange Regional Gallery orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.

See our website for latest information.

Jamie-Lea Trindall, Where the Light Gets in.

Until 3 November The Divided Landscape Tim Winters Until 24 November Space, Light and Time Peter Godwin Until 17 November ARCHIBALD PRIZE 2024 7 December–27 January 2025 HERE/NOW 7 December—9 March 2025 Ann Thomson

Jilly Kelly, Untitled.

4 October—20 December This Ain’t Texas Anna Kennedy, Amy Neaf, Jamie-Lea Trindall, Jill Kelly, Melissa Kelly 193

artpark.com.au

Open 7 days (except Christmas Day), 9–5pm Representing over 30 Australian Artists 22 Malbon Street, Bungendore NSW 2621 Ph: 6238 1682 bwoodworks.com.au 194

bwoodworks.com.au

NEW S OUTH WALES Outback Arts Gallery continued...

This group of women artists live in a place that ain’t Texas, but each live an authentic creative life based on their connection to the outback, the people and its cowgirl culture. Some of us have ancestors whose very survival meant adapting to new ways, some of us are raising the next generation of cowboys and cowgirls, some of us love and share a special relationship with domesticated animals horses, cattle, sheep and dogs, and some of us love the wildness of country - the dust and sunrise and sunsets, the expansive starlit sky, the eagle riding high.

Penrith Regional Gallery

retold today. Either way, it’s a story that’s connected with Penrith, not least because of the success of the Penrith Panthers football club. So what happens if we give credence to the story? What can it tell us about the character, identity, and communities of a place like Penrith? A place on the urban and rural divide, where the settled and the wilderness meet. A place where the panther has become synonymous with pride from coming from the west. Where it counts to stand up, be counted and be seen. And where excellence – across culture, sport and community – can be found hiding in plain sight.

After all, even panthers have spots, you just have to look a little closer.

Spot the Difference is supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.

penrithregionalgallery.com.au Darug Country, 86 River Road, Emu Plains, NSW, 2750 02 4735 1100 Mon to Sun 10am–4pm.

See our website for latest information.

Performance Arts Culture Cessnock | PACC mypacc.com.au 198 Vincent Street, Cessnock NSW, 2325[Map 12] 02 4993 4266 Tue to Fri 9am–4.30pm, Sat and Sun 10am–2.30pm.

See our website for latest information.

Lionel Lindsay, The Romantic Garden, 1922, wood engraving, printed in black ink on paper, 21.4 x 15cm, donated to the Maitland Regional Art Gallery Collection under the Australian Government’s Cultural Gifts Program by Max and Nola Tegel in 2016. © the Estate of Lionel Lindsay. By permission of the National Library of Australia.

Exhibition. official opening, Saturday 2 November, 12noon–2pm.

PIERMARQ* piermarq.com.au Eora Nation, 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm.

See our website for latest information.

Anna Louise Richardson, On the hunt (installation view), 2017, charcoal, acrylic, pastel and glow in the dark acrylic on cement fibreboard, 215 x 345 cm. Courtesy the artist.

Photograph: Docqment.

9 November—26 February 2025 Spot the Difference Abdul-Rahman Abdullah, Billy Bain, Daniel Boyd, Shannon Boyd, Blak Douglas, Troy Emery, Lyndal Irons, Claudia Nicholson, Jason Phu & Maja Baska, Anna Louise Richardson, Kate Rohde, Osselan Tupai Scanlan, Regina Walter, Chris Whiticker, Linda Brescia.

What’s the difference between fact and fiction? Can you spot the difference?

Ask anyone in Penrith, and they will have heard of the myth of the panther. In fact, most have seen it, or know someone who has. With origins that span from circus escapees, World War II mascots, and the trade of exotic animals from the 19th Century, it’s a tale that has people sitting in one of two camps – fact or fiction.

Spot the Difference brings together artists from Penrith and across Australia to celebrate and interrogate the story of ‘The Big Black Cat’ as a foundational mythology for our region. Working across drawing, painting, sculpture, fashion and installation, these artists highlight the varying origins of the mythology, and the ways in which the story is being told and

Lionel Lindsay, Spring, 1936, wood engraving, printed in black ink on paper, 15.1 x 21.6cm, donated to the Maitland Regional Art Gallery Collection under the Australian Government’s Cultural Gifts Program by Max and Nola Tegel in 2016. © the Estate of Lionel Lindsay.

By permission of the National Library of Australia.

2 November–5 January 2025 Lionel’s Place: Lionel Lindsay from The Maitland Regional Art Gallery Collection Lionel’s Place showcases more than 140 artworks created by Lionel Lindsay, an artist who honed his skills in etching and wood engraving so finely that by 1927 he was hailed as the most internationally successful Australian printmaker of all time.

This exhibition showcases the artist’s etchings, wood engravings and watercolours, works on paper rich in visual texture, and depicting scenes from abroad and closer to home, exotic and domestic animals and birds, and the lushness of gardens, floral abundance and portraiture. Lionel’s Place is a Maitland Regional Art Gallery Touring

Bel Fullana, LIL TECHNO KITTY, 2023, oil and spray on canvas, 35 x 27 cm.

31 October—30 November Sayonara Baby Bel Fullana 195

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

Andersson, Christine Ball, Rick Ball, Lindsay Bedogni, Les Blakebrough, Richard Brooks, Greg Daly, John Dermer, Gillian Dodds, Phyl Dunn, Rudolf Dybka, Ivan and Patricia Englund, Robert Foster, Victor Greenaway, Malcolm Greenwood, Andrew Halford, Campbell Hegan, Jean Higgs, Brian Hirst, Ian Lamb, Jane Lanyon, Col Levy, Robert Mair, Barbara Mason, Suzie McMeekin, Reg Preston, David and Sue Rivett, Keith Rowe, Peter Rushforth, Bernard Sahm, Joe Sartori, Shigea Shiga, Mitsuo Shoji, Derek Smith, Ian Sprague, Peter Travis, Jan Twyerould, Robert Wynn and many other lesser known Australian potters.

Rex-Livingston Art + Objects Ben Crase, The Lemon Drop, 2024, oil stick, pigment stick, oil pastel on canvas, 183 x 152.5 cm.

15 December—31 January 2025 Ben Crase

Redfern Art & Ceramic Gallery

rex-livingston.com Dharug and Gundungurra Country, 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. See our website for latest information.

redfernartgallery.com.au

Maree Azzopardi, The Crossing XV, 2024, scavenged charcoal, sumi ink, found objects on 300gsm cotton rag paper, 76 x 56 cm. years to express her belief, concern and outrage, very much like using ‘The F word’ as a celebration and an expletive of anger and frustration. Maree Azzopardi is the winner of the 2024 Gosford Art Prize with a work from this series.

13 December—29 December Christmas Exhibition 2024

Gadigal Country, 80 Redfern Street, corner Redfern and Chalmers Streets, Redfern, NSW 2016 [Map 9] 0478 473 041 Fri 3pm–5pm, Sat 10am–4pm or by appointment.

Roslyn Oxley9 Gallery roslynoxley9.com.au Cadigal Country, 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

31 October—23 November Skyring Mikala Dwyer 31 October—23 November Marley Dawson

Harold Greenhill, Approaching Storm, 1945.

Specialists in collectable, and affordable, Australian art and Australian and Japanese ceramics, pottery, glass and lamps from the 1950s–1980s. The gallery focuses on visual artists that emigrated to Australia after World War II and Australian female artists from this period.

The gallery also exhibits and teaches Japanese Ikebana flower arranging.

Our favourite visual artists: Dorothy Atkins, Joan Beck, Judy Cassab, Tony Costa, Stanley De Teliga, Thomas Gleghorn, Harold Greenhill, Jean Isherwood, Louis James, Ena Joyce, Keith Looby, Jeffrey Makin, Ignacio Marmol, Rodney Milgate, Carl Plate, John Rigby, Joe Rose, Dora Toovey, Phylis Waterhouse and Reinis Zusters.

Our favourite Australian ceramicists, potters and glass blowers: Peter 196

Kim Mackell, Bagwash Pee Dagniche, circa 1988, acrylic on canvas, 111 x 87.5 cm.

31 October—10 November Selected Stock Works Featuring works from the Estate of Kim Mackell.

A Satirical artist: “In between meals and with tobacco as a constant companion, Kim Mackell made a lot of art in a relatively short time. He completed most of the works documented here over a period of about 15 years from around the mid 1970s to the end of the 1980s.”

15 November—8 December The Crossings Maree Azzopardi Maree Azzopardi’s new exhibition The Crossings is a dialogue about migration, war and climate change. The symbol of the Cross has been a recurring theme in Azzopardi’s work as both a religious and a maritime symbol and has evolved over the

29 November—January 2025 Kaylene Whiskey

Rusten House Art Centre qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

Rusten House Art Centre is an 1862 NSW Heritage listed building that was Queanbeyan’s first hospital. It has been restored for reuse as a regional gallery and workshop facility, opening for the first time to the public from April 2021.

It boasts many original architectural features and is accompanied by a heritage listed garden. Rusten House is owned and operated by QueanbeyanPalerang Regional Council.

NEW S OUTH WALES Artworks will be boxed up for Christmas in ‘Square’ format from 20 x 20 cm up to 40 x 40 cm. this exhibition will feature an eclectic range of works by artists from our region.

SCA Gallery sydney.edu.au/sca

Margaret Hadfield, The Splash of Light, oil, 121 x 180 cm.

26 October–16 November Ocean Margaret Hadfield and Dennis Mortimer Margaret Hadfield and Dennis Mortimer combine their artistic talents in this collaborative exhibition themed around the ocean. Hadfield’s oil paintings reverberate to her travelled experience of the Southern Ocean, her paintings express our oceans’ tremendous power, beauty and fragility. Hadfield’s paintings seemingly hover the viewer above a chilled ocean surface. Mortimer’s works compliment Hadfield’s beautifully rendered works with his series – The Ocean and Nothing, which responds to what we have lost and continue to lose because of human disruptive activities. Mortimer’s imagery is inspired by forms, colours and patterns of ocean fauna & flora.

Gadigal Lands, Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm.

See our website for latest information.

Until 15 December PORTIA GEACH MEMORIAL AWARD The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award, first given in 1965, was established

by Kate Geach in memory of her sister, artist Portia Geach. The $30,000 nonacquisitive award is 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 from across the country and has been important in nurturing and celebrating the contribution of female artists.

South East Centre for Contemporary Art secca.com.au

Kate McGuinness, I like long walks on Parramatta Road, 2023, video, (16:00).

Courtesy the artist.

Yuin-Monaro Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am– 2pm. Closed Sun and public holidays.

See our website for latest information.

29 November—7 December SCA New Contemporaries 2024 Sydney College of the Arts and online.

At the end of each academic year, Sydney College of the Arts celebrates our graduating cohort and the culmination of their collective research and practicebased outcomes. 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.

Opening event, 28 November, 6pm–9pm.

S.H. Ervin Gallery shervingallery.com.au

Alison Oberg, Weekend Wanderings, mixed media on canvas.

26 October—14 December A Sense of Place Alison Oberg In A Sense of Place Oberg brings together a collection of work that explores the intersection between her love of nature and her ever expanding creative practice.

Oberg’s approach involves observing the colours, shapes, textures and patterns in nature at a small scale, such as individual flowers and leaves, through to landscape scale bush and coastal environments.

Oberg uses mixed media to translate her felt and observed sense of place into artworks that capture the essence of nature and places that inspire her.

23 November—14 December Christmas Squared Group exhibition – various artists

Gadigal Country, 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.

S.H Ervin Gallery is closed for summer break from 16 December to 3 January 2025 inclusive.

Cameron Richards, Miss Priya Premkumar, 2020 Award winner. Image courtesy the artist.

30 November—1 February 2025 Shirley Hannan National Portrait Award exhibition

Stanley Street Gallery stanleystreetgallery.com.au Gadigal Country, 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Visit our website for opening times and exhibition program.

See our website for latest information.

16 October–9 November Don’t Let Her In Toni Messiter

Kate Stevens, The whistleblower, oil on canvas, winner 2023 Portia Geach Memorial Award.

20 November—14 December The World is My Playground Jacquie Meng

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KEN DONE

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail: Pink morning, 2024, oil and acrylic on linen, 100 x 80cm

kendone.com

NEW S OUTH WALES

Sullivan+Strumpf Gadigal/Sydney

Stanley Street Gallery continued...

sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

17 October—9 November Joyride Marion Abraham

Zorica Purlija, Ocean Pool, 2024, digital print from film on Baryta photo paper, 36 x 36 cm. Image courtesy of the artist.

20 November—14 December So, this is Goodbye Zorica Purlija

Julia Trybala.

7 December—25 January 2025 Julia Trybala

SteelReid Studio steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.

See our website for latest information.

Jemima Wyman, Haze, 2024, hand-cut digital photographs, 125 x 100 cm.

17 October—9 November Atmospheric Disturbances Jemima Wyman

Bobby Corica, Orders, 2024, silver and glass, 50 cm. Image: Annika Kafcaloudis.

20 November—14 December Orders Bobby Corica

STATION stationgallery. com 91 Campbell Street, Surry Hills, NSW 2010 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

STATION is dedicated to presenting an engaging, conceptually-driven exhibition program, with the aim of fostering rigorous, critically-engaged contemporary art practices. STATION represents a broad stable of established and emerging Australian and international artists. We are committed to bringing Australian contemporary art practices to international audiences and presenting opportunities for our artists to be positioned within a broader global dialogue.

Pennie Steel, The Chinese Coat.

Glenn Barkley, Portland Lyrebird Vase with Sydney Cove Medallion, 2024, earthenware, 70 x 30 cm.

14 November—14 December Experimental Idiocy Glenn Barkley 14 November—14 December fathom and feet Lara Merrett Brian Reid.

Viewings of artworks by Pennie Steel and Brian Reid by appointment.

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Straitjacket straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 See our website for latest information.

9 November—1 December Patterns Of Manual Labour Benjamin Paul Gallagher Opening event & meet the artists, Saturday 9 November, 11am–5pm.

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

7 November–24 November For the Love of Art Students of Maria Henry Celebrating the diversity within the Tamworth community, this exhibition looks at inclusiveness and belonging. The artworks highlight the skills and talents of local art students as they respond to our environment, our homes, our friends and family, our emotions and our identity to communicate

Stephen Brameld and Jay Staples, Jay at Bathers Beach, 1pm, 2023, oil, acrylic, wood stain, enamel on board, 108.5 cm x 109 cm.

9 November—1 December Docker Grease Stephen Brameld and Jay Staples Opening event & meet the artists, Saturday 9 November, 11am–5pm.

This biennial exhibition in the Tamworth Regional Gallery showcases the most recent works of students in Maria Henry’s community art school. The artists are encouraged to express themselves through diverse content, styles, media, techniques and subject matter. Enjoy viewing the accomplishments of local emerging artists through their landscapes, still life, and portraits.

7 December–2 February 2025 Synergy - pattern and patina Christine Murphy and Sandra McMahon Sharing an appreciation for a minimalist philosophy, this exhibition presents the ceramic pieces created by Christine Murphy alongside the paintings by Sandra McMahon. This exhibition explores the relationship between 3-dimensional form and 2-dimensional works on board.

A synergy of ideas between the works has resulted in an interesting dynamism and tension between the works and, as such, an exhibition of quiet contemplation.

Tin Sheds Gallery sydney.edu.au/tin-sheds Gadigal Land, 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

7 December—31 January 2025 Summer Salon 24/25 Closed 21–31 December and open by appointment during January 2025.

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Monumental Imaginaries explores the complexities and contradictions surrounding rapid energy transition and the climate futures heralded by these imminent changes taking place in the Hunter Valley and Central Coast. This exhibition champions how regional NSW will adapt to the agenda of renewable energy and highlights how local advocates consider replacements for carbon intensive resources such as coal. It invites visitors to consider the scale of these transformations under way and the important role of visual media - drawing attention to the legacies of fossil fuel dependency and the emerging green visions of the upper and lower Hunter Valley.

The exhibition is multifaceted, bringing together diverse artistic and disciplinary perspectives that unsettle comfortable projections of net-zero living and the despair of climate apocalypse. It underscores the scale of fossil fuel imaginaries and the speed at which they are being supplanted. In addition to the exhibition, Monumental Imaginaries features a public program collaborating with community, industry, and other institutional partners.

These free events will encourage the public to engage with these ongoing political debates and dynamic stories that impact how we think about energy and its production. The exhibition is supported by the Sydney Environment Institute (SEI), the University of Edinburgh, and the Sydney School of Architecture, Design, and Planning.

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm.

See our website for latest information.

18 October—16 March 2025 Stillness: And a touch of reticence Drawn entirely from the Tweed Regional Gallery collection, Stillness: And a touch of reticence, highlights the beauty of stillness through a selection of portraiture. The look of reticence in each subject invites us to contemplate their reservations within, and the richer narratives that extend beyond the frame.

Aidan Gageler, Loom, 2024, expired film, dye sublimation on aluminium, artist made frame, 120 x 96 cm.

Opening event & meet the artists, Saturday 7 December, 11am–5pm.

Ben Brown, Merilyn Fairskye, Jess Harwood, Prevalent, Gino Volpato, Christopher Wright, Luke O’Connor, Collins and Turner Architects. Curated by Jennifer Ferng, Daniel Ryan and Elizabeth Walling.

Merilyn Fairskye, Yesterday New Future (Liddell), 2023.

10 October–15 November Monumental Imaginaries

The exhibition includes a selection of paintings, photographs, and works on paper by leading Australian artists including Olive Cotton, Greg Weight, Michael Zavros, Naomi Hobson, Max Dupain and more.

NEW S OUTH WALES Portraits of Love: A Mother’s Perspective by regional artist Meli Axford, explores the nuanced dynamics of love, family, and her daughters’ transition to adulthood through a mother’s eyes. Featuring vibrant paintings that capture the complexities of growing up, the exhibition showcases the latest in Axford’s ongoing Pool Series.

A Tweed Regional Gallery initiative. An outcome of the PLATFORM program.

7 December—2 February 2025 Wynne Prize 2024

Olive Cotton, Only to taste the warmth, the light, the wind, 1939, printed 2000, edition 7/9, silver gelatin print, 19.5 x 17.5 cm. Gift of the Josephine Ulrick and Win Schubert Foundation for the Arts, 2002.

Courtesy of McInerney Family and Josef Lebovic Gallery, Sydney.

The Wynne Prize is awarded annually for the best landscape painting of Australian scenery in oils or watercolours, or for the best example of figurative sculpture

by Australian artists. For the first time in 2024, the greatest number of finalist works in the Wynne Prize are by First Nations artists. The Wynne Prize 2024 presents the winning and finalist works on tour for 2024, showcasing an impressive collection by Australian artists.

The Wynne Prize 2024 is an Art Gallery of New South Wales touring exhibition.

This project is proudly supported by the NSW Government through Create NSW’s Blockbusters funding initiative.

30 artists from all around Australia in a powerful celebration of a vivid and colourful life. The show includes Talya Brookman, Ben Randall, Kim de Haan, Jules Bulleid and many more.

The University Gallery newcastle.edu.au/ universitygallery Awabakal and Worimi Country, The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] 02 4921 5255 See our website for latest information.

The University Galleries creates inclusive and exciting opportunities for staff, students, and artists to engage with each other and the wider public through art and culture. We aim to foster cultural understanding and enrich the visual and cultural environment of the University and our thriving local arts and cultural sector.

Until 26 January 2025 A Delicate Terrain Tweed Regional Gallery collection.

Until 2 March 2025 A Dictionary for Painting: Margaret Olley, Robert Malherbe and Keith Burt

Tyger Gallery tygergallery.com.au

Emily-Sarah Boldeman, The Offering, 2023, single channel video, 6 minutes 22 seconds duration. Image courtesy the artist. © The artist.

Memorial Hall, 84 Comur Street, Yass on Ngunnawal Country, NSW 2582 0466 243 684 Thu to Sat 10am–3pm, Sun 11am–3pm.

22 November—9 February 2025 Vestiges Emily-Sarah Boldeman Vestiges is the first solo exhibition by emerging Northern Rivers artist EmilySarah Boldeman. Her practice comprises films, automatic drawings and objects – each a remnant of unpredictable processes and performances. Through spontaneous, often repetitive, marks and erasures, she creates a dialogue between emergence and disappearance.

Some pieces evoke alchemical transformations, suggesting the cindery process of change. Ballet, saturated with femininity, beauty and pain is a recurrent motif. Boldeman’s work explores the disorganised female body, control, chaos and transformation. This exhibition is the outcome of the Tweed Regional Gallery - Byron School of Art (BSA) 3rd Year Graduate Award, 2023. A Tweed Regional Gallery initiative.

22 November—9 February 2025 Portraits of Love: A Mother’s Perspective Meli Axford

Ben Kenning, Moon bath, mixed media on canvas, 125 x 165 cm.

16 October—16 November Emptiness Adorned Ben Kenning In this collection of works, Kenning manipulates positive and negative space to create powerful, evocative forms. His figures emerge from and recede into the canvas, blurring the lines between existence and nothingness.

Cultural enrichment workshop, 2023. image courtesy of Speaking in Colour.

22 November—1 March 2025 Cultural Resurgence Cherie Johnson and the team at Speaking in Colour, as well as students and community members Kim de Haan, Ember, acrylic on birch wood canvas, 80 x 60 cm.

15 November—1 December Life in Colour This group show features more than

A collection of works from 600 school students and community members who engaged in cultural enrichment activities guided by Speaking in Colour, a First Nations education and consultancy company.

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UNSW Galleries unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays

UNSW Galleries brings together the work of leading Australian and international practitioners, curators and writers working in contemporary art and design.

27 September—24 November Sarah Contos: Eye Lash Horizon The first major institutional exhibition of Australian artist Sarah Contos, bringing together new sculpture, painting, textiles, and video.

27 September—24 November Bianca Hester: Lithic Bodies A new, multidisciplinary project

by Australian artist Bianca Hester, investigating materiality and environmental crises across timespans.

28 June—17 November Lisa Sammut: How the earth will approach you

Sarah Contos, MoTH-eRR, 2023, installation view, Sarah Contos: Eye Lash Horizon, UNSW Galleries, 2024. Courtesy the artist and STATION Melbourne and Sydney.

Recent works incorporating objects, light, and moving image that explore the ways cosmic forms mirror our social worlds.

Wagga Wagga Art Gallery waggaartgallery.com.au Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm, closed Mondays.

Free admission.

See our website for latest information.

2 November—31 January 2025 Residue + Response: Tamworth Textile Triennial Residue + Response: Tamworth Textile Triennial builds on the tradition of the Tamworth Fibre Textile collection which first began in 1973, showcasing 50 years of contemporary textile artists.

29 October—19 January 2025 Understories Christopher Orchard, Timothy Crutchett and Damian Moloney Sculpture, video, audio and text based multimedia storytelling combine in an immersive installation exploring the interconnected stories of eight critically endangered species from local ecological communities.

5 November—9 February 2025 Look at Me Selected works from Wagga Wagga Art Gallery’s print and art glass collection.

Developed and designed by emerging curators and presented in partnership with University of Sydney’s Heritage and Museum Studies program.

Claudia Borella, Untitled, 1997.

3 August—17 December Hot + Cold, Cut + Polish: Exploring Art Glass Techniques Hot + Cold, Cut + Polish: Exploring Art Glass Techniques offers insight into how art glass is made and the possibilities of the form. Artworks, glassmaking tools and demonstration videos combine to tell the evolution, process and breadth of contemporary glassmaking.

14 September—26 January 2025 Nicholas Burridge: Terraformed Terraformed presents newly commissioned work from Australian sculptor Nicholas Burridge which continues his material investigation into volcanic rock basalt. Here in the National Art Glass Gallery, Burridge’s work speaks to deep time,

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Nicholas Burridge. Terraformed (installation view), 2024. geological forces and the culpability of the human hand in seismic transformations now underway.

Three multi-disciplinary Newcastle artists who use light as their primary medium, with a focus on environmental concerns.

the artists in XSWL shatter once-innocent veneers, warning us that it’s all fun and games…until someone loses an eye.

Wester Gallery

Wollongong Art Gallery

wester.gallery

wollongongartgallery.com

16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 See our website for latest information.

Dharawal Country, Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

Watt Space Gallery newcastle.edu.au/ wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733

Shane Bonsujet.

8 November–23 November Mea Culpa Shane Bonsujet 6 December–21 December Solo Exhibition Luke O’Donnell

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org Sandy Sanderson, screenshot from Myco Electrica film, 2024.

6 November—23 November Graduate shows

30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Graduating students from both the University of Newcastle and TAFE NSW bookending combined show across all disciplines.

Yan Jingzhou 闫镜州, 857 857, 2022, acrylic on canvas, 87 x 160 cm. Image courtesy of the Artist and the White Rabbit Gallery.

Ken O’Regan, Fractured Sanctuary Configuration IV & V, 2019-2023, reused plastic objects, cable ties, steel wire, timber, light.

11 December—8 March 2025 Light source Kris Smith, Ken O’Regan and Chris Brown

18 December—18 May 2025 XSWL Group exhibition Play has a dark side which frequently makes waves in popular entertainment, video games, and media. Art, too, becomes an arena for toying with taboo themes and pushing social boundaries to their limits.

Through their tongue-in-cheek creations,

Anna Mould, Fever Dream, (detail), 2018, embroidery and appliqué on child’s blanket, 60 x 80 cm. Collection of Dr Candice Bruce. Image courtesy of the artist.

7 September—24 November Dreams Nursed in Darkness Curated by Elizabeth Day and Claire Taylor, the exhibition presents an array of creative practice by people who know incarceration firsthand and artworks that respond to Australian carceral contexts, past and present. Dreams Nursed in Darkness surveys voices speaking from the margins and creative acts of resistance that assert the humanity of incarcerated people in the face of dehumanising systems. Dreams Nursed in Darkness presents an array of creative practice by people who know incarceration firsthand and artworks that respond to Australian carceral contexts, past and present.

The exhibition surveys voices speaking from the margins and creative acts of resistance that assert the humanity of incarcerated people in the face of dehumanising systems. They call us to account about structural failures of incarceration, systemic economic and racial injustices, and our complicity. Collectively, the artworks describe an important culturally contested arena, where many deeply unanswered social questions remain.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body, and is supported by the NSW Government through Create NSW. 9 November—6 April 2025 Shape Shifters A retrospective of Australian collage in two parts, curated by Angie Cass, examines how the use of re-purposed materials, concepts and subjects have evolved within an Australian context.

Collages From the Wollongong Art Gallery Collection, 9 November 2024 – 6 April 203

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

2025, includes works by Tony Albert, Suzanne Archer, Country Women Artists (Northern Rivers Chapter), Malcolm Benham, Lee Bethel, Garry Jones, Robert Klippel, Edith Kouto, Diego Latella, Alun-Leach Jones, Elwyn Lynn, Arthur McIntyre, Allan Mitelman, Jenny Orchard, John Peart, Marilyn Puschak, Martin Sharp, Vicki Varvaressos and Brett Whiteley.

A History of Collage in Australia, 7 December 2024 – 2 March 2025, includes works

by Grace Crowley, Ross Crothall, Isabel Davies, Karla Dickens, Elizabeth Gower, Barbara Hanrahan, Paul Higgs, George Johnson, Deborah Kelly, Eveline Kotai, Helen Lempriere, David McDiarmid, Fiona MacDonald, Bridgid McLean, Elizabeth Newman, John Nixon, Carl Plate, Kurt Schranzer, Gareth Sansom, Sandra Selig, Madonna Staunton, Ann Thomson and Meredith Turnbull.

Yarrila Arts and Museum yarrilaartsandmuseum.com.au Gumbaynggir Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays. See our website for the latest information.

YAM is at the heart of Yarrila Place, a new contemporary cultural hub, designed by Coffs’ own Matthew Blair of BVN Architecture and built around a 150-year-old Hill’s Weeping Fig (ficus hillii) in the Coffs Harbour CBD. The name Yarrila, pronounced, YA-re-la, is a Gumbaynggirr word that means “illuminate / brighten / light up / illustrate”.

This encapsulates YAM’s vision of illuminating knowledge, arts, heritage, and community creativity.

A testament to decades of dedication, YAM’s journey traces back to the opening of the first museum in 1980 and Council’s acquisition of its first artwork in 1974.

This commitment has seen the collection grow to include more than 18,000 objects, artefacts and archives as well as more than 600 artworks.

Until 10 November Electric Dreams | Taree Mackenzie, Jason Sims and Brendan Van Hek A group exhibition featuring three leading Australian artists working with light. Viewers are invited to stretch their imaginations and visual perceptions of space and form.

Until 10 November Serendipia | Kathryn Cowen and Gareth Jenkins This immersive multimedia exhibition combines animation, sound, sculpture, electronics and ultraviolet light. Step into a bio-futuristic environment that reflects nature’s ever-changing desire for adaptation and experimentation.

Until 10 November Desert Jungle | Jeannie Baker Desert Jungle is the latest exhibition of artworks by renowned children’s book author and artist, Jeannie Baker. Coproduced by Penrith Regional Gallery, Home of The Lewers Bequest, this touring exhibition celebrates the publication of Jeannie’s latest book, also titled Desert Jungle.

Permanent Museum Exhibition Yaamanga Around here

Jemima Wyman, Plume 21, 2023, handcut digital photographs, 103 x 115 cm. Collection: Wollongong Art Gallery, purchased 2023.

30 November—March 2025 In Essence: Contemporary Photography and Film from the Collection.

In Essence includes digital and film-based photo media addressing political and environmental concerns, cultural knowledge, dreamscapes and the fabric of identity.

Artists include Riste Andrievski, Pat Brassington, David Capra, Katthy Cavaliere, Stephen Dupont, Will Edgar, Anne Ferran, Lesley Goldacre, Warwick Keen, Tracey Moffatt, Simone Rose, Joanne Saad, Robyn Stacey, Christian Thompson, Jemima Wyman, William Yang and Anne Zahalka.

Until 2 February 2025 Radiant: Contemporary Painting From The Collection Bill Brown, Jon Cattapan, Claudia Chaseling,Lesley Dumbrell, Mirdidingkingathi Juwarnda Sally Gabori, Michelle Hanlin, Samantha Hobson,Gregory Hodge, Matthew Johnson, Kitty Kantilla, Madeleine Kelly, Robert Klippel, Rosella Namok and Michael Jagamara Nelson.

Large-scale paintings of vivid colour and luminous surfaces by contemporary artists.

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Yaamanga Around here explores the history and identity of the Coffs Coast through themes of the harbour, headlands and hinterland. Gumbaynggirr culture is the central focus with the specially commissioned Daalga Nginundi Wajaarr (Sing Your Country), created by ZAKPAGE. Deep dive into local stories that are surprising, thought-provoking, playful and inspiring.

ENESS, Modern Guru and the Path to Artificial Happiness, 2024. Image courtesy of the artist. Photograph: TeFan Wang.

Until 10 November Modern Guru and the Path to Artificial Happiness | An interactive installation by ENESS An interactive new media installation that uses the intersection of art and technology to explore modern paths to happiness through a warped world of digital technology and AI. What will your experience with the Guru reveal?

Brandt Mackney, Morning Ritual, 2022, digital photograph. Image courtesy of the artist.

23 November—2 February 2025 Swell Chasers | Surf Stories from the Mid North Coast Swell Chasers: Surf Stories from the Mid North Coast examines our relationship with the ocean and how surfing has left a lasting, salt-stained mark on our region.

The exhibition features the boards, shapers, breaks, localisms, underground talent, photographers, writers, surfing icons and people who mostly, just like to surf. Interweaving social and cultural history with the work of contemporary artists, Swell Chasers will take you on a journey to the headlands and bays of the Mid North Coast.

23 November—2 February 2025 Heading North | Mulga Mulga’s new exhibition Heading North brings funky animals and summer vibes to life on surfboards and fiberglass canvases - a celebration of the laid-back spirit of the Mid North Coast.

A–Z Exhibitions

Queensland

NOVEMBER/DECEMBER 2024

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD arthousenorthside.com

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QUEENSLAND

Artspace Mackay

Brisbane Powerhouse

artspacemackay.com.au

brisbanepowerhouse.org

Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission.

See our website for latest information.

Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] 07 3358 8622 Open daily, 9am—late.

Jemima Wyman, Flourish 9, 2020, handcut photograph collage on paper, 132 x 101.5 cm, Mackay Regional Council Art Collection, purchased 2020.

18 October—15 December Jemima Wyman: Crisis Patterns

P.S. Powerhouse Store.

Open Mon–Sat or visit online at powerhousestore.com.au Curated gifts with a creative touch.

This festive season, discover the perfect gift at P.S. Powerhouse Store, where art and design meet for one-of-a-kind presents. Located within Brisbane Powerhouse, the store offers a carefully curated collection of unique items, from locally crafted homewares and accessories to art-inspired gifts. Whether you’re shopping for a loved one or treating yourself, our selection showcases the work of Australian artisans and independent creators. Find everything from bold statement pieces to minimalist treasures, all thoughtfully designed to spark joy and creativity. Make gift-giving memorable this holiday season by choosing something special from P.S. Powerhouse Store, and enjoy the experience of supporting local talent while exploring Brisbane’s cultural hub.

Caboolture Regional Art Gallery moretonbay.qld.gov.au/ caboolture-gallery Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

Kate Harding, Sandy Creek, Clermont (detail), 2022, fabric and thread, 208 x 200 cm. Photograph courtesy the artist and Milani Gallery, Meeanjin/Brisbane.

11 October—15 December Kate Harding: Bidjara 18 October—15 December Mandy Quadrio: Croattee kanne menyenner / tales of 60,000 years

to country. These works have never been exhibited together previously, and viewed collectively tell the compelling story of First Nations print-making in Far North Queensland. Spirits in the Ink is a collaborative exhibition between City of Moreton Bay and NorthSite Contemporary Arts. Curated by Aven Noah Jr.

14 September—23 November Spirits in the Ink This exhibition showcases the extensive archive of Djumbunji Press, a hub for print-making by Aboriginal and Torres Strait Islanders in Far North Queensland that was active from 2009 to 2014.

Shown alongside recent acquisitions from the City of Moreton Bay Art Collection and selected loans, the works in this exhibition showcase the rich and diverse cultures of Aboriginal and Torres Strait Islander artists in the region, expressing their strong and vast cultural connection

Frank Grohier, Max Rockatansky, 2023.

Black wattle, flattened baked bean tins, sheet aluminium, etch primer, nails, artist acrylic and found objects.

Courtesy the artist.

4 December—8 March 2025 Maximum Madness: Art Inspired by Mad Max Isabel & Alfredo Aquilizan, Karike Ashworth, Martin Bell, Penny Byrne, Patrick Connor, Rod Coverdale, Alex Cowley, Claire Healy & Sean Cordeiro, Emma Gardner, Shaun Gladwell, Franck Gohier, David Griggs, Reg Mombassa, Adam Norton, Phoebe Paradise, Brian Robinson, David Sawtell, Ian Smith, Karen Stephens, Brendon Tohill and Paul White. Curated by Jonathan McBurnie.

Bringing together a range of artists paying homage to their favourite post-apocalyptic (anti)hero, it’s time for Maximum Madness. George Miller’s genre-defining Mad Max film series has grown from a tense, low-budget Ozsploitation cult hit into a sprawling post apocalypse action opera, redefining science fiction along the way.

With its grab bag aesthetics, subversive politics and lustful, irreverent approach to Australian hoon culture, Mad Max has remained a cultural touchstone, and a highly influential convergence of tropes, images and iconoclasm, ideal inspiration for visual artists.

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Caloundra Regional Gallery

Gallery 48 gallery48thestrandtownsville.com

gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Gubbi Gubbi Country, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

2/48 The Strand, North Ward, Yuru Country, Townsville, QLD 4810 [Map 14] 07 4724 4898 and 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

Deb Mostert, Shrimp Hook Plush Whale, 2023, oil on canvas, 102 x 72 cm. Photograph courtesy of the artist. a self-confessed collector, what is my responsibility in all this? Why do I tend to want to order and display, collect and own the natural world? Through mashups of early scientific taxonomy charts and illustrations, museum taxidermy, pop culture and the mass-produced souvenir, this body of work is presented as a contemporary Wunderkammer (a cabinet of curiosity). It asks questions about artifice, collection, consumerism, mimicry, wonder and beauty.

Court House Gallery, Cairns Donna Davis, Personal Interweaver, Carbon_Dating Project Team, 2022, mixed media interactive sculpture: video, audio, grass card provocations, timber, glass, acrylic, mirror, digital frame, pen, grass seed, metal, headphones. Video and tech design by Keith Armstrong, sound design by Luke Lickfold, grass card provocations by Daniele Constance, object design and construction by Donna Davis; Photograph: Donna Davis.

18 October—8 December Carbon_Dating The Carbon_Dating project, initiated in 2022, aimed to reshape our relationship with Poaceae, commonly known as grasses, through artwork-based experiments.

By spotlighting these often-overlooked plants, it urges a shift in focus towards the broader ecosystem’s health. Integrating Indigenous knowledge, science, and art, the project explores equitable and ecological perspectives on grasslands.

Teams of scientists, artists, and growers collaborated across six Queensland sites, nurturing native grass plots. Find out more about the exhibition and the artists at www.carbondating.art.

13 December—2 February 2025 Nature and Culture – animal as object Based on years of observation and research within the bird and mammal collections at the Queensland Museum, this body of work seeks to explore the objectification of animals in nature through taxidermy, and in culture through the souvenir. We have, and are creating, facsimiles and profiting from these copies despite the real risk of losing the originals.

What is our uneasy relationship with animal objects, particularly taxidermy and the mass-produced souvenir? As 208

Becky_V_, The lights dim and I adjust, digital image on archival paper.

1 November—30 November Out From the Mist 12 international and Australian artists.

cairns.qld.gov.au/ courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Fri 9.30am–5pm, Sat 10am–5pm. Free admission.

See our website for latest information.

22 August—23 November Janjari Dr Fiona Foley

Laurna Love, Winter afternoon on the Strand, 2024, acrylic on canvas.

1 November—31 December Colours of the tropics Laurna Love

Hervey Bay Regional Gallery hbrg.ourfrasercoast.com.au

Lone White, Flower Blossom inspired Form, ceramics.

29 November—11 January 2025 Melting Pot 2024 Cairns Potters Club 50th Jubilee National Ceramics Exhibition. Cairns Potters Club is one of the longest running artists’ initiatives in Cairns, providing studio, equipment and support for ceramicists for fifty years. This jubilee exhibition celebrates a passion for pottery with entries from all over Australia, making Melting Pot a significant national event.

10 October—23 November Dancer A National Portrait Gallery Exhibition.

166 Old Maryborough Road, Badtjala Country, Hervey Bay, QLD 4655 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed Monday & public holidays.

21 September—17 November ‘Burbs to the Bay Phoebe Paradise ‘Burbs to the Bay presents a surreal reimagining of South East Queensland suburbia filled with technicolour street scapes and twisted architecture. Known for her brightly coloured illustrations, murals and public art installations, Brisbane/ Meanjin-based artist Phoebe Paradise’s work examines the often-overlooked charm of the suburban and mundane.

Evoking a fever dream of endless summer heat and chirping cicadas. An exhibition

QUEENSLAND developed by City of Moreton Bay at Pine Rivers Art Gallery in 2022.

this exhibition unveils the depth and dynamism of the Gold Coast creative community.

21 September—17 November Forest to Fibre Featuring research from some of Australia’s leading universities and architectural academics along with loans from the State Library of Queensland’s exhibition Purpose Built, Architecture for a better tomorrow; the Forest to Fibre project will present cutting edge research into sustainable timber processing and design alongside local stories, artworks and histories at the Hervey Bay Regional Gallery.

Supported by FCRC’s Water Reuse team.

Celebrate the best of contemporary Australian photography at HOTA Gallery.

14 December—11 May 2025 Josephine Ulrick & Win Schubert Photography Award 2024

21 September—17 November Regional Spotlight The inaugural Regional Spotlight exhibition is a showcase of artistic talent from across the region. Developed from an expressions of interest process, the exhibition brings together painting, drawing, photography, and sculptural works by artists living and working in the Wide Bay-Burnett. The Regional Spotlight initiative is an opportunity for artists at any stage in their career, working in any visual art medium, to receive mentorship and share their work at the gallery, Regional Spotlight featured artists are: Vanessa Allegra, Avi Amesbury, Adam Anderson, Susan Zela Bissett, Kerri Dixon, Seinileva Huakau, Julie McGillivray, Monique Mennie, Dona Norwood and Jacinta Padgett.

Tiyan Baker, Bamboo Paradise, 2019, installation view. Photograph: Dan McCabe. around the corner has popular appeal. As “the End” of humanity flashes across our screens, what can we learn about ourselves and our public cultures by examining these narratives? Bringing together works from significant Australian artists Tiyan Baker, Michael Cook, Kinly Grey, Guy Louden, Dana Lawrie, Tracey Moffatt, Grant Stevens, and more, Picturing the End reflects on how our relationship with our own mortality intersects with narratives of humanity’s downfall.

HOTA

A diverse selection of artworks by artists at the forefront of photographic media.

As a survey of contemporary practice, the award plays an important role in representing the ongoing evolution of photography and the ways in which artists use it to create striking and memorable images.

Institute of Modern Art ima.org.au Turrbal and Yuggera Country, Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm.

Free admission.

hota.com.au Mia Boe, The Design, 2024, oil and acrylic on linen.

30 November—16 February 2025 Mia Boe: Guwinganj Mia Boe is a Melbourne-based painter from Brisbane with Butchulla and Burmese ancestry. Her work is influenced by the inheritance and ‘disinheritance’ of these two cultures, often responding to the British Empire’s deliberate and violent interferences with the cultural heritages of Burma/Myanmar and K’gari. Through her unique depiction of elongated figures and stylised landscapes, Boe records and recovers Indigenous histories in a contemporary context, fusing the personal and historical. Mia Boe’s solo exhibition has been developed on Butchulla Country as the recipient of the 2024 Fiona Foley residency.

30 November—16 February 2025 Picturing the End Depictions and predictions of civilisational collapse, looming planetary limits and existential threats reverberate through contemporary culture. While the cause and appropriate response to these apocalyptic visions may be a point of debate across the political spectrum, the assurance of mass human suffering just

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Work in progress for James Barth: The Clumped Spirit. Courtesy the artist and Milani Gallery, Meanjin/Brisbane.

12 October—22 December The Clumped Spirit James Barth A contemporary art exhibition exploring the depth and dynamism of the Gold Coast’s creative community.

28 September—16 February 2025 Here and Now: Gold Coast Triennial A contemporary art exhibition that showcases the work of 42 artist who are deeply connected to the city of Gold Coast. Be immersed and explore the seven interconnected spaces featuring work that ranges from medium scale installation, video and sculpture to 2D works and more – all created by a snapshot of artists across the Gold Coast. Spanning generations, personal histories and career experience,

James Barth’s work explores the themes of trans self-representation and embodiment. Trained as an oil painter, her work extends beyond the traditional through a layered creative process.

Using 3D-modelling software, Barth creates stages, props, and avatars uncannily rendered in her likeness. She assembles them into detailed digital compositions, transmutes them into detailed oil paintings, and animates them into other-worldly video works.

The Clumped Spirit marks Barth’s departure from self-portraiture—a swan song to her long-standing avatar. Across video, painting, sets, and for the first 209

ROBYN BAUER STUDIO

29 November to 7 December Thirty Reasons to buy a Painting Thirty 30x30cm urban plein air landscapes by Robyn Bauer

54 Latrobe Terrace, Paddington, QLD 4064 Gallery hours (for this exhibition only) Tues to Sat, 10am–4pm or by appointment 0404 016 573 Insta. @robynbauerstudio2 @sarah.matsuda www.robynbauerstudio.com www.sarahmatsuda.com sarahmatsuda.com

We represent a diverse range of artists and celebrate the creative work they bring to the art world.

We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement.

4 Russell Street, Toowoomba QLD Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 gallery@featherandlawry.com.au www.featherandlawry.com.au

GALLERY EXHIBITIONS KENDALL 28 October - 5 December 2024

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Jan Manton Gallery

time, life-sized sculpture, watch as Barth dismantles her avatar across digital and physical worlds.

janmantonart.com

Ipswich Art Gallery ipswichartgallery.qld.gov.au/ Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm.

Free admission.

Turrbal Country, 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm.

Ipswich Art Gallery is a visual arts and social history museum presenting a dynamic program of exhibitions and heritage displays with complementary workshops, performances and an extensive program for children and families.

Ben Quilty, Heba’s tiny jacket, 2017, oil on linen, 71 x 61 cm.

19 November—7 December 20 Years Ben Quilty

Embracing an audience-centred approach to everything we do, we will make art come to life for the benefit of the Ipswich community, growing and diversifying our audience locally and regionally.

Logan Art Gallery loganarts.com.au/artgallery Dylan Jones, Back to Front #4, oil on board, 20 x 20 cm, image courtesy artist and Jan Manton Gallery.

3 December—21 December Back to Front Dylan Jones

Yugambeh Country, Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm.

janmurphygallery.com.au

Our award-winning gallery showcases artworks from many different cultures including works by Aboriginal and Torres Strait Islander artists. It also features touring exhibitions on loan from major galleries and national touring bodies.

Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

Exhibitions and displays are changed every six to seven weeks, so there is always something new to explore. Our dedicated Young Peoples Gallery showcases exhibitions for young people or by young people.

It provides fun, interactive activities for younger visitors.

Jan Murphy Gallery

Jonny Niesche, Feeling the way (in your image) (detail), 2024. Image courtesy of the artist, 1301SW, Melbourne and Sydney, and STARKWHITE, Auckland.

17 November—16 February 2025 Arriving Slowly Arriving Slowly delves into a journey of connection with art on a deeper, emotional level while exploring aspirations towards the sublime in Abstraction.

Robert Andrew, Reveal, 2018, ochres, oxides, aluminium, acrylic, electro mechanical elements. The Myall Creek Project.

Viewers are invited to take their time, immersing themselves in the works to uncover the profound possibilities and meanings that unfold through slow, deliberate observation.

Arriving Slowly is an Ipswich Art Gallery exhibition featuring contemporary abstract works by 20 artists, including Yuriyal Eric Bridgeman, Consuelo Cavaniglia, D Harding, Lindy Lee, Hilarie Mais, Jonny Niesche, Rosslynd Piggott, Sandra Selig, and more.

Juz Kitson, Future Relic: life as we know it, 2024, scava clay, black clay, various glazes, fired multiple times, 72 x 41 x 44 cm.

29 October—16 November Shadows make the light shine brighter Juz Kitson

25 October—30 November Myall Creek and Beyond The New England Regional Art Museum Touring exhibition.

25 October—30 November Logan Portraits 25 October—30 November Ripple effect – out of Artwaves: Bianca Sleeman 211

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6 December—25 January 2025 My conversation with lichen and the stars Stephan de Wit

Contact Zone is an exhibition of new and recent work that explores the ontology of the screen by understanding it as an invisible, autonomous membrane that exists between image, object and viewer.

Mulgrave Gallery, Cairns cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Tue to Fri 9.30am–5pm, Sat 10am–5pm.

See our website for latest information.

Jun Chen, Portrait of the artist Ian Smith, 2021, oil on canvas. Logan Art Collection.

Donated by the artist under the Federal Government Tax Incentive Scheme 2023.

6 December—25 January 2025 Logan Art Collection: New acquisitions 6 December—25 January 2025 Two birds Kristy Ann Duffy and Toni Bielby 6 December—25 January 2025 Conversation with Nature Ronelle Reid

Metro Arts metroarts.com.au Metro Arts @ West Village 97 Boundary Street, Yuggera Country, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm.

See our website for up-to-date opening times and special events in conjunction with exhibitions.

Tony Albert, Crop Circles in Yogya #3, unique edition pigment print on paper with hand embellishment.

23 August—11 January 2025 (re)connection: Culture, Country & People Tony Albert & Erica Muriata, Simone Arnol & Bernard Singleton Jnr, Vincent Babia, Solomon Booth, Hendrick Fourmile, David Hudson, Elverina Johnson, Nancy Kiwat, Tania Major Fiona Mosby, Harry Nona, Teho Ropeyarn, Zane Saunders + Bonemap, Merindi Schrieber, Lesley Wengembo.

Museum of Brisbane museumofbrisbane.com.au

7 December—25 January 2025 Contact Zone Victoria Wareham

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present converge in a mesmerising display of photography spanning 1890 to 2024. Immerse yourself in the remarkable tale of amateur Brisbane photographer Alfred Henrie Elliott (1870-1954), whose extraordinary images lay dormant for decades until they were discovered in 1983, stored in cedar cigar boxes beneath a home in Red Hill. Initially thought to comprise 300 glass-plate negatives and a trusty tailboard camera, the collection’s narrative took an unexpected turn in 2014 with the discovery of an additional cigar box brimming with over 400 film negatives and 92 prints. Drawing on this treasure trove of an archive, seven contemporary Brisbane photographers will debut exciting new commissions responding to different parts of the Elliott Collection. By layering their own perspectives, knowledge and experiences onto the collection, the artists will encourage new ways of looking at our past, our present and this place. Join us in celebrating the ever-inspiring interpretive capacity of photography.

Since time immemorial, First Nations people’s cultural identity are formed by their bloodlines, kinship systems, and connection to their Country. Indigenous cultural practices are maintained through rituals, storytelling, oral history, dance, song, and art making. (re)connection is an opportunity for artists and audiences to reconnect with Country, Culture, and People, to situate themselves as already having a connection, or to reconnect through their artwork.

Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm.

Free admission.

Victoria Wareham, Contact Zone, 2024, Image courtesy of the artist.

Keemon Williams, Archival Open World, 2024, digital print on canvas. Photograph: Katie Bennett.

17 August—Mid 2025 New Light: Photography Now + Then Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams.

Step into New Light: Photography Now + Then, an exhibition where past and

Monica Rohan, Hoped you wouldn’t notice, 2017, oil on board. Courtesy the artist and Jan Murphy Gallery.

25 November 2023—Early 2025 Rearranged: Art of the Flower Christopher Bassi, Ashlee Becks, Keith Burt, Norton Fredericks, John Honeywill, Elisa Jane Carmichael, Vida Lahey, Clairy Laurence, Boneta-Marie Mabo, Margaret Olley, Lyndall Phelps, Julian Podmore, Milomirka Radovic, Sarah Rayner, Edith Rewa, Monica Rohan, Bronwyn Searle, Pamela See (Xue Mei-Ling), Judith Sinnamon, Jaishree

QUEENSLAND Srinivasan, Karen Stone, Man&Wah, Anna Varendorff and Michael Zavros and more Still life takes on new life in this celebration of the art of the flower. Brisbane has a strong culture of artists using floral imagery to tell stories of this place. In a space reminiscent of a quintessential Queenslander house, Rearranged: Art of the Flower invites visitors to stroll through a lush collection of paintings, textiles, sculptures, ceramics and new media.

NorthSite Contemporary Arts

Outback Regional Gallery, Winton matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Guwa Country, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

See our website for latest information.

northsite.org.au

Brian Robinson’s Blooms, Beasts and Beyond, places us ‘in the beginning’, when the spirits and deities created the Islander world. A time where deities like Sida, Gelam, and Waiet created the attributes for the Torres Strait islands of Moa, Mabuiag, and Mer. These deities were integral to everyday life, identified with certain rocks, trees, pools of water and dark caves. They also manifested in the form of birds, reptiles, and sea creatures - chameleons that could assume either human form or other creatures. Blooms, Beasts and Beyond explores this labyrinth, ventured into only by the initiated few of the spirit realm. Opening 23 November, 5pm–7pm. Artist conversation 23 November, 4pm–5pm.

Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm.

See our website for latest information.

Irene Koroluk, Out Where the Spinifex Grows, 2023, textile.

25 October—25 November The Outback, The Coast and In Between Irene Koroluk

Onespace Gallery Fiona Foley, Badtjala people, Wondunna clan, K’gari (Fraser Island), Australia b.1964, DISPERSED, 2008, charred laminated wood, cast aluminium, 303 inch calibre bullets, nine parts: 51 x 43 x 26 cm (each, approx.), 51 x 500 x 26 cm (installed). Purchased 2013, Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery | Gallery of Modern Art. © Fiona Foley.

onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 12pm–5pm or by appointment.

26 October—24 December I, Object

Prita Tina Yeganeh, My Soil Farsh ‫فرش‬ (Carpet), 2024. Photo: Louis Lim. 22 November–21 December My Soil Farsh Farsh ‫( فرش‬Carpet) Prita Tina Yeganeh Prita Tina Yeganeh’s My Soil Farsh ‫فرش‬ (Carpet) installation expresses her yearning for her ancestral homeland of Iran. Prita has turned to a Farsh ‫ — فرش‬a familiar cultural object used for centuries in her homeland’s gathering rituals to foster connectedness and social cohesion. Using her grandmother’s pestle on a flat stone surface, Prita repurposes 45 kilograms of red loamy soil discarded in her community in Magan-djin (Brisbane), which mimics the red soils of both southern Iran and South-East Queensland. The piece is then hand-imprinted with 3D-cut traditional Farsh ‫فرش‬ motifs, creating a visual language that speaks to her own cultural story. Opening 23 November, 5pm–7pm. Artist conversation 23 November, 4pm–5pm.

Perc Tucker Regional Gallery townsville.qld.gov.au

Jamie Cole, King Ted Rulz, 2024, mixed media, collage, 33 x 33 cm.

Image: Jamie Cole.

1 November—24 December NorthSite Art Market - 30 x 30 Edition Group Exhibition

Brian Robinson, Spring + Sprout II, (detail), 2023, Vinylcut printed in black ink from one block, 100 x 200 cm, 2AP + Edition of 10. Photo: Courtesy of the artist and Michael Marzik.

22 November–21 December Blooms, Beasts and Beyond Brian Robinson

Bindal & Wulgurukaba Country, Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

18 October–16 February 2025 North Queensland Ceramic Awards The biennial North Queensland Ceramic Awards has long aimed to increase public exposure to a high standard 213

ar t g ui d e .c o m . au Perc Tucker Regional Gllery continued...

entertained and engaged over the long summer months. Just don’t eat ice-cream off the pavement.

Philip Bacon Galleries philipbacongalleries.com.au

Steven Carson, Maybe it’s there #1, 2024, Mid-fire earthenware, 39.5 x 72.5 x 30 cm. Finalist 2024 biennial North Queensland Ceramic Awards.

Image courtesy of the artist. of ceramic artwork from around the nation. A showcase for both well-known and emerging artists, this competition displays the diversity of ceramics currently being produced in Australia.

The City of Townsville Art Collection Award of $10,000 continues to provide the opportunity for artists to become a part of one of the nation’s most significant ceramic collections, as well as ensuring the continued growth of this important subsection of the City of Townsville Art Collection.

Smac McCreanor, Hydraulic Press Girl series, 2022, video. Image courtesy the artist.

29 November–9 March, 2025 Yucky Yum Yum Do you find joy eating food in fake rainbow colours, even though it might be bad for you? Do you like watching videos of objects being squished, or even people popping pimples?

Even if you answered ‘no’ to all the above, you would know that some things can be both delicious and disgusting at the same time. Or they can be funny and sad.

Sometimes we actually desire things because they are scary or dangerous.

The artists in this exhibition have made works that you might find both yucky and yum. Hopefully, the art sparks your senses. It may ignite your emotions and memories too.

Many of the works in this exhibition are connected by themes around food, nature and the ‘unnatural’, disgust and taboo. These themes have complex and challenging histories, presents and futures. The artists don’t shy away from tough subjects, but their works are also filled with fun and irreverence.

Yucky Yum Yum will be packed with new, artist-designed activities to keep you 214

2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

19 November—14 December Peter Anderson

discover how making and experiencing art together can strengthen bonds and spark creativity. Exhibition developed by City of Moreton Bay.

Pinnacles Gallery townsville.qld.gov.au Bindal & Wulgurukaba Country, Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm.

19 November—14 December Kirsten Coelho

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

Sonja and Elisa Jane Carmichael, Deranji (Healing Rock) and Goompi (Dunwich) from Dabiyil Bajara (Water Footprints) series, 2021, cyanotypes on cotton.

Photograph: Pixel Poetry, courtesy of Fremantle Arts Centre, 2022. Undertow was presented at Fremantle Arts Centre in association with Perth Festival in 2022.

Kesia Bob, Young Indigenous Printmakers participant 2023, NRL Cowboys House Hammerhead, 2023, linocut print on paper, 15 x 30 cm.

Photo: Amanda Galea.

20 September–10 November Young Indigenous Printmakers A collaboration between Umbrella Studio Contemporary Arts and Townsville City Galleries.

The free education program gives First Nations senior students the opportunity to learn and experience lino carving, printing and editioning, and gain exhibition experience. The initiative seeks to engage, foster and promote artistic development. School groups participate in a two-day intensive workshop facilitated by a printmaking expert and a First Nations artist. Participants are introduced to printmaking techniques and assisted to explore their Indigenous Culture/s and identity. The first day of the program is held at the school and the second is spent in The Studio at Umbrella. The students’ prints are exhibited in Umbrella’s gallery or at Townsville City Galleries once a semester.

9 November—15 February 2025 Deep Blue Sonja Carmichael and Elisa Jane Carmichael Dive into the sparkling waters of the Quandamooka this summer with mother-daughter artists Sonja and Elisa Jane Carmichael. Both are proud Ngugi women from Minjerribah on Quandamooka Country. Creating alongside one another and other family members, the Carmichael’s have worked to revive Quandamooka cultural practices once thought lost, and in doing so, they’ve created a living connection between past and present.

Discover how creating art with someone you love can deepen connections, foster a sense of belonging, and celebrate the enduring power of family and culture. Deep Blue is the second in a series of exhibitions focused on wellbeing. It invites you to

Tony Albert, Mid Century Modern, Aboriginal Art, 2016, pigment print on paper, 120 x 120 cm. Donated through the Australian Government’s Cultural Gifts Program by Kyle Page, 2024. City of Townsville Art Collection.

QUEENSLAND

Redcliffe Art Gallery

20 September–10 November Recent Acquisitions: First Nations Artists in the City of Townsville Art Collection

moretonbay.qld.gov.au/ redcliffe-art-gallery

Townsville City Galleries is proud to present new works in the City of Townsville Art Collection by First Nations artists. Featuring: Ada Bird Petyarre, Arone Meeks, Banduk Marika, Claude Pannka, David Jones, Ewald Namatjira, Gail Mabo, Gloria Petyarre, James Billy, Jimmy K. Thaiday, Kevin Namatjira, L. O’Chin, Oscar Namatjira, Sally Gabori, Steve Walbungara, Susan Peters Nampitjin, Tommy Pau, Tony Albert, Blak Douglas and Adam Geczy.

A Townsville City Galleries exhibition.

Queensland Art Gallery | Gallery of Modern Art qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

3 August–16 November New Exuberance: contemporary Australian textile design

Leah King-Smith, Studio, 2018, digital C-print on metallic photographic paper.

Courtesy of the artist. art, music and creative writing: Robert Andrew (Yawuru), Nici Cumpston (Barkindji), Keely Eggmolesse (Gubbi Gubbi and Gooreng Gooreng) and Ellen van Neerven (Mununjali Yugambeh).

Audio-visual installations drawing on First Nations experiences, histories, and intergenerational connectivity weave through the galleries alongside select works from King-Smith’s acclaimed photographic practice from the last three decades.

Rithika Merchant, Temporal Structures, 2023, gouache, watercolour and ink on paper, 105 x 150 cm. Courtesy of the artist and TARQ, Mumbai. © Rithika Merchant.

30 November—27 April 2025 The 11th Asia Pacific Triennial of Contemporary Art QAGOMA | Free

QUT Galleries and Museums artmuseum.qut.edu.au wrgallery.qut.edu.au Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am– 2pm. Closed Mondays, Saturdays and public holidays.

27 October—9 March 2025 Leah King-Smith: rhythm wRites rhythm wRites is an immersive exhibition orchestrated by Bigambul artist Leah King-Smith, exploring simultaneity, interconnectivity, rhythm, ethereality, spatiality and sound. Rooted in a decolonising framework, the exhibition features new work produced in collaboration with leading First Nations practitioners from the fields of visual

William Robinson, Passing storm, late afternoon, Beechmont, 1993, oil on linen.

QUT Art Collection. Donated through the Australian Government’s Cultural Gifts Program by William Robinson, 2017.

New Exuberance: contemporary Australian textile design is a major touring exhibition project reflecting on current directions in textile practice through art, design and fashion. Curated by Meryl Ryan in consultation with the JamFactory team, the exhibition presents the work of more than thirty diverse multidisciplinary creatives and includes ten commissioned furniture pieces produced by designers associated with JamFactory. New Exuberance: contemporary Australian textile design is a JamFactory touring exhibition supported by the Visions of Australia touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

24 August—9 November Deeply Unserious Alex Seton, Amelia McLeish, Daniel McKewen, Gordon Hookey, Maria Kozic, Matthew Griffin, Michael Lindeman, Sarah Byrne, Tony Albert, and Ursula Larin.

Is art funny? Is art meant to be funny? Is art allowed to be funny? What even is funny? Deeply Unserious explores how artists use humour in their practice. Deeply Unserious looks at the strategies and techniques contemporary artists employ to evoke a humorous response. Exhibition developed by City of Moreton Bay.

1 October—31 August 2025 Numinous: The Landscape Paintings of William Robinson Numinous presents a profound exploration of one of the most significant aspects of William Robinson’s oeuvre— the landscape paintings produced between 1990 and 2008. Drawing on the magnificent natural environment of Kombumerri Country of the Yugambeh Language Region in South-East Queensland, these works occupy a delicate boundary where human perception intersects with the unknown, the infinite and the divine. Offering visitors a deeply immersive experience, these majestic paintings transcend traditional notions of time and space through William Robinson’s signature multi-dimensional lens. Marking fifteen years since the inception of the William Robinson Gallery at QUT in 2009, Numinous celebrates the work and mastery of one of Australia’s greatest landscape artists.

Naomi Hobson, The Rainbow Twins, 2018, from Adolescent Wonderland, digital print on paper, 77.3 x 111.8 cm. Courtesy the artist and Arthouse Gallery, Sydney.

23 November—15 February 2025 52 ACTIONS Artspace’s acclaimed 52 ACTIONS continues its national tour at Redcliffe Art Gallery, featuring works from 52 Australian artists and collectives from each state and territory. As the title suggests, 52 ACTIONS is grounded in art as action.

Guided by the local, the artists’ actions speak to critical global concerns including systemic discrimination, climate change, forced migration and colonial legacies.

Notions of freedom are ever present, as are First Nations’ perspectives, the 215

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52 ACTIONS was developed and curated

by Artspace, Sydney. The exhibition is touring nationally with Artspace, Sydney, with support from Museums & Galleries of NSW. This project is proudly funded by the NSW Government through Create NSW. It has been assisted by the Australian Government through the Visions of Australia program and through Creative Australia, its arts funding and advisory body. It is also supported by the City of Sydney and by the Copyright Agency’s Cultural Fund.

Redland Art Gallery, Cleveland artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Yuggera Country, Cleveland, QLD 4163 [Map 13] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

30 November—23 February 2025 Know My Name: Australian Women Artists Know My Name tells a new story of Australian art. Looking to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time.

Curated by Elspeth Pitt, Senior Curator, Australian Art and Deirdre Cannon, Assistant Curator, Australian Art. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program.

Redland Art Gallery, RPAC Mezzanine artgallery.redland.qld.gov.au Redland Performing Arts Centre, 2-16 Middle Street, Yuggera Country, Cleveland, QLD 4163 [Map 13] 07 3829 8131 Mon to Fri 9am–4pm, and 1 hour prior to all performances.

See our website for latest information.

Simon Degroot, Soft Pressing Right Here, 2024, oil on linen, 168 x 122 cm.

13 October—26 November Soft Pressing Simon Degroot Soft Pressing is a dynamic exhibition of recent works by Simon Degroot that use abstraction to engage with the urban environment, where bold lines and textured patterns waver between play and purpose, between observation and action.

Lynne Williams, Dawn concert, 2024, textile, fabric printing and cotton on canvas. Photograph courtesy of the artist.

1 November—13 December In Focus 2024 Performance has always been a part of visual arts as seen in movements like impressionism, abstraction and pop art. In Focus 2024 centres on the theme of ‘Performance’. Artists were invited to explore how they could evoke, reminisce and capture the feeling or essence of performance through their art. Local artists were encouraged to visit performances for inspiration and their subjects include music, theatre, dance, comedy and more.

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8 December—28 January 2025 Redland Art Awards Finalists Exhibition Redland Art Awards is a biennial contemporary painting competition open to all Australian artists, presented by Redland Art Gallery. Redland Art Awards 2025 features a total prize pool over $30,000 featuring five prizes including an acquisitive first prize of $20,000, second prize of $6,000, third prize of $3,000, Meredith Foxton’s People’s Choice award of $1,000 and a RAMP Member’s Choice award of $500.

Proudly sponsored by Redland City Council, Redland Art Gallery and Redland Yurara Art Society. For more information go to: redlandartawards.com.au

Rockhampton Museum of Art rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm.

Free admission.

Wendy Sharpe in front of I Am All Those Who Are No More, 2024, Rockhampton Museum of Art. Photograph: Mad Dog Productions.

15 July—9 February 2025 Wendy Sharpe: I Am All Those Who The Gold Award 2022 winner Wendy Sharpe returns to Rockhampton in July 2024 for a very special artwork. As winner of the Archibald Prize and Sulman Prize, Sharpe is one of Australia’s most awarded painters. She is also a muralist; her recent mural was commissioned by the Jewish Museum in Sydney; a deeply personal work that sadly, due to pandemic closures, was never on public view.

Rockhampton Museum of Art has invited Sharpe to create a new mural on site here in Central Queensland. Visit between 8 – 14 July to see the artist in action in the Atrium Gallery.

7 December—23 March 2025 Chantal Fraser: The Ascended Sāmoan-Australian artist Chantal Fraser’s multimedia practice has garnered significant acclaim within Australian contemporary art and reflects the complexity of lived experiences for diasporic Sāmoan and Pasifika communities. Exploring ritual, adornment and gestures of exchange, Fraser’s works make use of a vast array of artistic, musical and spiritual sources, from global pop culture to folk and customary practices. The Ascended crystallises Fraser’s exploration of power and class through her anti-colonial and anti-capitalist strategies, developing a theory that links ornamentation, personal protective devices and protest aesthetics as means to subvert and liberate identities.

QUEENSLAND

State Library of Queensland slq.qld.gov.au Turrbal and Yuggera Country, Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm.

See our website for latest information.

Renee Kire, Ospring Series Closed Orange Bend, 2023, wood and paint, 21 x 21.6 x 6.5 cm. Courtesy the artist and Onespace. Photograph: Louis Lim. Regular Rick, Merch Men, (detail), 2024, acrylic on repurposed timber.

31 August—16 February 2025 Renee Kire Twist and Turn Through the desire to champion feminist art history, Renee Kire draws inspiration from overshadowed female artists to develop new techniques for testing the precarious nature of minimalist sculpture.

Kire’s sculptures assert presence in an engaging, playful exploration of form, colour and space. The shapes bend and push, challenging and reshaping the historically male-dominated narrative and exploring the delicate balance between the presence and absence of the maker.

7 September—6 April 2025 COLLECTION FOCUS: ​​Women With works by Tracey Moffatt, Virginia Cuppaidge, Judy Watson, Gwyn Hanssen Pigott and Lindy Lee among many others, the Rockhampton Museum of Art can boast some of Australia’s most highly regarded artists within its holdings.

The artists in Women represent over 80 years of creativity from women who have lived and made art locally, nationally and across the globe. Included in this story are works by First Nations women, immigrant women and Queer women, who have all played a crucial role in shaping visual arts in contemporary Australia.

21 September–24 November Between the Details Video Art from the ACMI Collection Showcasing up to six moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program.

Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. By remixing or rearranging footage they build different rhythms and moods, create hilarious juxtapositions or shed new light on cultural cliches and presumed histories. The works in this exhibition all demonstrate an irrepressible desire to bring deep themes to the surface with humour and an incredible attention to detail.

An ACMI touring exhibition.

8 November—15 December Life Sounds Like…

A Project by Regular Rick

Dancers of the Deaf Indigenous Dance Group at the Deaf in dance showcase launch, 2024. From top left to right: Nathaniel Fourmile, Khahlil Walker, Patricia Morris-Banjo, Shadrach SalesGraham, Aviu Ware and Leslie Footscray.

Photograph: Dan Fewquandie/Wombat Vision.

25 May–16 March 2025 Deaf in dance: Feeling the beat Deaf Indigenous Dance Group Exhibition photos by Sean Davey.

Music is a powerful trigger of memory.

It is uncanny how a song can instantly transport you back in time. Whether it be a moment of joy or despair, love or heartbreak, frustration or peace. Life Sounds Like… is a project that explores this through an Australian music lens, turning memories and stories of Aussie songs into pieces of art.

15 November—15 December Kitchen Sink: TAFE Qld Diploma Graduates Of 2024 20 December—19 January 2025 New Frequencies Yvonne Hering (Exhibition & Residency) ‘Mokuhanga’ or woodblock printing is Yvonne Hering’s driving inspiration. She teaches it in Cairns, and visits studios in Japan and to learn more about the medium.

Imogen Corbett, The Artist’s studio, 2024, Brisbane Portrait Prize 2024 Finalist.

3 August—10 November Brisbane Portrait Prize 2024 6 December—9 February 2025 Neon

Tanks Arts Centre, Cairns tanksartscentre.com 46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 [Map 14] 07 4032 6600 Mon to Fri 9am–4.30pm, Sat & Sun 10am–2pm. Free admission.

1 November—19 December Nature’s Wonders: Cairns’ Flora and Fauna Ludwine Probst (Residency)

20 December—19 January 2025 Women Ink: A Celebration of Cairns’ Female Artists

By The Collective (Allysha Sordelli, Bianca Sordelli, Elaine Murray, Kaori Suziki, Kristilea Oliveri, Eva Surmova, Amanda Rowen, Alice Martin) 20 December—19 January 2025 Subject to Change Lachlan Mackee (Residency & Exhibition) 20 December—19 January 2025 Ostrahop (and other planets in my universe) Thomas Den Engelsman

Toowoomba Regional Art Gallery tr.qld.gov.au/trag Jagera, Giabal and Jarowair Country, 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & public holidays.

Free admission.

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parkercontemporary.com.au

QUEENSLAND

University of the Sunshine Coast Gallery → Photograph: Rose Hocking.

Toowoomba Regional Art Gallery continued...

Fox, Ivor Hele, Percy Lindsay, John Longstaff, Frederick McCubbin, Tom Roberts and Arthur Streeton.

Umbrella Studio Contemporary Arts umbrella.org.au

John Elliot, Marina, 2012, digital Print, 61.5 x 76 cm. © John Elliot.

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm.

See our website for latest information.

30 November—23 February 2025 Almost a true story: John Elliott - 50 years of photographing Toowoomba John Elliott A consummate storyteller, John Elliott has been photographing the people and places of Toowoomba and regional Australia for fifty years. Known for his social documentary photography, his portraits of Australian icons and country music legends celebrate the lives and passions of people across this country. This exhibition is John’s love song to our city.

Heatley State School students, Black Cockatoo, (back detail), 2023, calico beads, feathers, wire, solar fairy lights, paint and mixed media. Photographer: Fiona Cochrane.

Townsville City Council; and by Umbrella Studio Contemporary Arts.

Ben Tupas, Invisibility Barong, (still), 2024, single channel video, variable dimensions.

1 November—15 December Mindanao Story Cycle Ben Tupas Toowoomba-based multidisciplinary artist Ben Tupas explores ideas about his Filipino identity and family history. This collection of video installations reflects on layered versions of personal and cultural memory.

Tom Roberts, The coast near Stanwell Park, NSW, 1898, oil on board, 24.5 x 32.2 cm (framed). Lionel Lindsay Gallery and Library Collection 022.

Until 9 February 2025 Brushes of Sunlight: Oils from the Lindsay Collection Oil paintings from the nationally significant Lionel Lindsay Gallery and Library Collection at Toowoomba Regional Art Gallery. Featured artists include Rupert Bunny, Mary Edwards, Emanuel Phillips

1 November—15 December People, Culture & Country 2024 Aboriginal and Torres Strait Islander Art Project This exhibition showcases the wearable art of young First Nations students from across the North Queensland region.

People, Culture & Country 2024: Aboriginal and Torres Strait Islander Art Project is an initiative of the Department of Education, North Queensland Region. This project is supported by the Queensland Government though Arts Queensland; Townsville City Galleries –

University of the Sunshine Coast Art Gallery usc.edu.au/art-gallery Kabi Kabi Country, UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm.

See our website for latest information.

1 November—23 November Connections: Time, texture, pattern This exhibition showcases the work of over 50 graduating UniSC Design students and includes projection, augmented reality design, photography, illustration, interactive media, sound design, games and fashion.

Design at UniSC is an interdisciplinary program with dynamic pathways that 219

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an Art Gallery of New South Wales touring exhibition.

encourage students to discover their creativity and develop critical thinking through experimentation in an inclusive and exploratory environment. This versatile interdisciplinary program equips students with theoretical knowledge, creative skills, cultural awareness and critical thinking to imagine and shape a future that is changing rapidly by design.

UQ Art Museum art-museum.uq.edu.au

Simone Slee, Rocks holding up #4, 2019, red scoria rock and glass. Collection of The University of Queensland, purchased 2019. Courtesy of the artist and Sarah Scout Presents, Naarm/ Melbourne. Photo: Christo Crocker.

Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays.

16 July–14 December Vibrant Matter Simone Slee, Susan Jacobs, Ross Manning

16 July–14 December Hoda Afshar: A Curve is a Broken Line The first major solo exhibition by one of Australia’s most innovative and unflinching photomedia artists. Through her photographs and moving image works, Iranian-born, Melbourne-based Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry.

Hoda Afshar: A Curve is a Broken Line is

Halcyon Days by Mela Cooke

Sally M Nangala Mulda, Policeman Taking Man to Big Jail, 2019, acrylic on linen. Courtesy of the artist and Edwina Corlette Gallery, Turrbal Country/ Brisbane. Collection of The University of Queensland, purchased 2019.

Photograph: Carl Warner.

Bringing together works from the UQ Collection and beyond, this exhibition is attentive to the agency of materials and to the vibrancy of matter. The artists included in Vibrant Matter have co-produced their work with material components of drawing, sculpture, and sound art. Welcoming the active participation of these more-than-human materials and beings, the works move away from singular of authorship and instead actively co-create.

Cigdem Aydemir, Brook Andrew, Fiona Foley, Jack Green, Kathleen France Inkamala, Vanessa Inkamala, Rosemary Laing, Archie Moore, Sally M. Nangala Mulda, Raquel Ormella, Gloria Napurrurla Pannka, Kenny Pittock, Luke Roberts, Arthur Streeton, Keemon Williams.

Dusk of Nations features selected works by leading Australian-based artists drawn primarily from the UQ Collection. Spanning painting, photography, sculptural objects and moving image, artists explore ideas of national identity and nationhood, and how these concepts are defended and maintained, resisted and subverted.

16 July–14 December Dusk of Nations

Burst by Marie Shannon

A New Day by Cam Crossley

A Sense of Belonging by Julie Field

Looking Out From The Edge by Jean Bennett Photographs by Eyes Wide Open Images

of art, food and natural beauty

23 November to 1 December

sculptureontheedge.com.au

The Birdwing Butterfly Ladies by Monte Lupo

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Florence and Herbert by Neita Bage

A Spiralled Journey by Claudia Hickel

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Gone Fishing by Bronwyn Doherty

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SculptureontheEdgeSC

Outback by David Ellsworth

A–Z Exhibitions

Australian Capital Territory

NOVEMBER/DECEMBER 2024

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Aarwun Gallery

Artists Shed

aarwungallery.com.au

artistshed.com.au

Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening.

See our website for latest information.

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm.

Julia Charles, Untitled #21, 2016, inkjet on archival cotton rag, 135 x 95 cm.

Kris Ancog, Yearning to breathe free, oil on linen, 152 x 152 cm.

25 October–17 November Sacred Realm Kris Ancog

Australian National Capital Artists (ANCA) Gallery anca.net.au 1 Rosevear Place, (corner Antill street), Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays.

The gallery will be closed from 12 December, reopening on Wednesday 29 January 2025.

See our website for latest information.

ANCA Gallery is a not-for-profit artist-run initiative. The Gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

30 October–17 November Poetry of Place Julia Charles Poetry of Place is a collection of photographic works which reveal a rare way of seeing and offer an intimate distillation of beauty in the built landscape. The artist works with a palette of light, tonal range, form and colour—all handled with sensitivity and restraint. Julia coalesces art and design, unearthing the ‘poetry of place’, to create compositions that are pared back, graphic and sculptural.

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S.A.Adair, The earth is listening, 2024, charred wood, paper, ink, 200 x 200 cm.

Photograph: Jane Duong.

20 November–8 December On Scale ANCA Artists Group Show On Scale, is the annual ANCA artist group show, co-curated this year by Bruce Reynolds and Ruth Waller. The curatorial brief asked the artists, all of whom have studios at either ANCA Dickson or Mitchell, to explore scale: from the miniature to the monumental. Doing so, each artist has focused on tensions and complementary or synergistic relationships between their own works, or between works by others exhibiting in the gallery space and how these works relate to each other. Participating artists include S.A. Adair, Katrina Barter, Emma Beer, Marley Dawson, Eve Fairhall, Kirsten Farrell, David Greenhalgh, David Helmers, Karen Lee, Dan Power, Alba Salsone, Lisa Sammut.

Beaver Galleries beavergalleries.com.au 81 Denison Street, Deakin, Ngunnawal Country, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm.

Margaret Hadfield, Standing Tall, 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.

Belco Arts belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm.

See our website for latest information.

18 October—1 December Kaleidoscope III Celebrating LGBTQIA+ pride In its third year, Kaleidoscope III is an open exhibition where LGBTQIA+ artists in Canberra and Australia-wide can express

AUSTRALIAN CAPITAL TERRITORY their experiences of queerness, sexuality, gender, and unique individuality through art.

Rebecca Tapscott, Channel Billed Cuckoo.

Dianne Firth, Reflections (detail).

18 October—1 December Poetry of the Lakes Dianne Firth Firth invited poets associated with the Centre for Creative and Cultural Research at the University of Canberra to write about the Canberra region’s lakes.

Firth then used these poems as both inspiration and brief to create the textile works for this exhibition.

18 October—1 December Fortress Justin Wasserman This work presents a series of imagined fortresses. The variations across the works reflect the shifting concept of the fortress itself. In different contexts the fortress is either a prison or a place of refuge.

6 December—2 February 2025 Echoes in Absence Rebecca Tapscott Rebecca Tapscott’s cyanotype print wall installation, Echoes in Absence, is a poignant exploration of loss and interconnectedness, drawing from personal and environmental experiences.

Civic Art Bureau civicartbureau.com Melbourne Building, 76 Alinga Street, Canberra City, ACT 2601.

See our website for latest information.

6 December—2 February 2025 Dear Forests...

An open postcard exhibition Artists have been invited from throughout Australia to share in bringing a lens of focus on the world’s forests, the need for their safe keeping and preservation inclusive of the wildlife within.

6 December—2 February 2025 Oikos Peter McLean In ancient Greece oikos referred to both a house and members of a family/ household. The modern English prefix of eco derives from oikos, as in the terms ecology and economy.

6 December—2 February 2025 Grounded Robyn Evans, Sabina Moore, Amanda Andlee Poland Through drawing and sculpture, the act of making is amplified by each artist in a three-way conversation to produce site-specific works, both collaborative and individual, that overlaps ideas and practice.

Through a deep-conceptual and valuedriven philosophy, Alice Springs designer Elliat Rich taps into ancient and future ways of seeing the world. Mythica Ignota uses mythology as a framework to nest scientific observation and more-thanhuman orientated values with artefact and narrative. From the mythologies of a world unseen but present, Mythica Ignota presents a collection of portals to other ways to belong to and with planet in this strange time Rich dubs the Osciliocene.

Through science, story and the artefacts that hold them, myth becomes daily ritual through objects that tether you to other ways of seeing, thinking, knowing, being. This exhibition showcases new work developed during her residency at Canberra Glassworks throughout 2024.

3 October—15 December Jeffrey Sarmiento Originally from the USA and now based in Canberra, Jeffrey Sarmiento is known for his creative practice exploring cultural identity and the graphic image in glass.

Utilisinh kiln formed and digital fabricated glass, his image based works swim within transparent layered glass.

18 October—1 December Threads and Traces Lea Durie Threads and Traces takes us on a journey through a place we know, on Ngunnawal and Ngambri Country, through the suburbs of Canberra. It explores this through the deep time materiality of wild clay.

Elliat Rich, Mythica Ignota, 2024.

Colville Gallery Peter Maloney, Cheer up, it might never happen, 1997, photomontage and acrylic paint on mount board, 30 x 40 cm.

Courtesy of the Peter Maloney Estate and Utopia Art Sydney.

2 November–23 November Unhinged Richard Larter and Peter Maloney

colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

See our website for latest information.

Land and Language Paintings by Lucie Thorne.

30 November—22 December Associates Peter Alwast, Joel Arthur, Elaine Camlin, Ham Darroch, Caren Florance, Saskia Haalebos, Jacob Potter

Canberra Glassworks canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 3 October—15 December Mythica Ignota Elliat Rich

Isabelle Chouinard, Clemetines Play, oil on linen, 38 x 46 cm.

5 November—23 November Harmonies Isabelle Chouinard 19 November Fine Art Auction 223

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

Daniel Leone, Julie Pennington, Beth O’Sullivan.

26 November–14 December New Works from the Coastline, Hawley Beach Kylie Elkington

1 November–30 November Urban Biome Thor Diesendorf, Spike Dean, David Taylor.

Liz Priestley, The Return, encaustic on birch board. landscape as a conduit to the physical.

Working in encaustic, Priestley builds up layer after layer, carving and scraping in a very physical process to create this tender body of work.

Richard Dunlop, Glass Vase with Wynyard Tulips, oil on linen, 76 x 76 cm.

17 December—14 January 2025 Annual Artists Exhibition

Craft + Design Canberra craftanddesigncanberra.org Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

See our website for latest information.

Adjacency Studio x Amy Cornall, Counterpoint, 2024. Photograph by MarieLuise Skibbe.

1 November–14 December Propositions: 2023 Tapestry Design Prize for Architects | Australian Tapestry Workshop 3rdrm, Glenn Russell (WA) x Chris Cochius and Pamela Joyce, Adjacency Studio (NSW) x Amy Cornall, Beth George & Emerald Wise (Wa/VIC) x Tim Gresham, Ellen Kwek (VIC) x Pamela Joyce, Heliotope (VIC) x Chris Cochius, Multiplicity (VIC) x Leonie Bessant, Malin Parkegren (SWE) x David Pearce, Studio Orsi, Jamileh Jahangiri (NSW) x Emma Sulzer, Tasmin VivianWilliams & Tonielle Dempers (WA) x Caroline Tully, Yiling Shen & Yuchen Gao (VIC) x Saffron Gordon.

1 November–30 November Harness the Beauty of Nature | Embassy of Uruguay Ipora Artesanos

Grainger Gallery graingergallery.com.au Gretal Ferguson, Out of Frame, 2022.

Photograph by Tim Bean.

1 November–14 December Robert Foster Metal Prize Beth Sanderson, Bic Tieu, David Walker, Jenny Johnstone, Kenny Yong Soo Son, Kirsten Haydon, Larah Nott, Lindy McSwan, Marian Hosking, Nicholas Burridge, Oliver Smith, Sean Booth, Sean O’Connell, Wayne Guest, Ximena Briceño.

1 November–14 December Speculative Materialism Alexi Freeman, Minka Gillian, Nicole Jakins, Living Seawalls, Halie Rubenis, Niklavs Rubenis, Narelle White, Molly Desmond, 224

Ngunnawal Country, Bldg 3.3, 1 Dairy Road, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm.

See our website for latest information.

14 November—1 December Liz Priestley: Origins and Destinations Liz Priestley’s Origins and destinations is an interpretation of both the immediate physical landscape, and that of the internal landscape. Her work explores the subject, viewed through a nostalgic lens, often using memory to create an emotional connection to a place –

Jessica Murtagh, Modern love, handblown and sandblasted glass.

14 November—1 December Jessica Murtagh: Afterimages of familiar tales Jessica Murtagh returns to GG with another stunning exhibition of glass amphoras, Afterimages of familiar tales. Drawing inspiration from ancient Athenian artefacts, Jess’s work explores themes of our mundane lives, how technology drives them and preoccupies us, how we spend our precious and fleeting time. What will we leave behind when we are long gone? Murtagh’s works reimagine what archaeologists might discover about 21st century civilisation in 2000 years’ time.

AUSTRALIAN CAPITAL TERRITORY

M16 Artspace m16artspace.com.au Ngunnawal Country, Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm.

See our website for latest information.

Following a national and international tour, Ever Present: First Peoples Art of Australia returns to Kamberri/Canberra for its final showing at the National Gallery. A survey of historical and contemporary works of art by Aboriginal and Torres Strait Islander artists from across Australia, this exhibition draws from the national collection and Wesfarmers Collection of Australian Art. Ever Present: First Peoples Art of Australia is presented by the National Gallery of Australia and Wesfarmers Arts.

1 November—24 November Notions of Place M16 Studio Artists

7 December—27 April 2025 Ethel Carrick Ethel Carrick (1872–1952) was a pioneering artist who forged new ground in the early twentieth century with her bold and vibrant post-impressionist works. She was a truly transnational artist who was born in Britain and lived and worked primarily in France and Australia. Comprising 140 works, this will be the first retrospective of Carrick’s work for nearly half a century.

7 December—27 April 2025 Anne Dangar Anne Dangar (1885–1951) occupies a unique position in art history as one of Australia’s most important, yet underacknowledged modern artists.

National Portrait Gallery portrait.gov.au Masami Teraoka, Catfish envy, 1993, National Gallery of Australia, Kamberri/ Canberra, gift of Kenneth Tyler 2002.

Prue Power, Narrabundah Tors, 2021.

Image courtesy of the artist.

1 November—24 November Marion’s Vision for Canberra Canberra Art Workshop 1 November—24 November Made in or before 24 Hands On Studio

National Gallery of Australia nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

21 September—2 March 2025 Masami Teraoka and Japanese ukiyo-e Prints From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him. These included reflections on contemporary themes such as globalisation, collisions between Asian and western cultures, and the AIDS crisis. Masami Teraoka and Japanese Ukiyo-e Prints is a Kenneth E. Tyler Collection exhibition.

From 25 October Lindy Lee: Ouroboros Ouroboros is based on the ancient image of a snake eating its own tail; an image seen across cultures and millennia, the symbol of eternal return, of cycles of birth, death and renewal. Through its location at the entrance of the National Gallery, visitors will be able enter the ‘mouth’ of the sculpture and walk into the curved space to experience darkness that is illuminated by light beams emanating from the hundreds of perforations on its surface.

25 October—1 June 2025 Lindy Lee Lindy Lee is one of Australia’s most accomplished contemporary artists. To complement the unveiling of Ouroboros, Lee’s major new public art commission for the National Gallery, this exhibition brings together highlights from across the artist’s career as well as a monumental new installation and works on paper.

23 November—13 July 2025 Kulata Tjuta: Tirkilpa

Julie Dowling, Badimaya people, Selfportrait: in our country, 2002. National Gallery of Australia, Kamberri/Canberra © Julie Dowling/Copyright Agency, 2022.

14 September—24 August 2025 Ever Present: First Peoples Art of Australia

Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Kulata Tjuta is an ongoing cultural maintenance project that shares the skills of carving and making the punu kulata (wooden spear) across generations. It started as a project involving a small group of men in Amata and has grown to include over 100 Aṉangu men across the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands.

Joan Ross, Those trees came back to me in my dreams, 2023-2024.

24 August–2 February 2025 Joan Ross: Those trees came back to me in my dreams A vibrant and dynamic exhibition by acclaimed contemporary artist Joan Ross. In a practice that spans collage, printmaking, sculpture and video animation, Ross probes the ongoing consequences of colonisation in Australia with wit and wry critique.

30 November–2 March 2025 Carol Jerrems: Portraits A major exhibition of one of Australia’s most influential photographers.

Jerrems’ intimate portraits of friends, lovers and artistic peers transcend the purely personal and have come to shape Australian visual culture. Set against the backdrop of social change in the 1970s, her practice charted the women’s movement, documented First Nations activism, put a spotlight on youth subcultures and explored the music and arts scenes of the era.

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A–Z Exhibitions

Tasmania

NOVEMBER/DECEMBER 2024

TASMANIA

Bett Gallery bettgallery.com.au Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

See our website for latest information.

11 October—29 November Apologue Isle A project by Andy Hutson in collaboration with Rob Braslin, Robert O’Connor, Merinda Sainty, Theresa Sainty, Kartanya Maynard, Nunami Sculthorpe-Green, Andy Hutson, Ben Yardley, Aaron Everett, Nala Mansell, Kulai Sculthorpe, Erin Hortle, Gabbee Stolp, Mat Ward, Laura Imbruglia, Tom O’Hern, Andrew Hawley, Ethan Rawlins, Kim Jaeger, Sylvie Jaeger, Cheryl Mundy, Rachel Meyers, Jim Everettpuralia meenamatta, Jolie Everett, Sam George-Allen, Genevieve Griffiths, Alex Last, Fiona Hall and Nick Kirmos

(ROM), Kirry Toose (AUS), Derek Voorpostel (AUS), Kathryn Wilkinson (AUS).

Devonport Regional Gallery

tidal is a contemporary biennial 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 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.

paranapleartscentre.com.au

Amanda Davies, The Painter, 2024, oil on linen, 30.5 x 40.5 cm.

25 October—16 November Amanda Davies

Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 [Map 17] Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

25 October—16 November Irene Briant 22 November—14 December Helen Wright

A biennial wearable art award requiring artists to create a wearable garment made from at least 80% paper. First held in 2012, Paper on SkinTM draws on the papermaking heritage of the North-West coast of Tasmania and has since grown to become an international event. Eleven countries are represented among the 2024 finalists, all of whom demonstrate a visionary approach to the creative challenge.

7 December—8 February 2025 tidal.24: City Of Devonport Tasmanian Art Award

Halima Bhatti, Arabic Calligraphy – The Journey of Self, (installation view), 2024, Little Gallery Emerging Artist Program.

16 March—20 January 2025 Little Gallery Emerging Artist Program Sue Lovegrove, No. 608, 2024, acrylic and ink on aluminium, 60 x 90 cm.

22 November—14 December Sue Lovegrove

Contemporary Art Tasmania contemporaryarttasmania.org Nuenonne Country, 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

See our website for latest information.

Image courtesy of the gallery.

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.

2024 Selected Artists: Candice Broderick, 2 November – 7 December; Laura Purcell, 14 December – 27 January 2025.

28 September—16 November Paper on SkinTM Sally Baldwin (UK), Darryl Bedford (UK), Lorenz Cherry, (AUS), Elżbieta Cios-Jonas (POL), Prue Corlette (AUS), Polly Crowden (AUS), Louise Gerzanics (AUS), Simone Guascoine & Kate Masterson (AUS), Natalie Hamblin (AUS), Rosa Hirakata (AUS), Hanne Frey Husø (NOR), Renate Jamieson (AUS), Kaori Kato (JPN), Brielle Killip & Chris Geissinger (USA), Denise Lamby (AUS), Lærke Lillelund (DNK) & Ayaki Shinoda (JPN), Ann Lines (UK), Fides Linien (DEU), Karen Lynch (AUS), Dior Mahnken (AUS), Annette Mauer & Melissa Silk & Lisa Giles (AUS), Julie McLaughlin (USA), Leonie Oakes (AUS), Beatrice Oettinger (DEU), Susan Ruptash (CAN), Karran Skeppstedt (SWE), Ramona Sonin (USA), Svenja (AUS), Antoaneta Tica

NWSS student Aaron, Card painting, acrylic paint on paper, 2024.

1 November—3 December North West Support School 2024 Exhibition The paranaple arts centre welcome the North West Support School to share an inclusive exhibition as we celebrate International Day of Persons with Disabilities. The North West Support school works with students with moderate to severe disabilities, assisting them to participate in learning, from Kindergarten up to Year 12. The art program supports sensory exploration, wellbeing and communication, while connecting students with a range of mediums and artists.

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The exhibition includes a group work of watercolour resist dots, eye-gaze digital artworks, cardboard and mono prints, credit card paintings, and more.

8 November—25 November She who became the sun Mandy Renard

November Within Dr Helene Weeding Passage of Time Jill Ferrall

Museum of Old and New Art (Mona) mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.

NOT, five point palm exploding heart technique, glazed slip cast basalt, polished discontinued uranium glass rod, 7 x 22 x 11 cm.

Melanie McCollin-Walker, A Long Way From Home, 188 x 170 cm.

29 November—16 December New works Melanie McCollin-Walker 1977 Holden Torana (LX) SLR 5000 A9X Sedan (a hotted-up Torana). Private collection, Hobart. Image courtesy Museum of Old and New Art. Photograph: Jesse Hunniford.

15 June–21 April 2025 Namedropping The exhibition of more than 200 artworks and objects assembled in Mona’s subterranean galleries poses questions: What makes the big names big: Porsche, Picasso or Pompidou? What is the nature of status and why is it useful? Is status all about culture, or is there something deeper?

Handmark handmark.com.au Nuenonne Country, 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.

See our website for latest information.

Madeline Gordon Gallery

November Hunterston B NOT December Past Reflections Dallas Richardson Small works Group show

Penny Contemporary

madelinegordongallery.com.au

pennycontemporary.com.au

Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am– 1pm. Other times by appointment.

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

Madeline Gordon Gallery represents a convergence of passion and expression.

It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator alike in celebrating contemporary art in all forms.

Erin Smith, Untitled.

22 November—10 December New Paintings Erin Smith 13 December—3 January 2025 New Works Hamish Hall

Queen Victoria Museum & Art Gallery qvmag.tas.gov.au

Mandy Renard, Fruiting Body, 2024, hand coloured drypoint etching, 75 x 75 cm.

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Dr Helene Weeding, Ena-Oicho, Japan, acrylic and oil on canvas, 102 x 76 cm.

Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 [Map 17] 03 6323 3777

TASMANIA

Daily 10am–4pm.

Free admission.

See our website for latest information.

out for its scale and multidisciplinary focus. The Discovery Collection 23/24 exhibition highlights a selection of acquisitions made over the past two years, including significant historical objects, rare natural specimens, and remarkable works of art by both established and emerging local artists.

Through its wide-ranging collection spanning natural sciences, history, and visual art, QVMAG continues to connect communities to Tasmania’s history while offering perspectives on future possibilities.

Olegas Truchanas, Hewardia tasmanica on The Coronets, Lake Pedder, 1971.

Queen Victoria Museum at Inveresk: 13 July—20 July 2025 This Vanishing World: Photography of Olegas Truchanas This Vanishing World is the story of a man who loved Tasmania and its wild places.

For twenty years, Olegas Truchanas explored Tasmania’s wild places, pushing his body and practice to the limit.

Motivated by a love of nature and natural beauty, his legacy is a story told in images.

Through the lens of his camera, This Vanishing World shares the journey of Olegas Truchanas and his campaign for Tasmanians to have greater awareness of their incredible home state—alongside the major influence he left on the wilderness photographers who followed him.

Tasmanian Museum and Art Gallery tmag.tas.gov.au Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 1 April–24 December: Tue to Sun, 10am–4pm; 26 December– 31 March: Daily, 10am–4pm, Free admission.

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.

TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

8 August—9 February 2025 Artists to Ice

Jenna Lee, HIStory book, 2020.

Photograph: QVMAG. 8 October—2 February 2025 Unbound: Books Reimagined A book contains words and information on pages, bound together and protected by a cover. At least, that’s what we generally understand a book to be. Unbound: Books Reimagined challenges this perception and reimagines the many forms a book could take.

18 July—10 February 2025 Home: Here and Now Home: Here and Now explores Chinese migration to Tasmania from the 1800s to now. Through oral histories the exhibition engages with the concept of ‘belonging’ to more than one place and highlights Chinese Tasmanian’s contemporary experiences. Home: Here and Now features content from the Guan Di Temple, which is housed at the Queen Victoria Museum and Art Gallery, and celebrates and explores the Tasmania-Fujian sister state relationship. This exhibition is supported by the National Foundation for Australia-China Relations.

Rex Greeno, Travelling to Hunting Grounds, 2022-23, mixed media on paper 6 December—27 April 2025 Rex Greeno: Memories through Sea Stories An exhibition of works by Tasmanian Aboriginal Elder Rex Greeno - artist, fisherman, and maker of tuylini, ninga and pyerre (Tasmanian Aboriginal bark and reed canoes) - that tells a story of deep connection to culture, family and the sea.

Inspired by Rex’s life experience as a commercial fisherman Rex Greeno: Memories through Sea Stories shares a collection of drawings that feature life on and by the sea, his passion for traditional watercraft, and the sharing of Ancestral knowledge and skills passed through generations.

Rex was born and raised on Flinders Island off lutruwita/Tasmania. His canoes are held in a number of public and private collections throughout Australia, including National and State museums. Supported

by Creative Australia.

6 December—30 March 2025 Written in wood: Kevin Perkins inspired by Richard Flanagan Five monumental sculptural works by Tasmanian artist, master furniture-maker and wood craftsman, Kevin Perkins, each based on a novel by the acclaimed Tasmanian writer, Richard Flanagan.

The exhibition focuses on two types of books: artists’ books, works of art that utilise the book form, and pop-up books, containing three-dimensional features that must be activated by a user.

6 December—21 September 2025 On Island

Queen Victoria Art Gallery at Royal Park:

Contemporary art and design from the Tasmanian Museum and Art Gallery collection.

28 September—19 January 2025 Discovery Collection 23/24 Since 1842, QVMAG has been dedicated to showcasing Tasmania’s diverse natural and cultural heritage. As the largest regional collection in Australia with over 1.5 million objects, the collection stands

Artists to Ice presents works from the Tasmanian Museum and Art Gallery collection by Australian artists Stephen Eastaugh, Bea Maddock, Jan Senbergs, and Jörg Schmeisser, who travelled to Antarctica between 1987 and 2009.

The Guan Di Temple, Home: Here and Now, installation view. Photograph: Rosie Hastie.

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South Australia

NOVEMBER/DECEMBER 2024

S OUTH AUSTRALIA 23 November—30 March 2025 Radical Textiles

Adelaide Contemporary Experimental

Showcasing the work of over 100 artists, designers and activists, Radical Textiles celebrates the cutting-edge innovations, enduring traditions and bodies of shared knowledge that have been folded into fabric and cloth over the past 150 years.

Book tickets online.

ace.gallery Kaurna Yarta, Lion Arts Centre, North Terrace (West End), Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

See our website for latest information.

Flinders University Museum of Art flinders.edu.au/museum-of-art Christina Cordero, Springtime, multi plate etching, 18 x 18 cm.

Carly Tarkari Dodd, 1, 2024, linen and cotton yarn, 74 x 80 x 4 cm. Courtesy of the artist.

9 November—14 December Studios: 2024 Carly Tarkari Dodd, Abbey Murdoch, Marian Sandberg, Katey Smoker, Emmaline Zanelli

Art Images Gallery artimagesgallery.com.au Kaurna Country, 32 The Parade, Norwood, SA 5067 [Map 18] 08 8363 0806 Mon to Fri 9am–5pm, Sat 10am–5pm, Sun 2pm–5pm.

realm, drawing upon her past and current experiences and translating them into a unique visual language. Highly influenced by music and musical theory, her work is also characterised by the free association of ideas and interwoven narratives associated with Latin-American literature, known as ‘magic realism’. Using a calligraphic line depicting arcane, artificial alphabets and symbols of the enduring reality of the natural world, Christina evokes the magic of the mythic in parallel with the everyday.

Kaurna Country, Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt.

Thu until 7pm. Closed weekends and public holidays.

Art Gallery of South Australia agsa.sa.gov.au Kaurna Yarta, North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry.

See our website for latest information.

20 July—13 April 2025 Reimagining the Renaissance Drawing from AGSA’s collection of painting, sculpture, works on paper and decorative arts, alongside loans from public and private collections, this exhibition explores Northern and English Renaissance art together with that of the celebrated Italian masters.

Unbound Collective, performance still from Sovereign Acts – Act III | REFUSE at Vitalstatistix, Port Adelaide, 2018. © The artists. Photo: Tony Kearney.

30 September–11 April 2025 Sovereign Acts | Love Praxis A Flinders University Museum of Art exhibition in partnership with Unbound Collective – Dr Ali Gumillya Baker (Mirning), Dr Faye Rosas Blanch (Yidinyji, Mbararam), Dr Natalie Harkin (Narungga) and Dr Simone Ulalka Tur (Yankunytjatjara).

Murray Bridge Regional Gallery Artworks by various artists.

murraybridgegallery.com.au

15 November—24 December Christmas Exhibition

Ngarrindjeri Ruwe, 27 Sixth Street, Murray Bridge, SA 5253[Map 18] 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

See our website for latest information.

Art Images Gallery Christmas Exhibition is the biggest of the year, with over 50 artists on display! Showcasing a diverse range of paintings, prints, sculpture, glass, ceramics, and jewellery! Visit the gallery or shop online and support local by choosing unique hand-made gifts this year. Opening night, 15 November, 6pm–8pm.

1 November—24 December Christina Cordero Online Exhibition Christina Cordero was born in Chile, and moved to Australian in the late 1970’s. Her imagery arises from a highly personal

Sarah Contos, Sarah Contos Presents: The Long Kiss Goodbye, 2016, Sydney, screen print on linen, canvas and lamé, digital printed fabrics and various found fabrics, PVC, poly fil, glass, ceramic and plastic beads, thread, artists' gloves, 610 x 330 x 25 cm. Gift of the James & Diana Ramsay Foundation for the Ramsay Art Prize 2017, Art Gallery of South Australia, Adelaide. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Station Gallery, Melbourne.

16 November—19 January 2025 (dis) Stilled Life Lyn Wood + Winnie Pelz Still-life paintings by two established SA regional artists, which share moving narratives about the distillation of life, objects, time and memory.

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JamFactory jamfactory.com.au Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm.

Newmarch Gallery newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 [Map 18] 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun closed.

Niki Sperou & [M] Dudeck, Skin Bible; Skara Brae (detail), 2023, digital image, variable.

6 December—11 January 2025 Skin Bible

Lyn Wood, Final Curtain, (detail), 2024, oil on canvas, 90 x 45 cm.

16 November—19 January 2025 EXPLORE Kathleen Cain + Helen Stacey Expressive, symbolic landscape paintings that reflect on loss of land, lives and wildlife on First Nations country, the Murraylands.

5 October—23 March 2025 JAMFACTORY ICON 2024 Julie Blyfield: Chasing a Passion

Niki Sperou, [M] Dudeck, Martina Raponi Gabriella Bisetto, This skin Im in, 2024, mirrored kiln formed glass, metal, 100 x 70 x 5 cm. Photograph: Michael Haines.

26 September—24 November UNISA MENTOR Gabriella Bisetto ‘First breath, last breath, everything in between’.

JamFactory at Seppeltsfield

Riddoch Arts & Cultural Centre theriddoch.com.au Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

jamfactory.com.au Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm.

Gerry Wedd, Three Dead Passengers in a Second-hand Ford, 1999, hand painted earthenware.

7 September—1 December Ghosts from the Collection

Lorene Van Rossen, Apo, acrylic on canvas, 76 x 38 cm.

16 November—19 January 2025 Summer Sensations Group exhibition by members of local community group Bridge Arts.

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Julie Blyfield, Corallium neckpiece #7, 2024, oxidised sterling silver, enamel paint, coated cable and wax, 33 x 21 x 7 cm. Photograph: Grant Hancock.

Ghosts from the Collection wakes up works from the Riddoch’s storeroom to tell their own stories, to take a deeper look at what is hiding inside or behind these artworks. Like old houses, paintings are constructions of deep thoughts, dreams and imagination, and they live a life – both in themselves and through others. Ghosts are no stranger to the world of art. The job of painting has long been to morph the physical stuff of life and dissolve the boundary of our material and ethereal worlds, leaving many a quiet threshold for the ghost to inhabit. They may be religious, mystic, supernatural, metaphorical or

S OUTH AUSTRALIA allegorical. They may be commemorations or other worldly visages. Whoever they are and wherever they dwell this exhibition marks their moment to shine.

Wed to Fri 10pm–4pm, Sat 1pm–4pm.

14 December—1 February 2025 Conversations with the River Rebecca McEwan

28 September–2 November Rivertime Jackie Saunders and Laura Wills

Through a series of documented conversations and interactions guided by Martine’s Handbook of Etiquette, and Guide to True Politeness (Arthur Martine, 1866), McEwan takes the time owed to the river to develop a relationship of understanding and respect.

Laura and Jackie share new works presented through fashion, sand drawing and collaborative painting generated whilst exploring Port Noarlunga.

28 September–2 November FREE TIME Annie Rudduck Rudduck explores the construct of ‘leisure time’ in adulthood and questions how we can foster free time through ocean-play.

9 November—7 December PRESENCE - ABSENCE Anna Goodhind An exploration of life, death and family.

Through salvage, memory, inheritance and process, spaces left vacant are reconfigured and repurposed into new expressions of love.

Samstag Museum of Art unisa.edu.au/connect/ samstag-museum/ Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 [Map 18] Tue to Sat 10am–5pm.

See our website for latest information.

Wirltuti Season.

Celebrating our fruitful and enduring partnership with the Adelaide Film Festival, for the Wirltuti season Samstag premieres two moving image commissions.

Paul Worstead, Jimmy Jones Souvenirs, Mental as anything - Creatures of leisure (Martin), 1982, National Gallery of Australia, Kamberri/Canberra, gift of the artist, 1994. Courtesy of the artist © Paul Worstead / Copyright Agency, 2024.

2 November—19 January 2025 Enjoy This Trip: The Art of Music Posters Drawn from the National Gallery’s expansive collection of Australian and international music posters spanning the 1960s to 1980s, Enjoy this trip: The art of music posters captures the spirit of the times as an era of experimentation.

Journey back to the Summer of Love and be transported to a time when the music was funky, the art was kaleidoscopic and psychedelia was in full swing. Enjoy this trip presents a nostalgic exploration of the times through art, graphic design, music, colour and typography. Enjoy This Trip: The Art of Music Posters is a National Gallery Touring Exhibition supported by the Australian Government through the National Collecting Institutions Touring and Outreach Program.

Jake Novick, Blanche Point, 2023, pastel on paper, 29.7 x 21.0 cm. Image courtesy the artist.

9 November—7 December Passage Jake Novick Novick’s recent works on paper are focused on the laying bare of landscape, exploring the ephemeral nature of light and darkness.

Archie Moore, HouseShow, 2020, mixed media installation, from The Cottage, 272 Montague Road, West End, Brisbane.

Photograph: Marc Pricop, courtesy The Commercial, Sydney.

2 November—19 January 2025 Trip to the Mount Running parallel to Enjoy This Trip, Trip to the Mount takes a deep dive into the Mount Gambier of the 1960s to 1980s. An exciting period in Mount Gambier’s social history, we explore the town that was through posters, the music scene, fashion and archival footage of the way life was.

Sauerbier House Culture Exchange

11 October–29 November 2024 Art and the Moving Image Commission: Archie Moore

Anna Revesz, Recollection 3, 2019, archival inkjet print, 59 x 88.4 cm.

Image courtesy the artist.

Archie Moore’s ambitious new moving image work for the 2024 Adelaide Film Festival is a large-scale immersive installation imaginatively recreating the mis-en-scene of his childhood home.

onkaparingacity.com/ sauerbierhouse

14 December—1 February 2025 Fathom Anna Revesz

11 October–29 November Adelaide Film Festival EXPAND Commission: Susan Norrie, Matthew Thorne and Emmaline Zanelli

Kaurna Country, 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393

Revesz creates ephemeral sculptures, successively captured through both drawing and photography to explore ideas examining the personal and collective memory imbedded within objects.

The inaugural EXPAND commission showcases experimental docu-fiction moving image work by artists Susan Norrie, Matthew Thorne and Emmaline Zanelli on mining in Australia.

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A–Z Exhibitions

Western Australia

NOVEMBER/DECEMBER 2024

WESTERN AUSTRALIA

Art Collective WA artcollectivewa.com.au Whadjuk Country, 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.

In our much-anticipated annual members’ showcase, we call on avid art collectors to become our benefactors. The group exhibition features artworks by some of Western Australia’s most celebrated artists, including Brad Rimmer, Trevor Vickers, Merrick Belyea, Joanna Lamb, Giles Hohnen and Olga Cironis, among others.

The Art Gallery of Western Australia artgallery.wa.gov.au Perth Cultural Centre, Whadjuk Noongar Country, Perth, WA 6000 [Map 19] 08 9492 6601 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

Free admission. Visit the website for latest information.

Now Showing TIME • RONE

Andre Lipscombe, Mortal Coil, 2024.

2 November—30 November Touch Pool Andre Lipscombe This new exhibition features assemblages of tactile, hand-held painted forms alongside expansive paintings that envelop the walls and floor of the gallery. Meticulously developed over years, Lipscombe’s paintings explore and reflect upon the qualities of domestic, natural and corporeal vulnerabilities. The works not only resemble but also embody the fragility and resilience found in everyday life, inviting viewers to engage both physically and emotionally with their layered meanings.

Step into a moment suspended in time, and get lost in an immersive art experience like no other. A multi-sensory installation excavating meaning from the everyday, TIME • RONE projects onto a grand scale the lifelong search for beauty in decay. Following a sell-out season in Melbourne, TIME • RONE is now showing in AGWA’s Centenary Galleries with expanded staging and a new room, exclusive to Perth. Ticketed exhibition.

Until 1 December Material Practice: Howard Taylor’s Journal Material Practice: Howard Taylor’s Journal invites you to witness first-hand the evolution of one of Western Australia’s most significant artists, seen through artworks in the Collection along with pages from his Journal. From his early experimentation with tempera and form to his later innovations in manipulating light and space, each artwork reveals the development of

Jurek Wybraniec, Mosaico, Mosaico, 2023, glass mosaic and acrylic on aluminium composite panel, 27.8 x 59 x 3.4 cm.

7 December—14 December ART COLLECTIVE WA BENEFACTORS 2024

From 21 December Form and feeling: artists’ studies of the twentieth century Exploring the manifold ways British and Australian artists approached oil painting and drawing. Bringing together significant paintings from the State Art Collection and their preparatory drawings, exploring the transition from preliminary sketches to finished oil painting, and features such artists as Stanley Spencer, William Dobell, Russell Drysdale and Frank Auerbach.

Until 5 January 2025 Me, Also Me Me, Also Me explores the contradictory elements of life through two video installations by Ayoung Kim and Daisuke Kosugi alongside Brett Whiteley’s The American Dream which trouble the distinction between reality and fiction. The exhibition includes additional works from the Collection that employ tropes of mirroring, doubling, imitation and transformation to map the contours of our uncannily labile selves, featuring artists like Farah Al Qasimi, Ian Burn, Tracey Moffatt, Yasumasa Morimura and Maria Taniguchi.

Until 1 February 2025 Forecast Forecast is an all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures.

Sandra Black, Pair of pierced geometric bowls (black/white), 1996, porcelain, pierced and carved, (1) white; 10 x 19.5 x 19.5 cm (2) black; 10 x 19.8 x 19.8 cm. The State Art Collection, The Art Gallery of Western Australia. Purchase and partial gift of the Friends of the Art Gallery in memory of Margaret Hatcher, 1997.

Photograph: Victor France.

Until 16 February 2025 Sandra Black: Holding light The first comprehensive survey of works by internationally acclaimed Western Australian ceramicist Sandra Black.

Spanning over 50 years of practice, the exhibition surveys important touchpoints in Black’s career from 1972 through to her current practice.

2 November—30 November Colour and Material Matters Jurek Wybraniec A recent collection of works exploring conditions of painting defined by materiality, colour and spatial relationships. In this exhibition, Wybraniec continues his investigation into the aesthetics of popular culture and the everyday through a reductive approach; inviting the viewer to reassess their engagement with objects, materials, colour, space and place.

Taylor’s creative process, enriched by the insight gleaned from his Journal.

Until 16 February 2025 Julia Gutman, Life in the third person

Frank Hinder, Flight into Egypt, 1952, oil and tempera on hardboard, 96.5 x 75.5 cm. The State Art Collection, The Art Gallery of Western Australia. Gift of the Friends of the Art Gallery, 1953.

AGWA commissioned a major new work by young Sydney-based artist, Julia Gutman, who won 2023’s prestigious Archibald Prize. It’s Gutman’s largest and most intricate work to date, one that employs textiles in way that is both sculpturally expansive and intimately ‘drawn’.

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Ongoing Balancing Act

Bunbury Regional Art Gallery

City of Perth Council House Gallery

bunbury.wa.gov.au/brag

perth.wa.gov.au

Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

Artitja Fine Art Gallery

31 August—10 November Some Like It Hot Therese Ritchie and Franck Gohier

Whadjuk Nyoongar Country, 27–29 Saint Georges Terrace, Perth, WA 6000 Mon to Fri 10am–4pm.

Closed public holidays.

See website for latest information.

artitja.com.au Exhibiting at Terrace Greenhouse, 220 South Terrace, South Fremantle, WA 6160

Christophe Canato, Aymeric & Christian, FA Concept Vintage, 2024. City of Perth Cultural Collections.

Chester Nealie, Red Shino Vase, 2002, wood-fired stoneware with shino slip, fired in the firebox of Chester’s multi-chamber kiln at Goanna Ridge, Gulgong.

16 November—2 February 2025 Etched in Fire Chester Nealie Marissa Thompson, stoneware, 12.5 x 9.5 cm. Courtesy Ernabella Arts and Artitja Fine Art Gallery.

16 November—16 February 2025 Tributaries Tineke Van der Eecken

4 November—4 December Celebrating: PrideFEST 2024 Intrinsèque, Christophe Canato Launch of the City of Perth’s new LGBTQIA+ Plan 2025–2029.

Accompanied by an exhibition featuring a series of works by Christophe Canato, commissioned by the City, alongside additional pieces by a range of Australian LGBTQIA+ artists.

6 December—23 December Santa will be stationed at Council House every Friday and Saturday.

Fremantle Arts Centre fac.org.au Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Anyupa Stevens, Tjala Tjawani, 151 x 101 cm.

14 December–29 December THE GIFT COLLECTION: Art + Objects Since 2009 this popular annual exhibition is a showcase of paintings, sculpture, ceramics and gift lines.

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Kelsey Ashe, Cardinal Sea Cathedral (Sugarloaf Rock), 2024, screen print, botanical inks on canvas. Image courtesy the artist.

23 November—16 February 2025 The Deep Green Sea Kelsey Ashe

The Huxleys, Where Have All The Flowers Gone?, 2021.

9 November—27 January 2025 The Huxleys: Wrap Your Troubles in Dreams The Huxleys are a dynamic duo of cata-

WESTERN AUSTRALIA clysmic proportions, presenting queer spectacle and disco-infused wizardry across the visual art, performance, and fashion worlds. Embark on a surreal journey through the luminescent landscapes of these glamorous art deviants as they look back on 10 years of photography, film, costume, and chaos. This exhibition offers a magical detour from everyday life, inviting you to surrender yourself to a queer wonderland where too much is never enough.

Beth Hewton (1955-2002), All Smart Girls Say NO! NO! NO! No Sailors, No Ships, No Bases, 1984, screen-print. City of Fremantle Art Collection.

9 November—27 January 2025 Desperate Measures This exhibition presents artworks as well as photographs, posters and T-shirts borrowed from the local community, to explore the artists, performers and activists that lit up Freo in the period 1977-1985.

The exhibition charts the cultural shift that occurred in Fremantle after 1975, when the city was an affordable place and attracted an eclectic mix of residents and passersby.

A fascinating insight into the studio practice of one of Australia’s most gifted and revered artists. Drawn from the collections of the Art Gallery of New South Wales and the Brett Whiteley Studio, this exhibition presents a selection of Brett Whiteley’s works across various media, including painting, drawing, sculpture, photography, collage, ceramics and a tapestry. Iconic paintings, such as The balcony 2, 1975 and Self portrait in the studio, 1976, will be displayed alongside lesser known but equally important early abstractions, works made in London and New York in the 1960s, and works from Whiteley’s final series, Paris ‘Regard de Côté’. Rarely seen archival photographs depicting Whiteley at work (and sometimes at play) in studios in London, New York and Sydney show some of the artworks in various stages of completion, offering a glimpse into his creative world.

with the inclusion of cast ornate frames in several paintings that reference Western Australia’s colonial legacy and continued presence today. Artworks are rendered with a gritty impasto surface in a palette that alludes to landscape, land development and chemical leaching. McAlpine is an artist predominantly working in painting and sculpture and is currently living and working in Boorloo / Perth. McAlpine graduated from Curtin University in 2016 with a Bachelor of Arts (Honours) and has been exhibiting regularly ever since.

Brett Whiteley: Inside the Studio is a touring exhibition from the Art Gallery of New South Wales and has been assisted by the Australian Government’s Visions of Australia program.

KolbuszSpace kolbuszspace.com Whadjuk Nyoongar Country, 2 Gladstone Street, Boorloo/Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment.

See website for latest information.

John Curtin Gallery

John Eden, Fruits of Arson, 2024, acrylic, spray paint, paint pen on canvas, 76 x 76 cm.

13 December—15 December Summer Group 2024 KolbuszSpace presents selected artist studio-direct and quality / collectible stockroom works throughout the month of December, with opening party on 13 December.

curtin.edu.au/jcg

Linton & Kay Galleries

Whadjuk Nyungar Country, Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm.

Closed public holidays.

Free admission.

lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

Matthew McAlpine, We’ve Golden Soil, 2024, acrylic, sand and binder on canvas and cast polyurethane foam, 110 x 90 x 10 cm.

Brett Whiteley, Self portrait in the studio at Lavender Bay, 1976, National Art Archive, Art Gallery of New South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker, 2008. Photograph: Robert Walker. © Estate of Robert Walker.

25 October–15 December Inside the Studio Brett Whiteley

15 November—17 November We’ve Golden Soil Matthew McAlpine Following on from the success of Matthew McAlpine’s 2022 exhibition Anthem, these new abstract paintings continue to prod at the intersection of landscape, nationalism, and environmental degradation in contemporary Australia. We’ve Golden Soil furthers McAlpine’s work materially

Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300 Subiaco: 30 October—17 November Bush Diary Celia Perceval 237

ar t g ui d e .c o m . au Linton & Kay Galleries continued...

interpretation. This fusion of elements symbolises themes of transformation, renewal, metamorphosis and being imbedded in a world of change.” Claire Beausein.

Celia Perceval, Crows Nesting in the Scrub, oil on linen, 75 x 90 cm.

Celia Perceval is far more than a traditional en plein air painter. Her process is less about taking control, through replicating the scenery, and more about relinquishing this very thing. “We change the landscape too much,” she says. “I feel like I’m painting what’s left of that landscape. I wish we could just be part of it.” Distinguished arts critic, historian and writer, Tai Mitsuji, writes that “the disorder of nature prevails in her work. Her kinetic brushstrokes are animated by sounds and smells and filled with the unmistakable sense of life in motion.” Bush Diary includes works painted in and around the ACT, as well as memories of Western Australia’s dramatic wild flowers.

Warrick Palmateer, Leeuwin Current II, 2024, Kiln-fired earth (ceramic), 47.5 x 52 cm.

Cottesloe: 13 December—30 December Leeuwin Current 2.0 Warrick Palmateer - Feature Artist Warrick Palmateer channels his deep connection to the coastal landscape into his ceramic vessels. With over three and a half decades of experience, his art reflects the rugged and delicate beauty of the Indian Ocean and Southwestern Australian coastline he calls home.

Influenced by his upbringing in Western Australia, Palmateer’s work captures the interplay of light, shade and movement inherent in the littoral zone. His vessels are formed from brick clay sourced from the Perth Hills, imbuing them with a sense of place and history. Drawing from his passion for beach-combing and surfing, Palmateer employs expressive textures and intuitively rendered colours to evoke the ever-changing nature of the littoral zone.

Rina Franz, The Invisible Thread, 2024, 170 blue and white collars, linen, interface, plastic, reflective thread, approx 400 x 400 x 400 cm.Realised with the assistance of a Department of Local Government, Sport and Cultural Industries Grant. Collection of the artist, © Courtesy of the artist and Ilkka K Photography. & textiles, contemporary makers fuse traditions of old with a modern edge to create pieces that critique power dynamics.

Stuffed, Bolstered & Upholstered is a major showing of textile works from CCWA, UWAAC, Berndt with loans and commissions for new works.

Midland Junction Arts Centre midlandjunctionartscentre.com.au 276 Great Eastern Highway, Wajuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

See website for latest information.

Lawrence Wilson Art Gallery & Berndt Museum uwa.edu.au/lwag Claire Beausein, Fallen Rain, 2024, indigo dye and applique on washi paper, 92 x 70 cm.

Cottesloe: 14 November—8 December Ripple Effect Claire Beausein - Feature Artist “Suminagashi and indigo dye, reliant on water in their creative processes, produce marks that echo the ripple of water, elemental patterns in stone, or the contours of hills. They remind me of the streams in the hills, water over rocks and combined with thread symbolize journeys or connections. I look at patterns and shapes in nature that remind me of the beautiful Japanese calligraphy that I became familiar with in Japan, to me they are all like mysterious poems awaiting 238

Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12pm–5pm.

The Lawrence Wilson Art Gallery will be closed to the public from Sunday 8 December, reopening Saturday 15 February, 2025.

Nigel Hewitt, The Junction, 1995, mixed media on paper. Courtesy of City of Swan Art Collection.

7 September—7 December Stuffed, Bolstered & Upholstered

30 November—16 February 2025 Building Fabric Hans Arkeveld, Madeleine Clear, Alan Cook, Phillip Cook, Eva Fernandez, Nigel Hewitt, Ben Joel, Jessica Jubb, Norma MacDonald, Sue Starcken, Jude Taylor and Richard Woldendorp.

Aligning with the theme for the Indian Ocean Craft Triennial IOTA24: ‘Codes in Parallel’, this exhibition investigates systems of power as they are enacted upon bodies. Utilising a broad definition of fibre

Taking inspiration from the architectural heritage of Midland Junction, invited artists form a shared experience of these iconic built spaces and the fabric of history that has been contained within them.

WESTERN AUSTRALIA MOORE CONTEMPORARY celebrates the work of five gallery artists coinciding with the staging of the John Stringer Prize 10 year retrospective at John Curtin Gallery: past prize winners Jacobus Capone (2016) and Erin Coates (2017), and previous finalists Dan McCabe (2017), Elham Eshraghian-Haakansson (2019) and Holly Yoshida (2022). A selection of newly-exhibited and earlier works honour the trajectories within each practice.

Mundaring Arts Centre mundaringartscentre.com.au

KA KE, Mobile, 2023, mixed media. Image courtesy of the artist.

7190 Great Eastern Highway, Wajuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

30 November—16 February 2025 Interior A curated collection of precious objects, homewares and 2D artforms to imbue our lived environments, with a core focus on WA designers and makers.

Dan McCabe, Religion, 2019, automotive lacquer, glass, steel and stainless steel fixings, 90 x 60 cm.

19 October—2 February 2025 Half Time Exploring Australian Football Culture Matt Aitken, Monia Allegre, Lyndon Blue, Sally Bower, Les Everett, Conway Ginger, Brent Harrison, Naomie Hatherley, Jennifer Jamieson, Dinni Kunoth Kemarre, Emma-lee Maher, Lucky Morton Kngwarreye and Pedro Sippe

30 October–23 November Alumni - John Stringer Prize Jacobus Capone, Erin Coates, Elham Eshraghian-Haakansson, Dan McCabe, Holly Yoshida

Alongside a team of artists from across Australia, Half Time celebrates the unifying power of footy. Delving into thought-provoking inquiries, the exhibition ignites an important and timely

MOORE CONTEMPORARY moorecontemporary.com Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

STUFFED, BOLSTERED AND UPHOLSTERED 7 Sept – 7 Dec 2024

OPEN TUES - SAT 12 - 5PM | FREE ADMISSION 35 Stirling Highway, Perth, WA, Australia 6009 P +61 (0)8 6488 3707 W uwa.edu.au/lwag @LWAGallery

CRICOS Provider Code: 00126G

Rina Franz, The Invisible Thread (detail), 2024, 170 collars – linen, interface, plastic, reflective thread, approx 400 x 400 x 400cm. Realised with the assistance of a DLGSCI Grant. Collection of the artist, © Courtesy of the artist. Ilkka K Photography

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Perth Institute of Contemporary Arts (PICA) pica.org.au

Brent Harrison, Goal, 2015, screenprint on paper, 59 x 84 cm. Image courtesy of the artist.

Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

dialogue on the diverse roles sport plays within our communities.

19 October—22 December On Par Jasmin Barr, Matt Beard, Una Bell, Ric Burkitt, Jane Button, Luke Button, Katey Cunliffe, Melissa De Winter, Carolyn Francis, Dimity Gregson, Kat Hardwick, Jeremy Holton, Daniel Iley, Nicholas Kempt, Alison Lindsay, Gayle Mason, Jason McCormick, Craig McKeough, Gary Paul, Tania Scott, Ken Summers, Pene Turner, Demelza Wheatcroft and Johanna Zeelenberg Coinciding with the World Disc Golf Championships, and presented in partnership with the Mundaring Sporting Club, On Par explores the intersection between sport and art in a showcase of spectacular golf disc art by established disc artists ‘on par’ with invited Shire of Mundaring artists.

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Paul Knight, Untitled, Chamber Music, 2009, archival inkjet print, 180 x 180 cm (framed). Image courtesy of the artist and Neon Parc, Naarm/Melbourne.

The first major solo presentation of Australian artist Paul Knight. Knight explores the complexities and nuances of relationships across time and space.

25 October–22 December Heavy grit Jack Ball

Shannon Te Ao, what was or could be today (again), 2019. Image courtesy the artist and Coastal Signs, Tāmaki Makaurau Auckland.

25 October–22 December what was or could be today (again) Shannon Te Ao Shannon Te Ao’s single channel film what was or could be today (again) follows elite athlete Ngarama Milner-Olsen as she swims across Aotearoa’s (New Zealand) largest body of water, Taupō-nui-a-tia (Lake Taupō).

25 October–22 December L’ombre de ton ombre (The shadow of your shadow) Paul Knight

pica.org.au

Celebrated Sydney-based artist Jack Ball presents Heavy grit – an ambitious exhibition of abstract photographs and sculptures. Inspired by their research into trans archives, Ball seeks to reveal glimpses and fragments of trans histories and desires through sensory and material connections.

Ongoing Falling Towards Another (A Score for the Void) Diana Baker Smith IT IS THE COLOUR OF AN IDEA THAT WILL NOT COMPLETE ITSELF IN OUR LIFETIME Agatha Gothe-Snape Yandilup J.D. Penangke

A–Z Exhibitions

Northern Territory

NOVEMBER/DECEMBER 2024

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

Araluen Arts Centre, Mparntwe araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Summer hours, Tue to Sat, 10am–4pm, Sun 10am–2pm, closed Mondays.

See our website for latest information.

Ludo Studio (Bluey, Robin Hood, and The Strange Chores). Sally and Marlene’s practice is representative of Mparntwe (Alice Springs), where they live. Playful, self-referential, and humorous, their work embodies the politics, history, and culture of Mparntwe and its surrounding town camps. An ACMI touring exhibition.

Arrkutja Tharra, Kungka Kutjara, Two Girls was made in collaboration with Ludo Studio, the Emmy-award winning production company behind Bluey, Robbie Hood, and The Strange Chores, and is an Artbank +ACMI co-commission.

An ACMI touring exhibition.

“The inspiration of making frill neck lizards came from remembering the road signs around the Top End saying, “We like our lizards frilled not grilled”. I tried to capture the action of the lizards in movement.

They’re made of reused and repurposed items such as nuts, wire, ball bearings and motor parts which is the style of art I find interesting.” –Ben McLean.

The Greenbush artists are students or alumni of the Charles Darwin University who have studied or are studying Certificate I, Certificate II or Certificate IV in Visual Arts. All artworks are available for sale with profits returning to the artists.

Museum and Art Gallery of the Northern Territory Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kangka Kutjara, Two Girls, 2023 (video still).

2 November—27 January 2025 Two Girls From Amoonguna Featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. It recounts their intertwining stories of friendship and resilience in the Central Desert.

Encompassing video, soft sculptures, and paintings, the centerpiece animation, Arrkutja Tharra, Kungka Kutjara, Two Girls, was made in collaboration with

Ben McLean, Frill necked lizards, 2024, recycled metal.

9 November—9 February 2025 Steel Life The Greenbush Art Group is back at the Araluen Arts Centre for their sixth exhibition. All artists are working within the Alice Springs Correctional Centre creating sculptures using repurposed materials like metal off cuts, car parts, or wood.

In this year’s exhibition the artists are focusing on representing native animals from memory or when they can be outdoor and encounter flying visitors.

magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

Free admission.

See our website for latest information.

22 June–27 January 2025 2024 Telstra National Aboriginal And Torres Strait Islander Art Awards Presented by the Museum and Art Gallery of the Northern Territory and Principal Partner Telstra.

Touring Nationally New England Regional Art Gallery NSW 15 November – 2 February 2025 Central Goldfields Art Gallery Maryborough VIC 22 February 2025 - 22 June 2025 Bunbury Regional Art Gallery WA 6 September 2025 –18 January 2026 Geraldton Regional Art Gallery WA 7 February - 5 April 2026 Devonport Regional Gallery TAS 29 May 2026 – 25 July 2026

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MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE < 17

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19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

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1 255

L A S T WO R D

“kith and kin creates dialogue and space that enables our communities to envision a world where our existence is acknowledged.”

— M AY A H O D G E , W R I T E R

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 © 2024 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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