Art Guide Australia — November/December 2021

N O V E M B E R / D E C E M B E R 2 021

C OV E R S T OR Y

Dennis Golding on Indigenous empowerment

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The extremities of Marco Fusinato

Hoda Afshar captures portraits of our time

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November/December

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EDITOR ISSUE #134 AND PODCAST PRODUCER

Tiarney Miekus EDITOR

Anna Dunnill WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANT

Dylan Reilly

CONTRIBUTORS ISSUE #134

Timmah Ball, Oslo Davis, Steve Dow, Briony Downes, Kelly Gellatly, Neha Kale, Leah Jing McIntosh, Emily Johnson, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Diego Ramirez, Barnaby Smith, Andrew Stephens.

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

Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia.

We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. artguide.com.au Please note: due to Covid-19 restrictions, gallery opening hours and exhibition dates may be subject to change.

Cover artist: Dennis Golding.

front

Dennis Golding, Beyond The Coastal Watch, 2019, digital image. back

Dennis Golding, Cast in cast out, 2021, digital image. Photograph: the artist.

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

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

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

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A Note From the Editor PR E V I E W

Bark Ladies SIMMER Thao Nguyen Phan: Becoming Alluvium Alex Martinis Roe: Coming Home Helga Groves: Early Earth (Abstractions of time) Madeleine Pfull Eric Demetriou: GOUT! A Mad Malady Louise Tuckwell: Cuboids Jerzy Michalski: Facades F E AT U R E

How Are Our Galleries Faring?

Hannah Gartside: Fabric of Time Dennis Golding: The Superhero’s Cape Interview: Marco Fusinato Gwenneth Blitner: Technicolour Joy C OM M E N T

Mystery Road F E AT U R E

Henri Matisse: Notes From a Cataclysmic Atmosphere Hoda Afshar: Portraits of Our Time Ponch Hawkes: On Women, Ageing, Art I L LUS T R AT ION

Beware the Art Enabler F E AT U R E

Steven Rhall: Connecting to Aboriginal Land Heather B. Swann: Great Wings Beating

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Issue 134 Contributors TIMM A H BA LL is a writer of Ballardong Noongar

heritage who is influenced by studying and working in the field of urban planning.

Her writing has appeared in a range of anthologies and literary journals.

OSLO DAV IS is an illustrator, cartoonist and artist who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and the State Library Victoria, among many others.

STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault.

BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer.

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

K ELLY GELLATLY is an experienced arts leader, advocate, curator and writer.

LEA H JING MCINTOSH is a portrait photographer, and the founding editor of Liminal magazine.

EMILY JOHNSON is a Barkindji, Latji Latji, Birri Gubba, Wakka Wakka visual artist and online content creator originally from Broken Hill, currently living and working in Sydney.

NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine.

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TI A R NEY MIEKUS is an editor at Art Guide Australia

and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast.

GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Naarm/Melbourne.

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

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

BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.

A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

A Note From the Editor Where is there joy? It’s a question that is not often asked of contemporary art, and yet many of the artists in this issue look at joy—whether through its presence or absence.

When Gwenneth Blitner speaks about her brilliant technicolour paintings of Country she talks about the “feeling right” of painting—the joy of putting paint on material. When Leah Jing McIntosh considers the art of Henri Matisse, she notes his desire to create art that is, as he wrote in 1909, “something like a good armchair, which provides relaxation from physical fatigue.” And when Marco Fusinato, who’s representing Australia in the 2022 Venice Biennale, talks about his practice of extremities, it’s to “remind the audience that they’re alive.”

This reminder of the ‘living-ness’ of people has never come across so strongly as in the startling, haunting portraits by Hoda Afshar, capturing subjects including Manus Island detainees and whistleblowers. Our cover artist Dennis Golding likewise uses photography in his practice, which is centred on Indigenous empowerment; whether it’s looking out to Sydney Harbour dressed in a purple cape, or mentoring Indigenous children to create their own superhero capes.

Meanwhile, Ponch Hawkes is searching for a visual representation of the ageing female body, while Heather B. Swann is reclaiming female power by reimagining the Greek myth of Leda and the Swan. Joy and feeling is clearly found in the textile works of Hannah Gartside, whose devotion to materials is palatable; and even our commercial galleries—when we asked how they’ve been faring—are feeling optimistic.

As galleries around Australia welcome visitors back to a ‘Covid normal’ state, I hope you enjoy the November/December offerings.

Tiarney Miekus Editor, Art Guide #134 and the Art Guide Australia team

“. . . yet many of the artists in this issue look at joy—whether through its presence or absence.”

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Previews W R ITERS

Briony Downes, Tiarney Miekus, Giselle Au-Nhien Nguyen, Victoria Perin, Barnaby Smith and Andrew Stephens.

Due to Covid-19 restrictions, dates may be subject to change.

Melbourne Bark Ladies

NGV International 22 December–May 2022

Imagine walking among Milngiyawuy (the Milky Way) and letting a river of stars flow around you. In the exhibition Bark Ladies at the National Gallery of Victoria, an artwork by Naminapu Maymuru-White is installed in the Federation Court. Maymuru-White’s signature Milngiyawuy design, usually painted on bark, stretches across the floor, while a huge mirror suspended overhead allows visitors to walk within the glistening night sky, at once below and above them. In a video display, Maymuru-White explains how her art is connected to the mortuary rites of the Manggalili clan, whose deceased souls are transformed into stars.

“Indigenous art is the only art native to this country.

And it is global,” says the exhibition curator Myles RussellCook about this unprecedented display of bark art. The exhibition was a collaboration with the Buku-Larrŋggay Mulka Centre at Yirrkala in north-east Arnhem Land—and although the centre is tiny, it produces some of the most exciting art made in Australia.

Noŋgirrŋa Marawili, Djapu design, 2019, earth Bark Ladies narrows in on 11 female Yolŋu artists pigments on Stringybark, (Eucalyptus sp.), 156 x who have worked at Buku, including five sensational 80 cm. national gallery of victoria, melbourne, sisters from the Yunupingu family: Nancy Gaymala, purchased, victorian foundation for living austr alian artists, 2020 © noŋgirrŋa mar awili Gulumbu, Barrupu, Nyapanyapa, and Eunice Djerrkngu. mar awili, courtesy of buku-larrŋgay mulk a Yolŋu painters work on both flattened bark and larrakitj centre, yirrk ala. (painted log sculptures, originally used as burial poles).

Larrakitj feature in another of the exhibition’s stand-out displays: a commanding group of logs by Malaluba Gumana, Nonggirrnga Marawili and Dhambit Mununggurr evenly spaced in a mirrored room. It’s a way of “letting every object stand out as a painting,” says Russell-Cook, stressing that, despite the organic, sculptural wave present in every bark artwork, “this is a painting show.”

Viewers are encouraged to stroll in this forest of larrakitj, which is an opportunity to observe these unique paintings as they were created–completely in the round.

— V ICTOR I A PER IN right Noŋgirrŋa Marawili, Baratjala, 2019, earth pigment and recycled print toner on Stringybark (Eucalyptus sp.), 90 x 115 cm. national gallery of victoria, melbourne. purchased, victorian foundation for living austr alian artists, 2020. © noŋgirrŋa mar awili mar awili, courtesy of buku-larrŋgay mulk a centre, yirrk ala.

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Albury SIMMER

Murray Art Museum Albury 26 November—13 February 2022

Literally and culturally, food is a sustenance of life. It’s a way to feel connected to culture and community, and to share these connections with others—and it’s this truism that’s propelling SIMMER, an exhibition about food, connection and the town in which it will take place: Albury.

Since the 1940s, the Albury/Wodonga region has been a designated resettlement area for people migrating to Australia, recently resettling people from the Democratic Republic of the Congo, the Philippines, Nepal and India. To reflect these migratory flows, SIMMER will not only include artworks, but cooking installations and recipe contributions from Albury residents and chefs. “I really wanted to include a local constituency to recognise the people who contribute to the culture of this regional city,” explains curator Nanette Orly. “SIMMER considers the role that food plays in staying connected to culture, and the potential of food to bring us together, Itsuo Kobayashi, Untitled, 2011, ink on paper, 25.7 break down barriers, and open us up to x 18.2 cm. courtesy of kushinoter asu, shizuok a new experiences.” prefecture, japan.

In tracing food through sharing, culture, history and materiality, SIMMER encompasses a variety of works. Of the two Australian artists in the show, Nabilah Nordin is creating three food sculptures, while EJ Son will be presenting new work cast from vegetables.

Internationally, New York artist Eva Aguila will be exhibiting family interviews on the importance of the tortilla, while UK artist Navi Kaur will create work relating to her grandparents who moved from India to the UK, this time focusing on her grandparent’s garden allotment in Birmingham. In addition, the Rice Brewing Sisters Club, a collective from South Korea, will explore the idea of ‘social fermentation’, and Itsuo Kobayashi, a Japanese artist and chef, will exhibit 100 illustrations of his meals, which he’s been creating for over three decades.

In crossing geographical divides alongside the local, a sense of unity emerges. “Food has this amazing universality, right?” says Orly. “If someone’s serving a meal, people already know what to do—no matter what culture you identify with or language you speak. It’s such a human thing.” —TI A R NEY MIEKUS

Brisbane Becoming Alluvium Thao Nguyen Phan

Institute of Modern Art 9 October—18 December

Bringing together animation, painting, self-made footage and found images, Thao Nguyen Phan’s Becoming Alluvium is a mesmerising mixture of narratives. The sinThao Nguyen Phan, Becoming Alluvium, 2019, gle-channel colour film focuses on the relationship besingle-channel colour video, 00:16:40. tween the Mekong River in East and Southeast Asia and the cultures that surround it—“the glory and the tragedy”, as the artist says. Across three non-chronological chapters, the Vietnamese artist weaves in references to literature and folklore to create an intertextual work that addresses the impact of human intervention on nature.

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“I realised that the official history of my country is very much manipulated, so I decided to search for a more personal narrative, especially via the medium of folk tales,” Phan says. “I changed the content of the tales to reflect the vain ambition of human nature.”

Phan’s artistic practice spans both film and lacquer painting, and the places where the two collide. “I am fascinated by the ability of the digital and the analogue to flow, to merge into each other, like sediment that is dissolved into the countless particles of a river,” she says. “It is through painting and drawing that I can compose a loose script.”

Becoming Alluvium is the latest in a series of works that aims to challenge the segregation of art forms, in what Phan hopes will be a body of work that brings disparate threads and practices together. “I wish to construe a realm of works that are interconnected and diverse in styles and materials, by means of which genres can coexist in a dreamlike, democratic utopia,” she says. “In such a realm, the grandiose and the humble, the brutal and the fragile, the documented and the fictional, the stable and the ephemeral, the fantastic and the practical, cohabit.”

—GISELLE AU-NHIEN NGU Y EN

Perth Coming Home Alex Martinis Roe

Perth Institute of Contemporary Arts 22 October—9 January 2022

The group known as the Jewish Adelaide Feminist Lesbians (or JAFL, for short) held its first meeting while Alex Martinis Roe, Coming Home (still), 2021. 4K a baby was being born in 1989. For the next 30 years video, Super 8 and archival material courtesy of their practice of Judaism has been entwined with their JAFL – the Jewish Adelaide Feminist Lesbians commitment to feminism as their families have grown including photographs, VHS video and reel-to-reel Helical Scan video tape transferred to digital. and merged. Alex Martinis Roe’s latest exhibition, image courtesy of the artist.

Coming Home, is devoted to the history of JAFL, and its own unique, complex, queer genealogy.

Martinis Roe will often spend months or years researching a group for an artwork. The artist searches for people who live in a communal way, in an intentionally political network. JAFL was a group the artist was intimate with (two of its members are her aunts), but when Martinis Roe conducted interviews with JAFL’s 10 members, she discovered a deep chronology of personal history that she then converted into an epic timeline of this chosen family.

The JAFL group biography highlights aspects of the genealogy of its members, marking births and deaths alongside a history of Jewish migration, worship and persecution, as ancestors suffered pogroms and the violence of the 20th century.

The final family tree spans 48 metres of wall space.

Martinis Roe uses the ‘family tree’ pattern to outline a history that goes beyond shared genetics. “I’m concerned with using stock-standard tropes to describe non-biological relationships, or non-biological relations,” the artist says.

After following the tree from roots to leaves, visitors can watch three videos explaining the group’s interpersonal dynamic, their feminist and queer activism, and their personal adaption of Jewish ritual practice. Viewers are invited to sit on floor cushions created and gifted by JAFL to the exhibition visitors; here you can sit cross-legged on the floor, listening intently to the wisdom of aunts. — V ICTOR I A PER IN

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Brisbane Early Earth (Abstractions of time) Helga Groves Milani Gallery 6 November—27 November

Drawn to extreme locations where geological change is rendered upon the landscape in violent and unpredictable ways, multidisciplinary artist Helga Groves translates the physical textures and undulations of topography into an abstract visual language of line and pattern.

Throughout her artistic practice Groves has remained a keen global traveller. Finland, Norway and Helga Groves, Lost Oceans #1, detail, 2021, Iceland have previously provided rich source material for hand-woven fishing line, 73 x 78 cm.

Groves’s creative output, and in 2019 she was awarded a grant to travel to Greenland. Despite the pandemic forcing Groves to remain in Australia, she researched the geology of Greenland via the University of Wollongong. The research she undertook forms the foundation of Early Earth (Abstractions of time), a new body of work that Groves says, “extends on my sustained exploration of geophysical processes, geological time and natural phenomena.”

Through painting, photography, animation and sculpture, Groves visually references patterns and textures mostly found within the Isua Greenstone Belt of southwestern Greenland. Considered to be one of the oldest surviving samples of the earth’s surface, Groves’s Early Earth imagery blends art with scientific research and is based on the physical remnants of oceans, meteorites and mineral deposits. For example, some gridded paintings reference layers of sediment built up over millennia, while others recall ancient waterways through woven patterns created with fishing wire. For Groves, this is her way “of making water geological,” as the “weft of the weavings are like the tracks of old rivers and oceans.”

Anchoring the exhibition is The edge of the Icecap, 2021, an animation comprising of 40 graphite drawings of Isua rock. In the absence of real-time travel, Groves created this video to “facilitate my own actions through past experiences of going on field trips. It has the background sound of wind moving through space on earth and gives a clue to the conditions of environmental elements of the earth and climate. It’s like a porthole to the entire body of work.” —BR ION Y DOW NES

Sydney Madeleine Pfull

Chalk Horse 23 November—18 December

Madeleine Pfull, Three Sisters, 2021, oil on linen, 237 x 152 cm. images courtesy of nino mier gallery and the artist. photogr aph: dawn blackman.

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To view the portraits of Madeleine Pfull is a peculiarly evocative experience for anyone with strong memories of the 1980s and early 1990s—the décor, the fashion, the colours, the stylised ambience. These inexplicably addictive paintings explore domesticity and typicality from these decades, and are made all the more remarkable by the fact Pfull was born in 1993. But she has a distinct reason as to why her works are ‘set’ in the past.

“I find it very difficult in contemporary portrait painting for the work not to be dated as quickly as it is produced,” she says. “I am not seeking to make fast comments about contemporary life, so it works well for me to predate these paintings.”

The paintings depict women in a range of settings; they appear a mixture of uncomfortable, despondent and nervous. And a unique compositional process is involved: Pfull herself assumes the persona of these characters, wearing costumes, make-up and performing gestures and expressions. She then bases her paintings on photographs of herself.

Pfull has explored this practice and subject matter for several years, yet there are variations between different series. Of her new works, Pfull says, “The one change is that the characters are slightly more self-aware and happy to be viewed. These new ones feel a bit more playful.”

That playfulness combines with a striking sense of melancholy that hints at the frustrations of suburbia, ageing and, importantly, gender roles. But the paintings also transcend these things, creating an idiosyncratic, beautiful effect all of their own. “The repetition of the characters allows for them to become more than just women of a certain age and a certain era,” says Pfull. “I hope it allows for more nuanced meanings to come through.” —BA R NA BY SMITH

Melbourne GOUT! A Mad Malady Eric Demetriou FUTURES Gallery Early 2022

The Ancient Greek satirist and writer, Lucian of Samosata, published hundreds of works during his lifetime from 125 AD to 180 AD. Among them is the tragi-comic verse Podágra—or in English, Gout. Only 334 Eric and Nikita Demetriou, Abra Podagra, 2021, lines long, it takes the literal meaning of gout as ‘foot trap’ digital Image, 1.959 x 2.759 ft. courtesy of the and depicts the comic horrors of the disease, cast upon artist and futures. the protagonist by the Goddess of Gout herself. It’s an allegory of power, pain, absurdity, morbid laughter and madness—and it’s the starting point of Eric Demetriou’s latest exhibition GOUT! A Mad Malady.

What do these verses mean to Demetriou? “I think it speaks about pain from a point of view of the tragedy of pain,” he says. “What I’m interested in is this idea of pain and the deliverance of pain.” For Demetriou, it’s not about the history or current understanding of gout. “As far as how I interpret madness and pain, there’s a sense of humour in Lucian that allows an arm’s length to look at pain,” he explains.

“For me, the madness comes into play in how one feels the pain. The pain that I’m trying to reflect is psychological, it’s the madness of a toothache or an itch that can’t be scratched.”

In both referencing and interpreting Lucian’s verses, Demetriou will present live action performance that will be documented by a sketch artist presented as iambic illustrations (the original verses are written in iambic pentameter), installation and composition.

In humour very much in line with Lucian’s—equal parts ambition, madness, absurdity and futility—Demetriou calls GOUT! “a musical” which is “very much open to interpretation.” As he says, “It can’t stop until it’s on Broadway. Every version from now until then, every stage of the process is from here to Broadway.”

—TI A R NEY MIEKUS

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Louise Tuckwell, Amplify, 2021, acrylic on board, 40 x 80 cm.

Sydney Cuboids Louise Tuckwell

Gallery 9 Online: 27 October—11 December Gallery: 27 October—6 November and 1 December—11 December

Having made extraordinary obelisk-shaped forms for her last exhibition, Louise Tuckwell—known for her hard-edge paintings—found herself exploring an exciting space: paintings you can walk around. It seemed natural, then, to continue. Her ne w project includes large person-height cuboids, painted dramatically on all visible surfaces.

Louise Tuckwell, Here, open your mouth, 2021, Tuckwell’s creating of well-known two-dimensional acrylic on panel, 50 x 50 cm. works featuring geometric configurations have always appeared, at first sight, to be pure, non-objective paintings. Further inspection, though, reveals subtle changes in perspective that lead the eye into an architectural realm. Her new show, with five of the large cuboids and about 20 wall works, extends that imaginative space: where the previous obelisks were somewhat carnivalesque with vertical stripes and bright fields of colour, this time Tuckwell upsets the equilibrium by inserting fluro-coloured strips. On her wall works, she uses line-work in pencil to bring another sort of disruption.

Tuckwell is intrigued with the possibilities of her work. “For me it is all about colour and shape,” she says. “I have a warm eye and orange is my favourite colour. I have to force myself to do blues and greens. But it is good to do that, and that is what I have done. Years ago, I used to try and deny my love of colour because it was too strong.”

Tuckwell also used to create well-received tapestries, but she prefers the direct results of painting. A sculptor friend manufactures the cubes and Tuckwell begins with a “semi-plan” but then works more intuitively as she progresses, choosing colours more fluidly. All those straight lines and references to Euclidean geometry and mathematics are certainly present, but their cool intellect is tempered by Tuckwell’s infectious feeling for colour. —A NDR EW STEPHENS 34

Jerzy Michalski, Sisyphus, 2021, oil on Belgian linen, 92 x 171 cm.

Hobart Facades Jerzy Michalski

Colville Gallery 23 November—13 December

The new paintings of Jerzy Michalski, as aesthetically absorbing, hypnotically detailed and rich with breathtaking colour tones as they are, are an exercise in social commentary. Threaded through these artworks is an incredulous and urgent critique of digital culture and social media—as reflected in the exhibition title, Facades.

“It’s not only about buildings,” says Michalski, whose paintings feature architecture and structures of various kinds. “It’s also about the facades of our life: what we are showing, and how we project to the world in this age of showing off through social media. I’m trying to paint this problem, because people are forgetting about reality: poverty, inequality, democracy, all this stuff happening now.”

Jerzy Michalski, The Facade, 2021, oil on Belgian linen, 122 x 97 cm.

Michalski’s unique style has been greatly influenced by regular trips to Japan. Enthralled by the country’s art, design and society, Michalski, who grew up in Poland and came to Australia in 1992, says his new works are a “visit to Japan by painting” as he has been unable to travel due to Covid-19.

“In Japan, art is about mixing reality with abstract thinking,” he says. “They have a special perspective. Colour in Japan is incredible. I like cities, and Japanese cities are absolutely stunning, especially Tokyo. All the architecture is a big influence on my work.”

When you consider that Michalski works out of a rural studio in bushland an hour from Hobart, this affection for cities might seem surprising–as might his engagement with social media and the maelstrom of life online. “This way you can have a distance, and reflect on it more,” he says of his removal from the world when he works. In essence, escaping from civilisation has allowed him special insight into it, as the works in Facades show. –BA R NA BY SMITH 35

How Are Our Galleries Faring?

With pandemic restrictions and the shift to digital, how are Australia’s commercial galleries handling the changes of the last 18 months? Mostly, it’s looking quite optimistic.

W R ITER

Kelly Gellatly

How have Australia’s commercial galleries—one of the backbones of Australia’s visual arts—really been faring, and how are they feeling about the future?

The ongoing impact of the pandemic on the arts has been long-felt in the commercial gallery sector, particularly those struck by long lockdowns in Sydney and Melbourne—yet despite the difficulties of restrictions and the felt lack of community, there have been many moments of flourishing. And many art galleries are feeling optimistic.

There is one important positive that many commercial galleries agree upon: sales have been good. This has been a particular tonic for galleries in Melbourne and Sydney, and gallerists have seen an increasing willingness and comfort on behalf of clients to purchase works online—even without seeing them.

As Melbourne director and gallerist Daine Singer has noticed, travel restrictions, although a setback for some artists, has actually helped the commercial industry: people are buying art instead of going on a European holiday. “It shows how much money is normally spent on things like travel, beauty and eating out,” says Sullivan+Strumpf director Ursula Sullivan, who agrees the restrictions have been a buoy for sales. “People are now spending that money elsewhere, and are spending locally.”

Shifting to online viewings and exhibitions has been key. “Sales outside of exhibitions have always been an important part of The Commercial’s model,” says Sydney director Amanda Rowell, “and this hasn’t changed because of Covid, but key to this is the fact that the gallery’s website was already built to enable this.”

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Irene Sutton, director of Sutton Gallery in Melbourne, equally credits the online sphere as being pivotal to the survival of commercial galleries, and sees online as a long-term transition, rather than a pivot. Yet despite successful sales, the approach to online exhibitions is mixed, with some galleries embracing online shows as a way to continue their exhibition program and commitment to artists, while others have placed their entire program on hold until things reopen.

For Sydney’s Sullivan+Strumpf, the shift to digital has enabled them to increase the number of exhibitions they deliver, showing their scheduled program, additional online-only exhibitions, and new focuses on individual artists. Yet for Rowell, the changes brought about by the pandemic have also vindicated her decision to condense the opening hours of the gallery, through the benefits of online presence: “Whatever the gallery convention is, it wasn’t how I wanted to work,” she says.

Looking after the welfare of the artists they represent has been a top priority, and acknowledging that the experience has been very different for everyone is important. The gulf we have witnessed in Australia’s growing socio-economic divide throughout the pandemic also affects artists, with some thriving, and many others struggling.

“I’ve actually been very dismayed at how unequal the support that my artists have received is,” says Singer. “Artists that were already doing pretty well financially have received the most support; the ones that are GST-registered with commercial leases got the same support as all other businesses…

Katherine Hattam, The Returning, 2021, mixed media on linen, 26 x 31 cm. image courtesy of the artist and daine singer, melbourne. photogr aph by clare r ae.

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Polly Borland, Morph 12, 2018. image courtesy of sulivan+strumpf.

“Whatever the gallery convention is, it wasn’t how I wanted to work.”

— A M A N DA ROW E LL 38

Mitch Cairns, Contrarian, 2018, oil on linen, framed, 85 x 74.5 x 5 cm. photogr aph: alex kiers/the commercial. image courtesy of the commercial.

And then those artists that aren’t GST-registered have just fallen through the system. It’s also been a very different pandemic depending on if you have kids at home or not, and if you have a job, if you’ve held your job, or if you’ve had to work throughout it.”

The stalled momentum of careers has been challenging, along with the heartbreak of cancelled museum shows, or of having made and installed exhibitions only to have them close. The practicalities of making have also been difficult—framing has been a nightmare to get done, kilns are closed, and it has been hard to get art materials. Many artists, of course, have been unable to access their studio spaces. Yet despite this, artists have also continued to deliver major international commissions and projects overseas, adapting to working remotely because they must—and achieving tremendous results.

Yet there are signs of future hope; restrictions have eased, galleries are reopening, and digital sales will likely still remain central. While the physical version of Sydney Contemporary has been pushed to 2022, the art fair will be going ahead with an online iteration from 11—21 November featuring more than 85 galleries, and many Sydney galleries will be hosting their own physical, satellite version of the fair.

Meanwhile Melbourne Art Fair is preparing for its February 2022 fair, with tickets already on sale.

This news is motivating, but it also clarifies what has been lost over the last two years.

The lack of community is felt by all—whether it’s the thwarted hope of being able to come together at Melbourne’s Spring1883, a year without any of our major art fairs taking place in real life, the inability to take a simple look into a gallery, or being unable to collectively mourn the loss of passing friends and colleagues.

For similar reasons, openings are also missed for their ability to bring together a critical mass of people who are all interested in the same thing. The brief windows of freedom experienced by Melbourne and Sydney have seen exhibition openings charged with the excitement and energy of people really wanting to be there.

“Openings are research in this industry,” says Sutton, “something new comes from it, something’s born from it. No one’s bitching about the politics of lockdown and vaccination, they just want the world to return to the way it was, while knowing that it never will be the same.”

Sydney Contemporary Online 11 November—21 November

www.sydneycontemporary.com.au

Melbourne Art Fair

Melbourne Convention and Exhibition Centre 17 February—20 February 2022 39

Fabric of Time With textiles as her medium, Hannah Gartside engages with the histories, textures and movements of material.

W R ITER

Briony Downes

Hannah Gartside uses fabric as a vehicle to transport us to another place and time. Closely engaging with the smell, texture, sound and movement of a particular material, Gartside imagines those who have come into contact with it, the places it has been, its function, and how it has been cared for. Often working with vintage clothing, deadstock fabrics and found materials, through sculpture and installation the Melbourne artist brings memory and history into the physical realm, reinventing fabric by giving it a new life far beyond its original purpose.

Following a childhood filled with sewing projects and doll making, Gartside began her professional career working as a costumier with the Queensland Ballet. It was a pivotal experience that deeply informs her current practice. “I spent a lot of time watching from the stage wings looking at how different materials would move and interact with a dancer,” Gartside says. “It helped me really understand how fabric can communicate.” After four years with the Queensland Ballet, Gartside made the move to Melbourne to study sculpture at the Victorian College of the Arts (VCA). “In costuming, you are telling the director or choreographer’s story and that comes together as a beautiful thing. But in art, I have control over the story and what I am realising.”

In her second year at the VCA, fabric began making its way into Gartside’s sculpture. After being gifted a 1970s nightie, Gartside cut into the garment and started experimenting with its form as a sculptural object. “I’m really interested in the potential of fabric,” she explains. “With old, synthetic sleepwear, the fabric tends to hold its shape, it stretches and doesn’t fray.

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I’m always looking at the physicality of a material and the way it works with gravity.” It is an intimately tactile relationship, and Gartside often refers to sensory experiences when she speaks about the varied textures of her materials. Touching velvet is “like dipping your hand in melted chocolate”, and the small, balled up knot of a beloved pet’s fur is not detritus but a “suburban pearl.”

Recently curated into Primavera 2021: Young Australian Artists, Gartside has started experimenting with kinetic sculpture by attaching fabric onto moving armatures. Activating swathes and strips of fabric into large sculptures that spin and twirl, each of Gartside’s five works in Primavera are modelled after a powerful woman in history. Theatre maven Sarah Bernhardt, illustrator Pamela (Pixie) Colman Smith, dancer Loïe Fuller, painter Artemisia Gentileschi and biblical figure Lilith are each referenced in Gartside’s formidable lineup.

Represented through carefully chosen materials sourced from varied historical periods, each spinning sculpture unashamedly claims its physicality through form, movement and shadow. “I want to treat the fabric as though it has its own agency,” she says. “It’s the same way you would respect a person, you give the materials their own reverence and let them take up space.” right Hannah Gartside, The Sleepover, detail, 2017-19, found nighties and slips, found synthetic fabric and cotton ribbon, millinery wire, thread, wood, 540 x 280 x 210 cm. made with assistance; m holgar, l meuwissen, m ward, k woodcroft), installed as part of fantasies at ar ar at gallery tama. photogr aph: louis lim. courtesy the artist and ar ar at gallery tama.

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Hannah Gartside, Lilith, 2021, found silk moiré dress c. 1930, fusing, thread, stainless steel, aluminium, electromechanical components, microcontroller, 280 x 170 x 170 cm (irreg.). metal fabrication, mechanical design and fabrication: laundromat mfg. progr amming: dan parkinson.

“It’s the same way you would respect a person, you give the materials their own reverence and let them take up space.”

— H A N N A H G A R T SI DE 42

Hannah Gartside, New Terrain, 2016, found petticoat lace trim and garter-belt clips, tulle fabric, thread, 300 x 161 x 264 cm, installation at The Johnston Collection House Museum, Home Made Good, Victoria, 2018-19. photogr aph: louis lim.

To represent Bernhardt, Gartside combined 100-year-old silk tassels from a Liberty of London shawl with 1920s beading, and shaped the materials into a curvaceous, black form to reference Bernhardt’s successful career in theatre. For Artemisia Gentileschi, Gartside took inspiration from the Italian artist’s painting, Judith Slaying Holofernes, 1612-13. “The sculpture is formed from over 100 metres of bias-cut red velvet strips, sewn into tubes and filled out with thick cord. They become these gorgeous dense strands that evoke the way blood spurts out of Holofernes’s neck. There’s a real righteousness to the painting.” The piece representing British artist Pamela Colman Smith, the original illustrator of the Waite-Smith tarot card deck, has an additional element—a mechanised wire hand clad in a green satin glove that slowly traces a curved line back and forth across the floor, a sensual yet insidiously unyielding sequence of movements.

By making fabric an independently moveable force, Gartside also challenges the role clothing is said to play in acts of physical and sexual violence against women. In Gartside’s Primavera works, fabric takes its power back. “I was thinking of that question ‘What was she wearing?’, and how it is used as a way of victim blaming and excusing sexually predatory behaviour. In these sculptures, the clothes are sick

of being framed as complicit and fight back.” As they spin, Gartside’s fabric forms draw the viewer in with their beguiling rhythmic movements. Reminiscent of Hans Christian Andersen’s fairy tale about the cursed red shoes that never let their wearer stop dancing, over time the constant spinning of the sculptures becomes vertiginous and increasingly uncomfortable to view.

Influenced by the work of Claire Lambe, Jemima Wyman, Sarah Lucas and Ghanaian sculptor El Anatsui, Gartside hopes to continue pushing the potential of fabric further. “I really want to keep working with moving fabric and experimenting with different ways of cutting materials,” she says. Leaning into the idea that wearing another’s clothes is the closest one can get to being inside their skin, Gartside reads the histories of materials from both a personal and universal point of view. “Using pre-worn clothing, you are dealing with the absent body—you are either speaking to the body or using clothing as a stand in for the body. The way we use garments to signify particular things is really important to me.”

Primavera 2021: Five Australian Artists

Museum of Contemporary Art Australia (140 George Street, The Rocks, Sydney NSW) 26 November—Early 2022

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The Superhero’s Cape Going from a young Batman to mentoring children in cape-making workshops, Dennis Golding’s art is about Indigenous empowerment.

W R ITER

Andrew Stephens

As a five-year-old living in the inner-Sydney suburb of Redfern, Dennis Golding was given a Batman costume. At home after school, he’d dash proudly into the street, thrilled to show off as a superhero in a majestic cape. Years later, though, he found himself yearning for invisibility: police attention on the Indigenous community in Redfern (known as The Block) was intense.

“There was a common shared experience among the kids growing up on The Block that we wanted, in some ways, to be invisible and hide even though we didn’t do anything wrong. But that constant monitoring and surveillance made you think you were doing something wrong.”

Golding, a Kamilaroi/Gamilaraay man, has since emerged as an artist and curator, and one of his bestknown images shows him from behind, adorned in a shimmering silver cape. From his video Empowering Identity, 2018, the cape is emblazoned with a circular motif; it billows as he stands looking out between the heads of Sydney Harbour.

Exploring empowerment—for himself and others—is at the heart of much of his solo and collaborative work, which has even extended to making Indigenous-themed NRL jerseys. Some of his latest ventures include a community-based exhibition at Carriageworks, being a finalist in the 2021 NATSIAA (Telstra National Aboriginal and Torres Strait Islander Art Awards), and continuing investigations into decolonising Victorian-era objects. He’s also been announced as an exhibiting artist in the 2022 Adelaide Biennial of Australian Art. The Carriageworks show comes from Golding being appointed the Solid Ground artist-in-residence at the Alexandria Park Community School, where there are many Indigenous students from kindergarten through to year 12. Golding mentored these students in cape-making workshops, and dozens of the created capes have been installed as a “whole-school portrait” for The Future is Here at Carriageworks.

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Made with brilliantly coloured satin, the capes include acrylic-painted motifs that refer to each student’s imagined superpower.

“The idea was for them to interpret their own history—themselves, friends, family members, even pets—as their own superheroes,” Golding says. “It was fun. There was a common theme in how the kids started to interpret icons using references to Country. That was really beautiful because they connected to Country through a motif that could be an animal or a plant or a language. In many of these stories produced from the kids [there] was an animal, a totem.”

The show speaks to many of Golding’s investigations expressed through his solo shows, collaborations and curatorial work. A UNSW Art & Design graduate, he is especially interested in the urban Aboriginal experience and how it relates to family heritage and Country. Growing up in Redfern, he and his immediate family moved between the houses of various Aunties and Uncles—most of whom have since been evicted amid the effects of gentrification and redevelopment. Golding has thus worked with a particularly symbolic item from those houses he occupied: the iron lacework featured on Victorian terrace houses.

His recent 2020 Artspace show Cast In, Cast Out re-imagined panels of lacework as traditional shields.

The panels, cast in epoxy resin, “de-colonise the originals” so that Golding is in control of them rather than the lacework occupying the original function as fence, gate, boundary-marker, or a symbol of colonial power and occupation. At his current show Make Yourself at Home, at Sydney’s Cement Fondu, he will explore (with his Re-Right Collective collaborator Carmen Glynn-Braun) how their families were removed to the city from Country.

This theme is also evident in Golding’s 2021 NATSIAA finalist work, Back Home From Home, an

Dennis dressed as a superhero on his birthday, Redfern, 1993. photogr aph: vicki golding.

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Dennis Golding, Beyond The Coastal Watch, 2019, digital image.

“The idea was for them to interpret their own history—themselves, friends, family members, even pets—as their own superheroes.”

— DEN N IS G OLDI NG 46

Dennis Golding, Cast in cast out, 2020, installation view, Artspace Sydney. photogr aph: document.

installation which shows Golding holding one of the lacework panels while standing on his family’s Kamilaroi Country in northwest New South Wales, between Moree and Collarenebri. His grandfather has moved back to the area after spending 45 years in Redfern: Golding took the lacework panel to him and then did the photoshoot. “It is a nod to his story, to how he has contributed to our experience of growing up in Sydney and being connected to Country as well,” Golding says. “There are fragments of memories through that cast-iron object.” Likewise, Golding recalls his grandmother re-painting her small two-bedroom Redfern terrace house to “make it her own”: the lacework became blue, the brick walls peach.

“These cast-iron objects were an architectural design embedded in the housing, but something we touched and saw every day.”

On the curatorial front, Golding enjoys the opportunity to enhance the stories of First Nations people and empower representations of Indigenous cultural identity. His first engagement was curatorial work at Adelaide’s Tarnanthi Festival in 2017, and this year he helped redesign the Indigenous material collection at the Bank Art Museum Moree. “As a curator, you are the holder and carer of knowledge,” he says.

“Rather than just hanging work up, it is about forging a relationship with the artist, and how they represent a whole community. At Moree, it was a great opportu-

nity to expand my curatorial practice and write about the objects, and be aware of cultural sensitivities and sacredness and cultural protocols around display, and honouring them.”

The Future is Here Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School Carriageworks (245 Wilson Street, Eveleigh NSW) 3—28 November

Make Yourself At Home Re-Right Collective (Dennis Golding and Carmen Glynn-Braun) Cement Fondu (36 Gosbell Street, Paddington NSW) 23 October—5 December

Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) Museum and Art Gallery of the Northern Territory (19 Conacher Street, The Gardens NT) Until February 2022

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Marco Fusinato, Spectral Arrows, Perth, 2019, Perth Institute of Contemporary Art. courtesy of marco fusinato & anna schwartz gallery.

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Interview

W R ITER

Marco Fusinato

Tiarney Miekus

Noise and silence, underground and institution, maximalism and minimalism. For over three decades Melbourne artist Marco Fusinato has held these tensions across his noise guitar performances, installations, appropriated musical scores, and drawings. Interrogating moments of extremity, whether political or musical, Fusinato will soon represent Australia in the 2022 Venice Biennale. He talks about punk, noise and music, and moments of extremity.

TI A R NEY MIEKUS

What music did you listen to growing up?

M A RCO FUSINATO

The first music I became interested in was the first wave of punk. At the time when I was growing up a lot of guys around me were listening to AC/DC, Led Zeppelin, Deep Purple, all that kind of stuff, which I could never connect with. As a wog growing up in the suburbs, it was like the skips that listened to that music, they’d hang out at the milk bar and pick on us.

I really didn’t like what those bands represented and still don’t. When punk came along, I was completely into it. I found the satirical content of the lyrics, the raw sound, and, most importantly, the things spoken about in interviews really important. For example, I was into The Clash and in their interviews they didn’t speak about fast cars and girls, they spoke about social change, Marxism, terrorism—and that led down the path of wanting to find out more. It wasn’t just the music, it was the whole philosophical bent behind it. I was interested in a particular moment with The Clash, their first two records. After that I really got into Crass, the English anarchist band.

Their whole ethos, the lyrics and what they sang about, the packaging and design, and the rawness of the music: it was exciting.

TM

Did you dress like a punk?

MF

I remember I came home with ripped jeans, the whole look, and the next day the jeans were perfectly patched up by my mother—classic Italian family, right.

And she said to me, “You’re not walking around in ripped jeans because you don’t know what poverty is and you’re embarrassing yourself.” My parents came from a lineage of Contadini which is a form of pre-in-

dustrial agricultural farming; like peasants, really poor, and they suffered through the Second World War and migrated to Australia. They’d experienced extreme poverty. Mind you, I’m growing up and living in a lower socioeconomic working class suburb, everyone’s parents that I knew were migrants working in factories—so it’s like the perfect context to be punk, but my mother turns around to me and says, “You’re not going out dressed like that because you don’t know what poverty is.” And I kind of got it.

I also never embraced the look because it was pretty rough where I grew up and if you stood out you were going to get beaten up. It was too much of a risk, so it became more a philosophy rather than a lifestyle.

TM

That’s a good early lesson in how the image of radicalism or punk doesn’t always match up with the politics of that thought.

MF

It’s so true. A lot of the thinkers I admire look like accountants, and yet their minds are radical. It was a really good lesson that you don’t have to have that outward show to forge your identity. You can do it in other ways.

TM

I know you never learnt guitar in a traditional way and don’t have musical training, but have you ever tried to learn, or is it more a case of purposefully not learning?

MF

I’ve had moments when I’ve tried. I remember going into music shops and there were books on how to play in the style ‘so-and-so famous guitarist’. And I realised that no matter how much I would try, I could never do it. I didn’t have the ear, I didn’t have the patience,

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I didn’t have the technical ability. It made me realise though that there’s no section in the shop that says how not to play the style of so-and-so: how not to play like Jimi Hendrix. You have to understand and embrace your limitations and develop your own language in a way that works for you. So, the approach to guitar was always a conceptual approach as opposed to a technical one.

And going back to that early punk stuff; I’m a collector of records and from early on I was into collecting bootleg recordings. The bootleg tapes were especially interesting because they were copies of copies of copies of copies. They sounded more like noise records due to the degradation of the tape and the consequent hissing.

TM

You make noise as music, but I find many people still hold a noise/music divide. Do you find that too?

MF

My take is that I’m using musical instruments, I may use them unconventionally, but I’m using musical instruments and whatever comes out from them I consider to be music. It’s as simple as that. If I was using non-musical instruments, let’s say a garbage can and rocks, maybe I’d think about it differently, but I’m not. I’m using a guitar and an amplifier. I’m using those instruments on purpose as signifiers. The guitar has a very specific role in culture, it’s capitalism’s entertainment tool and sells all types of commodities. So that’s certainly one of the reasons why I enjoy using it: to defy expectations and make something confounding with it and take it elsewhere.

TM

As much as there’s a trope of the rock star and his guitar, I think there’s also a trope of the noise guitarist and his guitar. Is that something you think about?

MF

It’s about doing what you’re comfortable with and being genuinely ‘into it’, but I’m aware of the baggage that goes with it. My approach is that my moment on earth is between the mid-1960s through to, say, 2040 maybe. I will be defined by this thing called ‘contemporary art’ and ‘experimental/noise music’. So if I take a macro view of my lifetime, the question is; what’s the predominant instrument of the culture I’m surrounded by? The electric guitar is one, if not the, most popular instrument of that time. Like, looking back at the Renaissance, it was defined by the lute. Or looking back at the late 19th century with the piano. Going back through art history you can see why artists were using certain materials at a certain time, because it was the technology of the day. I’ve used the guitar and been interested in its status for a long time, and I’m thinking of it ‘macro-ly’—there’s a word I’ve invented.

TM

With your guitar performances, you’ve talked about them as “sculpting in the air with noise”.

Can you unpack that?

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MF

Moving air equals vibrations. And when you’re using a powerful amplification, then you feel it. I’m interested in feeling it as much as hearing it. It’s a bodily experience. When I’m performing, I’m right next to the amplification, so I really feel it. The air is moving, my pants and shirt are flapping. Certain frequencies accentuate that, so I use that to affect. At times, cutting to silence creates a massive dynamic shift and everything disappears. When I’m talking about sculpting air it’s about trying to mould and shape the experience.

TM

In your work Constellations there’s a baseball bat chained to the gallery wall and viewers hit the bat against the wall, emitting a huge sound from hidden microphones. What made you give the act of performance to the viewer?

MF

I’ve done that a few times. There’s also a series called Aetheric Plexus which takes the infrastructure from staging—the lighting, the rigging, and so on—and I make it into a large sculpture that unleashes a barrage of white noise and white light onto the audience.

The audience triggers the assault through a hidden sensor, and in turn they become the performer and it’s their reaction that’s the feature of the work.

Constellations came out of seeing violence on television, on screens and how it’s so mediated. The baseball bat and the chain are synonymous with on-screen violence. It’s an action most people don’t experience or hear in real life. I wanted to bring that into the gallery, to see how people would interact with it as a study of behaviour. The purpose-built wall is free standing and it diagonally bisects the space. One side of the white wall is blank, minimal; the other side has the chain and bat coming out. What the audience doesn’t realise is that there’s a hidden PA system inside the wall that amplifies their action at 120 dB. Over time one side of the wall is covered in thousands and thousands of dents, or ‘constellations’. My idea of activating the audience is to remind them that they’re alive.

TM

Can we talk about the Mass Black Implosion drawings. I’m curious how they came about because it seems inspired to rethink both classical and experimental musical scores by drawing lines from all of the notes to one single point and sound.

MF

I was thinking about composers of contemporary composition, and their pursuit of trying to push the language of what music can be. A lot of these composers invent their own methodology for notation, like graphic scores for example. The first composer’s scores I started with, and was the catalyst for the series, was one by Iannis Xenakis, who wrote in sound masses. The title came from an amalgam of Xenakis’s Masses and Masayuki Takayanagi’s Mass Projections, compressed by death/black metal syntax.

Marco Fusinato, Mass Black Implosion (Katarakt, Anestis Logothetis), 2008, ink on archival facsimile of score, 69 x 104 cm. courtesy of marco fusinato & anna schwartz gallery.

Marco Fusinato, Mass Black Implosion (Symphonie Monoton-Silence, Yves Klein), 2009, ink on archival facsimile of score, 62.5 × 48.5 cm. courtesy of marco fusinato & anna schwartz gallery.

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Marco Fusinato, Con­s tel­l a­t ions, 2018, base­b all bat, chain, pur­p ose-built wall with inter­n al PA at 120 dB. instal­l a­t ion view, bien­n ale of sydney. photogr aph: zan wimberley. courtesy of marco fusinato & anna schwartz gallery.

Marco Fusinato, Con­s tel­l a­t ions, 2018, base­b all bat, chain, pur­p ose-built wall with inter­n al PA at 120 dB. instal­l a­t ion view, bien­n ale of sydney. photogr aph: zan wimberley. courtesy of marco fusinato & anna schwartz gallery.

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“My idea of activating the audience is to remind them that they’re alive.”

— M A RC O F USI N AT O

The idea with the series was to take scores and reduce them to pure noise. I’d select the score and then have it reproduced at one-to-one scale. I’d then choose a point arbitrarily on the score and rule a line from every original note back to that point, as a proposition for a new composition in which every note was played at once, as a moment of singular impact. It’s an ongoing series and I do them in bursts when time permits because it’s quite a big process that involves many people.

TM

You said about Mass Black Implosion that “there’s an allure and beauty with the object, but what it proposes is menacing”. That dichotomy in your work makes sense to me.

MF

It’s central to what I do. Everything is based around this idea of looking at the tensions around opposing forces: order and disorder, the institution versus the underground, noise versus silence, purity versus contamination.

TM

Many artists talk about working within such binaries or trying to unpack them. But I like how you keep things in tension, like maximalism and minimalism, or noise and silence. You acknowledge that binaries exist instead of flaking them off as arbitrary.

MF

Exactly. That’s the friction I want to work with and maintain. I don’t want to get rid of one or the other, they coexist. I feel like that’s the closest thing to life too, that you have to exist with that and learn how to deal with it. All those forces are always rubbing up against each other and how we deal with it is the interesting thing.

TM

In interrogating acts of radicalism or moments of extremity—whether it’s the single point in Mass Black Implosion, or the images of 21st-century protestors in The Infinitives series—you get to an absolutely precise moment of radicalism or potential. What do you find compelling about that moment?

MF

It goes back to that friction. It’s like barricades, there’s something on one side, and something on the other, and I’m interested in that bit in the middle. Like the divide between the stage and the audience, that’s a really fascinating area to occupy and to see both sides. Or the tension between the underground and the institution…bringing one into the other and working with the contradictions and conflicts that arise. I like how one shouldn’t belong with the other.

But what happens if you play with that? I feel it’s to do with some kind of power relationship and it’s those agitations that I’m interested in. It’s like, I’ll go to Noble Park to do the shopping for my mother during the day, and then that evening I’ve got a dinner with super rich people. It’s like class war but it’s still me occupying those opposites.

EXPERIMENTAL HELL (ATMOSPHÆRAM) Marco Fusinato

Anna Schwartz Gallery 6 November—18 December

Venice Biennale 2022

Venice, Italy 23 April—27 November 2022

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Technicolour Joy The vividly colourful flower and landscape paintings of Gwenneth Blitner not only convey connection to Country, but the joy of painting itself.

W R ITER

Timmah Ball

The searing colour palette in Gwenneth Blitner’s landscape paintings capture her Country in technicolour joy. Born and living in Ngukurr, a remote Aboriginal community on the banks of Roper River in southern Arnhem Land—formerly known as Roper River Mission—the 62-year-old paints from a place of happiness because, as she says, it “feels right”.

Such an impulse is wildly evident in the images she creates, where the delicate grouping of flowers—a reoccurring motif in her work—bursts with blissful energy. Blitner thinks about Country while painting, replicating her Marra, Nunggubuyu environment with a dazzling beauty that reveals multiple layers of landscape; red deserts, rocky escarpments, gorges, rivers and waterfalls. Yet Blitner also breaks through the standardised conception of Arnhem Land, bringing wildflowers and billabongs to the forefront. In paintings that overflow with colour, Blitner offers new ways of thinking about remote desert areas. Her memories of Country are full of bush flowers reminding her, as she tells me, “how important land is”.

Despite Blitner’s distinguishing energy and unique form, little has been written about her art.

Stylistically her paintings reflect a growing body of Aboriginal art that defies categorisation like ‘remote’ or ‘traditional’ against ‘new’ and ‘contemporary’.

One recent example of this is Yolŋu artist Dhambit Munuŋgurr’s Bees at Gäṉ gän, which won the 2021 Telstra Bark Painting Award. The judges described the predominantly blue bark painting as a blurring of distinctions between traditional and contemporary

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Aboriginal art—and the same could be said for Blitner.

Blitner’s art complicates the idea that all Aboriginal art from remote areas is ‘traditional’ or even ‘authentic’—an idea rampant in the colonial history of curation. These restrictive frameworks often separate contemporary urban Black art from traditional regions, which in turn limits our ability to understand the connections between all practicing First Nations artists across the continent.

In this way, Blitner’s art is contemporary in its aesthetic form, messages and experimentation, while also grounded in the remote geography she inhabits. Her work has evolved over time, beginning with abstract and less figurative painting. “I didn’t study art but learnt from Aunties just by watching,” she says, which is demonstrated in her boundless free forms which feel instinctual. Both her father and grandfather were also influential in teaching her many foundational techniques, but she quickly developed her own style. “My paintings got better and better over time.”

Such a development is evident in the confident collection she has produced, ranging from understated reduction lino prints of animals such as Jambarrina (bush turkey) to the lavishly intricate canvases such as Marra Country and Ngukurr Cemetery.

These later pieces, featured in Tarnathi 2021, are where diverse floral ecologies and billabongs burst in vivid colours and patterned details.

When writing about Aboriginal art for the recent

Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958, Ngukurr Cemetery N#3, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 100 x 100 cm. © gwenneth blitner/ngukurr arts aboriginal corpor ation. photogr aph: saul steed.

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Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958, Ngukurr Cemetery N#2, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 100 x 100 cm. © gwenneth blitner/ngukurr arts aboriginal corpor ation. photogr aph: saul steed.

“If I couldn’t paint, I would get bored.

It makes me happy.”

— GW EN N E T H BLI T N E R 56

Gwenneth Blitner, Marra/Nunggubuyu people, Northern Territory, born Ngukurr, Northern Territory 1958, Limmen, 2021, Ngukurr, Northern Territory, synthetic polymer paint on linen, 116 x 140 cm. © gwenneth blitner/ngukurr arts aboriginal corpor ation. photogr aph: saul steed.

National Gallery of Victoria Australia exhibition TIWI, which showed a collection of work from Tiwi artists, curator Tristen Harwood illuminates that “the wonderful artworks in TIWI are unable to be contained; they come into perpetual being, exceeding the very impetus of framing—a resounding, runaway glimmer that can be discerned, but not defined.” Blitner’s work is also impossible to contain. Its evocative imagery, particularly evident in her bush flower landscapes, elicits wide ranging emotions and impulses that speak to her love of Country, as well as wider feelings of excitement and passion. These same paintings also refuse colonial framing by arts institutions because they speak to pleasure, happiness and a rejection of the overused imagery of Country. They are not what white institutions or audiences may expect, as traditional landscape motifs are absent in much of her work.

On this level Blitner’s art shares commonalities with contemporary urban Black artists. Both successfully evade and critique historical assumptions about past and present art, or ‘new versus old’ within Aboriginal culture. Her art also goes beyond a merely anthropological gaze of Aboriginal art. This is most obvious in the way Blitner describes her practice, community and lifestyle—an overlapping where

multiple interests intersect. As she explains, “I love to go fishing and hunting and paint the landscape that I love.” While Blitner’s cultural lineage may not have been severed in ways some urban Black communities experience, her painting is about herself and her own desires: “If I couldn’t paint, I would get bored. It makes me happy.”

The exceeding happiness derived from painting, and Blitner’s drive to keep pushing her practice, broadens the view of remote or traditional Aboriginal art. When I asked Blitner what it felt like to have her work exhibited and celebrated in major cities and festivals throughout the nation, she answered that “it is important to tell stories about her Country.” This legacy is powerful but so is her contemporaneous style—where colours and floral patterns explode in unexpected ways. These paintings of joy, of “feeling right”, highlights to audiences that colonialism has not broken Aboriginal peoples’ ability to define sovereignty on our own terms.

Tarnanthi 2021

Art Gallery of South Australia (North Terrace, Adelaide SA) 15 October—30 January 2022

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Mystery Road In art, a sense of mystery can capture a viewer’s imagination, creating a reprieve from our current reality. But as market forces risk turning identity into commodity, who is granted the privilege of artistic mystique?

W R ITER

Neha Kale

Writers like to pin things down. Understand what a work is saying or doing. But one Friday in June, I stood in front of Hilma af Klint’s No.7 Adulthood, a 1907 painting, part of a series called The Ten Largest. A swathe of lilac deepens the longer you look at it.

Shapes bubble and bloom, morphing into each other.

Trying to capture the experience in words is like trying to stop alchemy in motion or attempting to grab a fistful of air.

Af Klint, we know by now, was a Swedish mystic overlooked by the art world. She made this painting, a commission from her spirit guide, over the course of four days by laying her canvas flat on the floor of her Stockholm studio. Today, standing in front of No.7 Adulthood, these biographical particulars feel irrelevant; the artist’s life makes a great backstory, but it doesn’t solve the mystery of the work itself.

Af Klint, of course, isn’t the only artist whose work is animated by a sense of enigma. Our moment is characterised by cognitive overload, a crisis of too much data and too little meaning. There’s a part of us that craves more knowledge, more information.

The pressure to narrate our lives on social media, for instance, has stoked our appetite for personal narratives.

Yet this relentless stimulation of modern living has also sparked a desire not to know more but to know less. We seek refuge in experiences that bring us wonder; encounters that exist outside the news-cycle, that can’t be quantified by an algorithm.

As a result, we’ve become enamoured with art that can’t be explained away by an artist’s backstory. Art that we celebrate for its ability to transcend—rather than reflect—lived experience.

But I’m struck by the way that only certain artists enjoy the freedom that’s a consequence of this aesthetics of mystique.

Consider Donald Judd, whose gleaming, boxlike ‘objects’ were intended to reject any external reference. Or Agnes Martin, whose sublime, gridded

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paintings, awash in pale blue and dusk yellow, offer an optical riddle, a bit like trying to grasp a horizon. “I’m not a woman, I’m a doorknob, leading a quiet existence,” she once told an interviewer. Then there’s Mike Parr, whose 2019 performance Towards an Amazonian Black Square was an homage to Kazimir Malevich’s Black Square. This latter 1915 work, painted during a moment of historical chaos, famously evokes a void. It’s a gesture that rejects reality. Art, like this, is an antidote to an age of overshare. The greater its sense of enigma, the more power it has.

But if we’re drawn to art that’s mysterious—artists that present a route out of our current predicament—we’re also shaped by the opposite instinct. As movements such as Black Lives Matter expose racist legacies and the pandemic accelerates inequalities that disproportionately affect the vulnerable, people have turned to art for answers. We ask artists for truths that may run counter to powerful interests, too inconvenient to exist elsewhere.

This year’s edition of The National in Sydney rightfully highlighted artists that grapple with traumatic histories, including colonisation, immigration and indentured labour. At The Ian Potter Centre: NGV Australia, We Change the World presented art that doubled as tools of social change from the likes of Lisa Reihana, David McDiarmid and Clinton Naina. Internationally, Deitch Projects in Los Angeles launched Shattered Glass, exclusively championing work by 40 artists of colour, and London played host to Every Woman Biennial, a freewheeling alternative to the all-woman show, one that embraces gendered expression of every kind.

Art has always been bound up with questions of social justice. Who gets to make work? Whose art is considered legitimate? Galleries, from artist-run spaces to major institutions, are increasingly presenting exhibitions that demystify forces like racism, sexism and privilege.

In a time of seismic change, it feels urgent to

Emanate. Illustration by Emily Johnson.

reveal the world rather than conceal it. It’s important to illuminate artists who, for too long, have been erased, appropriated, and underrepresented. But as the market demands more work by the historically marginalised, it can also demand the stories behind the art, which means more biography— and more trauma.

For artists outside the canon—those who, generally speaking, are not white, male and neurotypical—being visible, and being curated into exhibitions, usually means being legible.

In a late capitalist world, identity can become commodity. Biography is repackaged as marketing.

Under these conditions, art by marginalised artists is too easily framed as an extension of an artist’s backstory rather than a source of mystery; an aesthetic achievement that transcends its makers’ life.

This is a common sentiment felt by many artists.

“When I reflect on my career, it’s hard not to notice the ways interest and institutional support have increased as I’ve shared more of my traumatic experiences,” writes Vivek Shraya, a trans artist of colour, in a 2019 essay for Toronto’s Now magazine.

“It is wrenching to know that the occasion for the renewed interest in your work is the murders of black

people and the subsequent ‘listening and learning’ of white people,” writes Ghanaian-American author Yaa Gyasi, in a 2021 The Guardian article. She goes on to lament the indignity of a world that reduces art by a woman of colour into a teachable moment. She adds: “What pleasure, what deepening, could there be in ‘reading’ like that?” Édouard Glissant believed that mystery in art was a profound source of power, but the late Martinican poet and critic also understood how the colonial insistence on knowing and possessing could objectify marginalised artists. In his 1990 book, Poetics of Relation, he argues that people, regardless of their difference, should have the “right to opacity”.

For Glissant, there was value in being untranslatable, mysterious, even misunderstood. “The opaque is not the obscure, though it is possible for it to be so and be accepted as such,” he writes.

“It is that which cannot be reduced . . . ” Mystique can feel like a privilege reserved for those who don’t need to explain themselves. How do we work within extractive systems? How can an artist hold both their identity and their mystery? Could refusing to be reduced by these questions, like Agnes Martin, be a form of freedom, too?

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Notes From a Cataclysmic Atmosphere After experiencing months of life in lockdown, the famous still life paintings of Henri Matisse take on an atmosphere that’s equally charged, cataclysmic, and very still.

W R ITER

Leah Jing McIntosh

If crisis permits, Henri Matisse’s Intérieur, bocal de poissons rouges, 1914, will hang in the Art Gallery of New South Wales. Over a century ago, on 24 January 1915, this painting of a goldfish bowl in a darkening studio appeared in New York newspaper The Sun under the title ‘What Is Happening In The World of Art’.

The writer, who is not afforded a byline, notes, “Matisse is the greatest name in art to-day. There is no one in France who is talked about with the same earnestness, no one who arouses deep interest but him.” The writer continues: “The detractors say modern art is dead—that the great war has killed modern art . . . No doubt so great a cataclysm will change the atmosphere. It always does.”

I adore this cataclysm, this atmosphere, this century-old certainty: it always does. At distance from the Great War, the writer’s perspective seems parallel to our present moment—of mediated relations, of fear and boredom crackling through screens; but also of writers and artists in this country mostly insulated, or at least distanced, from the tireless work of frontline workers. Mostly, I feel uncertain of art or writing made in this moment of extended crisis. What compels one to trace the contours of such imposed stillness—and what could this gesture imply?

The Centre Pompidou inscribes meaning to Matisse’s goldfish through the lens of vocation:

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“Through the theme of the studio, Matisse interrogates the painter’s role in the world, particularly put into question by the outbreak of war.” Perhaps. Two goldfish swimming in a glass on a table, in front of a window. If not quite an interrogation of the artist’s role, the painting seems at least a mood, or a note, from a cataclysmic atmosphere.

In his 1909 Notes d’un Peintre, Matisse admits a desire that I find shamefully familiar: an unbending desire to create art “devoid” of “depressing subject matter”. He dreams of art that might be “something like a good armchair, which provides relaxation from physical fatigue.” Is there an ethics to art that is just light, line, and colour; objects shifted until they click into place? Art that is a sofa next to a window, looking out onto the Seine. We only ever bring ourselves to a painting, and, in Matisse’s soft blues and careful lines, I find rest. In this Intérieur I am not drawn to the outside—though it is beautiful, the pink of the building, the careful windows—I am caught by the shadows in the room.

In the viscous months of lockdown, scenes of still life begin to appear around me—light striking fruit on the table, the banal drama of a crumpled bag, or long shadows of cut flowers, stretching across the afternoon. It is impossible not to track the light as it moves through the apartment. In the morning, pink

Henri Matisse, Interior, goldfish bowl (Intérieur, bocal de poissons rouges), 1914, oil on canvas, 147 x 97 cm. centre pompidou, paris, musée national d’art moderne, bequest of baroness eva gourgaud, 1965. © succession h matisse/copyright agency 2021. photogr aph: © centre pompidou.

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Henri Matisse in his studio cutting coloured gouaches, Nice, 1953. bibliothèque k andinsk y, mnam-cci, centre pompidou, hélène adant collection.

“We only ever bring ourselves to a painting, and, in Matisse’s soft blues and careful lines, I find rest.”

— LE A H J I NG MCI N T O SH 62

Henri Matisse, The sorrow of the king (La tristesse du roi), 1952, gouache on paper, cut and pasted, mounted on canvas, 292 x 386 cm . centre pompidou, paris, musée national d’art moderne, purchased by the state, 1954. © succession h matisse/ copyright agency 2021. photogr aph: © centre pompidou.

light will stream in from the window above the stairs; just before evening, shards of golden light will slice through the living room, glancing the corner where I now work. Sometimes I’ll move the objects on our dining table to suit the light—a bowl of lemons from a friend’s laden tree; a camellia stolen on a walk; a glass of water melting a single block of ice.

Life, contained, still moves, but time has taken on a different texture. I have never sat in a single room for so long, and the depth of familiarity sometimes removes me from time. For this is partly the work of still life, too; though still, there is almost always a low hum to Matisse. In this, we are told that the stillness is a temporary mode, a flicker. Two goldfish turn in a glass, as Matisse’s moment expands across a century.

So, what is happening in the world of art? For a moment, Matisse is on the walls in the gallery.

Sitting in my rented apartment for months unending, life is marked by small moments of still life: objects, moved around, until the light hits. It is all the same, really, but in different arrangements, and in these different arrangements there is an oddly satisfying newness—of shapes moved and lines met—which feels silly to admit. This artifice allows me to mistake this life as only mine to move around, until, inevitably, we have to use the lemon or the bowl, and the small scene is dismantled.

Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris Art Gallery of New South Wales (Art Gallery Road, Sydney NSW) 20 November—13 March 2022

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Portraits of Our Time Through her photographic portraits, Hoda Afshar gives us 21st-century images that speak to trauma, justice and humanity.

W R ITER

Giselle Au-Nhien Nguyen

Growing up in Iran, Hoda Afshar wanted to be an actor.

“I had theatre as my first choice and photography as my second and I got into photography—I was actually really disappointed,” the photographer remembers.

“My interest in theatre, and how it formed my vision of image-making, is something that I much later realised when I started looking at the work that I made over the years.”

Now based in Melbourne, Afshar is known for her arresting photographic work, which documents the plights of people shunned or punished by authoritarian bodies. The photographer traces her interest in these topics back to childhood, too: “My father was a lawyer, which really directed my interest in social and political issues. He was always working with cases in Iran that were battling against the system, and they were kind of defenseless.”

Afshar’s initial intended path was in war photography, but that changed when she migrated to Australia in 2007 and was struck by the country’s duality. “Australia is a juxtaposition of beauty and violence, and that’s something that is very present in my work,” she says. “For someone like me who comes from a country that is openly and proudly a dictatorship, I found it even more horrific coming here to realise that everyone’s really getting brainwashed into this idea that everything is perfect.”

This idea is evident in Afshar’s 2018 two-channel video Remain, made in collaboration with stateless detainees on Manus Island, including journalist Behrouz Boochani. Filmed over 10 days on the island,

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the result is a haunting work that positions stories of trauma alongside lush landscape imagery. Her stark black and white portrait of Boochani won the prestigious Bowness Photography Prize in 2018.

The work was Afshar’s response to the way in which the government used images to depict refugees as either “a group of identical victims or dangerous criminals”. Using the same medium of photography, Afshar wanted to return humanity to the men. “Collaborating with the subject is an active part of image-making, and giving them the agency on how to represent this narrative to the camera,” she says.

“It’s one of the experiences that for the rest of my life I will cherish—as painful as it was, it was also a huge learning curve, being one of the rare people who actually saw what was happening. For a couple of years after that, the idea of my freedom was making me want to vomit. I see that work as part of a bigger movement.”

The artist’s latest work, combining film and portraiture, turns the gaze onto whistleblowers.

Commissioned for PHOTO 2021, and with a video component showing in Destiny Disrupted at the Granville Centre Art Gallery, Agonistes spotlights nine people who have exposed misconduct within Australian institutions. Afshar used 3D printing techniques to create busts, winding her interest in theatre back into her work. The busts render the subjects’ eyes blank, creating a striking visual statement and projecting the idea of what Afshar calls the “broken hero”. The portraits were hung outside St Paul’s Cathedral in Melbourne in early 2021.

Hoda Afshar, portrait of Behrouz Boochani, from the series Remain, 2018. courtesy of the artist and milani gallery, brisbane.

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Hoda Afshar, Portrait of an officer and lawyer in the Australian Special Forces, from the series Agonistes, 2020.

One-channel digital video, colour, sound, 20 minutes. courtesy of the artist and milani gallery, brisbane.

“Australia is a juxtaposition of beauty and violence, and that’s something that is very present in my work.”

— HODA A F SH A R 66

Hoda Afshar, still from the video Agonistes, 2020. One-channel digital video, colour, sound, 20 minutes. courtesy of the artist and milani gallery, brisbane.

“Unlike the Remain portraits, I didn’t want to bring the character of the individual forward—it was more about the action,” she says. “I wanted to compare it to the Greek tragedies. I was thinking about tragic theatres of the time, when they were all in open outdoor spaces, and people would go and watch the play, and at the end of the night they would sit around and talk about the issues that were addressed in the play.

“The text at the bottom of each image describes the facts about what each of these individuals dealt with and what they saw; I wanted people to stand around and read it. By bringing all these different stories together in one space, people respond to it differently.”

As a migrant herself, Afshar’s work is driven by the idea of otherness; it has also been a way for her to understand her own identity. “The interest comes from the role that images play in the construction of different categories of marginality,” she says. “It’s about recognising the power that images have in perpetuating certain modes of thinking, and how we can use the same level of power to modify or dismantle that.”

The intersection of theatre and photography comes alive in Afshar’s work through what she chooses to reveal, or hide, through the lens. “If you think about the limitation of the frame, if the scene is not a stage, the way that the photographer frames it is a form of staging,” she says. “When we say ‘documentary’, we somehow associate it with truth—it means that if a work is documentary it’s a reflection of the truth of that event, but if it’s staged, it’s not. I’m trying to challenge that with my work.”

Just Not Australian NorthSite Contemporary Arts (96 Abbott Street, Cairns City QLD) 5 November—5 February 2022 Destiny Disrupted Granville Centre Art Gallery (1 Memorial Drive, Granville NSW) 27 January 2022—24 April 2022

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On Women, Ageing, Art Forging a photographic practice throughout the 1970s feminism movement, Ponch Hawkes is now turning to a feminist issue of the moment: the ageing female body.

W R ITER

Steve Dow

Sex and the ageing body have lately occupied Melbourne photo artist Ponch Hawkes, whose sensibility for the unseen and repressed was forged in the 1970s feminist movement. In the last few years Hawkes has taken some 500 portraits of women aged over 50, who all posed nude for the aptly titled group exhibition Flesh After Fifty. “Just recently, I’ve tapped into the ether and there’s lots of articles about women and ageing and bodies,” says Hawkes, herself aged 74.

These newer photographs tap into female body expectations, which are weighed against the reality that certain female bodies are purposefully unseen.

As Hawkes explains, women over 50 “don’t know what other [older] women look like, because we think we should look the way we looked when we were 28, and we’re in this terrible mindset of always being compared to something you can never [again] be”.

Meanwhile Sex and Death, Hawkes’s collaboration over five years with artists Samara Hersch and Bec Reid, and which began as live performances in Melbourne and Amsterdam and was then adapted for online, mines similar themes. For the piece, participants were asked to pick a card to answer questions: Who was your first lover? Who have you loved who has passed away?

Is there something squeamish in the Australian psyche about these subjects? “I don’t know if

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it’s Australian or Anglo-Saxon,” Hawkes says.

“It’s just not part of our culture.” She pushes her palms away from her body. “That’s private and you put it aside as though [death] is not something that’s going to happen to you, but it is one of the things you do contemplate as you get older—less about sex, though you still think about it, but more about death.

“Your body doesn’t work as well as it used to. You imagine you’re going to age and everything is just going to go along as it is, but you don’t figure that some bits are going to break down like an old car,” she laughs.

I enquire about a photo of Hawkes taken a few months ago that she posted on Instagram, showing her on crutches after a knee reconstruction. “Oh it’s beautiful now,” she says. “It works really well.” In truth, for nine weeks, Hawkes, who’s an avid reader, didn’t pick up a single book, so consumed was she with the ordeal of the operation.

Time spent recovering, alongside lockdown, has enabled thinking through her next moves. Having never had any formal art training in her youth, Hawkes, whose partner is the designer, sculptor and painter Ian Bracegirdle, has decided to re-enroll for a term in an associate diploma at the Latrobe College of Art & Design in Collingwood. “I enjoy hanging around with younger people and seeing what they come up with.”

The day before I speak with her, Hawkes has

Ponch Hawkes, No title (Two women embracing, ‘Glad to be gay’), 1973; printed 2018, gelatin silver photograph, 20.2 x 30.3 cm. national gallery of victoria, melbourne purchased ngv foundation, 2018. © ponch hawkes, 2018.

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Ponch Hawkes, No title (Women holding hands in front of graffiti, ‘Lesbians are lovely’), 1973; printed 2018, gelatin silver photograph, 20.2 x 30.4 cm. national gallery of victoria, melbourne purchased ngv foundation, 2018. © ponch hawkes, 2018.

“…we think we should look the way we looked when we were 28, and we’re in this terrible mindset of always being compared to something you can never [again] be.”

— P ONCH H AW K E S 70

Ponch Hawkes, No title (Women’s liberation demonstration in City Square), 1975; printed 2018, gelatin silver photograph, 20.2 x 30.3 cm national gallery of victoria, melbourne purchased ngv foundation, 2018. © ponch hawkes, 2018.

started painting again. It’s something she only began in recent years, with bears as her subjects. She has also begun planning a photo series about grief over the loss of her 18-year-old dog, and is also considering enrolling in a Master of Arts to improve her writing skills.

It is this curiosity for the new that led Hawkes to photojournalism in the 1970s, long before she called herself an artist. Her image No title (Two women embracing, ‘Glad to be gay’), taken in 1973 and candidly showing an intimate embrace between two women, will be included in the National Gallery of Victoria exhibition Queer in early 2022. Another black and white photo from the same shoot shows four women holding hands in front of a brick wall sprayed with graffiti: “Lesbians are lovely”. Hawkes, who awakened to feminism during a stint in the United States with her then husband John Hawkes, took these images for the “politics, sex, drugs and rock and roll” counter-culture broadsheet The Digger which John was editing. The photographs were captured during Melbourne’s Gay Pride Week, when gay liberation was gathering momentum.

“We were so far ahead of the game publishing stuff nobody else wanted to,” Hawkes recalls. “The questions we asked [these women] were so naive: we all knew there were lesbians in our social group, but to

hear people talk about how they were acknowledged in one sense but not acknowledged by family and society generally, it was very illuminating for me.” The artist took these images at the age of 26 and while she would later refine her photography skills, she critiques her ability then with a camera as “shocking”.

Hawkes grew up in Abbotsford. Her footballer father worked in the laundry at the Abbotsford Convent for 35 years, where Hawkes would later exhibit.

Through her life she’s had relationships with both men and women, and while the longer lasting ones were with men, the images of lesbians she captured in 1973 was an epiphany. “It presented to me what discrimination there was, and if you decided to come out, what the implications were for your life.”

That political awakening would guide Hawkes through photographing subjects as diverse as Palestine to asbestos workers. Seeing does not necessarily create understanding, she cautions, but she hopes her work promotes change. “There are undercurrents in the way you see things,” she says, “and layers in everything you see.”

Queer

National Gallery of Victoria International (180 St Kilda Road, Melbourne VIC) 18 March 2022—21 August 2022

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Beware the Art Enabler You shouldn’t always listen to that little voice in your head.

ILLUSTR ATIONS BY

Oslo Davis

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Connecting to Aboriginal Land From his alter ego Blak Metal to exhibiting the figure of a saddened black air dancer, Steven Rhall is embarking on a new artwork: renaming Wi-Fi networks to ABORIGINAL LAND. W R ITER

Diego Ramirez

Steven Rhall and I first met in 2017 during an opening at the Melbourne artist-run gallery BLINDSIDE. I’d contributed an essay for the exhibition, which Rhall was showing in, and was excited to meet the artist who made THE BIGGEST ABORIGINAL ARTWORK IN MELBOURNE METRO. In this significant work—which began in 2014 and for three years spanned public art, photography and installation—Rhall altered existing commercial signage to read THE BIGGEST ABORIGINAL ARTWORK IN MELBOURNE METRO on the façade of a Footscray supermarket. While he was not exhibiting this artwork that night, the Australian Centre for Contemporary Art (ACCA) had shown it for Sovereignty earlier that year to great acclaim.

Four years later, I can still recall Rhall was wearing a denim jacket and a rockabilly hairstyle, complementing the pop cultural sensibility that permeates his practice—we spoke about the television comedy series Brooklyn Nine-Nine. Since that night we have crossed paths several times and now sit on Zoom, meeting as artist and writer once again.

He aptly begins by sharing that he has been “thinking about connections through time and threads of serendipity.”

Rhall is working on a participatory performance and public artwork called ABORIGINAL LAND (SSID) for the ACCA group exhibition Who’s Afraid of Public Space? Like many of his signature works, he is using text and performance to intervene in the public arena

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which, in this instance, involves renaming multiple WiFi networks to ABORIGINAL LAND. Having renamed his own personal Wi-Fi networks as ABORIGINAL LAND, he realised this meant that every time someone looked for an available network on their device, near Rhall’s phone hotspot or home network, they encountered a decolonial prompt by seeing ABORIGINAL LAND in the list of available networks. Rhall replicates this dynamic within the institutional context of ACCA, explaining that “ABORIGINAL LAND (SSID) subverts traditional forms of power, access, authorship, [and] participation, emerging in a fuzziness between public and private, as mediated by the internet and the material form of the connected device.”

With plans to make the network widely available and viewable by inviting homes, offices, urban spaces and institutions near ACCA to change their network name to ABORIGINAL LAND , the work inhabits a space that is intensely public while also remaining decisively personal. The Wi-Fi network makes claim over land, air and sky as individuals encounter and/ or connect to its all-encompassing signal. Yet in this sovereign territory, the personal unfolds as users navigate the internet with the increased awareness that they inhabit Aboriginal Land. In a style typical of Rhall’s work, it also hijacks an overlooked form of communication, asking the important questions of “How does one connect to Aboriginal Land? And do

Steven Rhall, The Biggest Aboriginal Artwork in Metro Melbourne, 2016, installation view, Sovereignty, Australian Centre for Contemporary Art, Melbourne 2016-17. photogr aph: andrew curtis.

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Steven Rhall, ABORIGINAL LAND (SSID), 2021, participatory performance, digital image: ACCA prototype. courtesy of the artist and acca.

Steven Rhall, ABORIGINAL LAND (SSID), 2021, participatory performance, digital image: proof of concept 1. courtesy of the artist and acca.

“How does one connect to Aboriginal Land?

And do they have permission?”

— S T E V E N R H A LL 76

Steven Rhall, ABORIGINAL LAND (SSID), 2021, participatory performance, digital image: proof of concept 2. courtesy of the artist and acca.

they have permission?” to complicate the presence of uninvited guests in unceded Land.

“This artwork obviously has a direct connotation to Aboriginal Land being everywhere, not just an imagined, distant, romanticised space,” explains Rhall.

“Appearing on a device, uninvited and unmediated, ABORIGINAL LAND (SSID) asserts the sovereignty that, for the main, has been buried by numerous forms of institutional bureaucracy; cutting through like a stark reminder or, perhaps, a notification.” Rhall consistently uses text as a framing device that complicates our colonised relationships to one another, culture and place. And by asking others to participate, he’s also delivering a delegated performance: the public are tasked with expanding this conceptual intervention, continually setting reminders for the decolonisation of language in this country.

This attention to performance is recurrent in Rhall’s practice, and epitomised by his alter ego Blak Metal where the artist embodies the striking persona of a black metal caricature. He playfully wears corpse paint—the white pancake make-up that typifies this genre—and denim attire evocative of gig culture. In this dress as Blak Metal Rhall has performed durational pieces, such as one performance at Footscray Community Arts Centre where he repeated the gesture of filing hundreds of paper sheets with black

ink for two hours. For Rhall, “This performance references part of my cultural heritage by using the term Blak and taking objects with pre-existing meaning to play with them, departing from how the arts ecology often romanticises First Nation artists.” This is a strategy that permeates the artist’s work: he borrows elements from the visual world that surrounds us, hijacking them to create a sharp commentary.

Yet there is another recent work of Rhall’s that lingers in the recesses of my mind: his iconic work Air dancer as black body, 2019, which showed as part of the National Gallery of Victoria’s Triennial 2020.

Here, viewers entered a quiet, dark room before a black air dancer, the kind most commonly seen as a publicity mimic in the outer suburbs, rises into the air with shocking enthusiasm. Yet on this occasion, it’s bearing a sad face. While incredibly playful, it is also a sinister mirage that comments on how institutions display and relate to bodies of colour. This twist is unique to Rhall, who is masterfully able to borrow familiar objects and invert them with cerebral strategies, revealing their dire undertones.

Who’s Afraid of Public Space?

ustralian Centre for Contemporary Art A 111 Sturt Street, Southbank, VIC 4 December—20 March 2022

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Great Wings Beating Compelled by Greek mythology, Heather B. Swann is reinterpreting the story of Leda and the Swan— and the story’s violence—through female strength, power and mystery.

W R ITER

Briony Downes

For close to three decades, artist Heather B. Swann has been obsessed with myths, museums and haberdashery. Maintaining a prolific practice spanning drawing, sculpture and installation, Swann’s work is exquisitely hand-crafted, symbolically poetic and steeped in intense emotion. A dark yet graceful elegance streams through her work, with each piece encapsulating the push and pull of pleasure and pain, and strength and vulnerability.

Well known for creating monochromatic sculptural objects stylistically recalling leather furniture, animals and opera costumes, a key feature of Swann’s work is storytelling. Building on an already established love of Greek mythology, for the past three years Swann has been unravelling the story of Leda and the Swan, creatively reinterpreting it through a contemporary lens.

The original myth follows the Greek god Zeus as he shapeshifts into a swan to pursue Leda, a beautiful earth-bound girl whom he eventually rapes. It is a myth that artists have repeatedly portrayed, often depicting Zeus’s act as one of seduction rather than violation. Swann challenges this legacy by taking her cue from the opening lines of W.B. Yeats’s 1933 poem Leda and the Swan: “A sudden blow: the great wings beating still/Above the staggering girl . . . ” The result is a collection of painting, ink drawing and sculpture; three embodiments of woman and bird, each prompting contemplation of force and consent.

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For this project Swann visited Greece in 2019 in pursuit of the story. Thinking about how to approach the act of violence at the heart of the myth, Swann realised she wanted to “honour women and girls by making the figures strong and powerful,” intuiting that, “if we keep telling these stories over and over, there will be a shift and things will change.” Constructed from plywood and clay, pigment and marble dust, Swann has created Leda figures that are polished smooth to recall korai, Archaic Greek statues of female figures standing tall and straight with arms by their sides.

Studying the korai in the National Archaeological Museum in Athens, Swann was able to explore their connection to ancient Egyptian depictions of pharaohs and deities; figures of strength, power and mystery.

Parallel to the Leda sculptures is a trio of swans.

Historically the Zeus swan is white. Here, the swans are black. “The swan is black, we are antipodean,” Swann explains. “The black swan is the trouble maker.

It also harks back to a line written by the fictional poet Ern Malley: ‘I am still the black swan of trespass on alien waters.’”

Faced with the looming darkness of the swans, the Leda figures stand strong and unwavering. The tallest stands over two metres in height and has dozens of eyes embedded in her right forearm, described

by Swann as an “ever-watchful shield”. Recalling the Eye of Horus, an ancient Egyptian symbol of healing

Heather B. Swann, The Staggering Girl, 2019, synthetic polymer paint on wood, 9 panels, each 76 x 76 cm x 5cm; overall 2 28 x 228 x 5 cm. courtesy of the artist and station, melbourne and sydney.

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Heather B. Swann, Nemesis, 2021, detail, silk, 19th century glass eyes installation details variable. photogr aph: peter whyte. courtesy of the artist and station, melbourne and sydney.

“The recognition that we are mysterious to ourselves is the driving force for me as an artist.”

— H E AT H E R B . S WA N N

right Heather B. Swann, Leda, 2021, plywood, paper, modelling clay, pigment, glue, marble dust, 178 x 42 x 30 cm. photogr aph: peter whyte. courtesy of the artist and station, melbourne and sydney.

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Heather B. Swann, Your Equal Measure, 2019, ink on paper, 58 x 76 cm. courtesy of the artist and station, melbourne and sydney. photogr aph: brenton mcgeachie.

and protection, the eye is a recurrent motif in Swann’s oeuvre, and it appears again in Nemesis, 2021 as a giant silk blanket covered with 19th-century glass eyes sewn into heavy black lids, and placed inside one of the swans.

Alongside the figurative Leda and swan sculptures are references to rocks, waterfalls and plants.

Rock is alluded to in a giant vertical form mirroring the straight stance of the Leda figures, while the waterfall appears as a flowing sheath of black threads.

Sourced from an old silk weaving factory in Athens, the threads hang from the serpentine form of a black swan neck mounted high on the wall like a hook. The waterfall is made up of three delicate, hand-knotted cloaks destined to eventually be used as “sculpture performance tools”.

The prickly pear, an invasive cactus that proliferates in sun-beaten landscapes, makes up the plant element of Swann’s Leda series and is the subject of a huge multi-panelled ink drawing. After travelling by ferry from Athens to the island of Hydra, Swann was fascinated by the visual contrast between the

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Aegean Sea and the harsh, rocky terrain. “The beauty of the island is distilled in the brilliant blue of the water that surrounds it. The land itself is just rocky hills and goats and the prickly pear cactus.” Created by rhythmically applying thousands of lines or “pricks” of green ink onto watercolour paper, the juxtaposition of the prickly pear against the smooth sculptures captures the brute pain of force.

Swann continues to create work that mines the recesses of the human condition. Speaking about her recent exhibition Oh lover, hold me close at STATION gallery in Melbourne, Swann revealed the enduring theme underpinning her work: “The recognition that we are mysterious to ourselves is the driving force for me as an artist. I just let myself fall. When it is ambiguous or enigmatic, anyone can fall in.”

Leda and the Swan Heather B. Swann

TarraWarra Museum of Art (313 Healesville-Yarra Glen Road, Healesville VIC) 20 November—6 March 2022

LAUNCH / SATURDAY

4

DECEMBER/ 4:30 PM 04 DEC. / 09 JAN.

JASON WATERHOUSE Domestic

STOCKROOM

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

Liquid Branch (Prayer Plant) 2021 bronze, paint 20 x 5 x 2cm

stockroom.space

ARCHIE 100 Geelong Gallery 6 Nov 2021 – 20 Feb 2022

An Art Gallery of New South Wales touring exhibition

Support partner

This project has been assisted by the Australian Government’s Visions of Australia program

Geelong presenting partner

A CENTURY OF THE ARCHIBALD PRIZE

Major partner

William Dargie Portrait of Albert Namatjira (detail) 1956. Queensland Art Gallery | Gallery of Modern Art, purchased 1957. © Estate of William Dargie.

Photo: QAGOMA

geelonggallery.org.au

John JohnYoung Young Diaspora, Diaspora,Psyche Psyche

AAsurvey surveyofofworks works2003 2003––2019 2019 Bunjil BunjilPlace PlaceGallery Gallery bunjilplace.com.au bunjilplace.com.au

2 Patrick 2 Patrick Northeast Northeast Drive, Drive, Narre Narre Warren Warren VIC VIC 3805 3805 John John YOUNG, YOUNG, Safety Safety Zone, Zone, 2010 2010 installation installation view view ‘Diaspora, ‘Diaspora, Psyche’, Psyche’, Bunjil Bunjil Place Place Gallery, Gallery, 2021.

2021. ©© John John Young.

Young.

Photography: Photography: Christian Christian Capurro Capurro

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ANNE & GORDON SAMSTAG 2022

VISUAL ARTS SCHOLARSHIPS

Image: Jane Skeer, True Blue, 2019, used truck rachet straps, steel, timber, acrylic, 300 x 400 x 120cm. Photo: Grant Hancock

INTERNATIONAL

Announcing the 2022 Samstag scholars The University of South Australia congratulates Jane Skeer (SA) and Trent Crawford (Vic).

Established in 1992, Samstag Scholarships are open to students, recent graduates — and, for the first time — to applicants who have been graduates of more than five years standing.

unisa.edu.au/samstag

Learn more about the Samstag Scholarships, visit: unisa.edu.au/samstag

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays nag.org.au

This is

Gippsland 4 September to 27 February

Gippsland: located between God’s Paradise and God’s Dumping Ground, its decadent beauty is grimly accepted by its roughshod residents and met by visitors with shock and bemusement. This is Gippsland spans time and distance to capture the essence of a region that has intrigued artists for generations.

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

gippslandartgallery.com

Image David Ashley Kerr I Hear the Sea (detail) 2010, type c print on paper, 85 x 145cm.

Collection Gippsland Art Gallery.

Purchased with the assistance of the John Leslie Foundation, 2020. © 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

HeatherB.Swann — LEDA A N D TH E SWA N —

4 DECEMBER 2021 6 MARCH 2022 IMAGE: Heather B. Swann, Nemesis 2021 (detail), silk, 19th century glass eyes, dimensions variable Photo: Peter Whyte. Courtesy of the artist and STATION, Melbourne and Sydney

SUPPORTED BY

INAUGURAL FOUNDATION SUPPORTER

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MAJOR PARTNERS

MAJOR SPONSORS

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\SCIENCE\ NATURE\

\ENVIRONMEN \ENVIRONMEN \SUSTAINABILIT \SUSTAINABILI

\BIODIVERSITY\ HABITAT\

\CLIMATE \CLIMATE CHANGE\ CHANGE\ GLOBAL GLOBAL WARMING\ WARMING\

\BIOLOGY ECOLOGY

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Entries close on Friday 25 February 2022

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30/9/21 2:16 pm

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PATRICK DAGG passages

27 Nov - 12 Dec 2021

+61 439 770 362 INFO@JAMESMAKINGALLERY.COM JAMESMAKINGALLERY.COM

89 ISLINGTON STREET COLLINGWOOD VICTORIA 3066 AUSTRALIA

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14/10/21 12:58 pm

Extended until 9 Jan 2022

Festival tickets ballaratfoto.org

Ballarat Internation Foto Biennale 2021 + Be immersed in photography.

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

DIBALIK AUSTRALIAN EXCLUSIVE

Arum Dayu [IDN], Pasar Baru (New Market), 2019 (detail)

Major Partner Government Partners

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Presented by

koorieheritagetrust.com.au

23 OCT – 12 DEC

CAT RABBIT:

THE SOFT LIBRARY

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton, Victoria

The soft library is an extraordinary new project by textile artist Cat Rabbit that transforms the gallery into a fantastical library run by bears, or ‘libearians’, many of who are famous literary characters. Designed to delight young audiences, this whimsical exhibition celebrates the freedom found in our imagination and pays tribute to the library as a place of learning and wonder.

Image credit: Cat Rabbit, Karyn Siegmann 2021, felt, fabric, thread. Courtesy the artist

bayside.vic.gov.au/gallery

Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

@baysidegallery

Roger KEMP (1908-87), Untitled, c. 1981, oil on canvas, 208 x 250cm

ABSTRACTION 21 16 Oct - 20 Nov CHARLES NODRUM GALLERY

3103

267 Church Street Richmond www.charlesnodrumgallery.com.au

charlesnodrumgallery.com.au

Victoria 3121 (03) 9427 0140

Rachel Milne

December 2021

Personal Space

Birthday in Shed 2021 oil on board 80x60cm

kingstreetgallery.com.au kingstreetgallery.com.au

biennial

20 22

NORTH QUEENSLAND ceramic awards

Major Acquisitive Prize $10,000 PERC TUCKER REGIONAL GALLERY 22 July – 25 September 2022 ENTRIES OPEN 1 November 2021 MORE INFORMATION townsville.qld.gov.au/nqca

Image: Mahala HILL Armoured Mist Frog 2020 Bone china, porcelain, stoneware, volcanic glaze.

8 x 17 x 15 cm.

Major acquisitive prize winner of the 2020 Biennial North Queensland Ceramic Awards. City of Townsville Art Collection PERC TUCKER REGIONAL GALLERY (07) 4727 9011 galleries@townsville.qld.gov.au Townsville City Galleries TownsvilleCityGalleries townsville.qld.gov.au/nqca

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artsproject.org.au

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Image © Roger Ballen

110 exhibitions | 750 artists | Sydney | 19-28 November

headon.com.au discover exceptional photography headon.com.au

Wendy Sharpe PAINTINGS ABOUT MAGIC AND TIME PASSING 6 - 28 November Subiaco Gallery

‘Hocus Pocus’ 2021, Oil on linen, 145 x 170 cm

‘Under the Sign of the Hourglass’ 2021, Oil on linen 145 x 170 cm

lintonandkay.com.au

lintonandkay.com.au

Holly Grace A LANDSCAPE MEMOIR 1 - 22 December Subiaco Gallery

‘Memoir 1 - Treescapes’ 2021, Cast glass fired with glass lustres and sandblasted imagery, H32.5 x W51 x D3cm.

‘Wheelers Hut – The Shangri-la of the Jagungal Wilderness’ 2020, 4 piece frying pan set, blown glass with painted enamel surfaces, sandblasted imagery and gold leaf interiors, H55 x W110 x D10cm

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

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

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

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

Art Guide Australia

Podcasts

Listen to conversations with creatives Listen on Apple Podcasts Listen on Spotify artguide.com.au/podcasts

The Art Guide Podcast delves into engaging, insightful, and humourous conversations with creatives and artists including Robert Owen, Patricia Piccinini, John Wolseley, Gareth Sansom, Yvette Coppersmith, Alexie Glass-Kantor, Louise Weaver and many, many more.

Listen back to these conversations on Spotify, Apple Podcasts or Simplecast, and subscribe to the Art Guide Podcast to keep up-to-date on new episodes as they’re released.

Robert Owen photographed by Angela Connor.

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CALL FOR ENTRIES THE PERCIVALS 2022

Find out more townsville.qld.gov.au/percivals Cutler Footway Jack Betteridge Costumed as an Elf: Don’t F. with Me, Fellas! [detail] 2020 Acrylic on canvas, 122 x 92 cm Winner of the acquisitive Percival Portrait Painting Prize 2020, Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection.

townsville.qld.gov.au

WILLIAM KENTRIDGE TAPESTRIES

3 NOVEMBER - 11 DECEMBER Opening Day 6 November 11am - 4pm Hardcopy catalogue available or via website

ANNANDALE GALLERIES

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

Self Portrait as a Coffee Pot III, 2012, mohair tapestry in collaboration with Marguerite Stephens, 283 x 230 cm, Edition of 6 WK1024

AQUATINT ETCHINGS, BRONZES, HD Film SONNETS

canberraglassworks.com

leonardjoel.com.au

A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

gailhastings.com.au

VICTORIA

ACMI www.acmi.net.au

As part of the global initiative Unfinished Camp, Stream is a video work and thought experiment in three parts.

Federation Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–6pm.

ACMI is your museum of screen culture.

Navigate the universe of film, TV, videogames and art with us.

Open daily The Story of the Moving Image From the first projections and optical illusions to the birth of film and beyond, moving images have the power to spark imagination, share stories and shape history. Discover how inventors, innovators and artists at the turn of the 20th century wielded light, split time and captured motion, heralding a technological revolution that continues today.

Until 23 January 2022 Disney: The Magic of Animation Discover the creativity and innovation of almost 100 years of Disney Animation in ACMI’s latest Melbourne Winter Masterpieces exhibition. Shown in Australia for the very first time, this exhibition contains original sketches and rare artworks from 1928 to the present day, including the latest release Raya and the Last Dragon, exclusive to Melbourne. See over 500 artworks from your favourite animations.

Don’t miss the chance to see how animators use colour to express emotions, and the technical skill of crafting character and storytelling. You can even step inside a scene from the Disney classic Snow White and the Seven Dwarfs.

Until 19 December Gowidja (After) Moorina Bonini As part of the global initiative Unfinished Camp, Gowidja (After) undertakes a critical evaluation of centralised operational systems such as the governance and control of our cultural material in museums, galleries and collections, land management and extractive practices.

Gowidja (After) presents a near and Indigenous-led future where all centralised governance and power has been dispersed outwards amongst Indigenous people and communities. In this future we have ownership of our cultural materials and objects, autonomy over our representation and agency to achieve our self-determinism.

Jazz Money, We have stories for all the dark spaces inbetween, still.

Until 19 December We have stories for all the dark spaces inbetween Jazz Money As part of the global initiative Unfinished Camp, We have stories for all the dark spaces inbetween considers the interrelation of data networks and Indigenous ways of knowing land and relation.

Until 14 November The Gods of Tiny Things Deborah Kelly A result of a collage camp run by award-winning artist Deborah Kelly, The Gods of Tiny Things is a beautiful two channel video work.

1 December—30 January 2022 Analects of Kung Phu Jason Phu Aside from bareknuckle action and breakneck stunts, martial arts and wuxia films are packed with wisdom and life lessons. Artist Jason Phu has reclaimed these wise sayings and remixed them into a moving image philosophy for surviving contemporary life. Divided into chapters featuring insights and meditations from different movies, Analects of Kung Phu offers a guide to ourselves and society taught by action stars and movie heroes.

Mick Wikilyiri, Ngayuku Ngura–My Country, 2021, synthetic polymer paint on linen, 122 x 122 cm. Courtesy of the artist, Tjala Arts and Alcaston Gallery, Melbourne.

27 October—19 November Ngayuku Ngura–My Country, Apara Springs Mick Wikilyiri 1 December—17 December Kurunpa Tjunanyi–Putting the Spirit Back In Place Judy Martin Artwa Urrknga Mpaaritjaarta– Claywork Made by Men Hermannsberg Potters (Arrernte Men) Judy Holding

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

1 December—6 March 2022 Fairytales of flowers Laura Duffy A new experimental video work by Te Whanganui-A-Tara-based artist Laura Duffy. Fairytales of flowers explores the political underpinnings of ‘natural’ and ‘unnatural’ categorisations in relation to our bodies. Made as a gift for those of us fatigued by lockdown, this new commission for Gallery 5 is the first created in partnership with Circuit Artist Film and Video Aotearoa New Zealand.

Alcaston Gallery www.alcastongallery.com.au

Kalanjay Dhir, Stream, still.

Until 19 December Stream Kalanjay Dhir

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment.

See our website for latest information.

27 October—19 November Ngura Kunpu–Strong Country Yaritji Young

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

October to December Experimental Hell (Atmosphæram) Marco Fusinato October to December Parlour Games Rose Nolan 113

qrush.com.au

VICTORIA

Art Gallery of Ballarat → Linda McCartney, Paul, Stella and James, Scotland, 1982.

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

Until 7 November Nature Works Stella Clarke, Jessica de Siso and Deborah Lee Klein.

Paintings and sculptural works by three Ballarat-based artists who take inspiration from the natural world. A Backspace Gallery exhibition.

Until 9 January 2022 Linda McCartney: Retrospective The Ballarat International Foto Biennale returns with an exhibition of exclusive works by world-famous, award-winning American photographer Linda McCartney. Linda McCartney: Retrospective presents the spontaneous and experimental experiences involving the iconic people and places that shaped Linda’s extraordinary life.

Until 16 January 2022 Anindita Banerjee: Ondormohol Indian-born and Ballarat-based artist Anindita Banerjee has assembled visual imaginings of a Bengali girl, brought about by the juxtaposition of an object (the antique embroidery) and a place (Ballarat).

She has recorded images of her daughter, her cousins and herself, dressed in traditional wear of the ‘idle rich’ from early 1900s Bengal, performing gestures from

the ondormohol (the inner quarters) of the wealthy Kolkata houses in public places in Ballarat reminiscent of Kolkata.

11 November—9 January 2022 Marie Mason Printmaker Marie Mason captures the essence of Victorian landscapes, seeing the patterns left by nature and recording how the landscape changes with the seasons.

A Backspace Gallery exhibition.

Until 23 January 2022 Robert Fielding: miil-miilpa Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent living in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands whose work combines strong cultural roots with contemporary perspectives. In miilmiilpa (sacred) he continues his work connected to the significance of Elders in his community, their stories and their understandings in two distinct bodies of new photographic work – intimate portraits and landscape images.

Collection

Ruth de Vos, Banksia Spill, 2014, procion fibre reactive dyes, cotton homespun, cotton linen blend, cotton batting, 119 x 107 cm.© The artist and Central Goldfields Art Gallery.

Until March 2022 Golden Textures Art Quilts

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

See our website for latest information.

Until 6 February 2022 Frances Burke: Works from the TAMA

John Eagle, Windy Autumn Evening, Southern Ice Porcelain with glazes and under glazes, fired to cone 10, 22 cm diameter. © The artist and Noble Photography.

Until April 2022 John Eagle: Horizons 115

ar t g ui d e .c o m . au solo and group exhibitions across Melbourne. Her work features in Textile Fibre Forum Magazine and is held in private collections.

Art Lovers Melbourne Gallery www.artloversaustralia.com.au

Arts Project Australia

300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–5pm or by appointment.

See our website for latest information.

www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–6pm, Sat & Sun 12noon–4pm.

See our website for latest information.

Mimi Leung, Ladybird, 2013.

Bianca Gardiner-Dodd, Three Sisters, 2m x 3m.

ArtSpace at Realm: Ongoing Facets Mimi Leung Mimi Leung is best known for her brightly coloured, quirky illustrations, such as the ubiquitous design for the 7-Eleven’s Slurpee rebrand and her Melbourne Art Tram design. Very much a global citizen, she studied in London and has lived in Hong Kong, Yuendumu, Alice Springs and Melbourne. Leung’s work playfully explores the meaning of life and offers a creative way of trying to make sense of the whacky world around us. Facets features some audience favourites, including Mimi Leung’s series ‘Intricately bejewelled bugs’. She will also create a giant colour-in for ArtSpace, inviting everyone to be bold and let some of their inner colour out. Mimi is represented by the Jacky Winter Group.

Anahita Amouzegar, Unwrapped.

16 November—January 2022 Unwrapped Celebrating contemporary Australian artists .

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

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

See our website for latest information.

116

Barbara Henderson, Tractor, 2020.

Maroondah Federation Estate Gallery: November – January 2022 Light Delights in Life Barbara Henderson Barbara Henderson is a local Maroondah artist based in Croydon. For over 40 years, she has produced observational and abstract artworks across various mediums including painting, drawings, embroidery and sculpture. Henderson describes how she approaches her practice as a form of meditation. The process is often laborious and time consuming, a form of alchemy that requires attention to every little detail. She resolves the issues of form, line and colour as they arise.

“I intently focus on what is there now, before my eyes with my mind freed of preconceptions.”

Henderson has participated in numerous

Michael Camakaris, Separate but Together, 2020, pencil, conte pencil on paper, 28.5 x 38.5 cm. © Copyright the artist. Represented by Arts Project Australia, Melbourne.

11 December Arts Project Australia’s Annual Gala 2021 will take place as a virtual exhibition and online auction hosted by Leonard Joel on 12 December, 3pm. The auction will feature artworks by 150+ Arts Project Australia artists, totaling over 200 works.

Available works will include drawing, sculpture, painting, printmaking and ceramics, with 60% of artwork sales going directly to the artist. In-person viewings will take place during the week of the 8–12 December; please contact: gallery@artsproject.org .au to arrange a booking.

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

See our website for latest information.

4 December–20 March 2022 Who’s Afraid of Public Space?

Continuing ACCA’s series of Big Picture exhibitions, inaugurated with Sovereignty in 2016–17 and followed by Unfinished Business: Perspectives on art and feminism in 2017–18, ACCA is developing Who’s Afraid of Public Space?, a major exhibition and research project exploring the role of public culture, the contested

VICTORIA

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

See our website for latest information.

Kerrie Poliness, Parliament Steps Walking Drawing 2021, Commissioned by the Australian Centre for Contemporary Art, Melbourne, Presented in association with UPTOWN, and as part of Who’s Afraid of Public Space?, Courtesy the artist and Anna Schwartz Gallery, Melbourne.

Photograph: Andrew Curtis. nature of public space, and the character and composition of public life itself.

Developed over a two-year period in the lead up to ACCA’s summer season of 2021–2022, Who’s Afraid of Public Space? will engage contemporary art and cultural practices to consider critical ideas as to what constitutes public culture and ask who is public space for? The project will explore and animate recent global debates and phenomena including the increasing incursion of private interests into public culture; the dynamic relations between urban design, surveillance, regulation and gentrification; as well as related unsanctioned counter-positions, improvisation and play. It will explore ideas of community, collectivity and the commons; the cultivation of fear in media and urban space; ongoing debates related to the freedom of speech, assembly and censorship; and the public broadcasting of private lives. It will also explore the ways in which technology, knowledge and mobility impact upon and transform our understanding of public space, culture and its values. In the wake of the coronavirus, and the rapidly changing pandemic landscape which we are currently negotiating, the project will also consider the radical shift from the civic space of the public square to the virtual space of the digital commons.

Developed by ACCA curators, working collaboratively with a diverse group of artists, academics and cultural producers, the exhibition adopts a collective curatorial model. Whilst centred at ACCA, the exhibition will extend beyond the walls of the gallery into public space itself – through engagement with and interventions into public and urban realms, mainstream and social media, as well as community centres and academic contexts.

Working with an assembly of collaborators and partners, and informed by a number of workshops, think tanks and public projects over the past eighteen months, Who’s Afraid of Public Space? is organised according to a dispersed, distributed structure, encouraging a polyphonic and polycentric understanding of our increasingly complex public realm.

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

These unique Awards celebrate creativity and excellence in the field of contemporary tapestry worldwide.

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

See our website for latest information.

Australian Galleries Melbourne is preparing an exciting line up of exhibitions for the end of the year. Stay tuned and visit our website for updates.

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

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

Tapestry Design Prize for Architects 2021 Winner: Time Shouts’ Ground Under Repair.

9 November—17 December Tapestry Design Prize for Architects 2021 Finalists Architects from around the world expand the possibilities of contemporary tapestry through 15 designs for Phoenix Central Park designed by John Wardle Architects and Durbach Block Jaggers.

9 November—24 December Kate Derum Award & Irene Davies Award for Small Tapestries 2021 Finalists

Cat Rabbit, Shaun Tan, 2021, felt, fabric, thread, wire. Courtesy of the artist.

23 October—12 December Cat Rabbit: The soft library The soft library is an extraordinary new project by textile artist Cat Rabbit that transforms Bayside Gallery into a fantastical library run by bears, or ‘libearians’, many of whom are famous literary characters. Designed to delight young audiences, this whimsical exhibition celebrates the freedom found in our imagination and pays tribute to the library as a place of learning and wonder. See full page advertisement.

Michelle Zuccolo, Augury (Self Portrait), 2019, oil on canvas, 65 x 60 cm. Winner Rick Amor Self Portrait Award 2019.

Courtesy of the artist.

23 October—12 December Michelle Zuccolo Featuring recent works on paper and paintings by local Bayside artist Michelle Zuccolo.

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Celebrating 50 years of Latrobe Regional Gallery

11 Sept - 12 Dec 2021 Julie ADAMS | Rosalind ATKINS | Barry BROWN & Irene PROEBSTING | David BURROWS | Glen CLARKE | Peter COLE Christopher COVENTRY | Geoffrey DUPREE | Caroline DUREE Lesley DUXBURY | Ronald EDWARDS-PEPPER | Rodney FORBES Sue FRASER | Janina GREEN | Mandy GUNN Juli HAAS | Tony HANNING | Dr Aunty Eileen HARRISON Euan HENG | Hayden JACKSON | Josephine JAKOBI Jeremy KASPER | Lisa KENNEDY | Kim McDONALD | Frank MESARIC Kevin MORTENSEN | Nick MOUNT | Jennifer MULLETT Clive MURRAY-WHITE | Patrice MUTHAYMILES MAHONEY Lucy PARKINSON | Steaphan PATON | Jenny PETERSON PEZALOOM | Hedley POTTS | Susan PURDY Julie ROSEWARNE FOSTER | Owen RYE | Rodney SCHERER Heather SHIMMEN | Dean SMITH | Neale STRATFORD Colin SUGGETT | Robin WALLACE-CRABBE Louisa WATERS | Anthea WILLIAMS | Dan WOLLMERING Bill YOUNG | Kate ZIZYS

138 Commercial Road Morwell Vic 3840 | 03 5128 5700 | lrg@latrobe.vic.gov.au www.latroberegionalgallery.com | Open Daily: 10 am to 4 pm | FREE ENTRY

latroberegionalgallery.com

VICTORIA

Bendigo Art Gallery → Ilona Nelson, In-Sanitarium, 2015, digital type-C print on Hahnemule cotton rag. Purchased by the Bendigo Art Gallery Foundation in memory of Wynne Baring, 2016. Image courtesy of the artist.

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

See our website for latest information.

Our Art Collection features Australian Art from the 1850s to the present day, art from the Bendigo goldfields and 19th century European paintings, sculptures and decorative arts.

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

Closed on public holidays.

1 November–28 November Regional Art + Research Residency at Mooramong Klari Agar, Lisa Lerkenfeldt, Amaara Raheem and Caitlin Royce.

17 November—4 December The Impressionists Sanja Pahoki, Jemi Gale, Matthew Harris, Lou Hubbard, Michael Kennedy, Kalinda Vary and Carla Milentis.

Curators Sarah Brasier and William Hawkins.

27 November—13 February 2022 Acts of Living: Contemporary Art from the Collection

Bea Rubio-Gabriel, listen, 2021, performance documentation still. Courtesy of the artist.

8 December—18 December Flow Blindside Emerging Curator Mentorship Zia Atahi, Aida Azin, Charlie Kol, Leonie Leivenzon (Future Histories Project), Tessa May-Chung, John Oh

2019 Arthur Guy Memorial Painting Prize winner Jahnne Pasco-White in front of her winning artwork messmates 1 2019.

Courtesy of the artist and Daine Singer, Melbourne.

20 November—13 February 2022 2021 Arthur Guy Memorial Painting Prize

Curated by Beatrice Rubio-Gabriel.

Mentored by Amelia Wallin.

Matthew Harris, Michael, 2018. Courtesy of the artist.

Online 28 December It’s raining and I miss you (Song Book) Evelyn Pohl and Yundi Wang.

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Melanie Vugich Unfurled

28 October – 14 November 0415 152 026

hello@twentytwentysix.gallery

twentytwentysix.gallery

17 O’Brien Street, Bondi, NSW, 2026

VICTORIA Opening November The Hermit Liam Denny

BLINDSIDE continued...

Online 14 December Artist Mentorship Initiative Mark Smith, Kieran Seymour, Darcey Bella Arnold, Jordan Dymke, Sam Petersen Curated by Michael Camakaris.

1 November—31 January 2022 MOBILE | all this noise Sharni Hodge, Sara Retallick, Geoff Robinson and Tamil Rogeon Curated by James Carey.

1 November—31 January 2022 SATELLITE | Matrix of Rule H. Mur Curated by Priya Namana.

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

18 November—4 December In Any Way Shape or Form Claire Ellis Into the Inferno Tim Van Cuylenburg

Kelly Doley, In Memory.

Sarah Rowe, Love Potion, gouache on canvas, 123 x 123 cm.

8 December—21 December Once upon a time in Selloutsville Sarah Rowe Sun Set Julia Burke Janus Jayne Pickering and Jane Farnan.

UBUNTU: A Coloured View of the World.

Tyronne Gietzmann RED ROOM Claude Creighton and Chiranjika Grasby.

Sensation Thought Olivia Lawton

Opening November In Memory Kelly Doley

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–5pm.

See our website for latest information.

The Milk Odysseys Rose Louey

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

See our website for latest information.

Bus Projects is about relationships with and between artists. We develop a caring context within which artists can come together to create, collaborate, and engage with community.

John Gatip, Those Sweet Stolen Moments, 2021, oil on Marine Ply.

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

18 November—4 December Sonnets of Colour John Gatip

Ongoing Diaspora, Psyche John Young

TRASH Katrina Garcia Slow NCAT Photography Diploma students Brianne Igoe, Bridget Hoare, Talia Luppino, Estella Paltos, Charlie Gray, Tina Wilkins and Ruben Bull-Milne.

Cornucopia Dana Falcini Kinaesthetic Gestures Patricia Agus 18 November—21 December Kunwarrde Bimdi Munguyhmunguyh – Rock Paintings Have Always Been There Shaun Namarnyilk

Shevaun Wright.

Opening November Rewriting: the politics of care Katherine Hattam, Victoria Hattam, Ellen Koshland, Danica I. J. Knezevic, Macushla Robinson, Shevaun Wright, Gyun Hur and Elvis Richardson.

Diaspora, Psyche presents a survey of works by artist John Young spanning 17 years (2003–2019), bringing together, for the first time works from Young’s celebrated Double Ground paintings and recent History Projects. The exhibition explores ideas of transculturalism, examining historic expressions of cross-cultural ethics, material and cultural exchange, and the effects of diasporic experience on the psyche.

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Gallery & Stockroom Gallery & Stockroom Level 2, Brunswick 322 Brunswick Level 1 &1 2,&322 StreetStreet Wurundjeri Country, Fitzroy VIC 3065 Wurundjeri Country, Fitzroy VIC 3065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Image: Kingfisher (detail) , Edan Azzopardi, acrylic on 300gsm Fabriano paper, 56x77cm Image:Sacred Sacred Kingfisher (detail) , Edan Azzopardi, acrylic on 300gsm Fabriano paper, 56x77cm

brunswickstreetgallery.com.au

VICTORIA

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

The museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art.

The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

Installation view, This is a poem, Buxton Contemporary, The University of Melbourne, 9 July–14 November 2021, with Sandra Parker, LOOMING, 2021, (still), and Pat Brassington, Neck, 1999, (exhibition print 2021). Photograph: Christian Capurro .

8 November—14 November This is a poem

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

See our website for latest information.

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

See our website for latest information.

11 December—18 December CAVES Fundraiser 2021 – HELL ‘N’ BACK Again Opening Saturday 11 December. To register for a preview catalogue email: info@ cavesgallery.com. Participating artists to be announced via our socials and website.

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

See our website for latest information.

10 December—8 May 2022 Turbulent Water Rebecca Belmore The first solo Victorian exhibition of internationally acclaimed artist Rebecca Belmore. Co-curated by Wanda Nanibush, Curator of Indigenous Art at the Art Gallery of Ontario and Angela Goddard, Director of Griffith University Art Museum, Brisbane.

10 December—8 May 2022 Observance Karla Dickens, Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler and Angela Tiatia Featuring work by Karla Dickens Julie Dowling, Julie Gough, Lisa Hilli, Betty Muffler, Angela Tiatia. Co-curated

by Hannah Presley and Samantha Comte.

Australia’s largest open-entry photomedia exhibition and competition, CCP Salon, is back for its 29th year! Sponsored by national leaders in the photographic industry, with prizes across more than 36 categories to be awarded, entries will open from 25 October to 19 November, through the CCP website.

Charles Nodrum Gallery

Centre for Contemporary Photography

Rebecca Belmore, Fountain, 2005. Single-channel video with sound projected onto falling water, 2m25s. 274 x 488 cm (overall dimension variable). Collection: Art Gallery of Ontario, Toronto. Image courtesy the artist.

4 December—19 December 2021 Ilford CCP Salon—Supported

by Milieu

Fred Williams, Kallista, 1963, tempera and oil on board, 153 x 122 cm.

16 October—20 November ABSTRACTION 21 23 November—18 December James Gleeson

Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry.

Wed to Sat 11am–5pm, Sun 1pm–5pm.

2020 CCP Salon. Photo Courtesy J Forsyth.

Installation view of Moreland Summer Show 2019: Language & Liberty.

Photographer: Janelle Low.

Amy Kennedy, Untitled, detail, 2018, artist blend clay glaze material, glass additions.

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

The gallery aims to promote and inspire innovation and diversity in the visual arts through its annual program of exhibitions.

It also endeavours to encourage discussion and debate about new ideas and issues in contemporary art and culture through the public program of floor talks, forums and workshops.

Entry to the gallery is free.

13 November—11 December Moreland Summer Show 2021: History & Heritage

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

See our website for latest information.

Craft Victoria 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. We offer workshops and on-demand tutorials designed to support makers’ professional development, and join forces with Australian architects and artists to realise ambitious public and private commissions. Craft’s showcase space presents a curated collection of objects—both sculptural and functional— celebrating the breadth and dexterity of contemporary craft.

will also form part of the 2021 Craft Contemporary Festival Program.

Featuring the work of five female artists who are pushing the field of craft forward in dynamic ways, Temporal Artefacts explores processes of time and the transformation of materials by hand. The reinterpretation of ancient traditions, the learning of skills passed down through generations and the enduring impacts of human actions are central themes within the exhibition.

9 November—12 December Members Vitrine Gallery: Secret life of a tapestry Amanda Ho 14 December—22 January 2022 Members Vitrine Gallery: wandering within an accumulation of short lines Amy Kennedy and Ariel Gout.

D’Lan Contemporary www.dlancontemporary.com.au 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 0401 025 205 Tues to Fri 10am–5pm.

See our website for latest information.

Joungmee Do, Mountain II, 2019, fine gold, steel. Image courtesy the artist. Photographer: Terence Bogue.

8 October—12 December Temporal Artefacts Touring Exhibition at Benalla Art Gallery.

Presented by Benalla Art Gallery in partnership with Craft Victoria. This exhibition 124

www.daxcentre.org 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 Wed to Fri 11am–3.30pm, plus last Sunday of each month, 12noon–3pm.

See our website for latest information.

The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

23 September—18 December Breath Louise Marson

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 10am–12.30pm and 1.30pm–4pm during exhibitions.

See our website for latest information.

The Deakin University Art Gallery provides an exciting venue for the University’s program of exhibitions and arts events.

These include curated exhibitions drawn from the University’s art collection, group and solo exhibitions by significant contemporary Australian artists, travelling exhibitions and selected student, staff and alumni work.

22 November—22 January 2022 Shaped Craft’s end of year exhibition brings together over 30 craftspeople working across diverse mediums in a maximalist exploration of the relationship between maker and material. Cutting, stretching, throwing—each artist works to give form to concept. A language emerges, one that exists at a sensory level, with artists shaping and inversely being shaped by their chosen materials.

The Dax Centre

Paddy Bedford, 1922-2007, Bemberrawoonany - Brumby Spring, 2004, natural earth pigments and synthetic binder on linen, 150 x 180 cm.

12 November—18 December I AM THE LAW: Final Release from the Estate of Paddy Bedford As a senior lawman, Paddy Bedford painted as part of mens’ ceremony throughout his life. He began painting on canvas in 1998 and in his remarkable, yet short career as a painter, Bedford achieved great critical acclaim in Australia and abroad and is recognised as one of Australia’s most important artists.

I AM THE LAW: Final Release from the Estate of Paddy Bedford is a major retrospective exhibition presented by D’Lan Contemporary in association with William Mora Galleries. Many of the 30 works have never been exhibited before and this final release of paintings and gouaches from his estate offer the opportunity to reflect on his work and how it may stand the test of time. It is unlikely that we will ever see another artist like Nyunkuny Goowoomji Paddy Bedford.

DISCORDIA www.discordia.gallery Level 3, Room 23, 37 Swanston Street, Melbourne, VIC [Map 2] info@discordia.gallery.

See our website for latest information.

Trent Crawford and Stanton Cornish Ward, LOCK. Until 27 November Courtyard: LOCK Trent Crawford and Stanton Cornish Ward.

VICTORIA

Everywhen Artspace → Candy Nelson Nakamarra, Kalipinypa, synthetic polymer on linen, 122 x 91 cm. Courtesy of the artist and Papunya Tjupi.

Until 27 November The bipolarity of output AUX Victoria Todorov November—February 2022 Courtyard: ICHIKAWAEDWARDS

Suzanne Corbette.

November—February 2022 Suzanne Corbette

Everywhen Artspace www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Fri to Mon 11am–4pm, Tues, Wed, Thurs by appointment.

Everywhen Artspace was established by art writers, researchers, curators and gallerists Susan McCulloch OAM and Emily McCulloch Childs. Our activities encompass art book publishing - including the McCulloch’s own titles - the Encyclopedia of Australian Art and the bestselling McCulloch’s Contemporary Aboriginal Art: the complete guide, as well art diaries, books on private collections and those in partnership with leading Aboriginal community-based art centres.

We are also curators of public and private gallery exhibitions, speakers and commentators on Australian art (specialising in Aboriginal art), judges of major art prizes and awards and initiators of social enterprise projects and fundraising initiatives.

5 November—30 November Nganganyi (Seeing) In partnership with Papunya Tjupi.

New works by Candy Nelson Nakamarra, Carbiene McDonald, Doris Bush Nungurrayi, Maureen Poulson Napangardi, Lynn Ward Napangardi, Puuni Brown Nungurrayi and Renita Brown Nungurrayi which explore different ways of seeing—how the works relate to each other in an exhibition, how each artist sees their Tjukurrpa (Dreaming) when painting and the importance of revisiting places in order to see those places in the mind’s eye while painting.

Dianne Ungkapi Golding, Piti (bowl & Nancy Carnegie, Digging Stick). Courtesy the artists and Maruku Arts.

3 December—24 December Walytjarara Walytjarara – Punu Painta Putukurapa All in the Family – wood carving, painting, photography In partnership with Maruku Arts.

A ‘family’ of three creative mediums through which artists express the stories and culture of their extended families.

Exhibitors include multi-media practitioners Tanya Singer and Cynthia Burke; painter Rene Kulitja (one of whose designs are on a Qantas plane) and master carvers Billy and Lulu Cooley and a range of other carvers and painters with the focus on punu (wood carvings) which have been the heart and soul of Maruku since its inception in the 1980s.

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ar t g ui d e .c o m . au the last 18 months, which is described as one of the most challenging periods of the past decade.

Federation University www.federation.edu.au/pogallery

Going Viral lightheartedly addresses the emotional horrors and insecurities that society has gone through and sheds light on its love-hate relationship with the pharmaceutical industry.

Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615

fortyfivedownstairs www.fortyfivedownstairs.com

Brett Ferry, Golden Breach 1, 2021, acrylic and oil on linen, 61 x 56 cm.

3 November—27 November Crossing the Field Brett Ferry

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am–3pm.

Liss Fenwick, Nuptial Flight, 2020, digital print. Courtesy of the artist.

25 September—9 January 2022 The Fineman New Photography Award Ballarat International Foto Biennale (Bifb’21) As part of BIFB’21, the Post Office Gallery proudly presents The Fineman New Photography Award that seeks to showcase photographers and photo media artists working throughout the Asia-Pacific region.

Selected by an international jury of leading curators and gallery directors, artists were invited to submit a series of works responding to the Biennale premise, Past.

Tense. Now. The major Award is $10,000.

A $1,000 People’s Choice Award will be announced at the exhibition’s conclusion.

Marco Luccio, Corruption.

9 November—4 December Tales from the Greek Marco Luccio

Finalists include; Pierfrancesco Celada [HKG], Michelle Chan [HKG] Aakriti Chandervanshi [IND], Liss Fenwick [AUS], JinQin Luo [CHN] and Moe Suzuki [JPN], This award is proudly supported by Alane Fineman.

Flinders Lane Gallery www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–6pm, Sat 11am–5pm or 3pm on last Sat of each exhibition for de-install.

Closed Sun & Mon. See our website for latest information.

19 October—6 November Small Wonder Melissa Boughey Until 13 November Distance Michael Simms

Printmaking, paintings and drawings.

Marise Maas, I Was Thinking, 2021, oil and acrylic on paper, 70 x 50 cm.

20 November—18 December New Works on Paper Marise Maas

Paintings.

Online exhibition.

30 November—18 December Moments in Time Julie Davidson

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

See our website for latest information.

Online exhibition.

11 November—21 November Going Viral Coady

3 November—27 November Origins Peter Syndicas

A solo exhibition Going Viral by Melbourne based artist Coady will present a new body of work reflecting on the period of

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7 December—18 December Entering the Subconscious: The Covid Works Michael Wedd

Roma McLaughlin (top), Lochard Gorge, detail, 2020, papercut Fabriano paper, 45 x 72 cm. Kathy Fahey (bottom), Lochard Gorge, detail, 2020, acrylic on paper, 56 x 76 cm.

7 December—18 December Coastline Roma McLaughlin and Kathy Fahey Papercuts and paintings.

VICTORIA

Fox Galleries www.foxgalleries.com.au

technique is used to cite and expand upon Albert Namatjira’s likely relationship to the photographic medium.

63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Tue to Sat 10am–6pm.

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

See our website for latest information.

Wendy Grace, Morning Glory, detail, acrylic on canvas.

November/December Transitions Wendy Grace

Mark Schaller, Jailbird, 2021, oil on linen, 122 x 152.5 cm.

November Birds of a Feather Mark Schaller December Miscellany Jason Moad Modern Seasons: The Great Curve Nigel Sense Panel discussion and book launch.

Frankston Arts Centre

Changing boundaries of freedom with the enforced restrictions of Covid inspired these paintings. Seeking the comfort of the familiar, and being drawn toward the idea of sequence and repetition. The use of pattern and colour in this series of works explores how disruption can alter the course of continuation and the outcome; an experience familiar to us all.

November/December From Above Hans Schiebold This series of relief paintings with three-dimensional elements captures the details of historical buildings, preserving the beautiful features of our past in the ever-changing landscape of our cities.

Matthew Harris, Big Love, 2021, possum pelts, synthetic fur, 125 x 90 x 50 cm.

5 August—27 November Goo Matthew Harris

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

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

November/December Musical Marks: The Stringed Series of Painting to West African classical music Nina Bové Melbourne artist Nina Bové paints in response to music as a mindful practice of being in the moment. Her art is based on immersion in West African rhythms, with instinctive brushwork marking her responses in abstracted notational form.

Mparra Karrti (Us mob belong to the Country) Namatjira School of Art Iltja Ntjarra / Many Hands Art Centre is Aboriginal owned and directed with a special focus on supporting the ‘Hermannsburg School’ style watercolour artists.

Mparra Karrti is an exhibition of work in which the camera-less lumen-print

Hans Schiebold, Window, 30 x 30 cm, wood and acrylic paint.

November/December Su Alma (Their Soul) Karina Laird Karina Laird’s Su Alma (Their Soul) is a photographic exhibition captured during a hot Latin American Summer in 2019.

Exploring Mexico and Cuba, Su Alma captures the vibrant soul of these two countries and documents the beautiful street life that radiates through its people, art, colour and architecture.

Nathan Beard, Floral Arrangement 1, 2019, Canson Baryta digital print mounted on Aluminium, 45 x 30 cm, ed. 1/ 6 + 2AP. 2 December—18 December 8 Easey Pieces, again!

Nathan Beard, Tim Bučković, Lara Chamas, Matilda Davis, Matthew Harris, Sylvan Lionni and Tama Sharman.

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Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. Mon and pub hols by appointment only.

Camillo De Luca, The Garden, 230 x 160 cm.

14 August—28 November Exhume the grave—McCubbin and contemporary art Drawing largely from the gallery’s permanent collection, this exhibition brings together works by contemporary artists that re-interpret key paintings by McCubbin and explore recurring themes in his work through the lens of cultural diversity and feminism.

2 October—28 November Frederick McCubbin—Whisperings in wattle boughs In the Gallery’s 125th anniversary year, this exhibition celebrates the first major work to enter the collection in 1900: Frederick McCubbin’s A bush burial (1890). Made possible through public subscription, this exceptional acquisition and moment in the institution’s history is marked by bringing A bush burial into dialogue with a tightly focussed selection of other iconic McCubbin works in which he elaborates and redefines the Australian bush and the human subjects within it.

4 November—29 November Beatitude Camillo De Luca

6 November—20 February 2022 Archie 100 In celebration of the 100th anniversary of the Archibald Prize, Archie 100 explores the history of Australia’s most prestigious portrait award. The exhibition presents a diverse selection of Archibald portraits from the last century—the triumphant and the thwarted—and honours the artists who have made the prize the most sought-after accolade in Australian art today. Geelong Gallery is the exclusive Victorian venue for Archie 100.

An Art Gallery of New South Wales touring exhibition.

11 December—6 March 2022 Barbara Brash—holding form Works by Australian printmaker Barbara Brash (1925–1998) whose colourful and dynamic prints demonstrate an expressive and experimental approach to the printed medium.

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

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

See our website for latest information.

5 November—5 December Gertrude Contemporary: 2021 River Capital Commission: Headless Rob McLeish

Elio Sanciolo, Future Memory: Summer, detail, 135 x 150 cm.

4 December—2 January 2022 Future Memories Elio Sanciolo

William Dargie, Portrait of Albert Namatjira, 1956, oil on canvas, Queensland Art Gallery | Gallery of Modern Art, purchased 1957. © Estate of William Dargie.

Geelong Art Space

Installation shot of Gertrude Studios 2019, featuring work by Joseph L. Griffiths, Mikala Dwyer, Eugenia Lim and Kay Abude at Gertrude Contemporary.

Photograph: Christo Crocker.

www.geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Thurs, Fri and Sat 12noon–4pm.

See our website for latest information.

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

See our website for latest information.

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Barbara Brash, Red plumed and blue Birds of Paradise (Paradisa Raggiana and Paradisomis Rudolphi), 1965, colour screenprint; edition 6/25. Colin Holden Charitable Trust. © Courtesy of the estate of the artist.

17 December—30 January 2022 Gertrude Contemporary: Gertrude Studios 2021 Sarah Brasier and Matthew Harris, Justin Balmain, Kay Abude, Mia Salsjö, Hoda Afshar, Darcey Bella Arnold, Mikala Dwyer, Georgia Banks, James Nguyen, Joseph L. Griffiths, Catherine Bell, Andrew Atchison, Jason Phu, Sam George and Lisa Radford, Ann Debono, Amrita Hepi.

6 August—13 November Gertrude Glasshouse: 31 Days without Light Justin Balmain

VICTORIA The Gippsland Art Gallery is situated at the Port of Sale, overlooking stunning waterways and parkland. Every year the Gallery hosts around twenty exhibitions of local, national and international significance, in addition to ongoing and evolving displays of the permanent collection. Housed in the Wellington Centre together with the Sale Library and Sale Visitor Centre.

Bana Yirriji Art Centre, Yarrabah Arts and Culture, Pormpuraaw Arts and Culture Centre, Girringun Art Centre.

www.heide.com.au

26 November—18 December Gertrude Glasshouse: (DON’T) BE AN ARTIST Kay Abude

Arini Byng, Rebecca Jensen, Marcus McKenzie, Sean Miles, Alexander Powers, Ari Tampubolon. Music by Amrita Hepi.

Curated by Anador Walsh.

Celebrating the diverse art practices of the art centres of Far North Queensland.

Heide Museum of Modern Art

Kay Abude, NEVER WORK/STOP WORKING, 2021, hand silkscreen on work apron, 88 x 81 cm.

20 January and 27 January 2022, 6pm–8pm Gertrude Glasshouse: Performance Review and Gertrude Present: Contact High

1 December—31 February 2022 Far North

David Ashley Kerr, I Hear the Sea, 2010, Type C print on paper, 85 x 145 cm. © the artist. Collection Gippsland Art Gallery.

Purchased with the assistance of the John Leslie Foundation, 2020.

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

See our website for latest information.

4 September—27 February 2022 This Is Gippsland

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

Gallery closed from 20 December through to mid January 2022.

See our website for latest information.

5 November—21 November Confines of Being Simon Lloyd 5 November—21 November New Health Plan- project 10Back from China Tony Scott 25 November—19 December Telling Tales Exhibition featuring Chris Bond, Penelope Davis, Prudence Flint, Nicholas Jones, Victoria Reichelt, Tai Snaith, Charlie Sofo and Deborah Walker. Curated by Diane Soumilas.

Margel Hinder, Revolving Construction, 1957, wire, plastic and electrical motor 49.5 x 35.5 x 56 cm. Art Gallery of New South Wales, Sydney. Purchased 1959.

Until 6 February 2022 Margel Hinder: Modern in Motion Kathrin Longhurst, Kate, detail, oil on linen, 122 x 122 cm. © the artist. Photo: AGNSW, Jenni Carter. Winner Packing Room Prize 2021.

8 October—21 November 2021 Archibald prize

Hearth Galleries www.christinejoycuration.com Contemporary ethical Aboriginal art.

208 Maroondah Highway, Healesville, VIC 3777 [Map 1] 0423 902 934 Wed to Sun 10am–4pm.

See our website for latest information.

Gippsland Art Gallery

Until 23 January 2022 Heide II: House of Light Until 30 January 2022 Nabilah Nordin: Birdbrush and Other Essentials

www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri 9am–5.30pm, Sat, Sun & Pub Hols 10am–4pm.

See our website for latest information.

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

Until 6 March 2022 Under Lamplight: Albert Tucker and Patrick Pound Betty Sykes, Kirrbaji — Dugong Feeding with calves, Ban Yirriji Art Centre.

Until 29 May 2022 House of Ideas: Cynthia Reed’s Studio

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VICTORIA

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

Hyphen – Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Mon to Fri 10am–6pm, Sat 9am– 12noon. Closed Sunday.

See our website for latest information.

Sharmayne Grace McLean, Cartoon Liquid, 2020, digitally manipulated video still.

Mark Johnson, Annandale, 1978, silver gelatin print, 40.7 x 50.6 cm. (1984-1) Horsham Regional Art Gallery Collection. Courtesy of the artist.

9 October—10 January 2022 A kind of Alchemy Silver gelatin prints from the collection.

Through the magic of black and white silver gelatin prints, this exhibition features iconic artists of 20thC Australian photography and their vision of the streets, people and culture of our cities.

A Horsham Regional Art Gallery exhibition.

Bethany Thornber, cudjallagong dreams, 2021, acrylic on canvas, 152.5 x 122 cm.

McLean’s practice melds together personal experiences with an in-between blur of real and imagined worlds, informed by archetypes, pop/sub-cultures, and various folklores. Garden of Glass references landscapes depicted within film and digital media as alien, magical, futuristic or “exotic” places, whilst costume, shields, weapons, and leisure and health devices become phenomena of such worlds.

2 August—30 January 2022 Nyanda Bethany Thornber (Wiradjuri), Treahna Hamm (Yorta Yorta), Tegan Murdock (Barkindtji, Dhudhuroa), Trish Cerminara (Gamilaori).

Lucas Jett Scalise, Hidden Resistance, 2020, pencil and ink on paper.

10 December—16 January 2022 Bright Sparks and Fireworks Exhibitions

Sarah Snook as Gertrude ‘Trudy’ Pratt.

Photograph: Ben King. Courtesy of Film Art Media, NFSA. 30 October—16 January 2022 The Dressmaker A National Film and Sound Archive Australia touring exhibition The Gallery is delighted to present The Dressmaker costume exhibition, which celebrates the artistry of the film’s sumptuous designs and the transformational power of fashion, as well as returning it to the Wimmera Mallee region where it was filmed.

Gallery visitors will be able to go ‘behind the seams’ of a diverse range of elegant vintage fashions by award winning costume designer and exhibition curator Marion Boyce worn by Hollywood stars and Aussie acting talent in the film.

This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians. Presented in partnership with the National Film and Sound Archive of Australia (NFSA) and FilmArt Media.

High St Wodonga, c. mid 1900s, photographer unknown. Image courtesy Wodonga Historical Society.

2 August—April 2022 Picturing the Past This exhibition is a collection of photographs and artefacts from the Wodonga Historical Society collection.

2 August—21 November I have always been here Simon Roberts (mechanical engineer), Vedran Gladovic (electrical and electronic engineer), Hariz Redzic (mechanical engineer), Achilles Nicola (physicist) and Nick Athanasiou (creative director).

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

See our website for latest information.

Incinerator Gallery presents the annual Fireworks and Bright Sparks exhibitions.

Fireworks 2021 showcases the accomplishments of high achieving art and design students in Years 11 and 12 who live, work or study in Moonee Valley. Bright Sparks showcases posters created by Moonee Valley students from Prep to Year 10 responding the theme of ‘environment’.

Islamic Museum of Australia www.islamicmuseum.org.au 15 Anderson Road, Thornbury, VIC 3071 [Map 5] 1300 915 171 Mon to Sat 10am–4pm.

See our website for latest information.

The Islamic Museum of Australia is the first centre of its kind in Australia and showcases a diverse range of Islamic arts including architecture, calligraphy, paintings, glass, ceramics and textiles.

10 December—16 January 2022 Garden of Glass Sharmayne Grace McLean 131

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VICTORIA

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

Felicity Gordon, Seed Pods, 2021.

17 November—5 December Loft 275: Germinate Felicity Gordon Engagement, collaboration and permaculture have long formed the basis of Felicity Gordon’s work. Germinate invites community members to engage with nature by growing some of their own food.

Every gallery visitor will be able to sow a food plant seed to germinate at home.

By coming closer to nature, visitors will be able to gain an appreciation of the enchanting and naturally occurring systems of decay and renewal. Using collage, worried paper, violent splashes and pools of ink the works mimic microscopic underground communities of bacteria and fungi. It is a mostly unknown world of immense power and diversity.

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

(Closed on Jewish holidays).

Mirka Mora, Friends under the tree, 1995.

Courtesy William Mora Galleries © The Estate of Mirka Mora.

Until 19 December MIRKA Mirka Mora Featuring more than 200 never-displayed works from the private collections of the Mora family and Mirka’s studio and archives, alongside pieces from Heide Museum of Modern Art, MIRKA offers the most comprehensive picture of the artist’s life and 70-year-long career. A story of survival and migration, interspersed with a generous dose of family, art, food and love, this special exhibition gives fresh insight into Mirka’s remarkable creativity, resilience and legacy.

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

The Johnston Collection www.johnstoncollection.org 192 Wellington Parade, East Melbourne VIC 3002 [Map 4] 03 9416 2279 Open Mon to Fri, with three tours daily at 10am, 12noon and 2pm.

We are closed on public holidays.

Pick up from the Pullman Melbourne on the Park. Bookings essential.

The Johnston Collection is a multi award-winning and critically acclaimed museum that invites creatives froma the broader visual arts and design communi-ties to re-interpret the Collection through a regular program of re-installation and interventions of the permanent collection. The museum has a superb collection of English Georgian, Regency, and Louis XV fine and decorative arts, and objet d’art which was a gift from William Robert Johnston (1911–1986) to the people of Victoria. Johnston was a prominent Melbourne-born antique dealer, real estate investor and collector.

The Collection is displayed in a constantly changing domestic setting, in his former residence, Fairhall, an historic East Melbourne townhouse.

Manufactured by Kensington Works (est.

1856–1892), dish, sweetmeat (pair), circa 1880, Stoke-on-Trent, England. porcelain, polychrome enamel decoration, 26 x 17 cm. Foundation Collection 1989.

9 March—16 November Objects of My Affection: Stories of love from The Johnston Collection

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 12noon–5pm. Free entry.

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

See our website for latest information.

Don Walters, Distracted (a Bubbles artwork).

10 December—16 January 2022 Bubbles Joe Pascoe and Don Walters Bubbles are the collaborative creation of artist Don Walters and poet Joe Pascoe.

Bubbles is an every-person character who finds life a little bewildering, but still has wonder and hope. You are invited to join Bubbles and their friends on a joyous adventure together.

This exhibition will display the original artworks and the respective poems from a soon-to-be-published book, Bubbles: On an Island Somewhere South of Paris, by the creative duo.

Sean Hogan, Colour System Series, 2020, acrylic on perpsex, custom made aluminium frame, 40 x 30 x 5 cm.

25 November—11 December Subtractive Sean Hogan

26 November—15 January 2022 Kingston Arts Centre Galleries Longing For Home Presented by Sofie Dieu Kingston Arts Grants Recipient, Artist Sofie Dieu in partnership with Kingston 133

CONSTANCE STOKES Showing November-December 2021

CONSTANCE STOKES 1906 - 1991, My Young Mother 1970s, oil on canvas, 44.5 x 34 cm.

Copyright the Estate of the Artist.

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 Kingston Arts Centre continued...

Sofie Dieu, Women’s narratives by the river, 2019, embroidery on fabric.

Arts, the City of Kingston and the Victorian Immigrant and Refugee Women Coalition presents Longing for Home. This exhibition is the outcome of a collaborative project between the artist and migrant women living in the suburbs of Melbourne. Together, they explore what ‘home’ means when living away from one’s country of birth and family and have narrated their stories in embroidery to form a collective textile artwork. Opening Thursday 25 November, 6pm–8pm.

the mission to raise local public awareness around the Universal Declaration of Human Rights. Each year the committee holds a children’s poster art competition for Kingston schools and colleges to help raise awareness in the local curriculum. The artwork in this year’s exhibition will respond to the theme Freedom: revisited. The posters seek to showcase the children’s understanding of freedom through the powerful medium of art.

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

4 December—20 February 2022 9th Koorie Art Show Call for entry, various artists.

4 September—27 February 2022 Blak Jewellery–Finding Past, Linking Present Ange Jeffery (Wiradjuri), Aunty Beverley Meldrum (Wirangu, Kokatha), Cassie Leatham (Taungurung), Hollie Johnson (Gunaikurnai, Monero Ngarigo), Isobel Morphy-Walsh (Taun Wurrung), Jenna Lee (Larrakia, Wardaman and Karajarri), Kait James (Wadawurrung), Lisa Waup (Gunditjmara and Torres Strait Islander), Sandy Hodge (Lardil), Sharn Geary (Bundjalung) and Aunty Suzanne ConnellyKlidomitis (Wiradjuri).

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

See our website for latest information.

11 September—12 December 50 ARTISTS: 50 Years

Kingston for Human Rights, 2020, image courtesy of Laura.

12 November—12 December G3 Artspace: Kingston For Human Rights Annual Exhibition A local volunteer-run organisation with

Thelma Beeton (Palawa), Galivanting Around, 2020, acrylic on canvas. Entrant 8th Koorie Art Show. Collection of the artist. This artwork was created through The Torch, a not for profit organisation providing art, cultural and arts industry support to Indigenous offenders and ex-offenders in Victoria.

A major exhibition to celebrate 50 years of Latrobe Regional Gallery. The show will feature works from our collection by artists who have made a significant contribution to the development of art in Gippsland.

The exhibition will also include artworks borrowed from artists who are living or working in Gippsland. The final group of artists will be three artists commissioned to create new work for inclusion in the exhibition. The exhibition is forward-looking with an eye to the future and with an emphasis on contemporary art.

Koorie Heritage Trust → Installation view Blak Jewellery–Finding Past, Linking Present. Koorie Heritage Trust, Melbourne.

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VICTORIA Latrobe Regional Gallery continued...

Artists: Caroline Durre, Lesley Duxbury, Tony Hanning, Euan Heng, Jenny Peterson, Rodney Scherer, Louisa Waters, Bill Young , Geoffrey Dupree, Steaphan Paton, Robin Wallace-Crabbe, Kate Zizys, Barry Brown & Irene Proebsting, Peter Cole, Rodney Forbes, Mandy Gunn, Dr Aunty Eileen Harrison, Frank Mesaric, Nick Mount, Clive Murray-White, Patrice Muthaymiles Mahoney, Owls of Nebraska , Pezaloom, Susan Purdy, Owen Rye, Dean Smith, Neale Stratford, Colin Suggett, Julie Adams, Barry Brown & Irene Proebsting, Glen Clarke, Ronald Edwards-Pepper, Rodney Forbes , Sue Fraser, Janina Green, Juli Haas, Dr Aunty Eileen Harrison, Hayden Jackson, Jeremy Kasper , Lisa Kennedy, Kim McDonald, Kevin Mortensen, Jennifer Mullet, Clive Murray-White, Lucy Parkinson, Jenny Peterson, Hedley Potts, Heather Shimmen, Anthea Williams , Rosalind Atkins, Barry Brown & Irene Proebsting, David Burrows, Glen Clarke, Christopher Coventry, Janina Green, Josephine Jakobi, Lisa Kennedy, Kevin Mortensen, Julie Rosewarne Foster, Colin Suggett and Dan Wollmering .

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

Other times by appointment.

See our website for latest information.

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

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

See our website for latest information.

27 October—20 November New Landscapes II Andrew Atchison, Joseph L Griffiths, Tim McMonagle, Kiron Robinson Kiron Robinson appears courtesy of Sarah Scout Presents, Melbourne.

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

Free entry.

See our website for latest information.

Linden Postcard Show 2020–21. Photograph: Theresa Harrison Photography.

4 December—27 February 2022 Linden Postcard Show 2021–22 The iconic Linden Postcard Show will return for its 31st year. With over 1,000 mini masterpieces to see—every work measuring exactly 8 x 10”—this exhibition will include work by artists at all stages of their career, from across Australia. As an open-entry art prize, the Linden Postcard Show continues to support living artists by presenting and selling their work, as well as acknowledging their wonderfully diverse and inspiring practices.

4 December—27 February 2022 Gloots, Gloots, Gloots!

Anna Hoyle Hoyle’s solo exhibition presents a collection of new works on paper that reflect the artist’s longstanding interest in words and phrases inspired by self–help trends, advertising and consumer culture.

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

28 August—6 February 2022 The Rick Amor Drawing Award Zoe Amor, Stephen Armstrong, Jacqueline Balassa, Lorraine Biggs, W. H. Chong, David Fenoglio, Jane Grealy, Pei Pei He, Domenica Hoare, Terry Matassoni, Anh Nguyen, Catherine O’Donnell, Lyn Raymer, Robert Scholten, Benedict Sibley, Joe Whyte and Joel Wolter.

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

See our website for latest information.

Veronica Caven Aldous, Light and green, 2020, watercolour on linen, 137 x 137 cm.

Photo courtesy of the artist.

Constance Stokes, My Young Mother, 1970s, oil on canvas, 44.5 x 34 cm.

November/December Constance Stokes

Andrew Atchison, …shaped by a vision that is always structured through his own multiple horizons of experience... , 2021, stained glass, lead, mixed media, dimensions variable.

28 August—6 February 2022 Splash Contemporary Watercolour Award Alison Amaryllis, Joseph Anatolius, Matteo Bernasconi, Lee Bethel, Naomi Bishop, Eugene Carchesio, Chris Casali, Veronica Caven Aldous, Michelle Cawthorn, Louisa Chircop, Libby Derham, Chonggang Du, Louise Foletta, Alison Ford, Belinda Fox, William Goodwin, Domenica Hoare, Kris Kang, Martin King, Anne Kucera, Alex Linegar, Tania Mason, Megan McPherson, Valentina Palonen, Gregory Pryor, Annika Romeyn, Katika Schultz, Andrew Seward, and Louise Tate.

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Exhibition extended

Future U explores what it means to be human during a time of rapid technological acceleration. The exhibition presents creative responses to developments in artificial intelligence, robotics and biotechnology. For while innovation in these areas offers amazing possibilities, it also poses questions and presents challenges to our beliefs and values.

But what is the ‘U’ in ‘Future U’? On the one hand, it is YOU—the human navigating the maelstrom of technological change in the twenty-first century. But as machines come to meet and surpass our human capacity, the characteristics that make you, you, must be reconsidered. The ‘U’ also points to a future that may be Utopic, Undefined, Upgraded, Unlimited, Unexplored, and Unknowable.

This exhibition examines the increasingly urgent question of human uniqueness at a time when both our world and our place in that world are changing.

Curators Jonathan Duckworth and Evelyn Tsitas

Be sure to check our website before visiting for up-to-date information on gallery opening hours and COVIDSafe policies and restrictions. rmitgallery.com

Artists Bettina von Arnim Holly Block Karen Casey Jonathan Duckworth Peter Ellis Jake Elwes Alexi Freeman Libby Heaney Leah Heiss & Emma Luke James Hullick rmitgallery.com

Pia Interlandi Amy Karle Mario Klingemann Zhuying Li Christian Mio Loclair Maina-Miriam Munsky Patricia Piccinini Stelarc Uncanny Valley Deborah Wargon

VICTORIA McClelland Sculpture Park continued...

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

See our website for latest information.

Claire Bridge, Bombshell (Rita), 2021, porcelain, embroidered satin, porcelain leaf, 25 cm x 21 cm x 4 cm. Photo courtesy of the artist.

28 August—6 February 2022 Mary & Lou Senini Student Art Award in Ceramics Pattie Beerens, Claire Bridge, Mark Friedlander, Marion Harper, Debbie Hill, Saskia Muecke, and Narelle White.

The foundations of Mildura Arts Centre were first laid in 1950 when Rio Vista, previously the showcase family home of WB and Heather Chaffey, was purchased by the Council for £18,000. Rio Vista was acquire for use as an art gallery to display the significant collection of works bequeathed to the community by Senator R D Elliott in 1944. Further works were also bequeathed by his late wife, Mrs Hilda Elliott in 1970. The art gallery, contained within a refitted and extended Rio Vista, was officially opened on 25 May 1956

by Governor of Victoria General Sir Dallas Brooks.

The eldest daughter of the prominent Melbourne politician and publisher Theodore Fink, Hilda Elliott grew up in an environment in which the arts were valued and supported. It is an experience that Hilda took with her into her marriage to RD Elliott who came to be an avid collector of Australian and international art in his own right.

While much is written about the lives of Theodore and RD, little is documented of Hilda’s life. For this reason, the collection of works she bequeathed to Mildura Arts Centre upon her death in 1970 are important. Hilda Elliott: a conversation is an insight into the character of this fashionably elegant and poised woman whose voice is rarely heard.

Until 7 November Harbinger Dianne Fogwell, Ginger Bottari, Megan Bottari, Nicola Dickson, Steven Holland, Tiff Cole and Reuben Lewis. The complex relationship between humans and birds is explored by a group of seven artists using a range of media and processes.

Supported by artsACT project funding.

Metro Gallery

8 October—28 November Earth Canvas Rosalind Atkins, Jenny Bell, Jo Davenport, Janet Laurence, Idris Murphy, John Wolseley and Filomena Coppola

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

See our website for latest information.

3 December—12 February 2022 Hilda Elliott: a conversation Mildura Arts Centre Collection

Anjelie Beyer, Lake Hawthorn and Gulls, 1981, oil on canvas on cardboard. Mildura Arts Centre Collection.

29 September—21 November Spring, brings new life, new beginnings Mildura Arts Centre Collection Spring brings life as the earth awakens and begins to warm. From the first bud on a grape vine or the sprouting of colour and new growth. Birds taking or anticipating flight, to a mother kangaroo and her young taking in the morning sun.

Earth Canvas showcases works by leading contemporary artists, developed in response to regenerative farming properties situated between the Murray and Murrumbidgee rivers in southern NSW. The exhibition explores the creative experiences of both the regenerative farmer and the artist, their respective engagement with the land and their vision for a healthier world.

Earth Canvas was developed by regional collaborative Earth Canvas: Art in Ag, curated by Albury LibraryMuseum, and supported by the National Museum of Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

12 November—6 February 2022 Expressions from the Hill Broken Hill Potters Expressions from the Hill, a new exhibition by the Broken Hill Potters, will showcase the raw, nature inspired experience of wheel-thrown, hand-built and sculpted pottery, and reveal the diversity of their individual styles, which incorporates both traditional and conventional methods and firings.

Eolo Paul Bottaro, Udepata, Ellery Creek, Big Hole, 2017, watercolour on paper, 76 x 55 cm.

26 November—23 January 2022 Special Forever: voices of the children Presented by Rosemarie Zalec and Sunraysia Primary Schools.

Until 20 November Eolo Paul Bottaro: The Artist’s Studio A survey exhibition of painting, sculpture, works on paper, and graphics.

23 November—18 December Carlos Barrios An exhibition of recent paintings, works on paper, and ceramics.

Mary Cecil Allen, Portrait of Hilda Elliott, nd, oil on canvas, Mildura Arts Centre Collection, Hilda Elliott bequest, 1970.

Special Forever: voices of the children is an environmental awareness project which features the writing and artworks of the vibrant young ‘voices’ of children from Sunraysia schools.

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Missing Persons www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 See our website for latest information.

country. MGA invited artists to submit still photo-based media including analogue and digital photography created over the last year for consideration.

The winning work will be awarded $30,000 and will be acquired into MGA’s nationally significant collection of Australian photographs. The Smith & Singer People’s Choice Award will be voted by the public with the recipient receiving $5000.

2021 finalists: Leith Alexander, Svetlana Bailey, Kate Ballis, Lauren Bamford, Gabrielle Bates, Tom Blachford, Paul Blackmore, Christophe Canato, Danica Chappell, Benjamin Cole, Nici Cumpston, Tamara Dean, Marian Drew, Jo Duck, Liss Fenwick, Silvi Glattauer, Richard Glover, Rebecca Griffiths, Joanne Handley, Jesse Harvey, Ponch Hawkes, Joseph Häxan, Petrina Hicks, Edi Ivancic, Angelique Joy, Tony Kearney, Ingvar Kenne, Shea Kirk, Honey Long and Prue Stent, Paula Mahoney, Harry McAlpine, Joseph McGlennon, Rod McNicol, Danie Mellor, Hayley Millar Baker, Mark Mohell, Lillian O’Neil, Meredith O’Shea, Ashley Perry, Patrick Pound, Ruigi Qiu, Tonina Ryan, Amber Schmidt, Jessica Schwientek, Christopher Sheils, Melissa Spiccia, Ali Tahayori, Christian Thompson, Angela Tiatia, James Tylor, Justine Varga, Amy Woodward.

Moss Tunstall, Outstanding Courage & Coolness Whilst Flying, 2021. Photograph

by Ted Min. 1 December–7 December ARTWEAR Festival A week of art and fashion Matt Finish, Henry Holder, Love Manifesto, Alexandra Nemarič, Troppo Print Studio and Moss Tunstall.

Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm.

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145.

Wed to Fri 10am–5pm, Sat 12noon—5pm during exhibitions.

Free entry.

See our website for latest information.

19 November—3 December MADA Now Grad Show Graduating art students from Monash Art Design and Architecture Fine Arts faculty .

Monash University Museum of Art – MUMA www.monash.edu.au/muma Leith Alexander, Shuddup boys, 2021, from the series SHEAR, courtesy of the artist.

9 September—5 December William and Winifred Bowness Photography Prize Over the last 16 years, the Bowness Photography Prize has emerged as an important annual survey of contemporary photographic practice in Australian and one of the most prestigious prizes in the 140

Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission.

See our website for latest information.

27 November—15 January 2022 Language Is a River

Wu Tsang, Duilian, 2016 (production still), single-channel colour video with sound; 26 minutes. Courtesy the artist, Galerie Isabella Bortolozzi, Berlin and M+, Hong Kong. Photo: Ringo Tang.

Akil Ahamat, Archie Barry, Charlotte Prodger, Sarah Rodigari, Wu Tsang and Shen Xin.

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

See our website for latest information.

Mornington Peninsula Regional Gallery (MPRG) is the largest public gallery in the South East region of Melbourne. We strive to make art accessible to everyone in our community. Our seasonal exhibition program combines a mix of self-generated curatorial projects, local artist focus projects, collection-based and touring exhibitions. We develop a range of ambitious curatorial projects commissioning artists to make new work drawing on contemporary issues and the distinctive natural environment of the Mornington Peninsula.

Entry to the Gallery is free.

Until 13 March 2022 Wall Drawings Curated by Danny Lacy and Ellinor Pelz.

Bringing together eleven leading contemporary artists from across Australia, this exhibition explores the expansive nature of wall drawings and paintings, situating newly commissioned wall-based works throughout the Gallery. Artists include Penny Evans, Emily Floyd, Tony Garifalakis, Julia Gorman, Yuria Okamura, Jason Phu, Kerrie Poliness, Cameron Robbins, Gemma Smith, Lisa Waup and Jahnne Pasco-White.

Collection+ Jess Johnson / Eduardo Paolozzi Curated by MPRG Director Danny Lacy.

An ambitious new series Collection+ will pair newly commissioned work by leading artists represented in the MPRG Collection alongside select institutional loans.

The first exhibition in this series features new work by trailblazing artist Jess Johnson with one of the pioneers of the pop art movement Sir Eduardo Paolozzi.

Thin grey line – Contemporary Drawing The Thin grey line brings together the work of four highly skilled contemporary

VICTORIA artists who incorporate fine detail into their drawing practices: Becc Orszag, Indigo O’Rourke, Laith McGregor and Natalie Ryan.

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

See our website for latest information.

Michael Riley, Untitled, 2000, from the cloud (cow) series, inkjet print on banner paper, 110 x 155 cm. National Gallery of Victoria, Melbourne © Michael Riley Foundation, courtesy The Commercial, Sydney, licensed by Copyright Agency, Australia.

12 March—6 February 2022 Big Weather A timely exhibition that recognises the sophisticated appreciation of weather systems that exists within Aboriginal and Torres Strait Islander cultural knowledge.

25 June—2 February 2022 Maree Clarke: Ancestral Memories The first major retrospective of Melbourne-based artist and designer, Maree Clarke, who is a Yorta Yorta / Wamba Wamba / Mutti Mutti / Boonwurrung woman.

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

See our website for latest information.

Xu Zhen (designer), Xu Zhen (design studio and manufacturer), Sofa – Turbulent, 2015, polyurethane foam, paint, 70 x 110 x 68 cm. National Gallery of Victoria, Melbourne. Purchased with funds donated by Sarah Tiffin and Andrew Clark, 2018. © XU ZHEN® 22 May—30 January 2022 History in the Making 25 June—30 January 2022 Camille Henrot: Is Today Tomorrow November—30 January 2022 Golden Shells and the Gentle Mastery of Japanese Lacquer November—August 2022 2021 NGV Architecture Commission: Pond[er] | Taylor Knights with James Carey 22 December—25 April 2022 Bark Ladies: Eleven Artists from Yirrkala

30 October—20 February 2022 Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey

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

David Keeling, Cradle, 2021, oil on linen, 137.5 x 122 cm. Photography: Mark Ashkanasy, Melbourne.

10 November—27 November Closer to home David Keeling

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

The Gecko and the Mermaid: Nyapanyapa and Djerrkŋu Yunupiŋu

Child wearing Kyoko Hashimoto, Guy Keulemans and Matt Harkness’ Polylactic acid chain, 2021. © Guy Keulemans, Kyoko Hashimoto and Matt Harkness.

Photo: Carine Thevenau.

November—6 February 2022 Sampling the Future

Niagara Galleries

Gabrielle Chanel (designer), Ensemble with dress and jacket, c.1926–27, silk, silk taffeta. Patrimoine de CHANEL, Paris Photo © Julien T. Hamon.

Genevieve Felix Reynolds, Composition with Aperture, found and handpainted brick [20th century], Tomb of Eurysaces the baker [50-20 BC, Rome], Industrial Chain [2020], 2021, oil paint, steel, objects, 100 x 71 x 18 cm.

5 December—25 April 2022 Gabrielle Chanel. Fashion Manifesto

9 November—27 November Genevieve Felix Reynolds 141

Len Fox Painting Prize 2022 The Len Fox Painting Award is a biennial acquisitive painting prize and is awarded to a living Australian artist to commemorate the life and work of Emanuel Phillips Fox (1865–1915), the uncle of Len Fox, partner of benefactor Mona Fox. The award is funded through a bequest from Mona Fox, with $50,000 awarded to the winner.

The Len Fox Award recognises and promotes the work of Australian artists pursuing the artistic interests and qualities of E. P. Fox. These include engagement with colour and light; ambitious connections with international developments in art; and, an interest in travel and an engagement with the cultures of diverse regions and peoples.

The Len Fox Award will be made to a painting judged to have addressed the interests of E. P. Fox as an imaginative, inquisitive and worldly artist. This is an acquisitive award, with the winning painting becoming part of the CAM Collection.

Entries close: 15 December 2021 castlemaineartmuseum.org.au/exhibitions/len-fox-painting-prize-2022

Castlemaine Art Museum 14 Lyttleton Street, Castlemaine 03 5472 2292

castlemaineartmuseum.org.au fb CastlemaineArtMuseum ig castlemaineartmuseum

castlemaineartmuseum.org.au

VICTORIA Nicholas Thompson Gallery continued...

28 October—11 November Silva Inferno Sue Cooke Silva Inferno is an exhibition inspired by the glow and the power of fire and its role in deforestation. The exhibition depicts the beauty, tragedy and regeneration of a forest during and after the burn.

The images have developed through my drawings, observations and research of increased wildfires worldwide due to industrialised forestry practises and climate change. In particular the ferocity of the largescale Australian Wildfires of 2019 and a visit to Millstream in Western Australia’s Pilbara region after a controlled burn.

Guy Warren, Composition Piece, 2021, oil on canvas, 66. 5 x 66. 5 cm.

30 November—18 December Guy Warren

No Vacancy Gallery www.no-vacancy.com.au 34–40 Jane Bell Lane, QV Building, VIC 3000 [Map 2] 03 9663 3798 Tue and Wed 8am–4pm, Thu and Fri 8am–6pm, Sat 1pm–4pm.

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

RMIT Gallery is a public art gallery presenting an engaging and thought-provoking program of contemporary exhibitions featuring emerging and established artists and curators.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm..

A curated art space representing a tight collection of fine artists, chosen for their artistic virtuosity, creative thinking and sheer mastery of their practice. Qdos Fine Arts hosts 10 solo exhibitions annually, our artists launch a new body of work biennially, albeit, offer a small but exclusive range of their work which is always available for stockroom viewing.

PG Gallery

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

23 July—18 December Future U Speculative and emotionally charged, Future U responds to the complex possibilities of the rapid acceleration and convergence of technologies and its impact what it means to be human.

Artists include: Bettina von Arnim, Holly Block, Karen Casey, DuckworthHullickDuo, Peter Ellis, Jake Elwes, Alexi Freeman, Libby Heaney, Leah Heiss and Emma Luke, Pia Interlandi, Amy Karle, Mario Klingemann, Zhuying Li, Christian Mio Loclair, Maina-Miriam Munsky, Patricia Piccinini, Stelarc, Uncanny Valley, Deborah Wargon.

Curated by Jonathan Duckworth and Evelyn Tsitas.

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

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

RMIT Gallery

Veronica O’ Hehir, Sunset Paddock, oil and acrylic on canvas, 122 x 198 cm.

14 November—4 December Response to Land Veronica O’ Hehir

Salt Contemporary Art www.salt-art.com.au 33-35 Hesse Street, Queenscliff, VIC, 3225 [Map 1] 03 5258 3988 See our website for latest information.

Phillip Doggett -Williams, Looking for an Honest Man, chalk pastel, 71 x 108 cm.

28 November—18 December New Works: Current and Contemporary Issues, exploring the Environment and Our Society Phillip Doggett -Williams

Sue Cooke, Silva - Snappy Gum, 2021, mono print, lithograph and gouache, 28 x 38 cm.

5 December—25 December Lucy McEachern 19 December—8 January 2022 Rohan Robinson

Gus Leunig, Somewhere Land, acrylic on canvas, 122 x 152 cm.

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VICTORIA Salt Contemporary Art continued...

Stockroom Kyneton www.stockroom.space

29 October—21 November Somewhere Land Gus Leunig

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Wed to Sat 10.30am–5pm, Sun by appointment.

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, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers.

Dean Bowen, Smiling Kookaburra (Small), 2021, bronze, 58 x 62 x 23 cm, Edition 6.

26 November—19 December Nitty Gritty: New sculptures and paintings Dean Bowen .

Sarah Scout Presents www.sarahscoutpresents.com 1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes.

Fri and Sat 12noon–5pm and by appointment.

See our website for latest information.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm.

See our website for latest information.

Maree Clarke, Connection to Country – I Remember When...: Stories from elders about their connection to Country, culture, and place II, 2021. Courtesy of the artist and Vivien Anderson Gallery, Melbourne © Maree Clarke.

From 20 November Maree Clarke: Connection to Country – I Remember When ...

From 20 November Flow: Stories of River, Earth and Sky in the SAM Collection From 20 November Everyday Australian Design: Functional Design from the Ian Wong Collection From 20 November Brown Pots

STATION

Liss Fenwick, Nuptial Flight, 2019, pigment print on platine fibre paper, edition of 2, 120 x 80 cm.

23 October—28 November Natural History Of Destruction Liss Fenwick 23 October—28 November Terraforming: an expanding practice Nicholas Burridge 23 October—28 November Hidden Lauren Joffe

www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Fri 10am–5pm, Sun 10am–4pm.

From 20 November Lin Onus: The Land Within

Honor Freeman, Leak, 2021, porcelain, gold lustre, 5 x 25 x 12 cm. Photograph: Anna Grigson.

Prue stent, Honey Long and Amrita Hepi, This may not protect You, 2017. Courtesy of the artist and Anna Schwartz Gallery, Melbourne. © Amrita Hepi.

From 20 November Amrita Hepi: A Call to Echo

Eugenia Lim, Be relentless (Zonotrichia leucophrys gambelii), 2021. Concept image for24/7, digital collage. Courtesy of the artist and STATION. 30 October—27 November Eugenia Lim Reko Rennie 4 December—22 January 2022 Daniel Boyd and Zac Langdon-Pole

4 December—9 January 2022 Intermission Becc Ország 4 December—9 January 2022 Domestic Jason Waterhouse 4 December—9 January 2022 In search of ordinary Honor Freeman

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OBJEC TS OF MY AFFEC TION

STORIES OF LOVE FROM THE JOHNSTON COLLECTION 9 MARCH - 16 NOVEMBER 2021

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

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

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

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

HELLO@JOHNSTONCOLLECTION.OR G +61 3 9416 2279

johnstoncollection.org

KEEP INFORMED – CONNECT WITH US

johnstoncollection.org

VICTORIA

Swan Hill Regional Art Gallery → Mary Gilmore, Typewriter 1: Riverbank Murrumbidgee River at Lambrigg, typewriter, light, projector, fog, archival pigment print, 42 x 29.7 cm.

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

1 October—13 November Biosphere – a sense of belonging Curated by Felicity Spear.

17 November—18 December Abstraction - explored Curated by Stephen Wickham.

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

See our website for latest information.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

See our website for latest information.

Until 28 November Haunting Vic McEwan

Felicity Spear, Darkness falls, (after Melanodes anthracitaria), 2020-21, charcoal and conté on archival paper, 1750 x 1250.

In 2015 artist Vic McEwan and National Museum of Australia curator George Main collaborated with the Murrumbidgee River—its flowing water and shifting air—to create photographs and video artworks. On cold winter nights, McEwan

projected images of museum objects, old photographs and a time-worn map across the Murrumbidgee River, onto fog, mist and campfire smoke drifting over the dark water. The imagery, all intimately tied to the river and its turbulent history, came alive in unexpected, sometimes mysterious ways.

3 December—20 January 2022 Re-imagined Narratives Wayne Elliott Elliott explores familiar worlds from a multiplicity of perspectives. From that of a bird, a walker, a ground hugging insect and a cartographer, as he walks through the painting, across the canvas, ultimately rendering the journey, surrounds and path taken. We see the inquisitive nature of the artist as explorer, contemplating place and space as he navigates and creates through paint, the emerging imagery from myriad viewpoints and re-imagined narratives.

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Open all public holidays. Open 7 days a week.

7 August—21 November WILAM BIIK Curated by Stacie Piper.

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VICTORIA Tarrawarra Museum of Art continued...

Tolarno Galleries www.tolarnogalleries.com

Paola Balla (Wemba Wemba, Gundjitmara), Deanne Gilson (Wadawurrung), Kent Morris (Barkindji), Glenda Nicholls (Ngarrindjeri and Yorta Yorta), Steven Rhall (Taungurung), Nannette Shaw (Tyereelore, Trawoolway, Bunurong), Kim Wandin (Wurundjeri), Arika Waulu (Gunditjmara, Djapwurrung, Gunnai), Rhiannon Williams (Wakaman, Waradjuri), and the Djirri Djirri Wurundjeri Women’s Dance Group (Wurundjeri, Dja Dja Wurrung, Ngurai Illum-Wurrung) together with works by William Barak (Wurundjeri), Timothy Korkanoon (Wurundjeri), Granny Jemima Burns Wandin Dunolly (Wurundjeri), Joyce Moate (Taungurung), Rosie Tang nee Egan (Wemba Wemba, Gunditjmara), Letty Nicholls (Ngarrindjeri).

Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

See our website for latest information.

Lyn Guy, The Devil’s Marbles, 2017, silk dupon, procion dyes, monofil thread, rayon embroidery threads and backing fabrics, shapewell and pellum, mounted behind glass in natural ash wood frame, 62 x 74 cm. Image courtesy of the artist.

Rosemary Laing, Still :Life with Burnt Twigs and Bandages, 2021, archival pigment print, image size: 77.5 x 114 cm / framed size: 89 x 125.5 x 5.5 cm approx.

Edition of 8 + 2 AP. From the series poems for recent times 2021.

8 October—11 December Tolarno Galleries online exhibition: Poems for recent times Rosemary Laing 24 August—11 December Tolarno Galleries online exhibition:

Sidney Nolan, The Myth Rider, 1958–59, polyvinyl acetate on composition board 122 x 152 cm, Private Collection © The Trustees of the Sidney Nolan Trust / Bridgeman Images. Copyright is now managed by the Copyright Agency. Photo © Agnew’s, London / Bridgeman Images.

4 December—6 March 2022 Sidney Nolan: Myth Rider Curated by Anthony Fitzpatrick.

this exhibition focuses on the ways our built environment is used to foster ideas of home, shelter and belonging.

The Stations 2021 Brent Harris

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

See our website for latest information.

2 October—11 December Community Exhibition: Out Back Lyn Guy Out Back features a series of quilted textiles by artist Lyn Guy depicting images of the Australian outback taken while travelling in her motor home. Each work features self-dyed silks and threads reflecting the unique palette of colours present in Australia’s rich, remote and diverse landscape.

2 October—11 December Community Exhibition: Working Under the Shadow of Happiness This exhibition explores the notion of happiness within the lives of people with disability and/or mental health issues, featuring work by Tristana Fitzgerald, Lynne Kells and Owen Renfrey.

This exhibition is supported by the City of Boroondara Community Strengthening Grants program and Rotary Club of Balwyn.

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

See our website for latest information.

Eugenia Lim, The Australian Ugliness, still detail, 2018, three-channel video installation with six-channel audio, 33 minutes 58 seconds duration, image courtesy of the artist and STATION. Photograph: by Tom Ross.

Heather B. Swann, Nail, 2021, paulownia (kiri) wood, nails 23 x 11 x 8 cm. Photo: Peter Whyte. Courtesy of the artist and STATION, Melbourne and Sydney.

4 December—6 March 2022 Heather B. Swann: Leda and the Swan Curated by Anthony Fitzpatrick.

2 October—11 December Shelter in Place This exhibition examines the relationship between human beings and architecture.

Featuring work by Alfredo & Isabel Aquilizan, Kevin Chin, Mason Kimber, Eugenia Lim, Shannon Lyons and Polly Stanton,

27 October—9 November OBLICZA Polonii: Faces of the Polish Community An exhibition by the Polish Art Foundation exploring the different faces of the Polish diaspora through themes of community, belonging, identity and change as part of an evolving human journey.

28 October—8 November The Day the Earth was Born Abstract contemporary artworks by Paul Laspagis that strive to reinterpret reality through harmonious formal elements.

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VICTORIA The Victorian Artists Society continued...

28 October—8 November VAS En Plein Air Exhibition A celebration of the spirit of plein air artists.

1 November—15 November Plant Portraits 2021 Susan Morris’s studies of native Australian plants fall somewhere between botanical and still life—or even portraits.

These paintings are studies of light and beauty found in the natural world.

8 December—16 December Staying Put: Time to Explore Paint and Colour In her solo exhibition, Louise Foletta contemplates paint pigments, natural environments, and how seasons and days seem to have their own particular character and colouring.

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

See our website for latest information.

Jennifer Fyfe, Bringing in the Catch, oil, winner 2019.

12 November —29 November VAS Mavis Little Artist of the Year 2021

Janet Fieldhouse, Never The Same Witchery 1, 2021, Buff Raku Trachyte, Japanese speckled paper Raffia, 20 x 10 x 8 cm.

25 August—13 November Never the Same Janet Fieldhouse

It Hao Pheh, 6th Day—Edificio Metropolis, Madrid Spain, oil on canvas.

19 November—7 December VAS Little Treasures 2021 A large variety of small artworks for sale prices of $250 and under, showcasing the many talents of our artists.

A diverse selection etchings based on narratives open for interpretation, with imagery ranging from landscape to figuration.

Solo exhibition by Ulrich Stalph of landscape paintings depicting Victoria’s Otway ranges and surrounds.

56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

See our website for latest information.

21 August—14 November Gallery 1: Bowness Photography Prize celebrates 15 years In 2020 the Photography Prize marked its 15th year. To celebrate Monash Gallery of Art (MGA) curated an exhibition that celebrates the past winning artists (2006–20) with a selection of their works drawn from the MGA Collection which showcases contemporary photography in Australia. Established in 2006 to promote excellence in photography, across all photographic media and genres by both established and emerging artists, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation and has become one of the most prestigious prizes in the country.

Curator: Anouska Phizacklea, MGA Gallery Director. A Monash Gallery of Art (MGA)Travelling Exhibition.

Tamworth Textile Triennial, held every three years, showcases the best of textile art from across the country, attracting artist participation from all states in Australia. Tension(s) 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective. Tension(s) 2020: Tamworth Textile Triennial acknowledges that the world has long been a place under various tension(s), both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality.

30 October—5 December Gallery 1: Forms & Echoes Nuno Rodrigues de Sousa

16 November—30 November A Personal Vision —Etchings by Eros Anceschi

1 December —16 December Landscapes in Oil and Paste

www.wangarattaartgallery.com.au

20 November—13 February 2022 Gallery 1: Tension[s] 2020Tamworth Textile Triennial Tamworth Textile Triennial Performance, Interaction and Material Futures

An impressive exhibition of artworks by select Victorian Artists Society artists with the highest number of votes from their peers, who have been invited to submit works for this prestigious award.

Image for VAS Mavis Little Artist of the Year 2021.

1 December —14 December Raffaella Torresan

Wangaratta Art Gallery

Dino Wilson, Warnarringa (Sun), 2021, natural earth pigment on canvas, 200 x 180 cm.

17 November—18 December Warnarringa Jilamara – painting under the Tiwi sun Dino Wilson

Historical references and allusions to utopian urban planning: imaginary cities that were never built, modernist buildings that were (or still remain) attempts to actively change society, echoes from the Bauhaus school spirit, or the humanism of the Renaissance period, or even the Situationist ideas around urban planning. The artist frames this project as a question: are these ideas still visible today? Or are they only ghosts that live in their forms?

Sousa references architecture, paintings, places, or communities, real or fictional or even scientific theories. In essence, spaces or thoughts created with the aim of changing society. The distinct time frames 151

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Wangaratta Art Gallery → Yinarr Maramali, Weaving Warrabah, 2019, (Short Neck Turtle) Lomandra, water vine, 1400 x 920 x 10 mm. Photography: Miranda Heckenberg.

Wangaratta Art Gallery continued...

Whitehorse Artspace www.whitehorseartspace.com.au

of these references point to contrasts, similarities and contradictions within the history of European culture and its trace elements and variations in Australia.

28 September—17 November WPACC Foyer Gallery: The Curtis Family Collection The genesis of this exhibition was from a donation of eight works by artist Anna Curtis to the Gallery in 2020. These works are the starting point for a celebration of the work her mother and father Helen & Peter Curtis, in the environmental arena and in particular spearheading the formation of the Wangaratta Urban Landcare Group. In conjunction with Wangaratta Library the Gallery showcases Anna’s works alongside publications and archival material from her parents.

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

See our website for latest information.

16 September—17 December Past, Present and Future This exhibition looks at the past, present and future of exhibitions in the City of Greater Dandenong.

What is a gallery without its audience?

Visitors are invited to contribute to the exhibition by considering and sharing 152

Hung Lin, Untitled, 2021.

Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

See our website for latest information.

their gallery experiences, thoughts and reflections on the walls of the gallery.

Looking to the future, artist Kenny Pittock will use these responses as inspiration to create a new work as part of the opening exhibition at Dandenong’s new contemporary art gallery.

As we prepare for the opening in early 2022, a new series of works will also be exhibited by artist Hung Lin documenting the development of the new facility, from the construction to the intricate details of the build. Through an installation of past exhibition posters, Past, Present and Future will also look back on some of the many wonderful exhibitions shown at Walker Street Gallery and Arts Centre.

Events are subject to COVID-19 restrictions. Visit our website for updates.

West End Art Space www.westendartspace.com.au 112 Adderley Street, West Melbourne, VIC 3003 [Map 6] 0415 243 917 Wed to Sat 11am–4pm.

All other times by appointment only.

Jacie Malseed, Here, There and Everywhere, detail, 2021 © The artist.

11 November—18 December Where in the World?

An Australian Quilters Association Exhibition.

Presented by Australian Quilt in Public Places (AQIPP), quilters from across Australia were given the opportunity to demonstrate their originality by creating quilts in response to a theme. The theme, Where in The World?, can be interpreted through time, space, form or meaning and is sure to inspire some surprising and skilful quilts.

Note: Restrictions may affect exhibition scheduling.

VICTORIA

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays.

See our website for latest information.

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

6 November—22 November Main Gallery: A selection of works from Scarred Species Richard Young

TREATY is presented against the back drop of work being undertaken by the Victorian State Government as the state negotiates a Treaty with a number of First Nations clans across, what today is called, Victoria. This will be the first state based Treaty created with First Nations people. The exhibition catalogue includes an essay from Dr Paola Bella and Dr Megan Evans.

Yering Station Art Gallery www.yering.com

Kait James, Chicken Treaty, 2021 and Peter Waples-Crowe, Ceremony, 2010.

From 26 August TREATY

38 Melba Highway, Yarra Glen, VIC 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm.

See our website for latest information.

Featuring artwork by Dr Paola Balla, Aunty Gina Bundle, Peter Waples-Crowe, Aunty Marlene Gilson, Coree Thorpe, Kait James and Laura Thompson and guest curated

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

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

Andrea Kirkham-Hopgood, Heading out, Coombe, oil on canvas, 760 x 760 cm.

24 November—10 January 2022 Main Gallery: A selection of works from Heading Out, Coming Home Andrea Kirkham-Hopgood 1 November—21 November Winery Viewing Gallery: Selected Works from The Dance Kate Baker: Photography Emmy Mavroidis : Sculpture A selection of outdoor sculptures are also on display in the gardens and on the Sculpture Terrace overlooking the Yarra Ranges.

Richard Young, A Scarred Mind, acrylic on canvas, 170 x 130 cm.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2021

New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

NEW S OUTH WALES

4A Centre for Contemporary Asian Art → Pierre Huyghe, Exomind (Deep Water), 2017, concrete cast with wax hive, bee colony, figure: 72 x 60 x 79 cm, beehive dimensions vary. Courtesy of the artist, Winsing Arts Foundation and Taipei Fine Arts Museum.

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, by appointment only.

See our website for latest information.

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

See our website for latest information.

16albermarle is a project space showcasing a range of international and Australian art within an intimate space in inner-city Sydney.

4A Centre for Contemporary Asian Art www.4a.com.au 4A programs are held online and offsite in 2021.

See our website for latest information.

Online/On-going 4A Papers: Issue 10 Edited by Mariam Arcilla. Featuring: Matt Chun, Green Papaya Art Projects, Leora Joy Jones, Annette An-Jen Liu and Hugh Hudson.

4 December—18 December 4A @ Metro Arts Gallery 97 Boundary Street, West End, Brisbane QLD: Azadeh Hamzeii: Solo Exhibition

Bobby West Tjupurrula, Tingari sites around Kiwirrkura, 2015, synthetic polymer paint on canvas, 183 x 153 cm.

Art Gallery of New South Wales, Wendy Barron Bequest Fund 2016. © Bobby West Tjupurrula.

Until early 2022 The Purple House A celebration of leading Pintupi artists and their enduring legacy leading to the establishment of the Purple House.

Matisse Alive A vibrant gallery-wide festival of Matisse

Henri Matisse, Blue nude II (Nu bleu II), 1952, gouache on paper, cut and pasted on paper, mounted on canvas, 103.8 x 86 cm. Centre Pompidou, Paris, Musée national d’art moderne, purchased 1984 AM 1984-276. © Succession H Matisse/ Copyright Agency 2021. Photo: © Centre Pompidou, MNAM-CCI / Service de la documentation photographique du MNAM / Dist RMN-GP featuring new work, projects and art from the collection.

6 November—13 February 2022 Family: Visions of a Shared Humanity Guest curated by Franklin Sirmans, the director of the Pérez Art Museum Miami (PAMM), Family: Visions of a Shared Humanity presents an important exhibition 155

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group of artists attest to the ability of sculpture to inhabit your space and expand your thinking.

of video works by some of the most internationally renowned artists of our time.

20 November—13 March 2022 Matisse: Life & Spirit, Masterpieces from the Centre Pompidou, Paris Discover the joy of Matisse through over 100 works spanning six decades. This Sydney-exclusive exhibition offers an extraordinary immersion in the range and depth of one of the world’s most beloved, innovative and influential artists.

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

See our website for latest information.

Michael Peter Buzinskas, The Story of a Friend, detail, 2020, acrylic on paper.

Winner of Connect, Collaborate, Celebrate 2020.

1 December—12 December Connect, Collaborate, Celebrate Art Prize Group Exhibition Now in its third year, Willoughby City Council is putting on an art competition and exhibition for people living with a disability, experiencing social isolation or at risk of marginalization. Celebrating International Day of People with Disability 2021, Connect, Collaborate, Celebrate provides artists with an opportunity to showcase their creative talent.

Alex Miles, Happy Objects, Shoes.

Photo: Alex Miles. their beauty and stories, and embracing their function. Happy objects are often not new, sometimes chipped and imperfect.

Perhaps they are reactionary – changing our view of what constitutes value in a world fixated with consuming more.

We keep them because they have a story or function, however small, that brings us a little joy.

Bank Art Museum Moree (BAMM) www.bamm.org.au

Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm.

See our website for latest information.

Australian Galleries, Sydney is now open with a curated group show. We look forward to having visitors back into the gallery. Please see our website for exhibition updates.

Australian Design Centre Songshi Li, Landscape of Willoughby, 2021, ink and colour on paper.

3 November—14 November Eternal Beauty Songshi Li This exhibition of landscape and flower paintings by Songshi Li reflects on the rapid growth of civilisation and how this has changed our environment. With his brush and Chinese painting techniques, Songshi Li’s work takes the viewer back to the world as it was thousands of years ago.

17 November—28 November The Sculptors Society 70th Anniversary Exhibition The Sculptors Society Celebrating 70 years, The Sculptors Society showcases modern and contemporary sculpture in all media. Presenting both realistic and abstract work, this exhibition demonstrates that sculpture can be made in any material and explore any subject. Through their work, this 156

25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information.

BAMM is a regional art institution with a difference. For thirty years we have worked to enhance the cultural life of Moree with a changing schedule of exhibitions that educate, challenge, and delight our local audience and visitors to the region. BAMM continues to receive invaluable support from Moree Plains Shire Council, through funding and the use of the magnificent 1911 Edwardian-style building, the previous home of the Commercial Banking Co. of Sydney.

www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm.

Free entry, donation encouraged.

See our website for latest information.

Australian Design Centre is an independent organisation connecting people with good design, contemporary making and creative experiences. We produce exhibitions and events in Sydney and across Australia through ADC On Tour, along with a city-wide festival Sydney Craft Week.

Object Shop features contemporary craft and design objects, homewares and wearables.

Nick Osmond, Retired Drover, 2020, acrylic on canvas.

25 November—27 December Happy Objects

12 November—23 December Moree Portrait Prize

A celebration of the value of objects in our lives and celebrates a commitment to keeping objects longer, appreciating

Open portrait competition with a grand prize of $5000. Entry forms and more information available on our website .

NEW S OUTH WALES 20 November—6 February 2022 I Drew A Line & Called It Home Anastasia Parmson

Bathurst Regional Art Gallery

Anastasia Parmson’s practice has been strongly influenced by childhood obsessions of Disney comics and colouring books. Parmson has exhibited nationally and internationally across Europe, America and Australasia. A BRAG Exhibition.

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

See our website for latest information.

31 July—7 November Myall Creek and Beyond On the afternoon of Sunday 10 June 1838, a group of eleven convicts and ex-convict stockmen led by a squatter, brutally slaughtered a group of twenty-eight Aboriginal men, women and children who were camped peacefully at the station of Myall Creek in the New England region.

180 years after these events a group of Indigenous contemporary artists created works which explore the issues and complexities of this significant historic event and its aftermath locally and nationally.

Myall Creek and beyond was two years in development by the New England Regional Art Museum working with guest curator Bianca Beetson and features work by artists Robert Andrew, Fiona Foley, Julie Gough, Colin Isaacs, Jolea Isaacs, David and Tim Leha with Quarralia Knox, Laurie Nilsen, Judy Watson, Warraba Weatherall, as well as the Myall Creek Gathering Cloak made by members of the local community working with Carol McGregor.

Myall Creek and beyond is a partnership between the New England Regional Art Museum and the Friends of Myall Creek Memorial and the touring exhibition has been supported by Visions of Australia.

31 July—7 November Lost Landscapes Anne Zahalka Anne Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary representation of the Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth.

31 July—7 November Another World Colin Fenn and Karin Smith Bathurst based artists Colin Fenn and Karin Smith have been collaborating for over a decade, both working within sculpture and bronze casting. Each artist has developed their own unique style and approach to figurative bronze; an artistic tradition stretching back thousands of years. A BRAG Foyer exhibition.

Karla Dickens, Mother’s little helpers II, 2019, inkjet print on paper, Gift of the artist 2021. Donated through the Australian Government’s Cultural Gift Program. to collaborate with Bruce Pascoe as part of a project called An Artist, A Farmer & a Scientist Walk into a Bar. The work that Dickens and Pascoe produced, Mother’s Little Helpers, focused on the urgent need to protect and conserve the land and to cease the many destructive practices that are threatening our environment.

A BRAG Collection Exhibition.

31 July—7 November Recent Acquisitions Paddy Fordham Wainburranga In 2020 Katherine Littlewood generously donated a selection of prints by Paddy Fordham Wainburranga to Bathurst Regional Art Gallery’s permanent collection through the Cultural Gifts Program.

Paddy Fordham Wainburranga (1932 2006) was a dancer, painter, printmaker, sculptor of the Dhuwa moiety and Rembarrnga mythologies dreaming, born at Bandibu (or Bamdibu/ Bumdubu) (in Arnhem Land, the Northern Territory, Australia).

A BRAG Collection Exhibition.

1 November—30 November (online) Bathurst Art Fair Online A biennial fundraising exhibition celebrating the work of artists from the Bathurst region. Art can be viewed and purchased by visiting www.bathurstart. com.au/artfair. A BRAGS fundraising exhibition.

www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm.

BVRG: PORT, Eden Welcome Centre Weecoon Street, Eden NSW 2551 BVRG: TARAC, Merimbula Airport, Departure Lounge, Arthur Kaine Drive, Merimbula NSW 2548.

See our website for latest information.

The Bega gallery will be closed for redevelopment from late June 2021 to third quarter 2022.

BVRG: PORT: 30 April—10 December Nhawandyi / Nanda Beeyaa : I see you, killer whale.

Tony Albert (Bindal and Wulgurukaba), Lee Cruse (Yuin), Karla Dickens (Wiradjuri), Gunyibi Gunambarr (Yolgnu), Naomi Hobson (Kaantju and Umpila), Lorna Napanangka (Pintupi), Margaret Rarru (Galiwin’ku and Laŋarra and Yurrwi), Yannima Tommy Watson (Pitjantjatjara), The Yarrabah Artists (Gunggandji). First Nations works from the BVRG collection.

20 November—6 February 2022 Brett Whiteley: Drawing is Everything This major exhibition from the Art Gallery of New South Wales is the first to explore the central place of drawing in Whiteley’s practice, featuring rarely seen early works from Sydney and Europe through to the great abstracts that brought Whiteley international fame in the 1960s. Also featured are lyrical landscapes, portraits, interiors and nudes and the iconic imagery of Sydney’s Lavender Bay, offering a journey through the career that established him as one of the most prominent Australian artists of the 20th century. An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition.

Luke Ryan O’Connor, Polychrome vessel Pink & Blue, 2021, stoneware, porcelain, Glaze, Gold Lustre, 29 x 17 x 17 cm. Copyright the artist.

31 July—7 November Mother’s Little Helpers Karla Dickens In February 2019, Lismore-based Wiradjuri artist Karla Dickens was invited

Bega Valley Regional Gallery

Anastasia Parmson in room installation.

BVRG: PORT: 18 December—20 February 2022 New Works Luke Ryan O’Connor 157

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O’Connor is a Sydney based ceramic artist. An artist in residence at Kil.n.it Experimental Ceramic Studios.

O’Connor is fast establishing a reputation for himself as an artist whose practice involves utilising the traditional utilitarian language of ceramics and reconfiguring it in imaginative and alternative ways. Luke will be the BVRG Myer House Artist in Residence in 2022.

Claire Healy and Sean Cordeiro, exploring themes of obsolescence, collective endeavour, and the place of the individual within complex systems. The artists are concerned with Paul Virilio’s concept of Dromology: investigating how the speed at which something happens may change its essential nature, and that which moves with great speed quickly comes to dominate that which is slower. A Blue Mountains City Art Gallery exhibition curated by Rilka Oakley.

30 October—9 January 2022 Epicormic growth: high school engagement project Artists Claire Healy and Sean Cordeiro ran extensive workshops with senior students from five Blue Mountains high schools to create two collaborative works that will be exhibited alongside the artist’s 2011 work Par Avion. Exploring popular materials such as Lego and smart phones the artists guide the students to reflect on the obsolescence of technology.

Stan Squire, Enviro-mental 11, giclee prints on archival quality 310gsm 100% cotton ragmat, 80 x 59 cm. Courtesy of the artist and Art Essence Gallery.

19 July—19 November BVRG: TARMAC: Making Waves Stan Squire

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

See our website for latest information.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com.au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

Admission fees apply.

See our website for latest information.

The exhibition Post Haste showcases the past decade of works by creative duo 158

Award announcement: Friday 5 November.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Mon to Thu 9am–5pm, Fri and Sat 9am–9pm, Sun 9am–4pm.

Closed public holidays.

See our website for latest information.

Broken Hill Regional Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 See our website for latest information.

Opened in 1904 Broken Hill Regional Art Gallery is the oldest regional gallery in New South Wales. The beautifully restored emporium displays a selection of works from the City of Broken Hill’s art collection and a quality program of temporary exhibitions by local, state and national artists along with touring exhibitions. The exhibition program also includes the Gallery’s annual acquisitive award, the ‘Pro Hart Outback Art Prize’.

Campbelltown Arts Centre

Nyapanyapa Yunupingu, Untitled 586118, 2018, paint pen on clear acetate, 86 x 62 cm detail. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Until 22 January 2022 Looking at Painting Nell, Carmen Glynn-Braun, Jody Graham, Rochelle Haley, Kirtika Kain, Hayley Megan French, Claudia Nicholson, Judy Watson, Nyapanyapa Yunupingu.

www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm.

See our website for latest information.

Super Critical Mass (Julian Day and Luke Jaaniste), AURA, 2012, performance and photographic series, images by Alex Wisser.

4 December—27 February 2022 Jamming with Strangers

Claire Healy & Sean Cordeiro, Mayday, Piper Aircraft wing, stickers, acrylic, 552 x 166 x 58 cm.

30 October—16 January 2022 Claire Healy & Sean Cordeiro: Post Haste

30 October—10 December Fisher’s Ghost Art Award 2021

Julian Day, My Le Thi and Azo Bell, Gillian Kayrooz, Kevin Diallo, Kerry Toomey, Carla and Lisa Wherby.

Fisher’s Ghost Art Award 2020, Installation view, Campbelltown Arts Centre.

Photo by Document Photography.

An exhibition highlighting music communities as spaces of intimacy, nourishment, and social connection.

NEW S OUTH WALES

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry.

Mon to Fri 10am–5pm, Thurs until 9pm, Weekends 12noon–4pm.

See our website for latest information.

Opening late 2021 Applied Arts Sarah Goffman Applied Arts is an immersive deep dive into the interdisciplinary art practice of Sarah Goffman. Intricate and playful, Goffman transforms recycled material, mostly plastic, into artworks that reference larger histories such as the orientalist fascinations of Western collectors. Contemporary Art Project #2 in the Chau Chak Wing Museum’s Penelope Gallery, Goffman has taken inspiration from the Museum’s collections, applying her detailed eye and wit to turn utilitarian vessels into ‘objet d’art’, and paintings into three-dimensional sculpture. By transforming and elevating waste, Goffman’s work prods us to think about consumerism in new and interesting ways.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm.

See our website for latest information.

Chalk Horse is a contemporary art gallery based in Sydney, Australia. Chalk Horse exhibits a range of work by Australian and international artists. The Directors of Chalk Horse are committed to producing curatorial projects in Australia and Asia as well promoting Australian artists internationally.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm.

Admission Free.

See our website for latest information.

14 October—13 November Poisoned Ground Sam Doctor

Adrienne Doig, Not Worth It, 2012, patchwork, applique and embroidery on linen, 99 x 77 cm. Private Collection, Courtesy of the Artist and Martin Browne Contemporary. Photography by David Roma.

24 October—5 December CALLEEN ART AWARD 2021 Benedict dos Remedios, Catfished.

14 October—13 November Catfished Benedict dos Remedios

Poinciana regis, c. 1935, Macleay Collections.

Opening late 2021 Pacific Views Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation.

Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices and songs of Pacific peoples connect contemporary culture to the histories captured in these photographs.

The Calleen was established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM with a focus on painting and supporting innovation, creativity and originality in the visual arts. Open to artists across Australia this year the Gallery received 407 entries and 46 artists have been shortlisted as finalists... The winner of the Calleen Art Award 2021 will receive $25,000 in prize money made possible by the generous support of the Calleen Trust and the winning work will become part of the splendid Calleen Collection at the Cowra Regional Art Gallery. There is also a People’s Choice Award worth $1,000 announced at the end of the exhibition.

During these uncertain times of COVID -19 restrictions we recommend visiting the gallery website for regular updates and information about the Calleen Art Award 2021 exhibition.

14 December—30 January 2022 Adrienne Doig: It’s All About Me!

Madeleine Pfull, Job Interview I, 2021, oil on canvas, 180 x 120 cm .

18 November—18 December Madeleine Pfull

A survey exhibition of works that draws upon the art practice of Blue Mountainsbased artist Adrienne Doig. The exhibition includes embroidery, appliqué, drawing, sculpture and video. By manipulating, reworking and combining imagery from multiple sources, Doig records her own experiences within a larger context.

Hence, It’s All About Me! A Bathurst Regional Art Gallery touring exhibition curated by Emma Collerton.

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Image: (detail) Allusive Object (4 faced), 2021, Welded and inflated mirror-polished stainless steel

BRADDON SNAPE Things are not as they appear (Smoke and mirrors) 1 – 11 November

12 – 14 Meagher Street Chippendale \ NSW \ 2008

nandahobbs.com info@nandahobbs.com

nandahobbs.com

NEW S OUTH WALES

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey.

Wed to Sat 11am–5pm.

See our website for latest information.

Fairfield City Museum & Gallery www.fairfieldcity.nsw.gov.au/fcmg 364 The Horsley Drive, Smithfield NSW 2164 02 9725 0290 Tue to Fri 9am-4pm, Sat 10am-2pm.

Closed Sun, Mon & Pub hols.

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 Wed to Sat 11am–5pm, Sun 1pm–5pm or by appointment.

See our website for latest information.

13 October—14 November Zuckerzeit Ron Adams 13 October—1 November Spring in Sydney Group exhibition

David Collins, The Monaro, 2021, oil on canvas, 60 x 90 cm.

31 October—25 November Stage David Collins 31 October—25 November Estuary Alison Coates

Paula do Prado, Habla con la luna/Talks with the moon, 2021, 160 x 230 x 10 cm, irregular. Photograph: Document Photography.

23 October—12 February 2022 In the fibre of her being In the fibre of her being contemplates the role of women as anonymous carriers and preservers of heritage. Collaborating artists: Atong Atem, Crossing Threads, Monika Cvitanovic Zaper, Julia Gutman, Nadia Hernández, Kate Just, Paula do Prado, Linda Sok, Tjanpi Desert Weavers.

Guest curator: Sarah Rose.

Hayley Megan French, Suburban Line Painting 21, 2021, acrylic on linen, 51 x 41 cm. Photograph: Docqment.

3 November—14 November Sydney Contemporary at pompom Hayley Megan French, Nuha Saad 24 November—19 December The Door is a Jar, The Exit a Deadend Chris Dolman

Chris Dewar, Open Relational, oil on aluminium, 90 x 90 cm.

28 November—23 December Paddington Art Prize - Defiance Gallery Award Winners Exhibition Christopher Dewar and Fred Magro

Re-right, For the record, 2021. Graphic design by Laura la Rosa.

Darren Knight Gallery

Extra/Ordinary presents a creative response to Fairfield City Museum & Gallery’s museum collection through art installations and prose. Collaborating artists and writers: Make Or Break, Liam Benson, Dacchi Dang, Re-Right, Jennifer Leahy, Hajer, Sheila Ngoc Pham, Deniz Agraz, Masako Fukui.

www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm.

See our website for latest information.

23 October—9 April 2022 Extra/Ordinary

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm.

Dominique Merven, Return Ticket, 2021, coloured pencil, pastel, watercolour, gouache on watercolour paper, 31 x 31 cm.

17 November—19 December Roadtrip Dominique Merven 161

COWRA REGIONAL ART GALLERY 31 OCTOBER TO 5 DECEMBER 2021

SUSAN BAIRD ANDREW BAYLOR DEIRDRE BEAN CAMELIA BLITNER YVONNE BOAG RENÉ BOLTEN SALLY BROWNE PENNY BURNETT GENEVIEVE CARROLL JACOB CARTELLI CAROL CHRISTIE

COL JORDAN PAUL CONNOR NAOMI LAWLER DANIELA CRISTALLO KATIE DANIELS TANIA MASON MARK DOBER SAMUEL MASSEY SHANNON DOYLE LISA MCKIMMIE AGATHA NGAKMIK MORGAN RACHEL ELLIS POLLY NGALE LYNNE FLEMONS OLIVER FONTANY ELEANOR NOIR KEITH FYFE AMANDA PENROSE HART KATE GORMAN REBECCAH POWER HAL PRATT LEANNE HARRISON DAVIES MICHELLE HENRY ANNA PETYARRE PRICE

JOHN REID MICHAEL SIMMS PJ SMITH ALLEN STEPHENSEN BELINDA STREET NEIL TAYLOR DIANNE TCHUMUT WENDY TEAKEL PHIL WENT ANITA WEST LOUISE ZHANG

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794 ADMISSION FREE Hours: Tuesday-Saturday 10am-4pm, Sunday 2pm-4pm (Mondays closed) T: (02) 6340 2190 E: cowraartgallery@cowra.nsw.gov.au Please check the Gallery website before visiting The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council cowraartgallery.com.au

NEW S OUTH WALES

Gallery76 www.embroiderersguildnsw.org.au/ Gallery76

76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays.

Fully wheelchair accessible.

Street parking and easy public transport access.

See our website for latest information.

Joy Smith, My Toolset, Woven Tapestry.

5 November—5 December Still Life in the Old Girl Yet Joy Smith Joy Smith’s handwoven tapestries are observations of life around her, whether they be fun, playful, or serious. The medium of tapestry is incredibly tactile and inviting, made all the more so through Smith’s bold use of colour and design. The works are warmly domestic and a little cheeky - guaranteed to put a smile on your face and light up your home.

Due to anticipated capacity limits the exhibition will open virtually - although the gallery will be physically open to the public throughout the exhibition. The online opening will include a virtual tour and brief address by the artist: Book your free ticket via: https://www.trybooking. com/BUKNU

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Sat 10am–4.30pm.

See our website for latest information.

6 November—4 December 2021 Lloyd Rees Youth Art Award The biennial Lloyd Rees Youth Art Award is an acquisitive national art prize for emerging Australian artists aged 18-29 for painting, drawing and printmaking. The exhibition features the works of finalists.

Proudly sponsored by Lane Cove Council with secondary prize sponsorship by Lane Cove Art Society and Centrehouse Inc.

6 November—4 December Attachment/Detachment Evan Pank A solo exhibition by 2019 Lloyd Rees Youth Art Award winner Evan Pank portraying his experiences in Estonia navigating military service during the global covid pandemic and the separation from his country of birth through strict border controls of the Australian and NSW government.

The Glasshouse offers a world of cultural experience, state-of-the-art technical facilities and flexible venues for performance, leisure and hire. Located in the heart of Port Macquarie, the Glasshouse is home to a theatre, regional gallery, studio, Visitor Information Centre, gift shop, conference and meeting facilities and heritage displays.

11 September—7 November Mel O’Callaghan: Centre of the Centre Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation.

Nell, I SING both WAYS, 2020, hand blown glass, oil paint, 41.7 x 35.4 x 35.7 cm.

Image courtesy of the artist and STATION, Melbourne and Sydney.

Photo by Jenni Carter.

11 December—29 January 2022 Presence of Mind Cindy Yuen-Zhe Chen, Jeremy Chu, Lada Dedić, Kath Fries, Lindy Lee, Jason Lim, Kristina Mah, Aryadharma Aaron Matheson, Alecia Neo, Nell, Shirley Soh, Phaptawan Suwannakudt, Lachlan Warner.

The exhibition will uncover how elements of Buddhism permeate the practices of different artists from diverse backgrounds. From the values and ethics of Buddhist philosophy, to the symbolism of iconography and rituals; their artworks embody experiences of compassion, time, humour and mindfulness in creativity.

Curated by Dr Kath Fries and Rachael Kiang. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, the NSW Government through Create NSW and its annual organisation grant, and partnership support from 4A Centre for Contemporary Asian Art.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

See our website for latest information.

Mel O’Callaghan’s Centre of the Centre was curated and developed by Artspace and is touring nationally with Museums & Galleries of NSW. Centre of the Centre is co-commissioned by Le Confort Moderne, Poitiers; Artspace, Sydney; and The University of Queensland Art Museum, Brisbane. With Commissioning Partners Andrew Cameron AM & Cathy Cameron and Peter Wilson & James Emmett; and Lead Supporter, Kronenberg Mais Wright. The development and presentation of Centre of the Centre is supported by the Fondation des Artistes; the Australian Government through the Australia Council for the Arts, its funding and advisory body; Woods Hole Oceanographic Institution and the US National Science Foundation.

Rhiannon Griffiths, Brave Souls, Casula High School – Year 10, 2020.

13 November—12 December OPERATION ART 2020 An annual exhibition celebrating its 26th Anniversary this year. These 50 artworks created by students across New South Wales will tour the state before finding their home at The Children’s Hospital at Westmead, where they will help make sick kids feel better through the power of art.

Operation Art is an in initiative of The Children’s Hospital at Westmead in partnership with The NSW Department of Education. For information on student visual arts workshops and teacher professional learning, please visit The Arts Unit website.

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Goulburn Regional Art Gallery → Audrey Lam, Is Anybody Coming Over to Dinner, 2021, (still), 16mm, colour and black and white, stereo, 9minutes. Courtesy Audrey Lam and Prototype.

5 November—8 January 2022 Prototype: Stories of home Allison Chhorn, Audrey Lam, Justine Youssef and Leila El Rayes, Katie Mitchell and Sari Braithwaite, Pilar Mata Dupont

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au

An exploration of connections to heritage in place-making works of history, expatriation, repatriation, family and personal storytelling, through five video practices.

Curated by Lauren Carroll Harris.

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

See our website for latest information.

Grace Cossington Smith Gallery

5 November—8 January 2022 Goulburn Bustle 2021 Goulburn Bustle returns with a vengeance; the permanent collection let loose. With new acquisitions, hidden gems, and favourites from exhibitions past, we take the final weeks of 2021 to celebrate these works. Curated by the Gallery Team, with stories and memories enmeshed in every work, the show generates new perspectives on the great bustling crossroads of our collection, our legacy, and our labour of love. Releasing works that have never before been exhibited together, Bustle reminds us of the nuance of collections, the perpetual discourse of meaning, and the ultimate joy of sharing great artistic practices with our public.

5 November—8 January 2022 Blister Genevieve Swifte 164

www.gcsgallery.com.au Genevieve Swifte, Self Portrait, detail, 2019, pencil on crushed Gampi, 60 x 21 cm.

Swifte is a Canberra based artist working between drawing, photography and video.

Exhibiting in Gallery 2, Swifte presents Blister, a series of portraits, self-portraits and still-life pictures that form a diaristic or documentary narrative of trauma and intimacy.

Drapery, anatomical studies and geometric abstractions are informed by art historical references; self-portraits explore the artist’s Dutch heritage; and seashells trace intricate lines between taxonomy, colonialism and their connection with the Australian landscape.

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

See our website for latest information.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029

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Hazelhurst Arts Centre

and currently showing at The National, MCA and Royal Botanic Gardens.

www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

Free admission.

See our website for latest information.

Set amid landscaped gardens, Hazelhurst Arts Centre is a place for public enjoyment. The combination of a major public gallery with a comprehensive arts centre, cafe, theatrette and community gallery makes a unique creative resource for everyone. Hire spaces include, two studio spaces suitable for meetings, a theatrette for presentations and the Hazelhurst gardens for wedding ceremonies.

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

See our website for latest information.

Merran Esson, Autumn, Georges River Art Prize 2019.

Christopher Langton, Colonies, 2021, installation detail.

Until 28 November Colonies Christopher Langton This larger than life, immersive sci-fi installation continues Langton’s ongoing series which explores ideas of space colonisation and organisms such as bacteria while considering issues around our shared ecology. Visitors will have the opportunity to interact with the works using an augmented reality app on their phones.

Caroline Rothwell, Horizon, 2021, installation detail.

Until 28 November Horizon Caroline Rothwell In this new installation Rothwell explores the intersection of art and science through a tableau of surreal sculptures and video works that invite viewers to consider our relationship with the natural environment. Visitors to the gallery will be invited to explore the Hazelhurst gardens and create their own hybrid ‘morphed’ plants as part of Rothwell’s Infinite Herbarium digital program created in collaboration with Google Creative Lab

13 November—20 January 2022 Georges River Art Prize 2021

20 October—7 November Light Colour Joy Cathy Shugg Cathy Shugg’s exhibition Light Colour Joy is a reflection on places and circumstances in which she has experienced, shared or observed moments of joy. Artworks range from drawings, watercolours and small mixed media pieces created on site, to large paintings completed later in her studio. Inspired by her travels and encounters across six continents, Shugg’s work is a window into her fascination with landscape and the natural world and how people shape their lives within it.

10 November—28 November Interlude The Australian Textile Arts & Surface Design Association (ATASDA).

ATASDA artists explore the concept of ‘interlude’ using unconventional materials, coupled with traditional textile techniques, to take the visitor on a journey. This could be a journey where reverie is displayed as a ‘respite’ from day-to-day activities; ‘leaving something unfinished’ in order to attend to other matters; or a ‘pause’ for thought, for a time out. The ATASDA artists use techniques such as dyeing, felting, weaving, machine embroidery, surface embellishment, fibre manipulation, knitting, hand embroidery and printing in their creative processes.

Showcasing a range of the finest paintings and sculptures, produced from artists nationwide. It also gives local, young artists a platform to display their works.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm.

See our website for latest information.

The Incinerator is an iconic and heritagelisted building, designed by Walter Burley Griffin. It retains its strong Modernist style of architecture. The interior has been sensitively renovated to create a professional gallery space that lends itself to exhibit a broad range of contemporary art in a distinct environment. Incinerator Art Space strives to offer the community a hub for showcasing exceptional, innovative and timely visual art exhibitions.

Cathy Shugg, Autumn Fantasy, Highlands, 2021, acrylic on canvas.

Helen Brancatisano, Face to Face #3, 2020, monotype.

1 December—19 December Grounded Helen Brancatisano, Miriam Cullen and Trish Yates Three artists from Greater Sydney turned lockdown limitations to their advantage by carving out regular plein air visits to their own local bushland. The spontaneity of their environment encouraged the ‘bush buddies’ to move in new directions while creating this collection of works on paper; away from replicating what they saw (messy texture, rippling creek, filtered sunlight, massive stone), to catching how it made them feel.

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Paul Thomas Quantum Chaos

Quantum Chaos Series No19 120x90cm, acrylic on plywood, 2020

61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

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

Jerico Contemporary www.jericocontemporary.com 94 Cathedral Street, Woolloomooloo, NSW 2011 Tues to Fri 10am–5pm, Sat 10am–4pm.

See our website for latest information.

The Japan Foundation, Sydney is the Australian arm of The Japan Foundation, a non-profit cultural organisation which was established by the Japanese government to promote cultural and intellectual exchange between Japan and other nations. Due to the restrictions announced by the NSW Government, the exhibition opening date has been postponed. Updated exhibition dates will be announced on our website and social media channels. For more information please visit jpf.org.au

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm.

See our website for latest information.

Our activities include art exhibitions, film screenings, culinary events and numerous performances for anyone who is interested in Korean culture to become more familiar with Korea.

Janine Dello, Full Moon.

25 November—18 December Limbs Janine Dello, Matthew Dettmer and Elynor Smithwick.

KAAF Art Prize 2019 Winner, Julie Harris, The Churning, acrylic and marble dust on canvas, 150 x 137 cm.

The Ken Done Gallery

5 November—10 December Korea-Australia Arts Foundation Art Prize 2021

www.kendone.com

Shigeo Fukuda, Victory, 1976. © DNP Foundation for Cultural Promotion.

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

See our website for latest information.

22 October—22 January 2022 A Sense of Movement: Japanese Sports Posters Katsumi Asaba, Shigeo Fukuda, Yusaku Kamekura, Ikko Tanaka, Yuri Uenishi and Tadanori Yokoo.

This exhibition, co-presented by The Japan Foundation, Sydney and the DNP Foundation for Cultural Promotion, explores the connection between Japanese graphic design and sports. Featuring a considered selection of 24 posters by six graphic designers, from young professionals who are currently active in the field to great masters who led the dawn of graphic design, the exhibition introduces the means by which these uniquely creative minds convey sports and its ‘sense of movement’ through twodimensional printed media. The compositional beauty, dynamism and humour expressed within the posters, from the perspective of sports, serves to summon the viewer to the world of Japan’s rich graphic design culture.

The Korea-Australia Arts Foundation (KAAF) Art Prize returns for its 8th year in 2021. Hosted by the KAAF and supported by the Korean Cultural Centre (KCC), the annual art prize aims to foster multiculturalism and artist exchanges by bringing artists together from diverse ethnicities, from all over the nation.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm.

See our website for latest information.

Ken Done, June 26 dive, 2021, oil and acrylic on linen, 102 x 82 cm.

13 October—15 December Recent Works Ken Done

Amanda Penrose Hart, The Last Drop, 2021, oil on wood panel 16x24 cm.

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THE ART OF PROTEST 30 October - 30 January 2022 From community activism to global social movements, THE ART OF PROTEST features artists past and present responding to disaster and injustice and calling for change.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays Image: Tony ALBERT You Wreck Me #18 2020 printed photographs and vintage Captain Cook ephemera on archival paper 23.2 x 38.2cm Les Renfrew Bequest 2020 Newcastle Art Gallery collection Courtesy the artist and Sullivan+Strumpf, Sydney

nag.org.au

NEW S OUTH WALES King Street Gallery continued...

26 October–20 November The Long View Amanda Penrose Hart

Rachel Milne, Speers Point Pool November, 2020, oil on board, 120 x 160 cm.

23 November—22 December Personal Space Rachel Milne

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

See our website for latest information.

Located in one of Newcastle’s most significant heritage buildings, The Lock-Up is an award winning independent multidisciplinary contemporary arts space and inner city creative hub.

Macquarie University Art Gallery

6 December—9 February 2022 The Art of Giving

raw and challenging response to the Bushfire crisis.

Established in 1967, the Macquarie University Art Collection remains dynamic and relevant to Australian contemporary society. Hand in hand, the art collection has grown with the University, achieved primarily through the ongoing generosity of our supportive donors. The collection adorns the entire campus inclusive of the library, the faculties, the hospital, the clinics, and the administration buildings, where staff, students and visitors collectively encounter art as part of the everyday life of Macquarie’s expansive campus.

The paintings and sculptures add robust vitality, freshness and bursts of colour to the physical environment of the campus − its visual presence is certainly much felt, discussed and enjoyed.

2 October—28 November Bushfire Brandalism Various artists

In supporting and nurturing the visual arts in Australia, Macquarie University, in its shared values with our donors, recognises the intrinsic worth of the University Art Collection to higher education and research − it underpins and strengthens Macquarie University’s scholarly investigation and sociocultural enrichment of our society and nation. The Art of Giving celebrates this wonderful achievement.

20 November—27 February 2022 Hermannsburg and Paint Neridah Stockley

Maitland Regional Art Gallery

Lost Property Office reveals the insight and process of creating the meticulously hand crafted stop-motion short film by Artist and Filmmaker Daniel Agdag and Producer Liz Kearney.

www.mrag.org.au

A collective group of Australian artists driven to reclaim public advertising space with posters speaking to the Australian Government’s response to climate change and the devastating bushfires.

16 October—6 February 2022 A Conspicuous Object – The Maitland Hospital Various artists A Conspicuous Object reflects on the Old Maitland Hospital to highlight the ways art, history and health can intertwine to tell stories, offer distraction and engage community memories.

A unique body of work in response to Hermannsburg, where Stockley explores landscape based forms and motifs through drawings, studio based paintings and sculptural works.

27 November—20 February 2022 Lost Property Office: The Exhibition Daniel Agdag

230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm.

Free entry, donations always welcomed.

See our website for latest information.

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

See our website for latest information.

Barka, the Forgotten River (installation) 2021, Maitland Regional Art Gallery.

12 June—21 November Barka, The Forgotten River Badger Bates, Justine Muller and the Wilcannia community.

Barka, the Forgotten River reflects the love artists Badger Bates and Justine Muller have for the Barka, or Darling River – “our mother and the blood in our veins” – and its people, the Barkandji.

Alexander McKenzie, Within the Lotus Garden, 2018, oil on linen, 137 x 197 cm.

Donated through the Australian Government’s Cultural Gifts Program by Alexander McKenzie. Photograph: Effy Alexakis, Photowrite. Courtesy of the artist and Martin Browne Contemporary, Sydney.

25 September—9 January 2022 National Art – Part One Various artists 2 October—28 November Unpreparable Fiona Lee Unpreparable is a very personal,

Tim Andrew, High Court Judges Wall, detail, 2019, Image courtesy of the artist.

4 December—27 February 2022 Storylines Various artists Storylines is an exhibition of contemporary Australian artists who use drawing to dissect the accepted Historical timeline of our country.

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

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Entry by donation • Enquiries: 02 6772 5255 Open: Tuesday – Sunday, 10am – 4pm (closed Mondays) neram.com.au • 106 -114 Kentucky St, Armidale NSW Exhibition sponsored by the Friends of NERAM

neram.com.au

NEW S OUTH WALES Manly Art Gallery continued...

Find us on Instagram @magamnsw See our website for latest information.

12 November—12 December Environmental Art & Design Prize – Northern Beaches 2021

NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–5pm, closed public holidays.

See our website for latest information.

Explore the diverse ways artists and designers have interpreted our unique Australian landscape, responded to issues impacting us and contributed to a positive future. This year there are over 220 finalists across nine categories whose works shine a light on renewal, regeneration and our shared human experience in the world.

Murray Art Museum Albury (MAMA) www.mamalbury.com.au

The categories are ceramics & small sculpture; functional design; wearable design digital work, film and video; interdisciplinary collaboration; painting; works on paper and photography and Young Artists and Designers. Winners from each category will be awarded by the 2021 judges: artist Euan Macleod; artist, designer and curator Liane Rossler; and CEO and Artistic Director of the Australian Design Centre, Lisa Cahill.

546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

16 July—7 November Choose Happiness

The exhibition is shown across three venues, including the North Curl Curl Creative Space and Mona Vale Pop Up Gallery.

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm.

See our website for latest information.

The video reflects on the diasporic condition of cultural objects, as they migrate around the world through collection practices but also engages with narratives surrounding plant dyes in Indonesian textile production. Through this interweaving of disparate places and processes, the video invites a consideration of the many hands that touch and shape a textile during its trajectory from ritualised object to collected artefact.

Seated Avalokiteśvara, 10th century, Java, bronze and gold, 20 x 8.5 x 7.5 cm.

Photo by Tim Connolly.

19 June—12 December Upacara: Ceremonial art from Southeast Asia

Curated by Serena Bentley, Choose Happiness explores the fleeting nature of happiness and the expectation that we should be happy all the time—a pressure fuelled by the self-help movement in our current society. Bringing together the works of 11 artists from Australia and Aotearoa/New Zealand, the show explores the realities of happiness and its many spectrums from aspirations and longing to joy and euphoria.

Upacara is a captivating showcase of ceremonial art of Southeast Asia from the collection of Dr John Yu AC and the late Dr George Soutter AM. Featuring basketry, textiles, ceramics and objects in bronze, wood, terracotta and silver, this exhibition highlights the interconnected nature of art traditions across the region and the unparalleled virtuosity and stylistic variety of functional everyday and ritual objects. While the Gallery is closed you can view exhibition images and a video walkthrough from the Mosman Art Gallery website.

Destiny Deacon, Baby Love, 2001. courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Alexander McKenzie, Dark Billabong, 2021, oil on linen, 153 x 137 cm.

11 November—5 December The Source Alexander McKenzie

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman,

Leyla Stevens, Labours for colour (video still), 2021, 2-channel video with sound, 16 minutes. Courtesy of the artist.

19 June—12 December Labour for Colour Leyla Stevens Labours for colour is a new moving image artwork by Australian-Balinese artist Leyla Stevens, staged in response to Dr John Yu’s collection of Southeast Asian textiles and artefacts on display as part of the exhibition Upacara: Ceremonial art from Southeast Asia.

11 September—28 November Forced Into Images Destiny Deacon Presenting a selection of photographic works and a video from Destiny Deacon’s celebrated 2001 series Forced Into Images. The photographs tell the story of a woman’s life from birth to adulthood. Presented in fragments, the narrative largely takes place in a staged domestic space, populated by family members and dolls, and carefully chosen props. What is real and what is imaged is unclear, creating a realm of memories, desires, traumas, and 171

Tweed Regional Gallery & Margaret Olley Art Centre Murwillumbah 10 December 2021 – 30 January 2022

Presented by:

Supported by:

artgallery.tweed.nsw.gov.au

Summer Exhibition

Sally West, Shelly Beach, oil on canvas, 100 x 150 cm.

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616. www.fmelasgallery.com.au e: art@fmelasgallery.com.au

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fmelasgallery.com.au

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Murray Art Museum Albury → Tommy McRae, Kwatkwat, Untitled (Man Hunting), c. 1885, ink on paper.

Murray Art Museum Albury continued... hopes. The works have recently entered the museum’s permanent collection.

26 November—6 February 2022 SIMMER SIMMER is a collaborative project between artists, local cooks, chefs and family members, centred on the experiences of preparing and sharing food.

Cooking enables us to stay connected to culture while the repetitive steps of food preparation can be a meditative outlet.

Food plays an important role in evoking nostalgia while the history and materiality of food can also be quite political or playful. MAMA’s summer exhibition considers how food can bring us together, breaking down barriers and opening us up to new experiences.

10 December—21 February 2022 on the bank on the brink on the bank on the brink is a gathering of significant drawings from nineteenth-century, Aboriginal artist Tommy McRae and new works by First Nations artists Mia Boe and Phil Murray.

Through simple yet expressive line, Tommy McRae’s drawings document a time when traditional Aboriginal life was first intersected by colonial invasion in the Upper Murray River region. McRae’s vivid scenes of ceremony, corroboree, hunting, and fishing cast a retrospective lens on cultural life when his Country along the banks of Lake Moodemere, Wahgunyah was in rapid dispossession from his people. This exhibition presents a selection of new works by Mia Boe and Phil Murray, presented alongside works from the MAMA Collection by Tommy McRae. 1 July—7 January 2022 Tiny Gardens Jeff McCann Tiny Gardens is a new commission that celebrates the artist’s childhood memories of time spent playing in the garden.

Peek behind the doors of the five Wonder Cupboards to discover ladybugs, run away from bees and chase butterflies.

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4pm.

Admission free.

See our website for latest information.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays.

See our website for latest information.

Hannah Gartside, The Sleepover, detail, 2017–19, found nighties and slips, found synthetic fabric and cotton ribbon, millinery wire, thread, wood, image courtesy and © the artist, photograph: Louis Lim November—June 2022 Primavera 2021: Young Australian Artists Elisa Jane Carmichael (QLD), Dean Cross (NSW), Hannah Gartside (VIC), Sam Gold (SA), Justine Youssef (NSW).

February—ongoing Collection: Perspectives on place Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, David Malangi.

(Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, Justin Trendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Car-doso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, Minnie Ma-narrdjala, Nicholas Mangan, Peter Malo-ney, Raquel Ormella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith and Yukultji Napangati.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au

Doug Aitken, migration (empire), (still), 2008, 3-channel video installation (colour, sound). Image courtesy of the artist; 303 Gallery, New York; Galerie Eva Presenhuber, Zurich; Victoria Miro Gallery, London; and Regen Projects, Los Angeles © the artist.

Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

October—February 2022 Doug Aitken: New Era

16 October—18 December Max’s House: Todd Fuller 173

Melony Smirniotis Floral Lush 1 – 15 November 2021 Opening celebration 4 November

Melony Smirniotis, Floral Lush #1, 2021, mixed media on canvas, 100cm diameter.

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

brendacolahanfineart.com

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wentworthgalleries.com.au

NEW S OUTH WALES 15 November—27 November This Brutal, Muted Serenity Jonathan Dalton

Muswellbrook Regional Arts continued...

Todd Fuller, Brothers Depart, 2020.

In a century old house, at the far end of Ford Street, the one with the green door, lived Max. Residing here for nearly his entire life, the home was an artistic mecca full of the remnants of a life of making, collecting and cultivating the cultural life of the Upper Hunter. Now his collection is a legacy. A gift to the community from a man who wanted to make sure that his hometown had access to gems of artistic greatness. By all accounts Max was a humble giant, he was a man whose actions, spirit and generosity changed the very fabric of his town.

Joan Ross, Land of the broken hearted, 2021, hand-painted digital print on rag paper, 72 x 100 cm.

2 November—27 November I like to name everything after myself Joan Ross

13 December—23 December New Romantics Tom Adair

National Art School Gallery www.nas.edu.au

During 2020, not long after Max passed away, Sydney-based artist Todd Fuller commenced a residency to research Max’s life and story. Working in lockdown, he interviewed Muswellbrook locals and undertook a digital residency for the Muswellbrook Regional Arts Centre to explore the Max Watters’ legacy.

Max Watters: Art Is A self-taught artist, Max began painting in the late 1950s; encouraged in his art by his older brother Frank, one of Australia’s most influential gallerists for over 50 years as director of Watters Gallery Sydney. Max Watters lived a life in art, with art, and through art. Max was for the people of Muswellbrook a mentor, a benefactor, and a friend. A year on from Max’s passing at the age of 83, Max Watters: Art Is explores the creative, the diverse and the intimate through the lens of the Max Watters Collection together with Max’s own works.

16 October—18 December Alternative Perspective: Seeing the World In A Different Way Muswellbrook High School In this exhibition students have developed photographs that alter the way the viewer sees the world, the everyday and the ordinary. It is forcing the viewer to immerse them into another place, focusing, thinking and questioning.

Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.

See our website for latest information.

Casey Chen, 36 Robots, 2021, porcelain, enamels and gold lustre; fired three times, 47 x 34 x 34 cm.

1 December—24 December Sentimental Ornaments Casey Chen

Nanda\Hobbs

Located at the heart of the National Art School’s historic campus, NAS Gallery presents up to four major exhibitions per year as well as annual graduate and postgraduate student exhibitions.

The Gallery enhances the National Art School’s role as a leading centre for visual arts education in the Asia-Pacific, with ambitious group and solo exhibitions by Australian and international artists that foster critical appreciation of art and innovative art practice.

www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 11 November—21 November Online Exhibition: Sydney Contemporary EXPLORE Mehwish Iqbal, Nicolas Blowers and Hubert Pareroultja.

MFA student Mungo Howard in his studio.

Photo: Peter Morgan.

13 November NAS Open Day, 10am–4pm.

N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

Nicholas Blowers, Tailings Pond at First Light, 2021, oil on canvas, 160 x 142 cm.

Jonathan Dalton, Photographing Sharks, 2021, oil on linen, 122 x 138 cm.

The National Art School is Australia’s leading fine art school, with an unrivalled studio-based teaching model that has delivered a rich tradition of artistic practice and generations of world-renowned alumni for 100 years. Leading into the 21st Century, we are a progressive and holistic art school and we look forward to sharing our vision with you on Open Day where you can explore our campus.In line with government guidelines, the National Art School practices strict campus hygiene and social distancing protocols.

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70th Anniversary Exhibition and 70th Anniversary Book Launch 17 November to 28 November A variety of sculptural works by members of The Sculptors Society celebrating 70 years, and the presentation of a book of artists and their work.

Top left: Vivienne Lowe, Rhythm of the Heart, 2016, bronze on granite base.

Top middle: Amanda Harrison, Blue Moon, 2020, ceramic & wood.

Top right: Kay Alliband, 2 Pears and a Granny, 2015, ceramic.

Left: Pin Hsun Hsiang, Piper, 2020, gumtree (detail).

Above: Peter Lewis, Sweet!!!, 2020, glazed ceramic.

Right: Feyona van Stom, Conspicuous, 2021, wood fired ceramic.

Art Space on The Concourse 409 Victoria Avenue, Chatswood, NSW 2067 (next to Box Office) Opening times: Wednesday to Friday 11am – 5pm, Saturday and Sunday 11am – 4pm.

To be opened by Michelle and Guido Belgiorno-Nettis: Saturday 20 November from 12noon–4pm.

Opening with timed bookings. RSVP only.

www.sculptorssociety.com Enquiries and Sales phone number: Feyona 0408 226 827 Willoughby City Council is gratefully acknowledged for the provision of Art Space on The Concourse. sculptorssociety.com

NEW S OUTH WALES

Newcastle Art Gallery www.nag.org.au 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 Tue to Sun 10am–5pm.

Open every day during school holidays. Open public holidays.

See our website for latest information.

New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

See our website for latest information.

is sensitively and skillfully rendered into a thing of loveliness.

5 November—30 January 2022 LOCUS Black Gully Printmakers, Newcastle Printmakers Workshop, Print Circle and Southern Highlands Printmakers.

A group exhibition featuring the work of four different printmaking collectives based in New South Wales. This exhibition explores the different meanings of place to each artist in a time where the world has become smaller and connection increasingly essential. With 70 printmakers from geographically different locations participating, the work is diverse, insightful and a micro view of a universal experience.

OLSEN www.olsengallery.com

Michael Zavros, The Mermaid, 2015 oil on board, 22 x 30cm. Purchased 2015, Newcastle Art Gallery collection.

Courtesy of the artist.

19 October—30 January 2022 INSTRUMENTAL CAUSE Developed in response to the KILGOUR PRIZE 2021, guest curator Donna Biles Fernando examines artistic modus operandi through portraits from Newcastle Art Gallery’s collection.

30 October—30 January 2022 THE ART OF PROTEST From community activism to global social movements, THE ART OF PROTEST features artists past and present responding to disaster and injustice and calling for change.

Comprising works of art from Newcastle Art Gallery’s collection and key additions from contemporary politically engaged artists, this exhibition explores how far we’ve come and how far we still have to go.

Angus Nivison, The Flow of Light – Gara Gorge, 2021, acrylic and gesso on 18oz polycotton. © the artist.

63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat 10am–5pm.

Closed Sun and Mon.

5 November—30 January 2022 Gorge Country Stuart Boggs, Ross Laurie and Angus Nivison Gorge Country debuts new work by three leading artists of the New England Region – Stuart Boggs, Ross Laurie and Angus Nivison – who immersed themselves in the breathtaking environment of the gorges that surround them.

Quietude Elouise Roberts Roberts’ incredible detailed paintings captures the beauty in the landscape.

But is the beauty of the ordinary that she transforms into something significant. A small reserve, a patch of weeds and even the grass at the edge of a well-used track

George Byrne, Innervisions, #2, 2021.

27 October—13 November George Byrne 27 October—13 November Michelle Cawthorn 17 November—4 December Laura Jones

Angela Valamanesh, Animal, vegetable, mineral #D, 2007. Photograph: Michael Kluvanek.

13 November—30 January 2022 Jam Factory Icon Angela Valamanesh: about being here JamFactory’s Icon celebrates the achievements of South Australia’s most influential artists working in craft-based media. Inspired by the symbiosis between science and poetry Angela Valamanesh’s art works elicits intrigue and a strong sense of personal investigation, as she manipulates seemingly familiar botanical and parasitic forms in beguiling and unusual ways.

Leah Bullen, Still Life (Lilies by the window), US, 2021, phototransfer and ink wash on rice paper. © the artist.

Anna Wili Highfield.

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Presence of Mind 11 December 2021 - 29 January 2022 Curators: Dr Kath Fries & Rachael Kiang Cindy Yue-Zhe Chen . Jeremy Chu . Lada Dedić Kath Fries . Lindy Lee . Jason Lim . Kristina Mah Aryadharma Aaron Matheson . Nell . Alecia Neo Shirley Soh . Phaptawan Suwannakudt . Lachlan Warner

Nell, I SING Both WAYS, 2020, Photo: Jenni Carter

This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, the NSW Government through Create NSW and its annual organisation grant, and partnership support from 4A Centre for Contemporary Asian Art. Gallery Lane Cove + Creative Studios will be closed over the holiday period from 25 December 2021 - 3 January 2021.

Gallery Lane Cove + Creative Studios | 164 Longueville Road Lane Cove NSW 2066 | www.gallerylanecove.com.au

gallerylanecove.com.au

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hamleystudio.com.au

artvango.com.au

NEW S OUTH WALES OLSEN continued...

17 November—4 December Anna Wili Highfield Olsen Annexe: 3 November—20 November Holly Greenwood Olsen Annexe: 24 November—11 December Monotypes Laura Jones

Rochfort Gallery www.rochfortgallery.com 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 Wed to Fri 10am–5:30pm, Sat and Sun 10am–4pm, Closed Mon and Tues.

See our website for latest information.

PIERMARQ* Gallery www.piermarq.com.au 76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 Mon to Sat 10am–5pm, Sun 10am–2pm.

Paul McCarthy, Macdonnell Ranges, oil on linen, 54 x 64 cm.

1 December—30 January 2022 Colours of Summer Paul McCarthy In this new collection of fresh works, the spirit of joy in painting is palpable.

McCarthy is a 21st century Fauvist at the height of his powers and a colourist with a shameless desire for the beautiful. Here are still lives that never stand still and intimate pockets of the Australian scene captured with vigour.

Galina Munroe, Jardin de ma mere, au soleil.

28 October—14 November The Silence Tasters Galina Munroe

Poised on the cusp between the bright Sydney spring and the bleached summer that follows, here are paintings of romance and gusto, playful and in rare moments meditative. A celebration of the world of living things.

Rogue Pop-Up Gallery www.roguepopup.com.au

Shane Forrest, Acclimatised, reclaimed wood, acrylic paint 47.5 x 19.5 x 14 cm.

31 March—23 January 2022 Current Featured Artist: Shane Forrest

Roslyn Oxley9 Gallery www.roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

See our website for latest information.

130 Regent Street, Redfern, NSW 2016 [Map 9] 0404 258 296 Wed to Sat 11am–5pm, Sun 11am–5pm.

See our website for latest information.

Imants Tillers, Infinitely Beautiful, 2021, synthetic polymer paint, gouache on 25 canvas boards, 127 x 177.8 cm.

1 November—5 December As soon as tomorrow Imants Tillers

Ces McCully, I was not programmed for this, 2021, oil and acrylic on canvas, 75 x 60 cm.

18 November—5 December Strange Like Me Ces McCully

Shane Forrest, Sense of size and space, acrylic on arches paper (3 layers) on canvas, 40 x 51 cm.

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daniel weber

A Rose Grows G. Stein

by Daniel Weber

ESSE daniel weber 2021

NOVEMBER 18TH – DECEMBER 2ND

An Exhibition of Abstract Deconstructivism

panaxeapaintings.com panaxea paintings: 1300 133 807

The Wellington Gallery, Waterloo, Sydney 2-24 Wellington St. Waterloo, NSW 2017

@danielweber_paintings

panaxeapaintings.com

NEW S OUTH WALES

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

Note: Exhibition schedule may be impacted on by any Covid lockdown restrictions. Please see our website for latest information.

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm.

See our website for latest information.

Susan O’doherty, Margaret Ackland in chequered dress, acrylic on canvas finalist, 2021 Portia Geach Memorial Award.

Paul Martin, born Ngunnawal Land/Canberra, 1976, Atlas V & Curiosity Landing on Mars, 2019, oil on canvas, 152 x 91 cm.

28 October—20 November Fever Ward Gallery : The Exploration of Space Paul Martin A series of paintings based on actual exploration of space in both oil and water colour media. Martin states, “It took only 66 years from the Wright Brothers first sending a machine into the air to NASA landing on the moon. The paintings look at historical research, current research and exploration endeavours. Where we could go next is exciting.”

Mel Lumb, Raw Earth, Australian stoneware, natural earth oxides, slip and custom glazes, 11 x 16 cm, 10 x 15 cm, 30 x 22 cm. Photographer Mel Lumb.

17 November—28 November Dwell Mel Lumb and Elise Cameron Smith 11 November—21 November Sydney Contemporary Emily Imeson, Justin Scvetti, Bec Smith

portraiture by women artists. The Award, first given in 1965, was established by Florence Kate Geach in memory of her sister, artist Portia Geach. The nonacquisitive award of $30,000 for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit.

SOHO Galleries www.sohogalleries.net 150 Edgecliff Road, Woollahra, NSW 2025 [Map 7] 0460 009 991 Mon to Fri 10am–5pm, Sat 10am–2pm.

Giorgia McRae, Weight of Love, steel, sandstone, matte paint, 48 x 47 x 9 cm.

Photographer Peter Morgan.

710 Military Road, Mosman, NSW 2088 0460 008 885 Tues to Sun 10am–5pm.

See our website for latest information.

1 December—12 December Steel & Stone Giorgia McRae 8 December—12 December Emily Imeson X Too Good Co 15 December—16 January 2022 Grotto

S.H. Ervin Gallery Wynter Brabec, Untitled, 2021, pencil on paper, A3.

25 November—18 December Smile & Create Karabar High School students Smile & Create represents student learning Visual Arts in year 8 to year 12 at Karabar High School, a local NSW Public High School located in Queanbeyan.

The exhibition will represent a range of themes and forms explored during Visual Arts lessons including animals, people and places.

www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.

See our website for latest information.

5 November—19 December 2021 Portia Geach Memorial Award

Chris Kenyon, Boat Movements, acrylic on canvas, 120 x 120 cm.

Group exhibitions of contemporary art, sculpture, wall relief, works on paper and ARTFraming.

Australia’s most prestigious art prize for 181

ar t g ui d e .c o m . au Until 14 November Sturt – 80 Years in the Making

STATION

Celebrating the legends and treasures of the Sturt Permanent Collection.

www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Wed to Fri 12noon–6pm, Sat 10am–4pm.

16 October—13 November Natasha Johns-Messenger and Leslie Eastman

Peter Young with Students 21.

20 November—5 December Flow –Sturt School for Wood Fine Furniture Graduate Exhibition 22 Amy Dynan, Wonderlust, pastel on paper, 101 x 75 cm. Photograph by the artist.

Jahnne Pasco-White, Rearranging my body (1), 2021,beeswax crayon, earth pigments, cotton, linen, beetroot and olive dyed cotton, pencil on canvas, 144 x 202 cm.

Courtesy of the artist and STATION. 20 November—18 December Jahnne Pasco-White

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

18 November—11 December Sky Talk Amy Dynan

Sturt Gallery & Studios www.sturt.nsw.edu.au Cnr Range Road and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm.

This year’s designer/makers from Australia’s pre-eminent fine furniture school.

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

See our website for latest information.

Sturt is a School of Excellence in Arts, Design and Fabrication. Situated 100km south of Sydney in the Southern Highlands, we offer a wide range of courses and workshops for both adults and school-age students at all skill levels. Sturt plays an important role in the cultural and historic makeup of the region – attracting over 30,000 visitors every year to its exhibitions, events, contemporary design retail space, café and gardens.

Ramesh Mario Nithiendran, Triangular headed figure, 2021, earthenware, 136 x 53 x 42 cm.

14 October—13 November The Guardians Ramesh Mario Nithiyendran

Julie Sundberg, Another alphabet, 2020, Photograph, archival digital print, 95 x 70 cm. Photograph by the artist.

21 October—13 November Solace Julie Sundberg and Zorica Purlija.

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Les Blakebrough at Sturt Pottery c.1962 Image by David Moore.

21 October—13 November Z Garden Michael Zavros

NEW S OUTH WALES

Thienny Lee Gallery www.thiennyleegallery.com 176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Open by appointment only.

in Mullumbimby: four BS`A Directors— Michael Cusack, James Guppy, Emma Walker and Christine Willcocks—and four long-course teachers—Chris Bennie, Michelle Dawson, Travis Paterson and Kat Shapiro Wood.

3 September—5 June 2022 Making their mark: Australian artist prints from the collection When you consider what’s involved in the production of an original artist print, it’s genuinely fascinating. Look closely at any of these works and you can’t help but be impressed with the artists’ technical skills. Apart from the inherent draughtsmanship abilities required to realise their images, consider the engraving, the knowledge of the alchemy of chemicals, the expertise in engraving, and the precision in printing an edition of works.

24 September—28 November #Selfie – Les Peterkin Portrait Prize for children 24 September—28 November Entangled Charlotte Haywood

Ishbel Morag Miller, Lulu, oil on canvas, 66 x 46 cm.

3 December—30 January 2022 Softening the Eyes Nadja Kabriel

Charlotte Haywood lives regionally in Northern NSW on Bundjalung Country.

She is an experimental interdisciplinary artist exploring themes and practices from pop to the primordial. She seeks cultural and linguistic nuances of the body and the landscape to decrypt and unfold multi-narratives.

Justine Emard, Soul Shift, video still.

Courtesy of the artist.

10 December—30 January 2022 Experimenta Life Forms: International Triennial of Media Art

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

See our website for latest information.

1 October—28 November Ken Done: Up to 80 The Ken Done Gallery and Tweed Regional Gallery present a new and vivid exhibition of mostly unseen works. It represents many of the artist’s favourite and bestloved subjects—the beach, the reef and portraiture, as well as his own personal environment—his garden and cabin studio in Sydney. A selection of works from the new publication Ken Done: Art Design Life will also be shown. A Tweed Regional Gallery initiative in partnership with the Ken Done Gallery.

Barbara Goldin, Capertee Valley, acrylic on canvas, 61 x 76 cm.

Tricia Trinder, Catching the light, beeswax, damar resin, dry pigment on board, 100 x 100 cm.

Stock Room Show Including artworks by Tony Belobrajdic, Annie Bierzynski, Phillipa Butters, Barbara Goldin, Julie Johnstone, Ishbel Morag Miller, Leonie Robison, Catherine Stewart, Claire Tozer, Howard Arthur Tweedie, Paul Williams, Beverley Woollett.

18 November—5 December Beyond the Horizon Tricia Trinder

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm.

See our website for latest information.

30 July—5 December Shared knowledge Showcasing the work of eight teaching artists from the Byron School of Art (BS`A)

Craig Tuffin, The Supers No.2, 2020, archival pigment prints, 40" x 54".

Courtesy of the artist.

5 November—1 May 2022 The Supers Craig Tuffin 13 November—20 February 2022 At Home Margaret Olley & Ben Quilty 3 December—30 January 2022 Beauty for Beauty’s Sake David Preston

Jenny Lavender, Unknown 31, 2021, acrylic on x-ray, 45 x 52 cm.

6 December—24 December Unknown Jenny Lavender 183

Corner Bridge & William, Muswellbrook | Mon to Sat 10am - 4pm | arts.centre@muswellbrook.nsw.gov.au | muswellbrookartscentre.com.au Image: Todd Fuller, Max’s House 2020 (detail), acrylic, chalk, charcoal on paper, 57 x 75cm, Courtesy M Contemporary and MRAC

muswellbrookartscentre.com.au

NEW S OUTH WALES

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

23 October—16 January 2022 Baden Pailthorpe Featuring all three works from his MQ-9 Reaper (2014–2016) series, this exhibition of large scale video works from Canberrabased artist Baden Pailthorpe explores how military technologies shape our experience of the world, and in particular, how military technologies such as drones create deeply surreal experiences of time and space.

31 July—27 November Windowless Worlds Centred on shards of shattered window glass collected from the streets of Beirut, Windowless Worlds offers an unconventional lens to reflect on trauma, resilience, recovery and accountability. Bringing together glass objects from Lebanon, Egypt, Palestine, Syria and Turkey along with Australian works from the National Art Glass collection, Windowless Worlds critiques a world that is broken, but also a world where hope survives. Exhibition curated by Dr Sam Bowker in conjunction with Wagga Wagga Art Gallery.

24 July—5 December You can’t see White, if you won’t see Black Curated from the National Art Glass Collection, You can’t see White, if you won’t see Black seeks to comment on the coexistence and unity of opposites as well as duality in politics, spirituality and morality.

15 November—23 January 2022 Marramarra: make, do, create | HOME Program Marramarra: make, do, create is an exciting and innovative exhibition from students and teachers participating in the program of the same name. The Arts Unit, NSW Department of Education in partnership with the Art Gallery of NSW and Wagga Wagga Art Gallery, presents this seventh iteration of the program.

11 December—13 February 2022 Ripple Effect: a 25 year survey Blanche Tilden This 25 year survey of the work of Melbourne-based jeweller and maker Blanche Tilden reveals her remarkable and critically acclaimed practice. Tilden has a unique approach to her materials, in particular, glass, which she explores both as a material for jewellery making and deploys as a metaphor for the connections between making, industry, the wearable object and the body.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm.

James Tylor, (Deleted scenes) From an untouched landscape #7, detail, 2013, inkjet print on hahnemuhle paper with hole removed to a black velvet void, 500 x 500mm. Courtesy the artist and GAGPROJECTS. 6 November—30 January 2022 VOID This exhibition explores the multiple ways in which artists visually articulate the unknown as space, time and landscape.

The work of the included artists does not simply define the void as presence and comparative absence, but rather they utilise form to represent the formless.

6 November—23 January 2022 Ink in the Lines Behind every tattoo is a story. The photographic exhibition Ink in the Lines shares the stories of Australia’s military veterans through their tattoos.

Mel Brigg, Crossroads, 2021, acrylic on canvas, 125 x 125 cm.

21 November—3 December Crossroads Mel Brigg

Wagga Wagga Art Gallery → Baden Pailthorpe, MQ-9 Reaper 1, 2014, HD digital video, colour, sound, 4 mins 38 sec, Edition of 5 + 2AP. Image courtesy of the artist and Sullivan + Strumpf, Sydney.

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KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com June 26 dive, 2021, oil and acrylic on linen, 102 x 82cm

kendone.com

NEW S OUTH WALES Wentworth Galleries continued...

Harold Cazneaux, A study in Curves, 1931, gelatin silver print, Australian National Maritime Museum Collection.

13 November— 6 February 2022 Through a Different Lens: Cazneaux By The Water

John Maitland, Little Yellow Trees & Cockatoo, 2021, mixed media on board, 124 x 114 cm.

7 December—17 December The Summer Breeze John Maitland

Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

Closed Good Friday, Christmas Eve & Day, Boxing Day and New Year Day.

Harold Cazneaux (1878-1953), was a giant in the history of Australian photography. ‘Through a Different Lens’ takes us back in time to Cazneaux’s soft focus Australia and gives us an insight into this significant photographer’s life. This exhibition of more than 50 original pieces presents this aspect of Cazneaux’s art, reflecting how water and Sydney Harbour fits within his work, his signature pictorial photographic style and his foray into modernism and abstract form. Curated

by Daina Fletcher, Australian National Maritime Museum.

20 November—6 February 2022 Mel O’Callaghan: Centre of the Centre Centre of the Centre investigates breath as the central origin of life and as a vital function that connects humans at a cellular level.

The exhibition is inspired by a small mineral containing a tiny pocket of water, possibly millions of years old, which was gifted to the artist by her grandfather, renowned Australian-mineralogist,

Albert Chapman. To create this body of work, O’Callaghan has engaged some of the world’s leading scientists. Filming deep underwater in a submersible vehicle called an ‘Alvin’ with the support of the Woods Hole Oceanographic Institution, the team observed microscopic ‘extremophiles’ – organisms that thrive in extreme environmental conditions. The footage captures these organisms moving in and out of gases from simultaneously freezing ocean temperatures and superheated hydrothermal vents.

O’Callaghan has translated these investigations into an immersive exhibition experience that features a large-scale video work, accompanied by glass forms that entwine a choreography of performance, breathing and sculpture. Curated

by Alexie Glass-Kantor and Michelle Newton, Artspace. Toured by Museums & Galleries NSW. 4 December—6 February 2022 Scott Howie: how good is unaustralia “How good is Australia! How good are Australians!”- ScoMo how good is unaustralia is an exhibition of work by Wagga Wagga-based artist, Scott Howie featuring a series of screenbased performances, sculptures and installations that offer a cheeky and provocative view to imagining the possibility of an unaustralia. Howie adopts a satirical lens as he questions the nationalistic values associated with being Australian, revealing a body of work that allows us to question those unfulfilled promises and hopes of being Australian. Curated by Mariam Abboud.

This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts.

Western Plains Cultural Centre → Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney, courtesy the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photograph: Zan Wimberley.

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LUKE RYAN O’CONNOR Melt, Drip, Lustre

BVRG : PORT

18 December - 8 February

Luke Ryan O’Connor 'Polychrome vessel Pink & Blue', 2021 Stoneware, porcelain, Glaze, Gold Lustre 29 x 17 x 17cm

Eden Welcome Centre, Weecoon Street, Eden, NSW 2551 | gallery.begavalley.nsw.gov.au gallery.begavalley.nsw.gov.au

NEW S OUTH WALES

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

See our website for latest information.

The White Rabbit Gallery was opened in 2009 to showcase what has become one of the world’s most significant collections of Chinese contemporary art.

Dedicated to works made in the 21st century, the White Rabbit Collection is owned by Judith Neilson, who was inspired to establish it after her first trips to Beijing in the late 1990s. She was thrilled by the creative energy and technical quality of the works she saw and wanted to share them with people outside China. She makes regular trips to China and Taiwan to augment the Collection, which now includes almost 3000 works by almost 750 artists and continues to expand.

Adelaide Perry, Coledale Beach and Village, Circa 1927, oil on panel, 24.5 x 34.5 cm. Wollongong Art Gallery Collection, The George and Nerissa Johnson Memorial Bequest, purchased 2003.

6 November—6 February 2022 Ways To Water Curated by Agnieszka Golda and Jo Stirling the exhibition traces stories of coastal changes across the Illawarra, South Coast, and New South Wales. With fifty key historical and contemporary works from Wollongong Art Gallery and University of Wollongong collections – as well as original artworks and interactive augmented reality – to highlight the complex shifts through physical and imagined encounters between Land Country and Sea Country.

20 November—13 February 2022 Birds & Language

Xu Zhen®, ““Hello””, 2018-19, robotic mechanisms, styrofoam, polyurethane foam, silicone, pain, sensors, electronic controls, 390 x 750 x 800 cm.

Early December—1 August 2022 Big in China Please check the Gallery’s website or social media platforms for updates on the exact day of the opening.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

See our website for latest information.

16 October—13 March 2022 FLOW: Wollongong Art Gallery Contemporary Watercolour Prize A biennial acquisitive ($20,000) competition open to artists from around Australia.

The prize aims to encourage innovation and experimentation in watercolour painting, including works on paper in watercolour, acrylic, gouache, pen and ink, and watercolour mixed media.

Curated by Madeleine Kelly, the exhibition brings together Australian artists who explore the language of birds. The works are speculative; they suggest a radically different approach to understanding and presenting the colours, forms, sounds and behaviours of birds and reimagining humanity’s relationship with non-human life.

Artists include Glenn Barkley, Barbara Campbell, Fernando do Campo, Eugene Carchesio, Ashley Eriksmoen, Emily Floyd, Liam Garstang, Danie Mellor, NOT, Bilinyarra Nabegeyo, Djawida Nadjongorle, Raquel Ormella, Debra Porch, Marie Celine Porkalari, Joan Ross, Laurens Tan, Hollis Taylor, John Tonkin, Jenny Watson, Louise Weaver and John Wolseley.

11 December– 20 February 2022 SNAPPED! Street photography in the Illawarra Anne Zahalka (with Sam St Jon and residents of the Illawarra)

Anne Zahalka, Fred Vause and John W Shumack, Crown Street Wollongong (1940), 2021 projected image, 125 x 200cm. Original street photograph, courtesy Patricial Langley. street photographs will be presented based on these historic images so that viewers can travel back in time to locate themselves on the streets and beaches of the Illawarra today.

Until 14 November Alchemical Worlds: Agnieszka Golda, Martin Johnson And Jo Law Illawarra artists bring us in close proximity to bio-archivists of climate change: corals and trees through philosophies of alchemy and materials transformation.

The works in this exhibition entangle textile art with creative technologies, and contemporary art with climate and materials sciences to offer a space for mindful and ecological awareness.

Until 5 December LORE In this exhibition curated by Virginia Settre, artists from the Illawarra Association for the Visual Arts (IAVA) take on the intangibility of lore by exploring perception, memory, knowledge and the lure of place. Works by Alannah Dreise, Angela Forrest, Deborah Redwood, Jennifer Jackson, Karen Hook, Kate Stehr, Penny Hulbert, Sue Smalkowski, Virginia Settre.

This exhibition presents a historic portrait of local life mapped across the streets and beach scapes of the Illawarra. Recorded originally by early commercial street photographers from 1930’s – 60’s of passers-by, these affordable postcard sized prints captured people in a candid way. Collected through a call-out from residents, these historic street photos have been assembled to provide a tangible trace of the city allowing visitors to reimagine how this city once looked.

Working with local photographer, Sam St John, a contemporary iteration of

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A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

QUEENSLAND

Art Lovers Australia Gallery

5 November—16 January 2022 Moon in a Dew Drop Lindy Lee

www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm.

See our website for latest information.

on Brisbane’s economic and cultural landscape as an iconic arts centre.

The industrial red brick facade, interior steel beams, preserved graffiti and cement floors are remnants of a once-bustling power station now a much-loved centre for storytelling through art and culture.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au Jonathan McBurnie, A SEARCH FOR TRUTH, detail, 2020, ink and watercolour on paper, 29.7 x 42 cm. Courtesy of the artist.

5 November—16 January 2022 BIRDLAND Jonathan McBurnie

22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

See our website for latest information.

22 October—9 January 2022 Cont.ained Jenna Lee

Brisbane Powerhouse Amanda Cameron, Sunday, 101 x 101 cm.

www.brisbanepowerhouse.org Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] Tue to Sat 10am–late, Sun 10am–6pm. Closed Mon.

Hiromi Tango, Healing Garden, Art Dubai, The Sheikha Manal Little Artists Program. Courtesy of Art Dubai and Photo Solutions.

15 October—5 December Hiromi Tango: Healing Garden Inspired and guided by international artist Hiromi Tango, the Gallery will host workshops with the local community to create a paper and textile garden in the gallery.

The vibrant healing garden will continue to grow throughout the exhibition, flourishing with new creations from community workshops and gallery visitors.

Petra Meikle de Vlas, Summer.

11 December—5 February 2022 Summer A refreshing look at contemporary experiences of the summer landscape.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

Lindy Lee, Love (An Unbounded Heart), 2017, from The Immeasurables, mirror polished stainless steel, LED, image courtesy of the artist and Sullivan+Strumpf, Sydney and Singapore. © the artist.

Brisbane Powerhouse.

Brisbane Powerhouse is Queensland’s home for contemporary culture, a magnificent power station of the 1920s reborn as an arts centre on the Brisbane River.

A distinct landmark, both as a striking pre-war industrial building and a hub for creativity, art and cultural innovation, Brisbane Powerhouse offers an array of performing arts, visual arts, festivals, and free community events.

Surviving two decades of neglect and a partially completed demolition project, the building was reacquired by Brisbane City Council in 1989, envisioned as a space for arts and culture. The redeveloped Brisbane Powerhouse was designed

by Brisbane City Council architect Peter Roy and was opened on 10 May, 2000 by Lord Mayor Jim Soorley.

Brisbane Powerhouse nowadays is surrounded by family homes and apartment buildings, and makes a significant impact

Keith Hamlyn, I Sea U–Shaun. Courtesy of the artist.

15 October—5 December I Sea U Keith Hamlyn Sunshine Coast photographer Keith Hamlyn examines the unknown space people go to when they enter the sea. This diverse portrait series captures the local ocean community, presenting a visual narrative of private moments in the transformative realm of the ocean.

Presented in partnership with Horizon Festival. Supported by the Queensland Government through Arts Queensland.

Keith Hamlyn.

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Thao Nguyen Phan Becoming Alluvium 9 October–18 December 2021

Thao Nguyen Phan, 'Becoming Alluvium', 2019, single-channel colour video, 00:16:40.

The first exhibition in Australia by Ho Chi Min City-based artist Thao Nguyen Phan.

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

'Becoming Alluvium' was produced by the Han Nefkens Foundation. Thao Nguyen Phan is represented

by Galerie Zink Waldkirchen. The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

ima.org.au

QUEENSLAND

Institute of Modern Art → Joanne Wheeler, Olden Times, Ntaria, acrylic on linen, 92 x 151 x 2 cm.

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

See our website for latest information.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed, Fri and Sat 12noon–5pm.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am–8pm.

See our website for latest information.

Artworks are sourced from across Australia and showcased through exhibitions.

Unique collections - private and corporate - are developed featuring established and emerging artists, Indigenous and non-Indigenous.

Nerius Narexnugz Toule, Traditional Painted Faces, detail, 2020, acrylic on canvas, 53.5 x 87 cm.

18 September—30 November Nerius Narexnugz Toule

Permanent Exhibition HOTA Collects: Highlights from HOTA’s Collection

David Paulson, Scale 1, 2021, timber, resin, oil and acrylic paint, 21 x 20 x 5 cm.

23 October—27 November Evidence of Scale: New Sculptures (including Ghost Nets from Pormpuraaw Art & Culture Centre)

Nell, Let There Be Robe, detail, 2012, Zen robe, t-shirts, beads, badges, mannequin, socks, Converse All-Stars, guitar picks, paintbrushes, drumsticks, scissors, pencils, screwdrivers, chopsticks, variable dimensions, Collection, Gallery at HOTA. Gifted by the citizens of the Gold Coast to future generations 2017 © Image courtesy of the artist and STATION, Melbourne and Sydney.

Josephine Forster, Cooee Bay Bush, 1985, acrylic, ink and pastel on paper, 50 x 64 cm.

1 December—20 December Josephine Forster

A snapshot of the 4,500 works in the City Collection, many of which have never been seen, and includes one of the largest collections of Aboriginal and Torres Strait Islander art in regional Australia.

The Gold Coast has inspired a wealth of contemporary artists to dream big and pursue careers nationally and internationally, and the inaugural hang will include 193

ar t g ui d e .c o m . au HOTA continued... works by Victoria Reichelt, Michael Zavros, Abbey McCulloch, Chris Bennie, Anna Carey, the Huxleys, and Scott Redford.

Artists that celebrate the Gold Coast as a muse include John Gollings, Kenneth Macqueen, Vida Lahey, Charles Blackman, Fred Williams and Ethel Carrick Fox. And be sure to keep your eyes peeled, as art can be found in unexpected places throughout HOTA. You might even be able to see down to the collection store, where at any given time you can get a glimpse of what goes on behind the scenes.

Institute of Modern Art www.ima.org.au Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm.

See our website for latest information.

9 October–18 December the churchie emerging art prize 2021 Akil Ahamat, Tiyan Baker, Christopher Bassi, Leon Russell (Cameron) Black, Ohni Blu, Riana Head-Toussaint, Visaya Hoffie, Kait James, Alexa Malizon, Kyra Mancktelow, Ivy Minniecon, Nina Sanadze, Jayanto Tan, and Joanne Wheeler ‘the churchie’ is one of Australia’s leading prizes for emerging artists. Presented at the IMA since 2019, the finalists’ exhibition provides a survey of the compelling and diverse work being produced by emerging artists today.

The Major Prize winner will receive a $15,000 non-acquisitive cash prize sponsored by BSPN Architecture, to be announced by a guest judge, Rhana Devenport ONZM, Director of the Art Gallery of South Australia.

9 October–18 December Becoming Alluvium Thao Nguyen Phan Becoming Alluvium is the first exhibition in Australia by Ho Chi Min City-based artist Thao Nguyen Phan. This single-channel colour film is her most recent work and continues her ongoing research into the Mekong River and the cultures that it nurtures. Through allegory it explores the environmental and social changes caused by the expansion of agriculture, overfishing and economic migration of farmers to urban areas.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment.

2 November—20 November Along the line David Band 2 November—20 November Tim Edwards 23 November—11 December The Cubensis Head Butt David Griggs

2021 Dobell Drawing Prize #22 — toured by the National Art School, Sydney

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, VIC 4101 [Map 15] 07 3002 7100 Mon to Fri 9am–5pm, Sat 10am–10pm.

See our website for latest information.

www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm.

See our website for latest information.

Cherry Logar, SYNTHETICS (touch please), 2020, TAFE graduate exhibition 2020.

4 November—14 November Honours Degree 2021 Exhibition

In this newly commissioned installation, a focus on Filipino textile and fibre traditions expands on the Aquilizan’s existing practice. Emblematic of their collective and community-centred approach to making, the duo have collaborated with weavers from different parts of the Philippine archipelago to create a large-scale installation from intricate fibre work.

Samuel Tupou, The Tongan Holiday, 2021, serigraph on board. Image credit: David Marks.

22 October—27 November Inspirations: Driftwood Collective Observing patterns Samuel Tupou

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3 December—15 January 2022 Logan treasures: art, craft and design pop-up store

Logan Art Gallery

9 October–18 December See/Through Alfredo and Isabel Aquilizan

Thao Nguyen Phan, Becoming Alluvium, 2019, single-channel colour video, 00:16:40.

Noel McKenna, Major in Backyard, (from 2021 Dobell Drawing Prize), 2020, ink on paper, image courtesy the artist and Darren Knight Gallery © the artist.

Reflections on a changing biosphere Barry Fitzpatrick Ripple effect – out of Artwaves Taijha Utner

Across 10 days, explore the work of graduating artists, as they bring the year to a colourful close. As Education Partner of Metro Arts, TAFE Queensland in partnership with the University of Canberra present this series of exhibitions showcasing the next wave of emerging artists. Featured artists include: Sumile Belle Kaese, Yuliana Kusumastuti, Carolyn McCosker, Claire Dennis and Sebastian Slater. Join Metro Arts for a look at what the next generation of artists have in store.

20 November—27 November Soul-Hole The everyday and the sacred are united in this intimate exploration of spirituality and girlhood.

Soul-Hole is a multi-media exhibition comprising of found objects, soft sculpture, video, images and more. It explores mutual healing and connection between creator and audience.

QUEENSLAND Metro Arts and Next Door ARI are proud to present Zara Dudley’s latest work. Intuitive composition of her installations allows Dudley to articulate aspects of spirituality that require tactility and tenderness. By creating a binary between the decrepit and beloved, she bestows the status of ‘ritualistic debris’ upon her idiosyncratic collection. The experience of sexual, social and spiritual trauma is communicated through the construction of private rituals, ceremonies, sacraments and scripture; ultimately cultivating Dudley’s own private faith.

Image courtesy of the artist 20 November—27 November Dot Matrix Of Humanity Artist Boardriders Club Step inside a world of vivid contemporary art from this motley crew of surfers and art-lovers. Celebrating Coral Sea camaraderie and contemporary surfrider culture, this group exhibition by Artist Boardriders Club (ABC) is centred around inclusiveness, collaboration and ‘the stoke’. Formed in the line-up at Snapper Rocks on Queensland’s Gold Coast in 2018, ABC is a recreational and relational project associated with THE WALLS ART SPACE. This is the perfect blend of two Queensland summer staples: beach days and air-conditioning.

4 December—18 December Untitled With a focus on the dialogues between the individual and the universal, Azadeh Hamzeii mines her personal history and cultural background as an Iranian based in Meanjin (Brisbane).

Commissioned by Metro Arts in association with 4A: Centre for Contemporary Asian Art, Hamzeii’s latest work investigates the localised significance of objects and the potential to elevate their meaning, creating a broader human narrative.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm.

See our website for latest information.

Step into The Storytellers and uncover the hidden histories, myths and tales of Brisbane as told by the contemporary writers of our city. Ever wondered what it would be like to spend a night in Boggo Road Gaol, what Kangaroo Point has to do with kangaroos, or what went on at your Nan’s place during the Second World War? Step into an immersive story book landscape of Brisbane and relax around the kitchen table or take a seat at the tram stop to discover the personal, funny, inspiring and darker stories of Brisbane told by some of the city’s greatest wordsmiths. The Storytellers captures the imagination of visitors of all ages and is complemented by an augmented reality experience created by Artists in Residence, Helena Papageorgiou and Kellie O’Dempsey.

Keith Betts, Dawn, Bermagui.

November Keith Betts Betts has, for many years, concentrated on works depicting the bushland in and around the Sydney area. More recently he has shifted his focus to the heart of Sydney, discovering (or rediscovering) the brilliance of Sydney Harbour, seen both from the waters and the foreshore.

Paintings have been awarded in regional and city exhibitions and are represented in Australian and overseas collections.

December Lorraine Rogers Rogers is a talented artist who has developed a unique style and approach to watercolours. Her use of colour and design, combined with a passion for her subject matter results in wonderfully vibrant and evocative works with great appeal.

She taps in to the romance and emotion of the landscape and the charm of our Queenslander homes and landscapes.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm.

Free entry.

4 December—January 2022 777-Eleven The convenience store with all the Catholic necessities nobody asked for. 777Eleven explores the theme of religious doubt and uses humor as a tool to playfully criticise outdated Catholic traditions and objects. Food for thought and the soul, this is an indulgence that prompts us to examine and engage with our faith.

Joaquin Gonzales’s solo, site-specific installation transforms Metro Arts’ window gallery and surroundings to a Catholicised convenience store composed of a series of sculptural artworks. Open 24/7 for your convenience.

Trent Dalton, Kate Morton, Nick Earls, Hugh Lunn, Matthew Condon, Ellen van Neervan, Simon Cleary and Benjamin Law.

The Storytellers at Museum of Brisbane 2020. Photo: Toby Scott.

July 2020—February 2022 The Storytellers

City in the Sun at Museum of Brisbane.

Photo: Toby Scott.

June 2021—February 2022 City in the Sun Various Artists As Queensland’s gateway to the tropics, Brisbane has adopted imagery of all things subtropical over the last century, from frangipanis to pineapples and bikini-clad leisure-lovers.

City in the Sun uncovers and reimagines Brisbane’s subtropical image. Showcasing large-scale new contemporary artworks alongside historical imagery, the exhibition will reveal how the city’s history of migration, tourism, climate, environment and geographic location has contributed to the images of a subtropical oasis of leisure and abundance. Newly commissioned works from artists Kinly Grey, Christopher Bassi, Laura Patterson, Rachael Sarra, Sam Tupou, Sebastian Moody, Holly Anderson and Rachel Burke are coupled with works by Gerwyn Davies, Michael Zavros, Tracey Moffatt, Scott Redford and Olive Ashworth to name a few. The exhibition invites audiences to peek behind the sun-drenched façade of the tourist brochures and question if these images still represent who we are as a city… if they ever did.

This colourful exhibition provides playful reinterpretations, flamboyant re-imaginings and quiet reflections, proposing exciting new images of Brisbane’s subtropical identity today.

This project is supported by the Queensland Government through Arts Queensland.

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Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm.

See our website for latest information.

5 November–5 December The Lyn Mccrea Memorial Drawing Prize Multiple finalists.

Wendy Mocke, Nana, 2019, c-type photograph. Courtesy of the artist.

29 October—11 December The ‘m e r i’ project Wendy Mocke 15 December—15 January 2022 NorthSite Art Market Queensland Artists

Onespace Gallery www.onespacegallery.com.au

Todd Fuller, 1727: Adriaan for Pieter, 2021, digital video: charcoal, chalk and acrylic animation on maps. Photo: Courtesy of M. Contemporary, Sydney. Finalist of Lyn McCrea Memorial Drawing Prize 2021.

349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment.

See our website for latest information.

10 December—27 Febuary 2022 Asia Pacific Contemporary; Three Decades of the APT QAGOMA touring exhibition.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information

Brian Robinson and Tamika Grant-Iramu, Carving Country, detail, 2020-21, vinyl cut print on paper mounted on aluminium panels, 280 x 690 cm. Photo: courtesy of the artists and Onespace Gallery.

Hoda Afshar, Dog’s Breakfast, 2011, archival inkjet print, 60.9 x 88.9 cm.

Courtesy the artist.

5 November—5 February 2021 Just Not Australian Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey , Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Raquel Ormella, Ryan Presley, Joan Ross, Tony Schwensen and Soda Jerk.

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22 October—27 November A Carved Landscape: Stories of Connection and Culture Brian Robinson & Tamika Grant-Iramu A Carved Landscape: Stories of Connection and Culture presents a bold collection of prints by Torres Strait Islander artists Brian Robinson and Tamika Grant-Iramu. What began as a formal mentorship between the two, has now progressed into dynamic parallel collegial practices.

Both artists are inspired by their immediate home environments; Cairns for

Robinson and Brisbane for GrantIramu. Among the works showcased is an ambitious collaborative relief-print, a large-scale installation that merges their two distinctive carving styles.

Robinson and Grant-Iramu have divergent experiences of coastal and urban environments, yet their creative responses to place resonate with strong similarities, reflecting Torres Strait Islander traditions where motifs of their natural surroundings are central to their stories.

Their work is infused with and underpinned by contemporary Torres Strait Islander culture, familial experiences, mythology (from Indigenous Australia as well as other cultures), popular culture and more traditional art historical concerns. Throughout their collaboration, the physicality of carving lino has simultaneously provoked the sharing of ideas, values and stories.

3 December—29 January 2022 Katsugi Zoe Porter and Aiko Ono Katsugi (ancient term from Ijika, Japan which can be translated as ‘dive’ in English) is a two-person exhibition that brings together Japanese Ama diver Aiko Ono’s documentary style photography, and recent works by Zoe Porter featuring depictions of the Ama (female free divers) and other plant-human, animal-hybrid forms within otherworldly landscapes.

The two artists have collaborated on a series of photographs taken by Ono, whereby Porter has transformed the Ama divers into hybridised, future beings dislocated from their recognisable coastal environment.

The exhibition connects these two artists from different backgrounds and different continents during a time when global travel isn’t possible. Within these new works

by Porter, there exists imaginary hybrid plant-human creatures and oceanic monsters that coalesce within strange sci-fi, underwater scenes that refer to film, dream states and the impacts of ocean pollution and degradation. The individual works by both artists, and their collaboration, aims to emphasise the significance of the continuation of the Ama divers ancient fishing practices, despite current ecological damage. Katsugi also highlights the possibilities for cultural exchange and collaboration, despite being unable to travel internationally.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

See our website for latest information.

18 September—7 November Robert MacPherson: Boss Drovers

QUEENSLAND Featuring the work of Julie Bradley, Regi Cherini, Leah Emery, Marion Gaemers & Lynnette Griffiths, Emma Gardner, Hannah Garside, Julia Gutman, Vivienne Haley, Michelle Hamer, Talitha Kennedy, Sheree Kinlyside, Nicole O’Loughlan, Susan Nampitjin Peters, Kate Scardifield, Ema Shin, Hiromi Tango, Sonia Ward, Jenny Watson and Paul Yore. Curated by Jonathan McBurnie.

Philip Bacon Galleries www.philipbacongalleries.com.au Lucy Culliton, CJ, 2015, oil on board, 40 x 40cm. Part gift of the artist and acquired by the Outback Regional Gallery 2020.

Image courtesy: King Street Gallery on William, Sydney.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

A touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art. 13 November—2 March 2022 Collection Exhibition, Outback Regional Gallery

www.townsville.qld.gov.au

Slack Water is a poetic and introspective exhibition about the act of fishing, abstract poetry, physics, light and water, sky and horizon, surface and depths and the meaning and dissolution of being.

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Jude Rae, SL441, 2021, oil on linen, 122 x 137.5 cm.

26 October—20 November Jude Rae

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

See our website for latest information.

23 November—18 December Peter Anderson

3 September—28 November A Journey Through Images: 40 Years of Perc Tucker Regional Gallery

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Fri 10am–5pm, Sat 10am–1pm.

See our website for latest information.

Perc Tucker Regional Gallery celebrates its 40th anniversary with a diverse selection of work made by the artists of Townsville, the community, and staff of the gallery past and present.

Slack Water brings together several strands of Arryn Snowball’s studio practice, responding to a series of poems

by Nathan Shepardson. The Slack Water project, as it has come to be known, is an ongoing meditation on the splendour and vastness of the Pacific Ocean. The comparatively accessible Fisherman’s Bible, Ern Grant’s Guide to Fishes (1924), used as a conceptual start point for Shepardson’s 77 poems. Snowball initially responded through fragments, cutting them up, taking poetic images, and transforming them into paintings, eventually developing the work into a vast series encompassing drawing, sound and performance.

Queensland Art Gallery | Gallery of Modern Art

Featuring works by Ken Done, Margaret Campbell, Kathy Ellem, Lucy Culliton, Elisabeth Cummings, Idris Murphy, Sally Ogg, Joe Furlonger, Lyn Laver Ahmat, Hugh Sawrey, Bailey Donovan, Christopher Trotter and Eddie Hackman.

Perc Tucker Regional Gallery

26 November—22 January 2022 Arryn Snowball: Slack Water

Pinnacles Gallery www.townsville.qld.gov.au Lee Paje, The Philippines b.1980, The stories that weren’t told, 2019 , oil on copper mounted on wood , 243.84 x 300 cm. Collection: Queensland Art Gallery, Purchased 2021 with funds from Terry and Mary Peabody and Mary-Jeanne Hutchinson through the Queensland Art Gallery | Gallery of Modern Art Foundation , Photography courtesy the artist and Tin-aw Arts Management Ltd. 4 Decemeber—25 April 2022 The 10th Asia Pacific Triennial of Contemporary Art (APT10)

Jenny Watson, Sunshine of your love, 2020, acrylic on French cotton and tapestry template, 140 x 137 cm; 39 x 31 cm.

Image courtesy of Roslyn Oxley9 Gallery.

10 December—13 February 2022 Fresh Material: New Australian Textile Art

Arryn Snowball, Steadily expanding editions of time, 2021, tempera and oil on linen, 190 x 190 cm. Image courtesy of the artist.

For this landmark tenth edition, QAGOMA’s Asia Pacific Triennial looks to the future of art and the world we inhabit together. It’s rich with stories of how to navigate through time and space, reimagine histories and explore connections to culture and place. The 10th Asia Pacific Triennial of Contemporary Art (APT10) will include 69 projects with new and recent work by more than 150 emerging and established artists, collectives and filmmakers from more than 30 countries. It includes works of art that are by turn highly personal, deeply political, and full of joy.

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QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat 12noon–4pm, Sun 10am–3pm.

See our website for latest information.

about social, political, ecological, and economic change.

17 October—5 December Neridah Stockley: A Secular View

William Robinson Gallery:

17 October—5 December Bill Yaxley: Lamb Island

17 September—11 September 2022 William Robinson: Nocturne The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899

Thinking into Being is a wide-ranging exploration of the often-unseen creative processes that bring into being the objects, products and experiences of our culture and how they may bring

Barbara Cleveland: Thinking Business

www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10.30am–3.30pm, Sun 1pm–4pm. Closed Mon and Public Hols. Free entry.

QUT Art Museum:

The fourth in a series of triennial alumni exhibitions, Thinking into Being explores QUT’s unique cross-disciplinary and collaborative approach to teaching and learning. The exhibition brings together work by QUT graduates from the Schools of Architecture and Built Environment, Creative Practice, and Design, who have become leading creative practitioners both nationally and internationally.

12 December—23 January 2022 Suzanne Danaher: Tide and Time

Toowoomba Regional Art Gallery

Elisa Jane Carmichael, Dabiyil wunjayi (water today), 2020, cyanotype on cotton. Technical assistance: Renata Buziak.

Courtesy of the artist and Onespace Gallery. Photo: Louis Lim. 9 October—27 February 2022 Thinking into Being: QUT Alumni Triennial Kyle Bush, Elisa Jane Carmichael, Jessica Cheers, Emma Coulter, Benjamin Donnelly, Amy Grey, Anthony Hearsey, Wei Jien, Clare Kennedy, Jennifer Marchant and Dylan Sheppard.

Suzanne Danaher, Iron ocka 1, 2020, mixed media on paper. Courtesy of the artist.

Lesley Kendall, Wallum, 2020, watercolour and ink on paper. Courtesy of the artist.

13 November—11 January 2022 Wallum: Lesley Kendall

edland Art Gallery, R Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Patricia Piccinini, Teenage Metamorphosis, 2017, silicone, fibreglass, human hair, found objects, 25 x 71 x 52 cm. Purchased 2018. Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of modern Art. © Patricia Piccinini.

13 November—27 February 2022 Patricia Piccinini: Curious Affection on Tour Patricia Piccinini: Curious Affection on Tour invites audiences to think about their place in a world where advances in biotechnology and digital technologies blur the lines between human, nature and the artificial world. Patricia Piccinini’s lifelike hybrid creatures seamlessly blend human, animal and machine elements to reveal life forms that are extraordinarily familiar.

William Robinson, Out of the dawn, 1987, oil on linen, 72 x 102 cm. Private collection, Brisbane.

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Neridah Stockley, Back of a house, detail, 2014, oil on hardboard, 30 x 25 cm.

Courtesy of the artist.

Patricia Piccinini: Curious Affection on Tour is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art.

QUEENSLAND 20 November—15 January 2022 Safe Space contemporary sculpture Abdul-Rahman Abdulla, Claire Healy and Sean Cordeiro, Franz Ehmann, Keg de Souza, Rosie Miller, Will French, Alex Seeton, David Cross, Karla Dickens, Michelle Nikou and Tim Sterling.

Damien Kamholtz, The spit that joins the magic together, 2012, ten panel assemblage – each panel acrylic paint, oil-based varnish, collage, nails and iron ore, 170 x 610 cm overall. Toowoomba Regional Art Gallery – Toowoomba City Collection 1867.9 / © Damien Kamholtz.

23 October—23 December Picture Playgrounds Playing with important notions expressed

by Picasso – ‘Every child is an artist. The problem is how to remain an artist once he grows up.’ – this exhibition features works by artists that celebrate the power of play.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

See our website for latest information.

Safe Space contemporary sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It features a range of figurative elements and narrative themes with social, and sometimes political, resonances.

Many of the works in this exhibition take as their point of departure: the human body, its dimensions, the spaces it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.

David Rowe, The Miner’s Pinàta (in The Future: 2020 Umbrella Members' Exhibition and Bamford Medical Prize), 2020, oil on sculptured canvas, 110 x 75 x 75cm.

Umbrella’s 200+ members will respond to politics, social status, electricity, and / or any other interpretation of the word.

The exhibition features a $1000 art prize generously sponsored by Bamford Medical Practice and this year, a $500 Light Through a Lens Photomedia Prize generously sponsored by Al Green.

USC Art Gallery www.usc.edu.au/art-gallery USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm.

Closed Sunday and public holidays.

See our website for latest information.

UQ Art Museum is a site for progressive and contemporary creative inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University.

We aim to connect each visitor with new ideas in creative practice, and with learning in its many forms.

We collect and exhibit progressive works of art, which stimulate dialogue and debate. We’re committed to opening up dialogue with the faculties, research institutes and centres of the University, and to place education at the core of our activities.

Robert Crispe, Die Slow, 2019, digital image, 2000 x 1125 pixels.

15 October—12 November Crispe Robert Crispe This exhibition presents retrospective engagement with years of creative experimentations. The exhibition features illustrations, puppets, stop-motion animations, props, costumes, storyboards, photographs, sculptures, interactive projections and video art.

26 November—19 December Power: 2021 Umbrella Members’ Exhibition & Bamford Medical Art Prize Umbrella Studio Contemporary Arts members This exhibition highlights the talent and creativity of Umbrella’s artist members annually. This year the works reference the theme of ‘power’. A selection of

Kate Geck, rlx:tech – defrag popup, detail, 2021. Installation view, Don’t Be Evil, UQ Art Museum, 2021. Photo: Louis Lim.

Alex Seeton, Someone Else’s Problem, detail, 2015, marble dust, epoxy resin, Tasmanian oak, cable ties, dimensions variable (approximately), 300 x 200 x 200 cm. Photography by Mark Pokorny.

Image courtesy of the artist and Sullivan+Strumpf, Sydney.

30 July—22 January 2022 Don’t Be Evil Zach Blas & Jemima Wyman, Kate Crawford & Vladan Joler, Simon Denny, Xanthe Dobbie, Sean Dockray, Forensic Architecture, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Eugenia Lim, Daniel McKewen, Angela Tiatia, Suzanne Treister, and Katie Vida.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com

November Art From Stuff A group exhibition of upcycled works.

11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening.

of the experiences and talent of service personnel. The winner will receive a $10,000 cash prize and the opportunity to undertake a residency program organised by the Australian War Memorial.

Entries close 12 Dec 2021.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm.

Margaret Hadfield, The Trickle, from the Waterfall series.

December Water Water Everywhere A group exhibition of Shed artists.

Johnny Romeo, New Moon Romantic, 2020, acrylic and oil on canvas, 153 x 153 cm.

21 October—14 November Colossal Youth Johnny Romeo Recent paintings.

21 October—14 November Being There

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm.

Australian War Memorial www.awm.gov.au/nwartprize Treloar Crescent, Campbell, ACT 2612 [Map 16] 02 6243 4211 Daily 10am–5pm.

See our website for latest information.

Tom Moore, Mycelium Manikin, glass, 52 x 35 x 17 cm.

4 November—21 November Glassorama-BioDrama! Diorama all the ding-dong-day!

Tom Moore Studio glass.

4 November—21 November Pictures from the mindfield Michael Schlitz Woodcuts.

Ken Knight, South coast dunes, 2021, oil on board, 104 x 107 cm.

9 December—9 January 2022 FLOW AND EBB

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm.

See our website for latest information.

Canberra’s largest private gallery.

On display is the fine art of Margaret Hadfield-Zorgdrager and rescued, revamped art and craft in the Artistic Vision Gallery.

Gordon Traill, Unconquered courage, photograph, 2018.

Napier Waller Art Prize Open to all current and former service personnel in the Australian Defence Force. This prize encourages artistic excellence, promotes the transformative power of creativity, and raises awareness

Kenji Uranishi, Clouds across the ocean, series, detail, porcelain .

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Until 2022 Know My Name: Australian Women Artists 1900 to Now: Part Two

Beaver Galleries continued...

25 November—24 December Built: contemporary ceramics Kenji Uranishi, Somchai Charoen, Julie Bartholomew, Alterfact (Ben Landau and Lucile Sciallano).

‘After my first show, a critic warned me that my work looked “feminine”. I was horrified at this description and felt very vulnerable and angry at myself for not hiding my “femaleness” better; but I was also incredibly relieved that now the secret was out, I wouldn’t have to pretend anymore.’ – Elizabeth Gower

Ceramics.

25 November—24 December Small works A selection of gallery and guest artists.

Paintings, prints, drawings, sculptures, glass, and ceramics.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Macdonald Nichols, Moon Over Square Range, Nimmitabel, 2020, inkjet print, 20.3 x 25.4 cm.

5 November—21 November Plain Air, High Plain Mark Mohell, Macdonald Nichols and Peter Ranyard.

5 November—21 November Congruent – Incongruent Manuel Pfeiffer and Eva van Gorsel

Built and supported by the ACT Government, Canberra Glassworks is a dynamic, professional artists facility, dedicated to contemporary glass art, craft and design.

Drawn from the National Gallery’s collection and with loans from across Australia, Know My Name: Australian Women Artists 1900 to Now is one of the most comprehensive presentations of art by women assembled in this country.

Shown in two parts, this major exhibition tells a new story of Australian art. Know My Name looks at moments in which women created innovative forms of art. It examines cultural commentary, such as feminism, and highlights the creative and intellectual relationships that have existed between women artists throughout time.

Know My Name is not a complete account; instead, alternative histories are proposed. The exhibition challenges stereotypes and reveals the stories and achievements of all women artists.

Know My Name: Australian Women Artists 1900 to Now is part of the National Gallery’s vision to increase representation of all women in our artistic program, in our permanent collection and within the organisation itself.

Caren Florance, (She’s a) Morsel, 2021, handset letterpress on paper plate, 25 x 16 cm. Photograph: the artist.

Curators: Deborah Hart, Henry Dalrymple Head of Australian Art and Elspeth Pitt, Curator of Australian Art.

5 November—21 November Plate Show 4: Just Desserts Plate Collective 26 November—10 December 2021 M16 Drawing Prize 26 November—10 December Bronte Bell and Adrian Olsen

National Gallery of Australia Jessica Murtagh, Centerlink Amphora, 2021, blown glass. Courtesy of the artist.

Net Worth Louis Grant, Jessica Murtagh and Madisyn Zabel Showcases three emerging artists working in glass; Louis Grant, Jessica Murtagh and Madisyn Zabel. Each provide a unique commentary on today’s expectations of self-worth, perceived worth and financial worth, and how evolving values may guide our future.

www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Sarah Lucas, Eating a Banana, 1990, image courtesy Sadie Coles HQ, London © the artist.

7 August—April 2022 Sarah Lucas ‘I think art should be amateur… It should be done for love. I’ve never seen art as a career—and I still don’t.’ – Sarah Lucas

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

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Anne Wallace, She is, 2001, National Gallery of Australia, Canberra. purchased 2002.

Sarah Lucas brings together recent work by one of England’s most influential and unapologetic artists. Over the past 30 years, Sarah Lucas has transformed everyday materials, such as vegetables, cigarettes and stockings through sculpture, photography and performance. The human body recurs in her practice as a site of potential desire and failure, as the

AUSTRALIAN CAPITAL TERRITORY artist explores the ways in which gender and sexuality are performed.

Known for her use of crude and humorous imagery, this exhibition explores the representation and experience of gender and confronts the realities of bodily existence. Two recent sculpture series will be featured, including new works from the Bunny series, which Lucas has been making since 1997. A new series of bronze sculptures depicts similar figures that incorporate both masculine and feminine elements; gender stereotypes are challenged and conventions of representation humorously played with.

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm.

See our website for latest information.

Huf experiments with the practice of “cameraless film techniques” that intervene directly on film strip. Attracted to the quality of analogue film as a material from which to create objects, Huf weaves film for performance and video. Huf is a Dark Matter 2021 resident.

398 Aloisia Cudmore Cudmore is recipient of the ANU Emerging Artist Support Scheme Residency 2021, who works across photography, video, sound and installation. Cudmore investigates the notions of intimacy at the threshold between physical and virtual spaces. This series of images dwells on physical proximity in a world where you can move freely, and the emotional proximity in a world where you cannot.

Lucas’s sculptural work is exhibited alongside rarely seen images of the artist’s first self-portrait, Eating a Banana (1990). This work will be reproduced to more than seven metres high, covering the exhibition walls from floor to ceiling.

Sarah Lucas is the first of the National Gallery’s Project Series and a Know My Name project.

2 December—22 December The Pandy Shuffle

Curator: Peter Johnson, Curator, Projects.

Group show curated by Wouter van de Voorde.

National Portrait Gallery

Tuggeranong Arts Centre

www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

See our website for latest information.

21 October—13 November It’s No Picnic Caroline Huf

www.tuggeranongarts.com Sammy Hawker, Tom & Pyrocumulus, 2021 21 October—13 November Experiments in Living [Melt] Sammy Hawker Dark Matter 2021 resident, Sammy Hawker, reflects on this extraordinary time, from catastrophic bushfires to pandemic lockdown, by exploring the theme of ‘Melt’. Through a mix of text, precise documentary photography and entangled acts of co-creation, this exhibition quietly reminds us that more-than human forces are constantly shaping our lives.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

Tuggeranong Arts Centre offers visitors a host of activities with free exhibitions across three gallery spaces, a regular program of events, and a range of workshops and classes.

Surface Appearances Eunie Kim Joel B. Pratley, Drought story, 2020.

31 July—16 January 2022 Living Memory: National Photographic Portrait Prize 2021 The Living Memory National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects. This edition of the prize incorporates a year like no other: 2020.

Accordingly, the title - Living Memory acknowledges the period’s seismic events. The winner for 2021 is Drought Story by Joel B. Pratley.

The Highly Commended Award goes to Julian Kingma for Tom at the Drain.

The Distinction Awards go to R.J Poole for Great conjunction and Jessica Hromas for Mark and Saskia cool off. The Art Handlers’ Award goes to I’m just a suburban fashionista by Kristina Kraskov.

Recipient of the CIT Graduate Wide Angle Residency 2021, Eunie Kim, explores the relationship between the photograph and the photographer. With silver gelatine liquid emulsion on handmade recycled paper, Kim utilises motifs of Korean folk art, contemporary Australian life, and herself, to explore her experiences as an image-maker. The photograph, necessarily the briefest glimpse, is the distillation of the photographer; an aggregate of culture, history, and private agonies.

Alexa Malizon, Ningning from Diversitea Talks, (still), 2020, digital video colour and sound, 1:51 min.

6 November—16 December Diversitea Talks Alexa Malizon

Rory Gillen, Uncalibrated Space, 2021.

Caroline Huf, Its No Picnic Test, film still, 2021.

6 November—16 December Uncalibrated Space Rory Gillen

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A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

Bett Gallery www.bettgallery.com.au

26 October—15 November Present Stephen Lees

Level 1, 65 Murray Street, Hobart, TAS 7000.

03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Michaye Boulter, Enter anywhere, 2021, oil on linen, 122 x 153 cm (unframed), 124 x 155 cm (framed in tas-oak).

23 October—13 November What stays within Michaye Boulter 20 November—11 December Bett Gallery Group Exhibition 15 December—19 December Valley Collection Art Collecting Group: Final Exhibition

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sun 12noon–5pm.

19 November—12 December Annual Members’ Exhibition

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm.

Stephen Lees, Over Dove Canyon, tempera on board, 30 x 33 cm.

Melissa Smith, Echoes, 2021, intaglio collagraph, 28 x 76 cm. Photograph: Scott Cunningham. Courtesy of the artist.

16 October—26 November Without a Sound: 2021 Solo Commission Melissa Smith

Jerzy Michalski, The Façade, oil on Belgium Linen, 1227 x 97 cm.

23 November—13 December Facades Jerzy Michalski 14 December–3 January 2022 Locals Kylie Elkington

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

2 October—6 November Minds Do Matter RANT Arts Minds Do Matter by RANT Arts is a month-long community exhibition held annually in October celebrating Mental Health Week. Minds Do Matter explores the relationship between art and mental health, celebrating the power of art to be life enhancing and life affirming. In 2021 the theme is CONNECT.

Over many years, Melissa Smith has been drawn to the landscape of Lake Sorell on Tasmania’s central plateau, due to the solitude it offers. This exhibition of prints depict Smith’s response to this particular landscape’s whispers. This environment provides a sense of quietness, layered in its own history and stories. Smith finds a unique sense of self-awareness is realised in such places which emanates a sense of life and hope within our ever-changing world that balances on a tipping point.

20 November—29 January 2022 Systematic Tega Brain, Ian Burns, Bill Hart, Jacob Leary, Nadège Philippe-Janon, Patrick Pound, Tricky Walsh, Laura Woodward Systematic explores current artistic approaches to concepts of ‘the system’ showcasing eight Australian artists whose works constitute self-contained, interactive systems in their own right, or engage with systems principles at conceptual and material levels. Curated by Dr Eliza Burke.

Systematic is a Plimsoll Gallery exhibition toured by Contemporary Art Tasmania.

The Plimsoll Gallery is supported by the University of Tasmania. Contemporary Art Tasmania is assisted by the Australian Government through the Australia Council, its principal arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments, and is assisted through Arts Tasmania by the Minister for the Arts. This project has been assisted by the Australian Government through the Contemporary Touring Initiative program, through Arts Tasmania by the Minister for the Arts, the Hobart City Council’s ‘Creative Hobart’ grants scheme and by the Contemporary Art Tasmania Exhibition Development Fund.

1 October—13 November Contiguity: A sharing of stories Sarah Brooke Simmering away, bubbles from below rise to the surface, offering new and deeper understandings of making and teaching art. In this exhibition, four teacher-artist-storytellers share a process of artmaking and storytelling to convey their relational experience of visual arts education. Visual and textual stories from the North West Coast of lutruwita/Tasmania meet, melt and weave to disrupt and explore below the surface of teacher-artist experience. This exhibition showcases an unfolding of new ideas, challenges, questions and possibilities for what it means to make and teach art in contiguity on the North West Coast today.

Stephen Lees, Cradle in the Wind, oil on linen, 198 x 305 cm.

4 December—29 January 2022 Painting Places: Past and Present Stephen Lees Lees has been devoted to painting the Tasmanian landscape since he arrived in Devonport 45 years ago from Sydney to 205

ar t g ui d e .c o m . au Devonport Regional Gallery continued... teach drawing, painting and art history at the local TAFE in Devonport as well as the college in Burnie. With Painting Places: Past and Present Lees returns to the town where this whole venture began.

The exhibition is not a survey show as such but some key paintings from the past are included to illustrate how his vision of the Tasmanian landscape has evolved. Painting Places: Past and Present is highly representative of Lees’ working practice and his pursuit of Tasmanian colour and light. Curated by Trudi Curtis, Colville Gallery.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm.

See our website for latest information.

Museum of Old and New Art (Mona) www.mona.net.au

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au

655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm.

See our website for latest information.

Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm.

See our website for latest information.

Penny Contemporary

Now showing Queen Victoria Art Gallery, Royal Park:

www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

See our website for latest information.

Royal Park: we’ve changed Permanent display.

August marks the launch of the new QVMAG Royal Park permanent display.

The reinterpretation of the QVMAG’s collection at Royal Park reflects our histories, identities and stories in a fresh and contemporary context. Focusing on local Aboriginal cultures, colonial history and modern diversity, this exhibition encourages us to contemplate the ever-changing cultural landscape and our sense of belonging within it.

5 December 2020—21 November Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney In Nest you’ll find artist Alastair Mooney breaking out of the traditional gallery experience. Through his love for Tasmania’s natural environment and native bird species, coupled with a Fine Arts degree, Mooney has been able to create captivating displays built from recognisable local imagery and intricate hand crafted Huon pine sculptures of native birds both small and large.

Melanie McCollin-Walker, Safe Haven, 2018, acrylic on Belgian linen, 127 x137 cm.

3 November—22 November Melanie McCollin-Walker

Nikala Bourke, The Cerulean Pull, 2020.

12 November—3 December The Pull of Water Nikala Bourke Anne Zahalka, Lost Landscapes. Image: Rob Burnett.

5 December 2020—21 November Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka Anne Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary representation of the Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth.

Michael McWilliams, A Decorated Local, 2018, acrylic on linen, 60 x 85 cm.

26 November—13 December Michael McWilliams 17 December—3 January 2022 Jennifer Marshall

Sophie Witter, untitled.

10 December—7 January 2022 Just Wait Sophie Witter 206

5 December 2020—22 May 2022 Queen Victoria Art Gallery, Royal Park: Skin Garry Greenwood

TASMANIA Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood in our latest exhibition as part of the Summer Season program at QVMAG Royal Park.

5 December 2020—13 February 2022 Queen Victoria Art Gallery, Royal Park: Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the 19th century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that this December we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tues to Sun 10am–4pm.

Free entry.

See our website for latest information.

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.

31 March—23 January 2022 Ecology Studies (Adrift Lab) Ecology Studies (Adrift Lab) is a long-term

performance in which Tasmanian artist Lucienne Rickard will draw a large tableau of flesh-footed shearwater and her family memories, embedded alongside the landscape of Lord Howe Island, continuing her expression of urgent concern for the natural world and our impacts on it. She will be drawing in TMAG’s Link Foyer four days per week. It is a progression from Extinction Studies – Lucienne’s 2019–21 performative artwork that drew attention to species we have lost – and continues her expression of urgent concern for the natural world and our impacts on it.

Ecology Studies (Adrift Lab) has been commissioned by Detached Cultural Organisation and presented by the Tasmanian Museum and Art Gallery.

27 August—7 November The Miseries of War: 1618 and 1914 Artists Jacques Callot (1592-1635) and George Grosz (1893-1959) lived in tumultuous times: Callot during the devastating pan-European conflict of the Thirty Years War (1618-1648) and Grosz throughout the horrors of the First World War (19141918). Both men were gifted practitioners and immensely influential in emerging mediums, Callot in etching and Grosz in photo-lithography.

Both captured the suffering and injustice they witnessed and experienced in the form of an unfolding series with accompanying text, impressive technical and artistic achievements and powerful anti-war statements.

In this exhibition, Callot’s Les Grandes Misères et Malheurs de la Guerre (The Large Miseries and Misfortunes of War), 1633 and Grosz’s Hintergrund (Background), 1928, are brought together to reflect on the impact of war in Europe, several centuries apart.

Sidney Nolan, Ned Kelly, 1946, from the Ned Kelly series 1946–1947. National Gallery of Australia, Canberra, gift of Sunday Reed 1977, © The Estate of Sidney Nolan / Copyright Agency 2021. best-known and most beloved artworks, Sidney Nolan’s Ned Kelly series from the National Gallery of Australia.

Sidney Nolan’s 1946–47 paintings on the theme of the 19th-century bushranger Ned Kelly are one of the greatest series of Australian paintings of the 20th century. Nolan’s starkly simplified depiction of Kelly in his homemade armour has become an iconic Australian image. In 1977, Sunday Reed donated 25 of the 27 paintings in Nolan’s first exhibited Kelly series to the National Gallery of Australia. The series was first painted while Nolan was living with Sunday and her husband John Reed at their homestead, Heide, in Heidelberg, Victoria.

This exhibition is supported by Metal Manufactures Ltd, the National Gallery’s Touring and Outreach Program Major Partner, along with funding from the Federal Government’s National Collecting Institutions Touring and Outreach Program and Visions of Australia initiative.

29 October—20 February 2022 Sidney Nolan’s Ned Kelly series TMAG is proud to present a travelling exhibition featuring some of Australia’s

Tasmanian Museum and Art Gallery → Jacques Callot (1592–1635), Les miseres et les malheurs de la guerre (The large miseries and misfortunes of war), 1633, etching on paper. 11. The Hanging, Lieure 1349 ii/iii. Private collection.

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A–Z Exhibitions

NOVEMBER/DECEMBER 2021

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street 208

S OUTH AUSTRALIA 11 October—8 April 2022 Sovereign Sisters: domestic work

ACE Open

Through the work of Indigenous artists and from Indigenous perspectives, this exhibition explores Aboriginal and Torres Strait Islander women’s labour histories, the intergenerational injustices of stolen wages, and questions of reparation.

www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.

See our website for latest information.

Image courtesy Danni Zuvela.

24 September—20 November Water Rites Libby Harward, Archie Moore, Mandy Quadrio and more. Curated by Danni Zuvela.

Loren Orsillo, Studio view (2021) ACE Open. Photography by Sharmonie Cockayne.

John Prince Siddon, Walmajarri people, Western Australia, born 1964, Derby, Western Australia, Australia: Mix it all up, 2019, Fitzroy Crossing, Western Australia, synthetic polymer paint on canvas, 120.0 x 240.0 cm; Acquisition through Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art supported by BHP 2020, Art Gallery of South Australia, Adelaide, © John Prince Siddon | Mangkaja Arts Resource Agency.

A Flinders University Museum of Art exhibition curated by Ali Gumillya Baker with Madeline Reece. Presented in partnership association with Tarnanthi Festival and Vitalstatistix.

GAGPROJECTS www.gagprojects.com

AGSA presents dozens of new works from around the country, created by individual artists and through collaborative projects. In addition, dozens of partner venues around Adelaide and across South Australia present diverse and original exhibitions of works by hundreds of First Nations artists.

39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online.

Gallery open by appointment only.

See our website for latest information.

Flinders University Museum of Art

Hugo Michell Gallery

www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt.

Thurs until 7pm. Closed weekends and public holidays. Closed 20 Dec–10 Jan 2022. Free entry.

FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

See our website for latest information.

3 December—18 December Studios: 2021 Sundari Carmody, Anna Gore, Jonathan Kim, Oakey and Loren Orsillo.

www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm.

See our website for latest information.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Mon to Sat 10am–5pm.

See our website for latest information.

Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm.

Free entry unless specified.

See our website for latest information.

15 October—30 January 2022 Tarnanthi: Festival of Contemporary Aboriginal & Torres Strait Islander Art This year’s Tarnanthi Festival is an opportunity to experience Aboriginal and Torres Strait Islander art in all its diversity.

Yhonnie Scarce, Kokotha and Nukunu peoples, Florey and Fanny, 2011, cotton aprons, hand-blown glass, installation view, Australian Centre for Contemporary Art, Melbourne, City of Yarra Council collection, Melbourne. Photograph: Andrew Curtis, © Yhonnie Scarce, 2021.

Helen wearing YAA Dillybag Shirt (pink and green); Shanita wearing YAA Dillybag Shirt (yellow) and Trudy Inkamala Silk Scarf, 2021. Photo: Nina Fitzgerald. © Yarrenyty Arltere Artists.

JamFactory Adelaide: 13 October—28 November Gallery One: 209

SPRING SEASON 2021

— FRIDAY 3 DECEMBER

Image: Pilar Mata Dupont, The Ague, 2018, HD video, continuous loop. Courtesy of the Artist and MOORE CONTEMPORARY

FRIDAY 22 OCTOBER

Pilar Mata Dupont Karrabing Film Collective Omer Fast Presented with the Adelaide Film Festival

unisa.edu.au/samstagmuseum

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

S OUTH AUSTRALIA Jamfactory continued...

Ngalkunburriyaymi (Yawkyawk Dreaming) Nurna yaarna iltjerrama. Nurna kutatha mpaarama!

(We can’t rest. We always/continue make!)

Gallery Two: Minymangku Punu Palyani (Women Doing Punu) Collect: Rekkan / Tamuwu / Nyinakati (sit/sit down)

16 October—28 November Concrete: Art Design Architecture 21 Artists/collaborators from WA, SA, VIC, NSW, QLD. Concrete: Art Design Architecture is a major touring exhibition by JamFactory exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. The exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia.

Curated by Margaret Hancock Davis and Brian Parkes.

Meng Zhang is a multidisciplinary artist, working in printmaking, drawing, sculpture and installation. Meng’s practice is centred around recording observations of daily life and examining connections between people who live in different geographical spaces, as well as the spaces extended by internet connectivity.

Once upon a time there was a little girl, is an autobiographical exploration of Meng’s experiences of early childhood and family, tracing those memories to her time in Australia. The exhibition reflects Meng’s analogical memories from different localities.

Newmarch Gallery www.newmarchgallery.com.au

Selinda Davidson, Tali Tjuta, 2021; Tali Tjuta II, 2021. Photo: Sam Roberts.

JamFactory at Seppeltsfield: 16 October—13 December Djarrami (mirror, glass) Ngayuku Kamiku Ngayuku Tjukurpa (My Grandmother My Story)

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm.

Closed Mon and public holidays.

CLEVERMAN. 12 December—30 January 2022 CLEVERMAN

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thu 9am–7pm, Sat 9am–4pm, Sun Closed.

An ACMI Touring Exhibition that invites you to listen-first and immerse yourself in a powerful and contemporary expression of origin stories. Go behind the scenes of the groundbreaking sci-fi series, to explore First Nations storytelling, language and creativity in production design, costumes and props, including designs

by Weta Workshop and artwork from the original comic book series. This project has been assisted by the Australian Government’s Visions of Australia program.

Nexus Arts www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

See our website for latest information.

Nicholas Elliott, Blue Cabal, oil on canvas, 153 x 122 cm.

5 November—5 December Residues Nicholas Elliott

21 October—7 November Untitled.Showa Mayu Kanamori, Chie Muraoka and Sandy Edwards.

New non-representational works that reinstate the raw fundamentals of drawing into painting.

Image supplied by artist.

Jasmine Crisp, self-portrait in Reykjavik, detail, oil on canvas, 135 x 120 cm.

10 December—25 January 2022 11th Prospect Portrait Prize

Alison Brown, Round the Sloping Shore of a Bay, 2018, acrylic on canvas, 45.5 x 45.5 cm.

16 October—28 November Song of the Fjörd Alison Brown Inspired by an immersive journey along the sublime Sognefjörd, the longest and deepest of over over a thousand fjords in Norway, Song of the Fjörd represents the artist’s response to a majestic waterway, steeped in myths and legends.

18 November—17 December Once upon a time there was a little girl Meng Zhang

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

The longest running portrait prize in South Australia, the Prospect Portrait Prize is a nonacquisitive juried exhibition of contemporary portraits in any medium.

praxis ARTSPACE

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

11 December—29 January 2022 Water Meter Reader Emmaline Zanelli Influenced by her fathers work for SA Water and her brother’s as an apprentice plumber, Water Meter Reader collaboratively delves into the role water plays in the artists familial relationships.

www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm.

See our website for latest information.

Tim Gruchy, STORM (Stochastic Translator of Resonant Morphology) V2, 2021, immersive installation.

Chris Aerfeldt, Boucher-Malevich series 50 x 50 cm each, oil on linen.

4 November—3 December Counter Histories Chris Aerfeldt + Chelsea Lehmann Continuing to explore the common ground in their art practices, with feminine form in mind, a bunch of ‘F’ words spontaneously come to mind - façade, facet, friction, fracture, fraction, faction, frisson and, of course, Feminism.

13 November—16 January 2022 Remembering the Future Tim Gruchy Gruchy’s extensive career spans the exploration and composition of immersive and interactive multimedia through installation, music and performance, whilst redefining it’s role and challenging the delineations between cultural sectors.

Making and exhibiting work since the 80s, Gruchy draws on memory, speculative futures, science fiction and combines it with the creative possibilities of digital and analogue technologies to invite audiences into his works. Working across sound and vision, his works tap into movement and touch focusing on the interplay between humans and the ever evolving technology they create.

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse

Janine Dello, BedtimeStory, oil on board, 51 x 41 cm.

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11 December—29 January 2022 Beyond the Mountains and the sea Elyas Alavi Responding to themes of displacement, memory, time and space, Elyas, as artist and poet, uses the act of walking to reflect on new landscapes while contemplating his birth hometown of Dainkundi.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

4 November—3 December Bedtime Stories Janine Dello This series of intimately scaled paintings inspired by lived experience, feels personal and universal at the same time, with the lone figure representing our collective isolation and the private spaces we occupy.

Elyas Alavi, HALAL series, 2021, oil on canvas, 80 x 55 cm. Photo Grant Hancock.

Pilar Mata Dupont, The Ague, 2018, HD video, continuous loop. Courtesy of the Artist and MOORE CONTEMPORARY. 21 October—3 December Pilar Mata Dupont: The Ague Karrabing Film Collective: Night Time Go Emmaline Zanelli. Shell Pool Fountain, 2019, recycled shell pools, concrete, PVC piping, hose, pump, coins, silicone, water, 3.5m x 1.2m x 1.2m. Image courtesy of the artist.

Omer Fast: Continuity

A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

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EXHIBITION OF FINALISTS

22 NOVEMBER 2021 – 23 JANUARY 2022 Botanical art in the expanded field. 52 works by established and emerging artists from across Australia, celebrating the diversity of Western Australia’s unique flora.

GEORGE AITKEN BRYCE ANDERSON LUKE BARLOW NATALIE BLOM JACK BUCKLEY CLAIRE BUSHBY + DONNA FRANKLIN SOPHIE CARNELL JACKY CHENG ERIN COATES JENNIFER COCHRANE SUE CODEE JANE COFFEY JO DARVALL JOANNE DUFFY SARAH ELSON AUDREY FERNANDES–SATAR ANGELA FEROLLA LEAH GALE JENNY GILBERTSON HANNAH GOGGS SOHAN ARIEL HAYES JOANNE HAYWARD SAM HOPKINS REBECCA JENSEN LEAHLANI JOHNSON MEGAN JURESA ALEISHA KING SOPHIE LA MAITRE CAMILLA LOVERIDGE LUCILLE MARTIN SHAUNA MAYBEN REBECCA MAYO MKTICKS MARK MOHELL ANNETTE NYKIEL HOLLY O’MEEHAN PAMELA PAULINE KRYSTLE RICCI TRACY ROBINSON JUDY ROGERS GAI SAUNDERS BELLA SCHARFENSTEIN VALERIE SCHÖENJAHN DOUG SCHOFIELD BRUCE + NICOLE SLATTER COLLEEN SOUTHWELL JOANNA SULKOWSKI LOUISE WELLS ROBIN WELLS LAURA WILLIAMS JUDE WILLIS PETER ZAPPA

SUPPORTED BY

Enabling our community to know, grow and protect our local flora

Enabling our community to know, grow and protect our local flora

gallery152.com.au

GALLERY 152 152 Avon Terrace York Western Australia daily | 10am – 3pm gallery152.com.au

WESTERN AUSTRALIA

Art Gallery of Western Australia → Joanna Lamb, Pool [4], 2021. Acrylic paint, 350 x 500 cm. State Art Collection, Art Gallery of Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2021.

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment.

Spremberg pays homage to Warhol’s Interview Magazine, reinterpreting its innovative pages in a collage series that provides insight into the way we construct scenarios and chronicle history. Establishing a new narrative, the immersive installation will be exhibited alongside key paintings from the artist’s career that highlight the acutely seductive surfaces that permeate his work.

Klementson, Joanna Lamb, Mardi Lauren, Jane Martin, Antony Muia, Andrew Nicholls, Christopher Pease, Kevin Robertson, Angela Stewart.

Dr Kevin Robertson brings together sixteen artists in a wide-ranging exhibition that explores the intrigue of representing or imitating reality in art. Paying homage to experimental forms of figuration undertaken by artists in Perth in the 1970s and 80s, the exhibition reveals the continuity and fascination of these pursuits in current times.

Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

See our website for latest information.

From 6 November The View From Here A Celebration of Western Australian art Tom Alberts, Life Study (Cleophee), 2020, oil on linen, 46 x 38 cm.

Alex Spremberg, Budgie Girl, 2020, collage on MDF, 29 x 42 cm.

27 November—18 December Mimesis: Links, Lines and Diversions in Perth Figurative Art

23 October—20 November Alternative Facts Alex Spremberg

Tom Alberts, Marcus Beilby, Merrick Belyea, Tim Burns, Judith Forrest, George Haynes, Fiona Harman, Cecilia

One moment. 200 perspectives.

AGWA celebrates its reopening and the launch of AGWA Rooftop with The View From Here, the Gallery’s largest-ever exhibition of Western Australian art, with 30 new commissions, exhibitions and acquisitions by leading Western Australian artists and creatives.

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

The exhibition captures the perspectives of a diverse group of artists, from the state’s renowned and iconic western desert and Kimberley artists to emerging artists—many from non-traditional arts backgrounds—to established Western Australian artists working here and elsewhere. From Tim Meakins’ playful interpretation of modern fitness culture, Bruno Booth’s attire-wearing cats appearing in unexpected places through to recent works by Abdul Abdullah, Sarah Bahbah, Ngarralja Tommy May, and Tarryn Gill, every gallery space is transformed into a celebration of Western Australian art, culture and creativity.

Bruno Booth, feline fine, hbu?: Trixie, 2021. Cats: powder and clear coated paint on laser-cut aluminium; Tracksuits: polyester fleece and ribbon, cotton ribbing and cotton thread, plastic and steel zips, 40.4 x 59.7 x 1 cm. State Art Collection, Art Gallery of Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2021, with the generous donation of John and Linda Bond.

9 December—18 April 2022 Ever Present: First Peoples Art of Australia Ever Present: First Peoples Art of Australia surveys historical and contemporary works by over 80 Aboriginal and Torres Strait Islander artists from across Australia. Drawn from the collections of the National Gallery of Australia and Wesfarmers Arts, the powerful works in this touring exhibition reveal the contemporary views and lived experiences of Aboriginal and Torres Strait Islander people, bridging time and place, and connecting through the perspectives of identity, resilience and cultural legacy.

Only on show in Perth.

Until 29 November The Lester Prize 2021 The Lester Prize is one of the country’s most recognised and prestigious fine art prizes – an award that places artists and community proudly front-and-centre.

This year’s forty finalists were chosen from more than 750 entries received from artists across Australia. The prize pool available to professional, emerging and young artists is worth over $100,000, including the main prize of $50,000.

Amongst the finalists works are 15 self-portraits, with the common theme of self-reflection and isolation as a result of the COVID-19 pandemic. Famous sitters 216

include twin sisters from pop duo The Veronicas, popular WA premier Mark McGowan, and Dr Helen Haines MP. Other works portray family members, inspirational men and women, past sporting greats and Indigenous elders.

Artitja Fine Art Gallery www.artitja.com.au 330 South Terrace, South Fremantle, WA 6162 0418 900 954 See our website for latest information.

Abraham Wheeler, Untitled, acrylic on found metal. Courtesy of Minyma Kutjara Arts, Artitja Fine Art Gallery and the artist.

30 October—21 November EARLYWORK, South Fremantle: Made | Found | Repurposed An exhibition of found objects, painted, reshaped and repurposed. Encompassing the work of artists from five remote community art centres M|F|R is an Indian Ocean Craft Triennial (IOTA21) event celebrating the exceptional creative minds and hands that can shape discarded oil sumps into cars and old tin cans into handbags; pandanus reeds into mats and fishtraps; adorn a bullock skull with a Kimberley landscape and weave animals from found grasses. From WA art centres Minyma Kutjara Arts Project, Mangkaja Arts, Spinifex Hill Art Studio and further afield Maningrida Arts in Arhnem Land, NT the exhibition will include a display of descriptive ceramic sculptures from Ernabella Arts in the APY Lands.

Pauline Moran, Roelands Mission, 2009, acrylic on canvas.

Pierre Auguste Renoir, Tete de Venus, 1915. Bronze with black patina. State Art Collection, Art Gallery of Western Australia. Purchased with funds presented

by Swan Portland Cement Ltd, 1980.

27 November—7 March 2022 There Were Moments of Transformation Part of the Freighting Ideas series by Art on The Move and the Art Gallery of WA.

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm.

See our website for latest information.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm.

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23 October—16 January 2022 Mission Stories Pauline Moran 4 December—27 February 2022 My Darling – Howard Monique Tippett

Mark Rae, In the Eye of the Tempest ...

Unable to Build or Steer Your Aura, 2019, acrylic on plywood, 120 x 240 cm. Photograph: Daniel Kristjansson, courtesy of the artist.

9 October—11 December Subliminal Symbols of the Future Mark Rae Mark Rae creates expansive abstract paintings that are designed to take up the viewer’s field of vision and invoke the experience of pareidolia: the tendency of humans to see faces, objects or meaning where there is none. The title of each

WESTERN AUSTRALIA painting, a combination of anagrams and cryptic statements, gives clues to Rae’s diverse preoccupations: from ancient history, philosophy, religion, quantum physics and biological processes to the cryptography of John Dee and Francis Bacon.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm.

Free admission.

See our website for latest information.

20 November—23 January 2022 Hundreds and Thousands Following on from the blockbuster 2018 kids’ exhibition Animaze, Fremantle Arts Centre presents an even bigger and more colourful creative experience for kids with Hundreds and Thousands. This immersive colour exhibition will transform the galleries and grounds into colour-filled worlds, with vibrant interactive artworks created and displayed specifically for children and families to enjoy. Across a spectrum of colour-themed spaces, Hundreds and Thousands will create rich sensory experiences for kids of all ages, including kinetic colour machines, giant golden soft sculptures, cool blue optical illusions and mysterious multicoloured dimensions.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies.

See our website for latest information.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

See our website for latest information.

Indra Geidans, Thwart, 2009, oil on canvas. Courtesy of NMT Art Collection.

27 October—5 November Masked Cyrus Kabiru, Macho Nne-Amboseli Mask, 2017, C-type print on Diasec mount, 70 x 60 cm.

18 September—7 November Curiosity and Rituals of the Everyday, IOTA21: Indian Ocean Craft Triennial A group exhibition showing as part of the inaugural Indian Ocean Craft Triennial (IOTA), Curiosity and Rituals of the Everyday is a celebration of contemporary craft, bringing together makers, artists and crafted works from countries around the Indian Ocean Rim. From the exquisitely detailed textiles and embroidery works of Jakkai Siributr (Thailand) to the painted carpentry of Ishan Khosla (India) and his team of artisans, the exhibition showcases strikingly modern installations and stories of our time that are firmly planted in craft traditions.

Rosie Deacon, Pom Pom: Children’s Contemporary Art Space, 2017, Carclew, Adelaide. Photography by Sam Roberts.

22 November—23 January 2021 York Botanic Art Prize Botanical art in the expanded field. 52 works by established and emerging artists from across Australia, celebrating the diversity of Western A ustralia’s unique flora. Winner announced 21 November.

Finalists: George Aitken, Bryce Anderson, Luke Barlow, Natalie Blom, Jack Buckley, Claire Bushby + Donna Franklin, Sophie Carnell, Jacky Cheng, Erin Coates, Jennifer Cochrane, Sue Codee, Jane Coffey, Jo Darvall, Joanne Duffy, Sarah Elson, Audrey Fernandes-Satar, Angela Ferolla, Leah Gale, Jenny Gilbertson, Hannah Goggs, Sohan Ariel Hayes, Joanne Hayward, Sam Hopkins, Rebecca Jensen, Leahlani Johnson, Megan Juresa, Aleisha King, Sophie La Maitre, Camilla Loveridge, Lucille Martin, Shauna Mayben, Rebecca Mayo, MKTicks, Mark Mohell, Annette Nykiel, Holly O’Meehan, Pamela Pauline, Krystle Ricci, Tracy Robinson, Judy Rogers, Gai Saunders, Bella Scharfenstein, Valerie Schoenjahn, Doug Schofield, Bruce + Nicole Slatter, Colleen Southwell, Joanna Sulkowski, Louise Wells, Robin Wells, Laura Williams, Jude Willis, Peter Zappa.

Sponsored by Wildflower Society of Western Australia, York branch of the Wildflower Society of Western Australia.

In these times, the mask has become a symbol of survival and restraint, or rebellion. In Perth we have had only a few weeks where we have been required to wear masks but the crisis still looms for us … what’s coming next and are we ready?

We may be safe now behind this closed border but for how long?

Young people are concerned about their education and social lives being disrupted.

Others worry about friends and family in shutdown and not being able to travel to connect with them.

Hannah Pemberton, The End, 2020, Perth Modern School, digital print.

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jahroc.com.au

WESTERN AUSTRALIA Gallery Central continued...

The Masked exhibition “celebrates” what has become an icon. The exhibition includes work by our art and design lecturers, students, graduates, and some clever high school students.

2 December—8 December Festival of Art, Design Graduate Exhibitions Photo, Interior Design, Graphic Design, Visual Art, 3D, Fashion, Animation & Games present a combined grad show - the launching pad for another crop of freshly minted talent. Launches 1 December.

Holmes à Court Gallery

26 September—23 January 2022 Holmes à Court Gallery at Vasse Felix : Dwelling Rituals Elisa Markes-Young, Helen Seiver, Tania Spencer, Cecile Williams and Christine Gregory.

JahRoc Galleries www.jahroc.com.au 83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm.

See our website for latest information.

representation of it. The first time I visited Rottnest back in the nineties was the beginning of my involvement with realism as an artist. Prior to that I was working in a more abstract fashion…the legacy of my art school years where realistic representation was not at that time the current approach. And so it was a liberating experience to simply try my best to represent something in paint.

And I shall continue to do exactly that.”

— Leigh Hewson-Bower.

www.holmesacourtg allery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm.

Leigh Hewson-Bower, Yallingup Morning, acrylic on canvas, 215 x 112 cm.

27 December—15 January 2022 South West Shorelines Leigh Hewson-Bower

Helen Seiver, What are we doing/ Where are we going? 11 and 111, 2021. Copyright of the artist.

“For this show I have chosen locations from the South West of the state, an area of unparalleled natural beauty and I have settled on some scenes that best express the grandeur of the ocean in this part of the world. I guess you could say that water flows through my work. I will rarely create a painting that does not include a

Janine Daddo, 3’s A Crowd But 4…, mixed media on canvas, 90 x 90 cm.

13 November—4 December Moments With You Janine Daddo “You just get me … from the moment you came into my life you filled my heart with love, my eyes with stars and my head with dreams. In a journey of love we cherish the little things x.” — Janine Daddo 2021.

John Curtin Gallery → 2020 John Stringer Prize winner Susan Roux’s installation: Susan Roux, I – V1, 2020, blackened steel, carbon pigment, thread, Kevlar thread, Canson paper, photographic paper. 2020 John Stringer Prize exhibition, installation view, JCG, 2020.

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ar t g ui d e .c o m . au Janine Daddo brings a joyful collection of paintings to JahRoc Galleries that celebrate relationships and love, as well as some cheeky animal spirit. Janine also captures the essence of the iconic Margaret River lifestyle that is enjoyed by holidaymakers and residents alike. The sea, the wine and the trees…

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209 See our website for latest information.

Japingka Gallery 47 High Street, Fremantle, WA 6160 08 9335 8265 Open daily.

See our website for latest information.

www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12noon–4pm. Free admission.

Housed on the Curtin University campus in Bentley, the John Curtin Gallery is one of Western Australia’s foremost public art galleries and one of the largest and best-equipped university galleries in the country. The Gallery curates the Curtin University Art Collection, one of the State’s major public collections. Established in 1968, the Collection has more than 3,200 objects valued at over $20 million and major strengths in Australian contemporary art and Indigenous art. It includes the Herbert Mayer Collection of Carrolup Artwork, a unique collection created by Noongar children from the Stolen Generations at the Carrolup Native Settlement.

19 November—15 December John Stringer Prize The John Curtin Gallery has once again partnered with The Collectors Club of Western Australia and the Kerry Stokes Collection to host the prestigious John Stringer Prize – created in honour of acclaimed curator, the late John Stringer (1945–2007).

Caroline Christie-Coxon, Irradiation, 2021, acrylic on canvas, 100 x 100 cm.

8 October—6 November CIRCLE Caroline Christie-Coxon The circle is a universal symbol of unity, cycles, infinity and represents the individual as well as humanity as a collective.

It contains nothing and everything. Circles are found across all cultures representing central focus, protective boundaries, oneness and completeness.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12–5pm See our website for latest information.

The Lawrence Wilson Art Gallery will be closed from 28 November 2021, reopening 12 February 2022 Each year we strive to present an innovative and accessible program of exhibitions and events. Our exhibitions feature contemporary and historical art

The annual Prize was established in 2015 and commissions six Western Australian artists to create new work from which the winning artist will be determined by a secret ballot conducted by The Collectors Club members.

The 2021 exhibition will feature new work created specifically for the Prize by the selected artists Merrick Belyea, Theo Costantino, Daniel Kristjansson, Clare McFarlane, Ross Potter and Lea Taylor.

Works in show will include a range of media including drawing, painting, photography, installation and textiles.

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10 July—27 November Feeling abstract? Paintings from the UWA Art Collection, 1950–1990 Sydney Ball, George Haynes, Margot Lewers, Erica McGilchrist, Tony Tuckson and Jenny Watson, among many others.

Feeling abstract? explores abstract painting over a forty-year period through works in the UWA Art Collection. The exhibition shows key examples of Australian abstraction of the twentieth century, including works of gestural abstraction from the 1950s, hard-edge painting from the 1960s, and from the revival of expressive painting in the late-1970s and 1980s.

www.Japin gkaAboriginalArt.com

John Curtin Gallery Curtin University

by local, national and international artists, and are accompanied by a dynamic series of events, including lectures, tours, symposia, workshops, film screenings, performances and more.

Erica McGilchrist, Hero resting on his laurels, 1962, oil and mixed media on paper on board, 90.2 x 130 cm, The University of Western Australia Art Collection, Tom Collins Bequest Fund, 1964.

Maxxi Minaxi May, Deconstructing beauty, 2003, detail, plastic dolls, paint, foamcore and wood, 105 x 21 x 5.7 cm. © courtesy of the artist.

10 July—27 November Matter: Works from the Cruthers Collection of Women’s Art Joan Campbell, Amanda Davies, Julie Dowling, Sarah Goffman, Rhonda and Susannah Hamlyn, the Hermannsburg Potters Group, Eveline Kotai, Michele Nikou, Susan Norrie, Carol Rudyard, Toni Warburton and Lisa Wolfgramm, among many others. Featuring works of grit, weight and significance, this exhibition focuses upon materials and materiality.

What is it made from? Why does it matter?

Until 27 November Creatures: Ochred, Pokered, Carved and Twined Creatures: Ochred, Pokered, Carved and Twined delves into the depths of the Berndt Museum of Anthropology’s

WESTERN AUSTRALIA object collection illuminating a diverse menagerie of animal representations from across Indigenous Australia. The exhibition showcases over 100 years of creation practices by Indigenous Australian peoples, for whom the creatures of the land, water and sky were, are, and forever will be, deeply ingrained in their culture and beliefs.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.

West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm.

Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm.

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

29 October—13 November West Perth Gallery: For Your Eyes Only Hayley Welsh

6 November—19 December Mandoon Estate Gallery: Women of The West: Strange Beauty Group exhibition featuring works by Samantha Dennison, Jenni Doherty, Jo Duffy, Barbara George, Ali Kidd, Kiara Rechichi-Baker, Judy Robers, Sandie Schroder and Fi Wilkie.

A selection of twelve West Australian women respond to the Strange Beauty that surrounds them, celebrating the adaptations of our Flora and Fauna to the bright light and harsh environment characteristic of this State.

6 November—21 November Subiaco Side Gallery: Magnolia David Hayes Hayes’ exhibition Magnolia speaks to his observation of the human condition and a version of the transient nature of human endeavour in the context of history and nature.

15 November—27 November West Perth Gallery: All Past Futures Are Now Reisch and Leggett WA artists, Stephanie Reisch and William Leggett come together to explore the boundaries of time and reality through the lens of infinity.

record of this unique landscape. This exhibition is a memoir of places within the landscape. An intimate record created from research at the National Library of Australia and from personal documentation, creating both a portrait of myself and this increasingly fragile landscape to which I yearn to belong.” – Holly Grace.

Midland Junction Arts Centre www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

See our website for latest information.

Situated in the heart of Midland, 18km north-east of the Perth CBD, Midland Junction Arts Centre (MJAC) is a vibrant visual and performing arts facility managed by Mundaring Arts Centre Inc. with the support of the City of Swan.

6 November—28 November Subiaco Gallery: Paintings about Magic and Time Passing Wendy Sharpe “This exhibition explores how we see everything through our own inner world of memory and imagination, what is physically there and what is unseen. There are endless possibilities, like creativity itself.”

Wendy Sharpe, 2021.

23 November—12 December Subiaco Side Gallery: Shape In Space Samantha Dennison A collection of still life paintings that focus on contemporary ceramic forms, the rendering of their shapes, and the stillness of the spaces that surround them.

Barry Tyrie, Tambelling Town, 1984, recycled cardboard, paper and plastic.

13 November—18 December and 12 January—12 February 2022 Toy Stories Curated by Sarah Toohey.

Toy Stories brings together artists, hobbyists, regional museums, and community groups together in a showcase of contemporary and historic handmade toys from the early 1920s to today in Western Australia. The exhibition presents local craft, social history, contemporary art, and childhood experiences of past and present generations. It celebrates the imagination and creativity of hobbyist toymakers and professional artists alike; their optimism, humour, and unstoppable urge to play.

Moores Building Holly Grace, Afterlight I/II, 2021, blown glass with glass powder and metal leaf surfaces and sandblasted landscape imagery, 28 x 36 x 36 cm.

1 December—22 December Subiaco Gallery: A Landscape Memoir Holly Grace

Sandie Schroder, Unravelling Xanthorrhoea, 2021, burnt archival paper, 93 x 50 cm.

“My artwork begins in nature, a traverse into the remote regions of the Australian Highlands. My experiences are documented initially with the camera but further explored with glass as my canvas - becoming both a lens and a personal

www.fac.org.au/about/ moores-building 46 Henry Street, Fremantle, WA 6160 [Map 20] 08 9432 9898 See our website for latest information.

Located in Fremantle’s historic west end, the Moores Building Contemporary Art Gallery is a City of Fremantle subsidised art gallery offering a diverse showcase of contemporary art by local and national artists in low cost exhibition and project spaces.

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MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm.

See our website for latest information.

the cultural offerings of exceptional local artists and craftspeople. MAC also presents a range of community projects, workshops and cultural events at the arts centres, local schools and in the wider hills community.

most breath-taking exhibition spaces in Australia and has become known for the leading role it plays in the presentation of significant new work.

6 November—19 December Tributaries Tineke Van der Eecken A new body of work by multidisciplinary artist Tineke Van der Eecken explores the fibres of flora, fauna, and human systems in her show Tributaries. She presents jewellery, small fine metal sculptures, and biological objects formed by corrosion casting, alongside arresting photographic images that represent the life and death thrum of fragile arterial systems: root, river, skeleton, and vein.

Greg Perejuan & Christine Joy Perejuan, Radioactivity, (film still), c.1978, digitised 8mm film.

22 October—9 January 2022 Sky Cave Amy Perejuan-Capone

Matthew Hunt, Free Agent, 2020, scraper board, unique work, 46.5 x 38cm.

Image courtesy of the artist and Moore Contemporary.

10 November—15 December The Sum of its Parts Selected works by Matthew Hunt, Rebecca Baumann, Holly Yoshida, and other gallery artists.

Mundaring Arts Centre

Linda van der Merwe, Visitation Affirmation, detail, hand embroidery on a piece of 1970s cotton Bradmill pillowslip which belonged to the artist’s parents.

6 November—19 December The Second-Best Time is Now Mundaring Arts Centre Inc. Member’s Show “The best time to plant a tree is 20 years ago, but the second-best time is now”. This old proverb is a reminder of the short and long-term benefits of time spent in nature.

Members of Mundaring Arts Centre Inc. have been invited to reflect on their relationship to caring for and cultivating the natural environment in this juried exhibition.

www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

See our website for latest information.

Formed in 1979 by a group of dedicated volunteers passionate about providing a focus for arts and culture in the Perth hills, Mundaring Arts Centre (MAC) has remained true to its origins.

Over the years, the MAC staff, volunteers and artists have delivered a diverse range of creative arts experiences, annually engaging thousands of individuals of all interests and ages.

MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature new exhibitions bi-monthly and showcase 222

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

See our website for latest information.

PICA is both a producing and presenting institution that runs a year round program of changing exhibitions, seasons in contemporary dance, theatre and performance and a range of interdisciplinary projects. It boasts one of the largest and

Alex Martinis Roe, Coming Home, (still) 2021. Image courtesy of the artist. 4K video, Super 8 and archival material courtesy of JAFL – the Jewish Adelaide Feminist Lesbians including photographs, VHS video and reel-to-reel Helical Scan video tape transferred to digital.

22 October—9 January 2022 Coming Home Alex Martinis Roe

ZigZag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information.

The ZigZag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment.

The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme.

We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2022.

A–Z Exhibitions

NOVEMBER/DECEMBER 2021

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm, Sun 10am–2pm. Closed Mon.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

NCCA is the leading centre for contemporary visual art in the Northern Territory—bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communities through its dynamic program.

Various artworks from the Desert Mob 30 Retrospective.

www.raftartspace.com.au

Multiple artists from the 30 years of Desert Mob.

2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions.

See our website for latest information.

RAFT is nationally and internationally renowned for its unique style and carefully considered exhibitions. Since its inception, the gallery has set an agenda promoting community interest in the region and provoking an extensive critical discourse. Founded in Darwin in 2001 by Dallas Gold, RAFT presented more than 150 exhibitions in its Top End gallery, before relocating in 2010 to Alice Springs. Throughout its history RAFT has collaborated with many galleries, creating interstate projects such as RAFT south in Hobart from 2016-2017.

Ben McLean, Untitled, 2021, found objects, 6 x 8 x 14 cm.

20 November—13 February 2022 Greenbush Art Group Sculptural works by Batchelor Institute visual arts graduates and students from the Alice Springs Correctional Centre.

www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

See our website for latest information.

7 August—6 February 2022 Telstra NATSIAA Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists.

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revisiting and reusing ideas and materials that have been neglected, abandoned or discarded and giving them new life as finished works of art.

RAFT artspace

September—2022 Desert Mob Retrospective

Museum and Art Gallery of the Northern Territory

Anonymous, Lost and Found, 2021, digital print.

Rober Mariotti, Pontifex Max, detail, mixed media.

8 October—6 November Lapsed, Missing and Working Sculptors Curator, Geoff Sharples, was a lecturer in sculpture at the Northern Territory University (now CDU) for more than twenty years, when the sculpture course was discontinued. For this exhibition, Sharples has invited 11 of his former students to showcase the depth and breath of their artistry by producing new work. Exhibiting artists include: Dennis Bezzant, Bill Davies, Judith Durnford, Lia Gill, Franck Gohier, Callum Hickey, Jenjas Isdianto, Robert Mariotti, Aengus Munro, Geoff Sharples, Bilha Smith and Val Stuart.

26 November—18 December Contemporary-cycle, Rework, Remake Annual Member’s Show The NCCA’s highly-anticipated annual end-of-year exhibition is back. The theme for 2021 brings into focus the concept of

Sarah Brown, Mt Sonder, 2021, acrylic on linen, 200 x 150 cm.

5 November—27 November Recent works

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1 239

It is about forging a relationship with the artist, and how they represent a whole community.

— D E N N I S G O L D I N G , A R T I S T A N D C U R AT O R , P. 73

The way we use garments to signify particular things is really important to me.

— H A N N A H G A R T S I D E , A R T I S T, P. 6 9

It’s about recognising the power that images have in perpetuating certain modes of thinking.

— H O DA A F S H A R , A R T I S T, P. 9 3

241

Alex Martinis Roe, Bark Ladies, Dennis Golding, Eric Demetriou, Gwenneth Blitner, Hannah Gartside, Heather B. Swann, Helga Groves, Henri Matisse, Hoda Afshar, Jerzy Michalski, Louise Tuckwell, Madeleine Pfull, Marco Fusinato, Oslo Davis, Ponch Hawkes, SIMMER, Steven Rhall, Thao Nguyen Phan, and more.

I NSI DE

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