Art Guide Australia — September/October 2023 by Art Guide Australia

SEP T/OC T 2023

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C OV E R S T OR Y

Hiromi Tango’s rainbow palette centres care and hope P LUS

How green are our galleries when it comes to climate change? P LUS

Peter Waples-Crowe connects identity and spirituality

Inside this issue A Note From the Editor

Tiarney Miekus PR EV IEW

Ballarat International Foto Biennale

Barnaby Smith

Vincent Namatjira: Australia in colour

STU DIO

Isadora Vaughan

Tiarney Miekus & Jesse Marlow F E AT U R E

Galleries Go Green

Andrew Stephens

Chunxiao Qu: Art After Spectacle

Erin Mathews

Cher Tan

Agneta Ekholm: Confluence

Justine Youssef: Scent of History

Sally Gearon

Giselle Au-Nhien Nguyen

Charlotte Haywood: Future Nostalgia

INTERV IEW

Sally Gearon

Dapeng Liu: Stillness-juxtaposed

Brendan Huntley

Tiarney Miekus

Giselle Au-Nhien Nguyen

COMMENT

Living Patterns, Contemporary Australian Abstraction

Caitlin Aloisio Shearer

Working Title

Briony Downes

F E AT U R E

Elisa Crossing: Slow looking

Louise Martin-Chew

Briony Downes

Nick Modrzewski: Pulping at the Forum

Louise Martin-Chew Mare Amoris | Sea of Love

Erin Mathews

Shaun Hayes: Single Use

Barnaby Smith F E AT U R E

Virginia Cuppaidge: The Art of Restoration

Briony Downes

Hiromi Tango: Dream Flowers

Steve Dow

INTERV IEW

Peter Waples-Crowe

Timmah Ball

Posters on the Pulse

F E AT U R E

Jean-Luc Moulène and Jónsi: Creating Nature

Sally Gearon

EX HIBITION LISTINGS

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

Hoda Afshar

2 Sep 2023 – 21 Jan 2024 Free entry Major partner

A Curve is a Broken Line Inside cover: Hoda Afshar Untitled #11, from the series Speak the wind 2015–22; this page: Hoda Afshar Untitled #10, from the series In turn 2023 © Hoda Afshar, images courtesy the artist

artgallery.nsw.gov.au

Image: Sarah Contos, Body Double #2 (Trixie and Gwendoline), 2023. oil on canvas. 160 x 185 cm, image courtesy of the artist.

Sarah Contos BODYDOUBLE 24 X A SECOND 25 August – 23 September 2023

Roslyn Oxley9 Gallery roslynoxley9.com.au

8 Soudan Lane Paddington NSW 2021 Sydney, Australia +612 9331 1919 roslynoxley9.com.au

AMRITA HEPI Straight torque, twin series

ANNA SCHWARTZ GALLERY Until 23 September 2023 annaschwartzgallery.com

acca.melbourne

tolarnogalleries.com

ballaratfoto.org

Image — Joel Bray, Wiradjuri people, Giraaru Galing Gaanhagirri (detail), 2022, commissioned by the National Gallery of Australia, Kamberri/Canberra for the 4th National Indigenous Art Triennial: Ceremony. Image courtesy and c the artist

Joel Bray, Gutiŋarra Yunupiŋu, Hayley Millar Baker. 4th National Indigenous Art Triennial: Ceremony at Samstag Museum of Art

Ceremony WEDNESDAY 18 OCTOBER — SATURDAY 11 NOVEMBER 2023

Ceremony is a National Gallery Touring Exhibition supported by the Australian Government, Wesfarmers Arts and key philanthropic supporters.

unisa.edu.au/connect/samstag-museum

Australasia’s Premier Art Fair

Buy Tickets sydneycontemporary.com.au sydneycontemporary.com.au

rmitgallery.com

WILD HOPE

Conversations for a Planetary Commons 15 August – 30 September designhub.rmit.edu.au @rmitgalleries designhub.rmit.edu.au

nas.edu.au

David Sequeira History & Infinity

unsw.to/galleries

David Sequeira, Symphonic Poem, 2014. Image courtesy of the artist.

Finalists:

Pamela Bristow Francis Carmody Armando Chant Mirjana Dobson Jessie French Joolie Gibbs Bridie Gillman Claire Grant Miriam Innes Ryan Andrew Lee Jessica Long Glen Miller Lucy Quinn Anna Louise Richardson Monica Rohan Rolf Sieber Arryn Snowball Renita Stanley

Fraser Coast National Art Prize

Girra: Fraser Coast National Art Prize is a new biennial prize that seeks to explore our reciprocal, inextricable relationship with the environment through contemporary art.

Exhibition:

23 September – 12 November 2023 Hervey Bay Regional Gallery

Find out more at hbrg.com.au

hbrg.com.au

SEBASTIAN MOODY Sydney Contemporary 7 - 10 September 2023 Featuring new works at Onespace in Hall A - Booth A06.

Image: Sebastian Moody, Things would be a lot easier if desire didn’t lead to suffering, 2023. Photo: Louis Lim. Courtesy of the artist & Onespace.

onespace.com.au

onespace.com.au info@onespace.com.au

Ingrid Morley The past is just behind 15 July – 10 September 2023 Ingrid Morley presents recent sculptures and drawings that have emerged in response to a period of destruction. Embracing absurdity and a profound experience of loss, Morley seeks through these new works to create a personal language that makes sense of disintegration.

Ingrid Morley, Shapeshifter V, 2023 from the series Alphabet ll acrylic on hand made rag paper, 21 x 29 cm

orange.nsw.gov.au/gallery

A Note from the Editor

September/October 2023

PAG E 40

PAG E 5 0

PAG E 5 6

When I was emailing artist Hiromi Tango to let her know we’d love to feature her technicolour, rainbow flowers for the cover of this issue, I was struck by the kind, almost spiritual, generosity of her emails—this is a person who genuinely cares about care, I thought. And it comes through in her art. She’s an artist looking for paths through trauma and illness (she’s currently having her own battle with long Covid, as Steve Dow writes in his profile of Tango), and is creating works that are imbued with a quality she’s no doubt cultivating for both herself and others: hope. This fits within a wider motivation where awe, joy and beauty in contemporary art are being claimed as political spaces, as values necessary for meaningful survival. I can see glimmers of this within the sculptures of Isadora Vaughan, whose warehouse studio I visited. With her sweet dog Merri in tow, Vaughan makes beguiling, wondrous installations which invite reflection on why we value certain materials and forms, and what happens when an artist plays on these expectations, creating objects we’ve never seen before. Yet when compiling this issue, which features many environment-concerned artists like Tango and Vaughan, I thought about the spaces in which art is exhibited and collected, and how the burden of sustainability and care for nature often feels placed on artists rather than institutions. In a very insightful read (for instance, I didn't realise light bulbs were so central to sustainability plans) arts journalist Andrew Stephens explains what our major galleries and museums are doing for the environment—and if it’s enough. Joy, nature and more, in this September/October issue. Tiarney Miekus Editor-in-chief, Art Guide Australia

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Jack Loel

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.

PRODUCTION ASSISTANT

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Tiarney Miekus ASSISTANT EDITOR

Sally Gearon WEB AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Caitlin Aloisio Shearer ACCOUNTS

Linda Redman CONTRIBUTORS ISSUE #145

Timmah Ball, Steve Dow, Briony Downes, Sally Gearon, Louise Martin-Chew, Erin Mathews, Tiarney Miekus, Giselle Au-Nhien Nguyen, Caitlin Aloisio Shearer, Barnaby Smith, Andrew Stephens, Cher Tan. PRINT

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Cover artist: Hiromi Tango.

cov er Hiromi Tango, Yu Ka 夢花 (Dream Flower), 2023. courtesy of the artist and sullivan+strumpf. commissioned for brisbane festival and imb, the university of queensland.

Issue 145 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.

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, Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.

BR ION Y DOW NES is an arts writer based in

Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University.

SA LLY GEA RON works across writing, publishing

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

JESSE M A R LOW is a Melbourne-based

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

LOUISE M A RTIN- CHEW is a freelance writer.

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

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

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

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

CA ITLIN A LOISIO SHEA R ER is a painter and

illustrator based in Melbourne. She has a Bachelor of Fine Arts and a background in fashion design, culminating in an idiosyncratic practice which encompasses oil painting, graphics and textile design. She regularly exhibits her work within Melbourne’s independent galleries, and dabbles in poetry for pleasure.

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.

CHER TA N is an essayist and critic. Her work

has appeared in the Sydney Review of Books, Runway Journal, Overland, Gusher Magazine and Kill Your Darlings, among others. She is an editor at Liminal and the reviews editor at Meanjin.

ER IN M ATHEWS is an artist, curator, writer and

speaker based in Naarm/Melbourne, Erin has over ten years of experience working in galleries, with a focus on diversity and equality curating. She currently works in the professional gallery world, while making her own art and managing the Cabinet of Curiosities art project.

Previews W R ITERS

Briony Downes, Sally Gearon, Louise Martin-Chew, Erin Mathews, Giselle Au-Nhien Nguyen and Barnaby Smith.

Ballarat Ballarat International Foto Biennale Various Ballarat locations On now—22 October

Whether photography can depict reality or ‘truth’ has long been a central question of the medium, famously contemplated by thinkers like Susan Sontag, Roland Barthes and John Berger. Subsequently, the theme of the 10th Ballarat International Foto Biennale is potent and provocative: The Real Thing. “The theme arose from questioning how we build common stories in a noisy world of media, portraits, social documentary, stills, streaming, social media blockchain and NFTs,” says Vanessa Gerrans, biennale CEO. “The Real Thing asks where we are now and how we create meaning from the bombardment of images we see.” The 60-day festival sees myriad photography Platon, Self Portrait with George Lois, June 2012. displays across Ballarat, including at the Art Gallery of Ballarat, and this year the biennale has secured two major international coups. One is the exhibition People Power – Platon, a collection of works from the British documentary photographer, Platon. Best known for his portraiture, Platon’s images focus on “headline makers”, as Gerrans puts it, from Cate Blanchett and Michelle Obama, to Vladimir Putin and Muammar Gaddafi. “Whether the sitters are friend or foe, Platon has photographed their human side, allowing the viewer to get up close and personal with these personalities.” Another notable show is Instant Warhol, a selection of nearly 60 of the artist’s Polaroids. “Warhol is the original ‘Grammer’,” says Gerrans, aligning the pop artist with social media. “Warhol captured the 1960s to the 1980s through many art forms and his Polaroids are a fast snap, without any editing, of what Warhol and his friends were experiencing at the time.” Among the Australian artists involved, Gerrans highlights Wiradjuri photographer Kyle Archie Knight, whose work she describes as a “camp love letter to the Australian suburbs”. “Their search for moments that capture the essence of suburbia result in a celebration of the surreal and the mundane, the humorous and the humdrum.” — BA R NA BY SMITH

r ight Platon, Cate Blanchett, November 2004.

Adelaide Vincent Namatjira: Australia in colour Art Gallery of South Australia 20 October—21 July 2024

Vincent Namatjira cemented his household name when his portrait of AFL player Adam Goodes, Stand strong for who you are, won the Archibald Prize in 2020. It was the first time an Aboriginal artist had won the prestigious Vincent Namatjira, The Indulkana Tigers, 2014, award—and this painting, among Namatjira’s wider Indulkana, Aṉangu Pitjantjatjara, Yankunytjatjara oeuvre, is showing for his first survey, Vincent Namatjira: Lands, South Australia, synthetic polymer Australia in colour at the Art Gallery of South paint on linen, 122 x 152 cm. private collection. © vincent namatjir a. Australia (AGSA). Bringing together paintings, works on paper and the moving image, the exhibition celebrates Namatjira as a chronicler of Australian identity: an artist who uses humour, caricature and wit to mine politics, money and power from a First Nations perspective. Often portraying himself in his work, Namatjira draws the viewer into his narratives, contemplating Australia’s complex colonial past and present—most famously through his portraits of royals, presidents and prime ministers. Nici Cumpston, curator of Aboriginal and Torres Strait Islander Art at AGSA, describes how Namatjira has reflected upon his career over the past 15 years, decisively choosing the works presented, and crafting a narrative of personal history. As she explains, Namatjira’s practice “works through the premise of equalising powerful people within Australian society with Aboriginal people, by placing them within the landscape and community itself”. Born in 1983 in Alice Springs, Namatjira lives and works across Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia. Coming from an artistic lineage—his great-grandfather is Albert Namatjira—Namatjira engages history in the present. As Cumpston explains, “Namatjira pays homage to leaders within his community, including his great-grandfather.” Alongside familial references, the artist celebrates personal and community leaders from footy heroes to musicians. An astute observer of life and popular culture, Namatjira complicates stereotypes and power, one brushstroke at a time. — ER IN M ATHEWS

Melbourne Confluence Agneta Ekholm

Flinders Lane Gallery 26 September—14 October

Abstract Expressionist Clyfford Still once said, “No painting stops with itself, is complete of itself. It is a continuation of previous paintings and is renewed in successive ones.” This is the approach Agneta Ekholm takes with her work. Each new painting is a response to the last, a confluence of the past and present. “I always Agneta Ekholm, work in progress, 2023. look at my work as a continuous flow,” she says. “I see it as following on from previous works.” This process is intuitive for Ekholm, who sees where inspiration takes her in layered, abstract canvases that engage with both the

formal and technical elements of painting, alongside the organic nature of making marks on canvas. The Finland-born artist’s 25-year practice is a response to the world around her. Having moved from the city to the water in Ocean Grove, Victoria, during pandemic years, Ekholm has found the new setting conducive to creating: “I have become a better artist by being closer to nature and water.” Such an influence is not necessarily explicit in the output to canvas though. Some paintings echo the vague suggestion of landscape, but much of her work is purely imaginative, something of a dreamscape. The environmental setting is mainly used to offer stillness, so Ekholm can create without distraction. “Silence takes time to learn, to understand and appreciate,” she says. “And it takes time to become silent yourself.” Her large-scale abstract paintings showing at Flinders Lane Gallery are up for audience interpretation. “It always surprises me that each person sees something different in my work,” Ekholm says. But for her, they are another part of the creative process: “I see my work as a research project. I have a desire to reach into the unknown with each new painting.” — SA LLY GEA RON

Cairns Future Nostalgia Charlotte Haywood

Northsite Contemporary Arts 2 September—14 October

In the 1960s, evolutionary biologist Lynn Margulis was rejected and ridiculed by the scientific community for her (now widely accepted) theories of symbiogenesis, which claimed there is a cooperative relationship between species. With this framework in mind, artist Charlotte Haywood asks us to re-examine our perception of the future, using “nature as teacher”. Her new exhibition at Northsite Contemporary Arts, Future Nostalgia, is a sensory exploration of the relationship between all living things, and she uses her interdisciplinary practice not just to mirror this concept, but to also convey the relationship between the senses. Working with biologists, musicians, dancers, chefs, and many others, while also exhibiting her own intricately woven sculptural works, the exhibition offers a concepCharlotte Haywood, Through Our Hands: Atmotual symbiosis to accompany the theme. spheric Water Collector + Filter, 2022, (detail), “My practice is highly collaborative and driftwood, copper wire, found copper funnel, cast interdisciplinary,” says Haywood. “It is about needing Northern NSW beach sand, demijohn, BBQ, copper to reframe our relationship with the living planet, and pipe, copper flat bar, 140 x 80 x 80 cm. photogr aph: hamish mccormick. each other.” She highlights the importance of trust in gathering diverse practitioners and knowledge systems for this project. “I’m bringing them together in a vulnerable space, and in an experimental space, to see how we self-assemble. If we’re given a framework, how do we respond to that?” Perhaps, most surprisingly, for a project looking at the future of our planet and species, is the sense of optimism. Haywood says, “Underlying this project is the idea: how do we change the future, or change our idea of the future, when we live in this doom? How do we bring joy to the future of the planet?” The suggestion is to acknowledge and respect our inherent connection—we are not alone; we are part of the collective whole. “I’m looking at joy as an act of resilience.” — SA LLY GEA RON

Sydney Stillness-juxtaposed Dapeng Liu

Art Atrium 21 October—4 November

There is stillness everywhere if you know where to look. Dapeng Liu’s latest exhibition presents this immovable state in both painted abstract landscapes and recreations of split-second frames from popular films, news and the internet. Displayed side by side, from the disparate surfaces, something harmonious emerges. Dapeng Liu, Ethereal no.3, 2023, oil on polyester, “They have a different sense of stillness,” says 51 x 61 cm. the Sydney-based artist of his paintings. “I got a lot of feedback for my previous works from audiences—they can see calmness, peacefulness and stillness in there. I’m expanding this into a different realm.” Born in Beijing, Liu takes inspiration from traditional Chinese landscape painting, adapting its shifting perspectives into his own work. The artist’s colourful landscapes depict mountains and water through this lens, often with translucent areas where the overlap creates a new shade. “I always mix geometric shapes, that I think belong to the human-made world, with natural shapes,” he says. Stillness-juxtaposed takes subtle cues from traditional Chinese scroll paintings by presenting diametrically opposed images together—as the eyes scroll, the perspective changes. It represents a new mode of thinking for the artist. “I’ve started using more variations on colour and gradients,” he says. “I’m still using hard edges, but I want to bring the softness in.” By referencing images from the news cycle, Liu invites viewers to slow down and take time to digest what they are seeing. “Because of the influx of information nowadays, a certain piece of news or information does not stay in people’s heads for too long,” he says. “I’m picking what I want to stay longer, and presenting it to the audience in a different form . . . Everything goes on so fast, but I think there’s important value to still images.” — GISELLE AU-NHIEN NGU Y EN

Brisbane Living Patterns, Contemporary Australian Abstraction

Queensland Art Gallery 23 September—4 February 2024

Jemima Wyman, Aggregrate Icon (Kaleidoscopic Catchment), 2014, hand-cut digital photographs and archival tape, 205 cm (diam.). purchased 2014. queensland art gallery | gallery of modern art foundation gr ant, collection: queensland art gallery | gallery of modern art, © jemima w yman.

Seeing elements of reality in abstract art can be complex. As curator Ellie Buttrose suggests, the key is to look longer and deeper. “The fast pace of social media requires us to process images within a couple of seconds. Abstract works might not give themselves up so quickly, but if you do a little bit of work, the rewards you reap are rich.” For Living Patterns, Buttrose brings together artists working beyond the traditional field of abstraction, with Teelah George, Margaret Rarru Garrawurra and Kate Bohunnis among a sizable contingent covering the mediums of sculpture, painting, prints and textiles. “People have been trained to follow the Clement

Lindy Lee, Elliptical rain, 2018, Chinese ink, rain and fire on cold-pressed paper, 154.5 x 102 cm. purchased 2020 with funds from the queensland art gallery | gallery of modern art foundation and cathryn mittelheuser am, collection: queensland art gallery | gallery of modern art. © lindy lee.

Greenberg American abstraction model that suggests there was no content in abstract work,” Buttrose explains. “In Australia we are in a unique position of having a very long history of abstraction, in terms of Indigenous Australian abstraction, that incorporates codification and reduction to create artworks. Codifying stories within the artwork is a way to protect content that is full of meaning.” This idea is clearly illustrated in a newly commissioned vinyl work by Daniel Boyd. Covering the gallery’s glass entrance, Boyd’s imagery blocks the view to the outside, symbolically highlighting the selective nature of what we choose to reveal and what remains unknown. As Buttrose continues, abstract art takes on many guises. “Different lineages of abstraction are being explored. There are young queer artists talking about abstraction as a political device, particularly in the way bodies or being together in the world can be represented without having to lean on figuration. There are also artists like Lindy Lee who draw on the history of Asian abstraction while the late Hossein Valamanesh brings elements of Iranian and Islamic abstraction into his work. There’s a lot of colour, texture and subtlety in Living Patterns.” — BR ION Y DOW NES

Canberra Slow looking Elisa Crossing

Nancy Sever Gallery 17 September—8 October

In the 1656 portrait painting Las Meninas, Spanish artist Diego Velázquez depicts daily life in the court of King Philip IV of Spain. Breaking free from traditional portrait formats featuring centrally placed sitters, in Las Meninas Velázquez displays multiple portraits within the overall image. His subjects are seen throughout the scene—on the floor, in framed portraits on the wall, and in mirror reflections. Like an old school seek and find challenge, it takes time to find all those included. Citing Las Meninas as a key influence on her new work, artist Elisa Crossing paints images within images to encourage heightened viewer engagement. “I’ve situated all the paintings within the studio Elisa Crossing, The Fifer, 2023, oil on canvas, context, where I’m always seeing paintings stacked up, 110 x 140 cm. photogr aph: dorian photogr aphics. cropping each other and creating visual fragments,” Crossing explains. “Over time I began to wonder what their collective narrative could be.” Within each of Crossing’s paintings are multiple visual references to additional works—other paintings, prints and drawings—depicted either hanging on a wall or stacked against it. To present a unified whole, each painting is focused on a certain hue, style or subject matter, and the composition flows inwards to allow space for the eye to rest. “I thought a lot about how the wall and the paintings work together. The paintings are not set up as still life compositions, I did start that way initially, but they evolved to become more of an amalgamation of observation, imagination and memory.” Also informed by the Slow Art Days held by galleries like London’s Tate Gallery, where patrons are encouraged to give more time to viewing select artworks, Crossing believes looking is not a passive experience but rather an active exchange between observation and discovery. “For me, it’s important we connect with how we look at things in the world and I believe painting allows us to do that on a really deep level.” — BR ION Y DOW NES

Sydney Pulping at the Forum Nick Modrzewski

COMA Gallery 13 October—10 November

Nick Modrzewski combines his art practice with a similarly intense career in the law. He may be the only person who has graduated from the Victorian College of the Arts (2016) in the same week as commencing work as a judge’s associate (he’s now a practising barrister). In his third exhibition at COMA, a playful collision of his two worlds see abstracted forms morphing between shapes and bodies: these painted tableaux are invested with mythic qualities. As Modrzewski says of his two worlds, “I have a constant internal juggling match between art and my law practice. Law is traditionally seen as very far from Nick Modrzewski, Bounty, 2023, acrylic on canvas, painting, but they inform each other: I feel tied to both. 150 x 120 cm. Art allows me to find poetry in the law.” In his new paintings, Modrzewski explores the way human bodies fit within the institutional structures that guide our societies. “I’ve been thinking in recent years about how the body is regulated by language, social etiquette, the courts, the banks,” he explains. Using these ideas, he has drilled deeper into painting, using new tools (like an airbrush), gridded patterns and graphic qualities to create layers that draw the viewer deeper into the picture plane. In a year that will also see Modrzewski showing at Monash University Museum of Art, New York’s Armory Show and Sydney Contemporary, he feels something distinct has emerged in his new paintings. “Crisp clean patterns are combined with loose flowing forms, taking this work to the next level of refinement. It is a pared back and selective show that goes to the heart of my conceptual concerns.” Faces become bodies and segue back to shapes, creating an interplay of the rational and intuitive that compels the eye and the psyche. — LOUISE MARTIN-CHEW

Brisbane Mare Amoris | Sea of Love UQ Art Museum On now—20 January 2024

The complexities of love, rage, grief, and healing are the motivations behind Mare Amoris | Sea of Love. Through Mariquita ‘Micki’ Davis, Magellan doesn’t live here, a collective curatorial vision, the exhibition connects 2017, still from single-channel video with sound. artists with varied stories, creative methods and courtesy of the artist, ya angar/los angeles. intellectual practices from across the Pacific Ocean. Conceptualised by curators Peta Rake, Léuli Eshrāghi, Isabella Baker and Jocelyn Flynn, Mare Amoris | Sea of Love was formed through time spent walking, writing and talking with UQ Art Museum staff and artists, as well as UQ marine scientists—all part of a larger ongoing research project, Blue Assembly. Centering the areas of Minjerribah (North Stradbroke Island) and Quandamooka Country (Moreton Bay region) the show features 20 artists who work either physically or conceptually from places where the land meets the

water—and the ocean beyond. These artists—who include Abdul-Rahman Abdullah, Drew Kahuʻāina Broderick, Chun Yin Rainbow Chan, New Mineral Collective, Leyla Stevens and Judy Watson, among others—share a common link: that of dissolving the colonial boundaries of oceans and their connected waters. As Baker says, “Artists and their kin give language, voice, and form to these watery spaces, passed down through matrilineal storytelling, bodily memory, and land-based knowledge systems.” This, for example, is found in the extraordinary bark painting Yathikpa, 2011, by Maḏarrpa senior leader Djambawa Marawili AM. The work recounts the sacred history of the saltwater territory of the ancestral crocodile, Bäru. The painting was also used as evidence of Yolŋu sea ownership during the first successful Australian case for Sea Rights in 2008. Including the piece highlights the historical legacy of Marawili, while centering his painting amid an exhibition that considers the ocean from myriad perspectives and aesthetic forms—many of which are emotive. As Baker says, “The exhibition might encourage visitors to consider love as a practice, a tool to motivate and activate, an uprising against capital.” Love is an active force, as fierce as the ocean. — ER IN M ATHEWS

Sydney Single Use Shaun Hayes

Stanley Street Gallery 18 September—7 November

The work of ceramicist Shaun Hayes is a finely balanced feat of contradiction and contrast, on several intriguing levels. His new show Single Use is a continuation of his career’s primary idea: the intertwining of everyday disposable objects with traditional ceramic forms. Or, as he puts it, “Creating sculptures that are both indicative of contemporary throwaway cultural issues and the timeless nature of ceramics.” The result is a series of ceramics that are at once playful, satirical and loaded with meaning. “[The exhibition] merges single-use objects and transforms them Shaun Hayes, The Grass is Always Greener, 2023, into vitrified ceramic vessels intended for multiple uses, midfire clay, glaze and lustre, 27 x 10 x 30 cm. working as a contradiction to their intended initial use.” photogr aph: bryna bamberry. Yet Hayes, who lives near Canberra, is careful not to venerate traditional ceramics over the disposable ephemera of everyday life. In fact, he takes a strikingly critical approach to his own medium. “Ceramics are made to be used multiple times; however, they are discarded once damaged, the initial purpose is utilised, or the item has faults,” he explains. “This creates waste with enduring environmental costs—in some ways similar to singleuse plastic. Earlier in my career the idea of ceramics being a sustainable or natural medium seemed more plausible—now I see ceramics as one of the first industries where society began to forever negatively impact the environment around us.” Another key element to Single Use is the ongoing influence of Chinese ceramics, partly linked to Hayes’s time spent in the country over the years. And there is a certain irony at play here, too. “The Chinese influence is hard to get away from when referencing historical ceramic vessels. Funnily enough, China is also now the biggest producer of plastic products in the world, creating a full circle of influence within my work.” — BA R NA BY SMITH

Shaun Hayes, My Body is a Temple, 2023, midfire clay, glaze and lustre, 15 x 15 x 36 cm. photogr aphy: bryna bamberry.

The Art of Restoration Moving from Australia to New York in 1969, Virginia Cuppaidge is known for her internationally revered abstract paintings. She’s now living in Australia, unveiling a carefully restored, six-metre work at Sydney Contemporary. W R ITER

Briony Downes

Virginia Cuppaidge, Grand Street Dawn, 1982, acrylic on canvas, 198 x 304 cm.

Dry cleaning of top of Cytheria using grated Mars Staedler® erasers, microfibre cloths and goat hair brushes. photogr aph: catherine gill.

Making art since childhood, as a teenager Virginia Cuppaidge set her sights on travelling to New York City to see the Abstract Expressionist paintings of Jackson Pollock and Barnett Newman in person. In 1969 she touched down in New York with a suitcase and a pink mini skirt, and stepped straight into a 48-year love affair with the city that never sleeps. “I bought a loft in an old block building on Grand Street in SoHo,” remembers Cuppaidge. “It wasn’t called SoHo then and when I arrived, it was just old factories and artists were living illegally in them. You had to get a certification from the Parks Department—ironically enough to say you were a certified artist—to show you needed the space to live and work in, which I did.” After setting up her live-in studio, Cuppaidge took advantage of the huge expanses of wall space and began work on one of the many paintings she completed there, a six-metre painting called Cytheria, 1977. Her aim was to create a sense of calm to contrast the frenetic pace of New York. The effect she finally achieved was a gentle gradient of almost translucent colour, fading effortlessly from pale yellow to lilac and orange, so softly applied it appears cloud-like. “At the time, I was very influenced by Minimalism and wanted to make tranquil paintings with undulating colour. I had no idea how I was going do it, so I just stretched the canvas and started experimenting. I

mixed up lots of little pots of paint, changing colours as I moved across the surface with sponges and paint brushes. It took me months to work out and do properly.” Once she began to paint, it was hard to stop. Cytheria marked the start of her Skyspace Series of paintings and from these early days in SoHo, Cuppaidge went on to exhibit over 30 solo exhibitions in New York, Canada and Australia. Her work has been praised by art critics Sister Wendy Beckett and Clement Greenberg, and she was an early member of the Guerilla Girls in New York, a group devoted to raising the public profile of women artists and addressing gender disparity in galleries and museums (Cuppaidge is also part of the Know My Name initiative at the National Gallery of Australia). In 1992 she started work as associate professor of art at the City University of New York, a position she held until 2008. A Hill End Artist Residency near Bathurst brought Cuppaidge back to Australia in 2010, and it was during this time her love for the bush and unique light of the southern hemisphere resurfaced. She returned to Australia permanently in 2017, settling in Newcastle. Before she left New York, Cuppaidge came back into possession of Cytheria. It had been over four decades since she had seen it last. Initially Cytheria was sold to an art collector in Pittsburgh who held

“Being an abstract artist, you have these abstract ideas and you create a visual problem, and then you solve that problem to make it understandable.” — V I RGI N I A C U PPA I D GE

it in their collection for many years before donating it to Kingsborough Community College in Brooklyn. To Cuppaidge’s dismay, it had been hung in a cafeteria and sustained significant damage. Grease from food preparation had accumulated across its surface, graffiti appeared in various spots, and a large gash had been torn into the painting. Cuppaidge was asked to reclaim Cytheria and it remained in storage until an acquaintance suggested she contact the University of Melbourne's Grimwade Centre for Cultural Materials Conservation to discuss restoration. With the help of Melbourne gallerist Nicholas Thompson, Cuppaidge connected with Dr Nicole Tse, a senior lecturer in conservation studies at Grimwade, who agreed to take the painting as a project for students to work on while they studied. “Cytheria was a good challenge for students due to its size, but also because it was painted with acrylics,” says Tse. “Acrylic paint only started to be used in contemporary art practice around the mid-50s, so the cleaning of acrylic paintings presents a really topical challenge.” The task of restoring Cytheria to its former glory took multiple groups of Grimwade students nearly two years. Preserving the luminous colours Cuppaidge had taken so long to achieve would prove to be a challenge, but with Cuppaidge back in Australia, she was able to meet with the conservation team and share vital information about her original intent. “Sometimes conservation is seen to

be quite static,” Tse explains. “Working with the group collectively meant the process was much more activated and being able to talk to Virginia made it really meaningful.” Cuppaidge was thrilled with the result. “I visited Grimwade after they had cleaned a quarter of Cytheria, and it looked wonderful, like someone had shone a really bright light on it.” After a pandemic-induced break, the final touches have since been finalised and Cytheria is destined for display with Nicholas Thompson Gallery at Sydney Contemporary. It will be exhibited with a collection of new, smaller paintings revisiting the style of Cuppaidge’s Skyspace Series with a brighter palette. “Like Cytheria, the new work is very much about colour and light,” Cuppaidge reveals. “Being an abstract artist, you have these abstract ideas and you create a visual problem, and then you solve that problem to make it understandable.” Approaching life in a similar way, Cuppaidge has brought her practice full circle from Australia to New York and back again. “I’ve done what I always wanted to do since I was a teenager, but you must be dedicated to it. You can’t do it lightly at all.” Virginia Cuppaidge at Sydney Contemporary represented by Nicholas Thompson Gallery Carriageworks (Sydney NSW) 7—10 September

Dream Flowers Hiromi Tango is creating aesthetic pathways through trauma and illness, particularly long Covid, using her signature rainbow palette to centre gentleness, compassion and hope. W R ITER

Steve Dow

Hiromi Tango, Yu Ka 夢花 (Dream Flower), 2023. courtesy of the artist and sullivan+strumpf. commissioned for brisbane festival and imb, the university of queensland.

At first it seems like Hiromi Tango’s large garden installation at Brisbane Festival is a playful confection of giant peonies, growing from a platform that lights up as a dance floor at night, all in the artist’s signature rainbow style. But YU KA or Dream Flower contains multitudes of meanings, beginning with gentleness and compassion. The work reflects Tango’s belief that these sweet-smelling flowers, found in various vibrant colours in the wild, once grew wherever Buddha stepped on the earth. The peonies are also a paean to the regenerative properties of plants and soil, from which natural remedies for ailments are drawn. It’s a growing interest for the Japanese-born, Tweed Heads-based artist who has suffered recent spells of long Covid and chronic fatigue. After a lifetime of never falling ill, she’s felt the impact on her usually effervescent personality. Tango’s rainbows, meanwhile, were born from a long interest in the neuroscience of mental health: in a 2021 TEDx talk, she coined the word “brainbow”, a portmanteau of brain and rainbow. “We feel so lucky that we see the rainbows, it makes us so happy,” she says. Given the recent pandemic and lockdowns, the 2022 Northern Rivers floods and the ongoing war in Ukraine, “We need a source of hope, to dream about

how we can transform,” says Tango, quoting former First Lady Michelle Obama, who has said, “Every day you have the power to choose our better history.” Speaking from her home, where a picturesque window behind Tango displays her family’s tranquil garden, she reflects that her sensory perceptions have sharpened during her 25 years in Australia, thanks to the cultural influences of her two countries—even if Covid has dulled her sense of smell and taste of late. “I was raised in a very traditional Japan as a very traditional female—not allowed to have a voice and speak—so who am I, as a middle-aged, Japanese Australian?” She ponders, dressed in a smart, second-hand velvet suit, her hair brushed back, each fingernail painted a different colour. “I have dedicated my life for arts, science, biology, and a passion for gardens. I love cooking and upcycling. I wanted to make artwork that is true to myself.” Tango grew up in a conservative Buddhist family beneath the misty mountains on the Japanese island of Shikoku, where women did not usually speak in the presence of men: her mother, Reiko, “only really started talking” in her 70s, when her father succumbed to dementia. For much of her life, Tango “communicated with non-verbal language” with them. Tango met her partner, Australian artist Craig Walsh, when he undertook an artist residency at

“We feel so lucky that we see the rainbows, it makes us so happy.” — H I ROM I TA NG O

her university in Tokyo. They sometimes collaborate on art projects, and have two early teenage children, Kimiyo and Mikiyo, who Tango introduces while holding up her mobile phone on a walking tour of their home. Tango is keenly interested in how epigenetics is showing that trauma and disease can be passed down through generations, having developed depression and anxiety earlier in her life. “Your grandparents’ generation get through the war or starvation,” she says, “but that trauma is carried on through generations, and it’s embedded in your mechanism genes through DNA changes.” While emphasising she is an artist and not a scientist, her imagination has also been piqued by Australian molecular bioscientists’ work on harnessing nature to tackle diseases: “Lots of cures come from soil and natural medicine from the plants,” she marvels. Tango believes art making is a mental healer, helping people focus on the present, while scientific discovery is likewise a “great source of hope and optimism”. In the foyer at the local Tweed Valley Hospital, Tango has been assembling a woven sculptural “healing garden”. These are artworks inspired by the green and blue colours of the local landscape, reflecting the healing properties of flora, created with

assistance from hospital patients and school children. Tango herself professes to having a “childful” mind, which means she has an “open and pure heart”. When I first interviewed Tango last year as she unveiled Rainbow Dream : Moon Rainbow at Hobart’s Dark Mofo festival, she laughed gleefully and said: “My children are actually more mature than I am.” But she can be stark with her art, too. For Tango’s 2018 photographic series Bleached Genes she covered herself in white housepaint to metaphorically “cleanse” her spirituality, genetics and memory, in response to her father being bedbound with dementia “and him not realising who I am sometimes”. Long Covid has left the artist herself bedbound on occasion of late, but it’s a journey she has philosophically embraced. While her appetite for food has not yet recovered, her inspiration continues apace. Her next artwork will explore the meaning of senses weakened and dulled, for an artist whose life has been emblazoned with rainbows.

YU KA / Dream Flower Hiromi Tango

Brisbane Festival Garden (Brisbane QLD) 1—23 September

Interview

Peter Waples Crowe

W R ITER

Timmah Ball

As an artist who explores the intersections of his Indigenous queer identity, Peter Waples-Crowe pushes expectations. Moving between various mediums and contexts, he’s known for his collage, painting, mixed-media, fashion and ceramics— and has recently expanded into theatre design and moving image. He co-designed the set for Griffin Theatre Company’s Dogged in 2021 and created the 2022 video Ngaya (I Am) for ACMI. The latter is an eclectic fusion of memoir and found image that speaks to both the power and erasure of Country through subverting colonial iconography. This work will also be showing in Pride at Adelaide Contemporary Experimental, the artist’s first major exhibition outside of Naarm/Melbourne, offering space and time for Waples-Crowe to reflect on and display critical pieces from the last five years. Timmah Ball talks with Waples-Crowe about how his art intersects with his health and social justice work, and how Pride signals a sense of closure alongside new directions.

right Peter Waples-Crowe (Ngarigo), campOUT, 2018, collage and acrylic on canvas. image courtesy of the artist.

Peter Waples-Crowe, Ngaya (I Am), 2022, single-channel video installation, 5 minutes. with rhian hinkley and composer harry covill. commissioned by acmi. courtesy of the artist. © peter waples-crowe and acmi.

Peter Waples-Crowe, Binary, 2017, mixed media on canvas. courtesy of the artist.

“These are hard things to talk about sometimes. But I like going there, I think it’s important.” — PE T E R WA PLE S - CROW E

TIMM A H BA LL

This is your first major exhibition outside of Naarm. What has it been like preparing to have your work exhibited in another city on Kaurna Yarta Country? PETER WA PLES- CROW E

I’m really excited about having a show on Kaurna Country. But I also panicked a bit. I thought, “Can I do this, and do I have enough work?” But I do have enough work and I am doing it. I haven’t had lots of big solo shows before, so it’s exciting. As it gets closer, I get happier about being able to show my work in a different space and place. Particularly because I’m place based, and my work is really connected to me living in Naarm. I also think that when you’re an independent artist, which is a good thing to be, you can choose whatever you want to do, and you’re not super tied down to anything. I’ve been able to shift and change my practice. And even though there are common themes running through it, overall I think it just gives Adelaide a chance to see what I do and the trajectory I’m on. There’s a lot of pivotal work in the show like my Ngarigo Queen – Cloak of Queer Visibility, which is being loaned from the Victorian Pride Centre. And Pride is also a part of Tarnanthi Festival which I’ve never been part of before. TB

I’ve always loved your collage works and the intimacy these hold, but I was excited and curious to see you move into film. In some ways it feels like a distinct shift, but I recently read an interview where the artist and poet Jazz Money beautifully describes the connection between working across film and poetry, explaining how “both take a pre-existing language or set of images and arrange them in complimentary, contrasting, or contradictory ways to communicate something to an audience. And in that pairing, you create a third space where new knowledges are revealed.” Can you describe how the medium of film coalesced with your existing practice and the process of making the video

work, Ngaya (I Am)? PWC

Ngaya (I Am) is my practice, but it’s just extended into something different. I’ve always loved working collaboratively and I worked with [cinematographer] Rhian Hinkley on this film. He was like the technical wizard, but I was directing and pulling the essence of my practice into it. I’m known for collaborating with other artists in the past, and I think that working with Rhian has taken my practice in new directions. It often feels like there’s this purity or an idea of what an artist should do, an expectation that she should do all the film work and have been across all the technologies. But it worked so well collaborating with Rhian. I could ask, “Can you do this?” and he could make it all happen and this made the process really fun. We would salvage YouTube clips which was enjoyable, humorous, and a way to subvert colonial images. But in doing so I’m also commenting on Ngarigo Country. After working with Rhian, we’re going to go on further. We enjoyed it so much that we’ll probably do something else together in a more collaborative way. I would like to keep extending things further. I think that’s also why I like collaborations; they allow you to push your practice past the skills you have by working with someone else. I’ve always enjoyed this process, and I’ve probably gotten better at it. TB

As someone who works across health and social justice spaces, as well as being a practising artist, can you talk about how these feed into your work holistically? To me personally it really seems to intersect with your strong desire to collaborate and work with young mob too. PWC

I think it’s just what I’ve always done, and I really like the balance. I like the challenge of health promotion, education, and stuff like that as well. And I think it’s quite creative, too, because you are creating resources for the community. And now I’m mainly focusing on [working with] Rainbow Mob, LGBTIQ+, and brotherboys and sistergirls. The way I’m feeling about it is that it is part

Peter Waples-Crowe, Ngarigo Queen – Cloak of Queer Visibility, 2018, possum pelts, waxed linen thread, leather dyes, pokerwork, installation view, Australian Centre for Contemporary Art, Melbourne. cloak-making adviser: maree clarke. photograph: andrew curtis. courtesy of the artist © peter waples-crowe/copyright agency (2019) and the australian centre for contemporary art.

of my own personal journey. I’ve been trying to do a lot of healing and looking after myself. And because I worked in the space of keeping people safe from blood-borne viruses while they got through addiction, sometimes it really mirrored my own life as well. So, these are hard things to talk about sometimes. But I like going there, I think it’s important. I’m more of an open book. I don’t want to hide things because we need to open conversations about harder things as well. You go to these places and share these stories that are really difficult, but it shows up in my work. In the exhibition I got to include work by local young mob like Jayda Wilson and I really like the idea of mentoring and having intergenerational conversations. That’s an exciting part of this for me: that in a show you can present young local mob alongside your work. I loved that aspect of it. Because when I first heard about the Pride show I was excited about a solo show, which is really important. But I also think that community and supporting others as I’m getting older and moving into Eldership is a big thing. TB

Is there a piece in Pride that you’re particularly looking froward to exhibiting? PWC

I’m happy to show a work that was previously exhibited at The Dax Centre for an exhibition called Adopted. There are a lot of traumas from being adopted and we were trying to confront that from the adoptee’s perspective in the exhibition. The work is called Ngurran. It’s my tribal name and I think it’s going to be even better in a space like ACE. There is a disco ball that goes with the work and it’s going to be presented in an amazing way. It’s a really important, powerful work that is like a record. It’s huge and brave for artists to share these stories that are really difficult. TB

First Nations art doesn’t always fit within institutions or arts industry frameworks. Do you think it is becoming easier to navigate these systems now that there are more First Nations curators and arts workers in state and mainstream galleries and museums? PWC

I guess, when you work in intersectional parts of that community as well, you have queer identities as well as bla(c)k identities and/or queer bla(c)k identity. There’s visibility and opportunity. I think it’s changed here [in Australia], but I still think we’re a category of

the white system. Maybe we have to explode our identities a bit more, you know. There are all different areas of what we do. But I think there’s still a categorisation of our art and ideas about what’s acceptable to be Aboriginal art as well. The dominant culture will perceive Aboriginal art in a certain way and sometimes I feel a bit of that pressure. I think we need more spaces as well. Institutions often go for big blockbuster work, and it’s harder to work at an intimate scale. This is seen as a negative for institutional collections. I guess institutions are often looking for the monumental, the statement, and scale. But, you know, you’ve got to stay true to yourself as well. And I’ve tried to shift and change, but on my own terms as an artist. Some artists just do the same things over and over again. But it’s about my practice evolving. I think sometimes we have to have a look at our own culture as well, and we haven’t been able to do that because there’s still too much colonisation going on and we’re still fighting the oppressor. I think all Bla(c )k people carry a load in this sector. TB

Pride celebrates your career in what feels like a survey or culmination of the past five years. Can you talk about any upcoming projects and how you see your practice evolving? PWC

It’s been nice to take the last five years of my work to Adelaide, but, in many ways, this show has felt like an end point. I can feel a real change, like I’m coming to the end of work that was obsessed with my identity. And now I can see what I’d like to do next. Adelaide has given time to reflect on the last five years and maybe after this I’ll feel free to move into new directions. I’m looking into an artist studio, a real possibility to have more space. I currently work from home but don’t have a lot of space and so a studio could really reinvigorate my practice. I think moving into more video work and collaboration is also really exciting, because I get to play with different scales. After this exhibition, I’m doing a residency in Fiji in October. It has been set up through Blak Dot Gallery and organised by Kimba Thompson. A group of us will spend time with a master printmaker, making prints together. I’m really looking forward to collaborating with local Indigenous artists in Fiji.

Pride Peter Waples-Crowe

ACE (Adelaide SA) 2 September—28 October

Studio

Isadora Vaughan

“It’s this shift between the miniature and magnified. All these parts speak to each other.” — IS A D OR A VAUGH A N

PHOTOGR A PH Y BY

AS TOLD TO

Jesse Marlow

Tiarney Miekus

At Isadora Vaughan’s warehouse studio in the industrial area of Coburg North, Melbourne, with her dog Merri in tow, Vaughan creates sculptural installations that sustain a visceral tension between incongruent materials and forms. In past works she’s used everything from fungal mycelium to beeswax, rethinking how we value certain materials, and how this suggests various political, environmental, and feminist associations—while also being beguiling works in themselves. In our studio visit, Vaughan talks about the economics of art making, her shows at STATION Gallery and Cement Fondu, and using (recycled) plinths for the first time.

PLACE

ISA DOR A VAUGH A N: My time at Gertrude studios

ended in 2020, and my partner Aaron [artist Aaron Carter] had another studio in Preston that was being bulldozed—so we had to move just before the pandemic. We found here, and this place just works spatially: I need to fit all my stuff, but also work around them [the sculptures]. There are also very few affordable studios. I mean, sometimes I can’t even really afford this, but you make it work. We have a few studios here; we built the walls ourselves just by salvaging materials. It made sense for us to find a place we could share with friends; I believe in that sense of community. And there’s a real need for longevity. We have 10 years here, but that’s going to go so quickly. Sometimes it’s busy here and sometimes it feels like you’re screaming into a cupboard by yourself [laughs]. PROCESS

ISA DOR A VAUGH A N: I’ve always tried to have a

consistent presence. Even during my pregnancy, I liked to work. This is my job, it’s like nine to five; I’m not a night person. At the moment I’ve sometimes been starting at six o’clock in the morning, before the baby wakes up. Sometimes I’ll work longer if I need to, but with looking after a baby, and enjoying cooking way too much, I like the ritual of the end of the day. I always make from what’s at hand or financially doable—although I do believe in spending money when you need to. Mostly I work by doing things myself: I weld, make things out of clay, cast things.

In my relationship with trades, there’s some friction in that I really love asking people how to do things, but I often get to a point where I’m like, “I can’t do it the way you’re telling me to do it.” I end up doing my version, which can be generative: you can come to an outcome that you wouldn’t otherwise. When I went to art school, my teachers Simone Slee and Bianca Hester were very encouraging to do things materially, to figure out what materials were and how they worked. I often have this process where I’m repurposing old work, like literally melting down something to make something else, which is also a political decision. And I have horticultural knowledge and I’m really interested in how different plant systems work; how things evolve in certain environments. While it’s a cliché, I really do work through the process of making. I also make things because it’s my sense of freedom. You have to believe in what you’re doing enough to even do it. PROJECTS

ISA DOR A VAUGH A N: I’m trying to bring disparate

forces, textures and feelings into one show. I want it to have a certain speed and materiality, while also problematising any essential idea or monument. It’s like a healthy ecosystem. For STATION, the impetus, or the point of tension, was when Aaron brought home thrown out plinths from the recent Barbara Hepworth show at Heide [Museum of Modern of Art]. I’ve never used plinths, so it feels a little hilarious, but it’s also allowed me to

make small works, and spend time understanding Hepworth’s process and shifts in scale. I started making small wheels, which is a symbol that I’ve used in my work before; a link between nature and machines. It’s this idea of domination and gathering harvest, and there’s something about the analogue nature of it. I also spent time at the herbarium, researching different modes of classification and value. Walking along Merri Creek to the studio this time of year, the wahlenbergia [flower] is so beautiful, especially before the wattle erupts. I knew that I wanted to have the wahlenbergia [in the sculpture] after learning about its colonial distribution. Different specimens were taken from throughout Australia and New Zealand, some ending up as novelties in rich Parisian palace gardens, after months on ships! With the materials I work with there’s a kind of ready-to-hand element, as well as a deep process of finding connections and meaning from the place I am working within. So I’ve got these copper wheels and different local grasses—and then I’ve bound them with the intention to preserve their erect form, which would otherwise wilt as it dries out. This shifts into the diorama made of hollyhock wood that grew in my garden a few years ago. It’s been dried and then I’ve carved the surfaces: it’s very orchestrated. And I’ve placed it with kangaroo grass, one of the oldest food sources

of First Nations Australia. And there’s themeda triandra, also from my garden. I’ve intentionally coupled introduced and Indigenous species. That shifts to these ceramics, which are the enlarged internal anatomy of the wahlenbergia, a giant version of what’s inside the small flower. Then there’s the plastic [sculptures] which have an essence to them, especially in contrast to other parts of the show, which are much slower and more porous. It’s this shift between the miniature and magnified. All these parts speak to each other. You can’t ever really contain things; it’s like my politics and interests are always overflowing. For Cement Fondu—it’s a 2016 work for which I’ll have to regather the parts, and then also make new parts. But I like this kind of problem solving while also using what’s directly around me. Your politics as an artist are always important, but there’s also something wonderful when the work has a language and life of its own.

Rumours of True Things Isadora Vaughan

STATION Gallery (Melbourne VIC) 7 October—4 November

Better Nature — Earthen Group exhibition Cement Fondu (Sydney NSW) 14 October—3 December

Galleries Go Green From changing light bulbs to ending fossil fuel sponsorships, major Australian galleries and museums are attempting paths towards sustainability—but is this enough? W R ITER

Andrew Stephens

Installation view, 2022, LED Lighting Project, National Gallery of Australia, Kamberri (Canberra).

“Effective action and impactful responses to the climate crisis really needs to come from our large cultural institutions.” — PEN E L OPE BEN T ON , E X E C U T I V E DI R E C T OR ,

N AT ION A L A S S O CI AT ION OF T H E V ISUA L A R T S

When the National Gallery of Australia (NGA) director Nick Mitzevich launched this year’s replacement of halogen lights with 5500 new LEDs, he knew it would mean more than a simple upgrade. Those halogens emitted large volumes of heat, straining the air-conditioning systems that maintain even temperatures to safeguard artworks. But with the efficient and much cooler LEDs, the NGA’s heat and air-con stresses, alongside overall energy usage, are diminishing dramatically. This story may seem small against global efforts to tackle the climate emergency, but it is one of many elements Australia’s museums and art galleries are taking towards more sustainable operations, reducing carbon footprints and aligning with state and federal government requirements to significantly cut greenhouse emissions by 2030. Amid the growing renewables market and the pressure of community expectations, Australia’s big museums and galleries are, like other industries, now on notice to drive substantive reform and avoid greenwashing—or face damaging blowback. Such reforms include confronting the tricky issue of funding from fossil fuel related sources in sponsorships and, less visibly, in banking and superannuation choices. Also at stake are relationships with exhibiting artists, many of whom espouse a strong climate consciousness in their work and question the footprint of the blockbuster business model. Kelly Albion, director of 350.org’s ‘Fossil Free

Campaign’, says no major Australian galleries have yet adopted the group’s fossil free sponsorship pledge, launched last year. “Our analysis has found that there are some significant Australian galleries and museums that still take fossil fuel sponsorship money,” she says. “While many museums and galleries have ‘sustainability plans’ and environmental messages, they are still displaying fossil fuel company logos on their buildings, galleries, and websites. “This includes the Art Gallery of South Australia, Newcastle Museum, and the John Curtin Gallery who currently partner with BHP, and SciTech and the WA Museum who are sponsored by Woodside, and various local galleries where coal and gas companies operate.” Alongside urging artists to speak up, 350.org keeps a database of fossil fuel sponsorships and has detected nearly 600 fossil fuel sponsorships across the arts, sports, education and public events. Albion says these sponsors are “desperately trying to buy social license through our beloved institutions” but notes that scarce public funding underlies museum vulnerability. Meanwhile, the National Association of the Visual Arts (NAVA) executive director, Penelope Benton, says accepting sponsorships from fossil fuel companies in the midst of a climate emergency is ethically indefensible. “Discussions of artwashing are becoming more pronounced, protest is increasing, and movements are collectivising with a view to cease providing social

Art Gallery of Western Australia (AGWA) rooftop. photogr aph: acorn - robert frith.

A Climate for Art (ACFA) launch event. photogr aph: a aron claringbold.

NGV conservators undertaking acoustic emission monitoring of Carved retable of the Passion of Christ, c. 1511-1520.

license to companies through their association with arts and cultural activities,” she says. “The major risk for art organisations entering a relationship with either a private or public sector supporter is damage to its reputation through association with a brand that does not align with stakeholder values. This could lead to artists boycotting cultural events, negative media, or community backlash for both the arts organisation and their business partner. “Effective action and impactful responses to the climate crisis really needs to come from our large cultural institutions. Their actions have the capacity to create the most significant impact on the wider sector and beyond.” Benton emphasises the compounding issue of long-term under-investment in the visual arts: sustainable practices often require upfront investment, which strain already tight budgets. Appropriate funding can help organisations at the operations level where, Benton says, the biggest carbon emissions footprint comes from freight and travel. “When sourcing exhibitions and materials from overseas, the carbon mileage really stacks up.” Fortunately, this is a strong focus for Australia’s larger institutions under the Bizot Green Protocol. These are a range of measures to reduce carbon footprints that were established in 2015 by the international Bizot Group, comprised of directors from the world’s largest art museums. Michael Varcoe-Cocks, associate director of conservation at the National Gallery of Victoria (NGV), says the gallery has more than halved its energy usage since 2017 (not counting Covid lockdown years) by various improvements. The gallery, like the NGA, has retained vastly more efficient freight and transport practices adopted during Covid lockdowns. Having virtual courier protocols—rather than in-person chaperoning of artworks—and choosing smarter flight-routes has greatly decreased transport mileage. Working with the Getty Conservation Institute in Los Angeles, the NGV has also been at the forefront worldwide in scrutinising climate control in galleries, traditionally kept within a very tight temperature range in the interests of preserving artworks. Using Getty-owned acoustic emission testing technology on a wooden Flemish altar piece, the NGV is carefully assessing whether parameters could be broadened to have more flexible gallery and storage temperatures—which could also be adopted by other institutions. Alongside assessments of the NGV building’s thermal mass, results so far show the temperature control systems could be halted most nights of the year, bringing enormous cuts to energy usage but also—crucially—continuing to maintain the long-term safe conservation of artworks. Yet, as Varcoe-Cocks says, better sustainable

practices are all about behavioural and cultural change, which means involving people at all levels of the organisation—from couriers and registrars to conservators, curators and administrators. As part of this, the NGV has partnered with sustainability leader ACCIONA, which delivers innovative infrastructure solutions and renewable energy projects. It has been assessing the NGV’s Melbourne Winter Masterpieces exhibitions, calculating carbon footprints to reduce emissions and suggest changes for future iterations. Following the current assessment of Pierre Bonnard: Designed by India Mahdavi, the NGV will offset any residual carbon. Meanwhile Anne Robertson, executive officer for the Public Galleries Association Victoria, says one of the biggest challenges for small-to-middle galleries is operating within international guidelines to safeguard collections, as well as lending works from state and international institutions. She is thrilled with the work by Varcoe-Cocks and the NGV investigation to expand temperature guidelines. Robertson recently shared the 350.org fossil free sponsorship pledge with member galleries and understands some are working with their governing bodies to sign up. But she says there isn’t much discussion across the small-to-medium sector about fossil fuel sponsorship, mainly because that industry focuses on large cultural institutions and festivals to maximise audience reach. “As our state and national cultural institutions cut ties with fossil fuel companies I expect the small-to-medium sector will be more appealing to the fossil fuel industry.” At the NGA, Mitzevich says his ethics advisory group assesses all sponsorship and partnership opportunities on their own merits, set against the ethical framework of the NGA’s solid sustainability plan. “When we consider a new partnership or sponsorship collaboration in any way, there are a number of different things we assess, and sustainability is one of them. Essentially the NGA aims to be an ethical cultural institution.” He says the gallery’s sustainability plan has clear aims and deliverables: “We have done that purposefully because we want to be judged in that area.” Likewise, the Art Gallery of Western Australia’s director, Colin Walker, says that as part of moves to meet state government requirements to cut emissions by 80% by 2030, infrastructure upgrades are in motion—though further investment is needed to deliver them in full. A federal or state program to support capital upgrades would accelerate the work. “We don’t have, nor are we pursuing, fossil fuel sponsors and we have a tight ESG [environmental, social and corporate governance] approach in our investment policies which, for example, precludes us from investment in companies that derive more than 3% revenue from any fossil fuels.” Queensland Art Gallery | Museum of Modern

A Climate for Art (ACFA) Launch Event. photogr aph: a aron claringbold.

“It’s important to ensure we . . . embed that policy and not make it a question of greenwashing,” — SUZ A N N E C O T T E R , DI R E C T OR , M USE U M OF C ON T EM P OR A R Y A R T

Art (QAGOMA) details its stance on its website, as do most large institutions. QAGOMA has a strong commitment to sustainability across all operations and undertakes considerable due diligence before entering partnerships. “While our sponsorship policy is currently undergoing a three-yearly review, we have not sought, nor accepted support from fossil fuel companies for many years,” a spokesperson said. It is a different situation at the Art Gallery of South Australia, where mining giant BHP has long supported the popular Tarnanthi festival of Aboriginal and Torres Strait Island art. The partnership is up for renewal at the end of 2024. According to a spokesperson, AGSA “seeks to build successful sponsorship arrangements based on mutually agreed objectives and beneficial outcomes” for all involved parties, with sustainability practices a priority in the new strategic plan being rolled out this year. “The Art Gallery board’s recently appointed chair, Sandy Verschoor, is also on the board of the Premier’s Climate Change Council and we value her leadership in this space,” the spokesperson says. “Given the challenges of managing a 140-year-old building, AGSA would welcome the South Australian government’s leadership in accelerating AGSA’s ability to tackle issues of sustainability more effectively.” The director of Sydney’s Museum of Contemporary Art (MCA), Suzanne Cotter, is fortunate to also be the chairperson of the 2022-25 sustainability working group for the International Committee for Museums and Collections of Modern Art (CIMAM). This gives her strong insights into best practice, and she says progress of the MCA’s sustainability policy is regularly measured. “It’s important to ensure we do what we say we do, to interrogate that, and see how to embed that policy and not make it a question of greenwashing,” she says. “We don’t have all the answers and we are only beginning our work to understand what our contribution is to the carbon footprint and the ways we can reduce that with a productive response.” Cotter says there is a strong ethos around sustainability at the MCA, and it recently partnered with Copenhagen-based architects 3XN,

whose green innovation unit GXN will work with the MCA on sustainable and reusable solutions for temporary exhibitions. But Cotter notes that the MCA, like all museums, is only beginning the journey and trying to work out how best to be environmentally responsible. “To really change your institutionalised ways of working often requires resources and many [museums] are suffering from the lack of them, not only in economically disadvantaged countries but in countries like Australia,” she says. As part of her CIMAM work she is investigating becoming part of a global alliance of museums and galleries, as well as the commercial sector, to work on sustainability. Her strong international experience means she is looking at the issue on many different levels. “I have recommended for this alliance to involve First Nations knowledge-holders, recognising the importance of Indigenous thought and cultures. This is being increasingly valued around the world as an incredibly important resource. Those conversations are certainly happening here in Australia.” While the museum sector’s various action plans dealing with daily operations are impressive and effective, with relatively few fossil fuel related sponsorships from the likes of BHP, Shell or Woodside, what about less transparent relationships? A Climate for Art (ACFA), a new group mobilising arts industry climate activism, says clearer action is needed by galleries on divestment from fossil fuel investing banks and superannuation companies, replacing them with greener energy supporters. “We’re interested in taking the conversation beyond printing and lightbulbs, even though they’ve been a cute first step,” says ACFA’s co-instigator, Lana Nguyen. Already, the dozen-or-so organisations in ACFA’s Climate Union—including arts organisations Footscray Community Arts, Next Wave, and Theatre Network Australia—are on the way to moving more than $10m out of fossil fuel related banks. “We’re providing tools and resources for an easier path,” she says. “This work doesn’t have to be done alone. We are publicly sharing what organisations are pledging to do in terms of climate action, so they can be both celebrated and accountable.”

Art After Spectacle Artist and poet Chunxiao Qu bends common language into absurd, funny and meaningful forms that are as forthright as the glow of her neon lights. W R ITER

Cher Tan

In a recent Cordite Poetry Review interview, visual artist Chunxiao Qu, when discussing what exactly constitutes poetry, speaks of a desire for the direct interrogation of her work: “I wish someone would say to me: ‘You think this is poetry? Fuck you!’” And so, when I spoke with Qu, I told her exactly that. She responded with much glee: “I enjoy imagining people who hate my poetry being brave enough to let me know they do, and the same goes for my art.” Brash as it may sound to some, this is how Qu operates. It was only through moving to Melbourne to undergo further studies in fine art, that she continued to discover the possibilities of art making. Before this, growing up in the city of Qingdao in China, she had a deep interest in art; her parents encouraged her to try as many mediums as she could, such as piano and dance. But she found herself drawn to illustration and painting, saying, “Because art is different, even if it is exam-oriented, you still create your own work, your own colour, your own angle—it definitely has more freedom than other majors.” Despite this, the art lessons at Kunming University bored her, resulting in a decision to move further afield. In 2016, her first year at Melbourne’s Monash University, she discovered conceptual artist Joseph Kosuth, whose 1965 installation, one and three chairs, left a profound impression. The work represents one chair as an object, image and dictionary definition: it led Qu to explore text as an art form.

Like Kosuth, Qu has a penchant for a type of cheeky, deceiving simplicity with her signature works: what you see is most definitely not what you get. Imagine the neon signs one sees in restaurants and cafés, the slogans screaming at you while being enveloped in an atmosphere of absurd melancholia— except Qu takes this to its absolute limits. Her work could be categorised as a kind of shanzhai—essentially meaning ‘fakes’, but more widely understood as a kind of bootlegging. It’s what KoreanGerman philosopher Byung-Chul Han defines as a cultural product that “fully exploits the situation’s potential”. Qu’s shanzhai might be described as ‘zoomer Jenny Holzer’: meaningful aphorisms cast in a loaded sheen, but with an irony-poisoned, extremely online, sensibility. For example, McDonald’s, 2019, depicts what could be interpreted as the 'golden arches' but it is also somewhat in the shape of a butt, with other orifices added through four lighting sequences. Underneath is text in all caps: THIS IS A MOUNTAIN YOU WILL NEVER GET OVER IT. A later work, DREAMING IS NO LONGER FREE WHEN I HAVE TO TAKE A SLEEPING PILL, 2021, reflects a similar sentiment. It is capitalism realism in a nutshell, memefied. Of course, like many artists, Qu never thought she could be one. Post-graduation, she asked herself if she could develop an art career in Australia, especially as someone with little English skills and a migrant status. “Maybe I can’t, maybe I will never

Chunxiao Qu, McDonald’s, 2019, LED neon with transparent acrylic frames, 20 x 48 cm. photogr aph: christo crocker.

right Portrait of Chunxiao Qu wearing her own design label CxQ. photogr aph: xianglin wu.

“. . . I will find a way to live my life, pay my bills and create my art.”`` — CH U N X I AO QU

have an exhibition, maybe I don’t have any audience to see my work.” Yet, she thought to herself, “If I figure out what I should do, which is that I will find a way to live my life, pay my bills and create my art, I can be my own audience, my own art collector. And fuck everything else.” Qu now has two poetry books—popcorn, porn of poetry, 2021, and This poetry book is too good to have a name/Logic poetry, 2022. In popcorn, her poems are presented in English and Chinese. The former is often a direct translation of the latter, and when asked if she thought about Chinese readers in mind, Qu says, “Many poems in that collection were first written in Chinese and then translated into English. I didn’t think about who can read Chinese; I kept the Chinese version for myself.” Her recent exhibitions, An artist doesn’t need a label in 2022 and the title is no longer relevant in 2021, are a commingling of sincerity and irony. As usual, they are neon text-based sculptures, each potentially daring the viewer to interpret in a way that suits them, which further becomes a telling way to understand how that same person views art. As seen from the show titles alone, Qu is adamant about making a statement. Her work feels borrowed from the aesthetics and sensibilities of riot grrrl and Dadaism, but imbued with a post-structuralist bent that points to the hectic globalisation and subsequent

decontextualisation that is now permeating the world, where words now float freely in arenas devoid of meaning. Global chains of capital fuel many people’s lives, and Qu’s LED neon artworks are no exception. Made in China, where she has built good relations with workers there, her work is not unlike the brightly-lit signs one sees everywhere in East Asia, which influenced Qu when visiting for holidays. “I feel pretty annoyed seeing bright and colourful advertisements everywhere,” she explains, “I had a revenge mentality where I wanted to use the same material to promote my cultural slogans.” This is Guy Debord’s theory of the “spectacle” taken to its limits. Now Qu is showing at FUTURES Gallery in Melbourne. Not much has been revealed about the exhibition, but it will likely continue Qu’s questioning of art itself: “I think of conceptual art as [what Kosuth refers to as] an ‘art after philosophy’. It’s interesting to me to use a perspective to rethink the nature of art, by subverting the artwork to a certain extent.”

Chunxiao Qu

FUTURES Gallery (Melbourne VIC) On now—23 September

Scent of History Justine Youssef’s art confronts histories of displacement, genocide and colonialism, alongside preserving the traditions of her Lebanese heritage—as her latest solo show attests. W R ITER

Giselle Au-Nhien Nguyen

The sense of smell is central to Justine Youssef’s practice. Through scent, the Sydney-based artist brings questions of displacement, ownership, possession, and culture to the fore in ways that are both subtle and inescapable. “I’m interested in the ways that an immaterial thing like scent can make visible the otherwise unseen,” she says. Youssef’s work teases out the sociopolitical complexities of areas that she has experienced within her life. The artist grew up in Western Sydney as part of what she calls an “insular” Lebanese community, immersed in cultural practices and traditions. She realised as she got older that the land held many histories and contradictions, and that the displaced migrant narrative contains hidden layers of complicity. “We pay our taxes to this government, and those taxes fund war crimes in Lebanon where our family is from,” she says. “It’s a very loaded thing for me to observe that displaced people are often resettled on land with really complex, heavy histories of genocide. “I have a lot of family who are so grateful and indebted to Australia for liberating us from what we experienced overseas—they couldn’t access fresh water, electricity, education or healthcare. But I’m curious about what or who our gratitude is contingent upon . . . We’re displaced here but we’re further displacing our family [overseas], and displacing First Nations people. It’s a really nasty cycle.”

The impact of social-political structures has been embedded in Youssef’s practice from the beginning. In her late teens, Youssef didn’t finish high school due to unstable housing, and instead enrolled in a fine art course at Meadowbank TAFE, before studying at university—a significant achievement for Youssef and her family, as neither of her parents had graduated from high school. During this time Youssef couldn’t avoid noticing “how intimate moments connect to larger systems”. These thorny cycles and relationships between the personal, political and systemic are explored through Youssef’s work with hydrosol, a floral water made from distilling plant matter. It is a cultural practice that is specific to her family’s village in Lebanon, inherited matrilineally. The artist’s fascination with this process grew when she learned that the roses her mother was distilling in Australia were introduced by the British in the 1840s to subjugate native plant life. “I was so curious about her access to colonial roses in this ancestral practice of making rosewater, and the glitches and warps of displacement,” explains Youssef. An Other’s wurud , a performance work that began in 2017, saw Youssef distill rosewater for a live audience right Justine Youssef, Somewhat Eternal, 2023, two channel video (still), 11 minutes.

Justine Youssef, Somewhat Eternal, 2023, two channel video (still), 11 minutes.

“Those complex connections that come up allow us to understand or see the ways that these really insidious structures play out.” — J US T I N E YOUS SEF

using the colonial David Austin and Burnet species. “It became an interesting thing to observe the way that the scent would diffuse and occupy the gallery space and our lungs with each breath—it became this visceral experience,” she says. “Those complex connections that come up allow us to understand or see the ways that these insidious structures play out.” Youssef has also worked extensively with video, including the John Fries Award-winning Under the table I learnt how to feed you, 2019, which placed imagery of the women in Youssef’s family dancing and disrupting physical space against footage of family making bread in a bakery as undocumented laborers. These works are specific to community and place, capturing the multitudes of Western Sydney. Her latest show at UTS Gallery marries the two mediums—video and scent—and lines of inquiry. The artist went on a research trip to Lebanon earlier this year, where she had the opportunity to learn more about traditional distilling techniques (she admits her family’s technique is “very DIY”). The exhibition comprises a scent pond made from the Damask rose, Lebanese cedar and blessed milk thistle—all plants with their own knotty histories. This is installed in relation to small screens showing footage of Youssef’s aunt performing a ritual of removing the evil eye (the gaze believed to bring bad luck) via WhatsApp, using lead and

parsley. The two rituals, then, are in conversation with one another. Through both sight and sound, the viewer experiences these cultural practices and their transmutation through time. Superstition is, Youssef says, another way of understanding the world, but one that is often devalued by Western systems of knowledge. “Superstition, spells and prayer are no more or less material or tangible than contracts and deeds to land and mortgages—they’re all just weaving stories,” she says. “It’s interesting to see the relationships between empirical and superstitious worlds.” More than a mirror to colonial paradigms, the artist hopes to use her practice to preserve disappearing traditions as instability mounts in the Lebanon region, and as a speculative tool to envision different futures. “It’s about sharing stories and practices that really matter in the end,” she says. “I’m interested in world building, and ways that we can create alternative ways forward. For me, working with scent is a way to imagine beyond colonial paradigms.”

Justine Youssef

UTS Gallery & Art Collection (Sydney NSW) 3 October—24 November

Talking with

Brendan Huntley

W R ITER

Tiarney Miekus

Whether painting, sculpting, or singing in garage-rock band Eddy Current Suppression Ring, Brendan Huntley’s practice has an energetic impulse. With art defined by vivid colours and patterns, he’s recently created various series centering motifs from eyes to butterflies, alongside a collaboration with Melbourne fashion house Alpha60. With an exhibition at Tolarno Galleries, Huntley reflects on his latest paintings and the nature of creating.

We’re in your studio in Eltham, looking at your latest paintings which feature your signature patterning and colour. They have a recurring eye motif, placed within what might be a face—but it’s more abstracted than that. These came out of your ‘pinhead’ sculptures, which are small ceramic faces—can you talk through that process?

The paintings aren’t necessarily obvious renditions of heads or butterflies, like other works in the show— instead, I wanted to lean into something more abstract that came out in the pinheads. The pinheads are a kind of subconscious meditative process, happening when I’m not in the mood to paint or go too big with sculpture. They originally evolved out of leftover bits of clay at the end of a day of sculpting, which I manipulated into small faces using the palms of my hands, stamps, pen lids, seed buds, stones and drawing implements. They were also useful to fill up the kiln, which I guess comes out of an economic frugality and a desire to explore the material on a smaller, less labour-intensive scale. They’re not studies—they’re their own thing. They capture a spontaneous, fluid energy, which was something I wanted to express and transfer to a larger two-dimensional scale. I became interested in the idea of using them as a jumping point for the paintings by zooming in on certain aspects to the point of abstraction, framing them around the eye to lead you into the work.

left Brendan Huntley. photogr aph: andrew curtis.

But then around the eye are various marks and patterns.

The eye and other facial features work as a counterweight to explore mark making and the joy and quality of the medium itself. The patterns reference material, clothing, skin, DNA. They also directly reference the patterns that I developed in the wings of my butterfly and moth sculptures. You’re noticing one form against a contrasted pattern—and that really does something, it takes you somewhere else. It gives a sense of space and depth, a place for the viewer to take a breath.

While your work has a realist quality, some painters, particularly abstract painters, speak of the bodily feeling of painting and marking with tools or brushes. Do you have that sense?

The bodily thing is definitely going on. It’s a satisfying feeling. For me, the subject matter is important in the sense that there’s something to relate to—but that’s really just the engine to start things off. I love the interplay between form and structure, and experimenting with materials. I sculpt, I paint, I draw, but ultimately, I just love making marks and capturing an energy.

Do you think about that while you’re painting? Or is that a later reflection?

Maybe on a subconscious level but definitely more so later. It’s like when I watch my kids painting: you can see they’re not necessarily thinking about capturing an exact replica of the subject. It’s more about getting some kind of energy out. Like I’ll say, “What’s that you’ve drawn?” And they’ll be like, “It’s a tractor.” It doesn’t look like a tractor, but it’s got that feeling of the tractor. It’s something about capturing feelings.

Brendan Huntley, Untitled (Divot), 2023, oil on linen, 130 x 110 cm. courtesy of the artist and tolarno galleries.

Brendan Huntley, Untitled (Spark), 2023, oil on linen, 110 x 130 cm. courtesy of the artist and tolarno galleries.

“It’s something about capturing feelings.” — BR EN DA N H U N T L E Y

In almost every interview you do, people link your music and art practice. I was thinking how Eddy Current Suppression Ring, and much underground music, is a music of ‘making do’ with what you have. And I thought about how you make marks on your canvases and ceramics with sometimes rudimentary tools—it’s also a sense of ‘making do’. But when that happens for 20 years, does the naivety still stay there, or do you have to cultivate it?

I’ve been thinking about that lately because Eddy Current has been jamming more regularly again— although we kind of go in and out, we still have our sound. Some bands make a conscious effort to change their sound, but because we’ve always kept it so stripped back, the rest is about how strong you can make the music, the lyrics, and the delivery of those elements. That’s on the human. And, like you say, it’s how I make my artwork too; there’s a simple frugalness to it. Not necessarily with the quality of the tools and materials, but more about keeping it stripped back. Using those simple rudimentary tools and materials cuts the fat away. It’s not necessarily cultivating something raw, it just is raw. Keeping things stripped back also leaves plenty of room for accepting accidents—and the ability to see them with clarity. It’s knowing the difference between good accidents and bad accidents, and having the confidence to follow the good ones.

I think that’s often what makes a good artist—people who have the taste to recognise a good accident. I completely agree. It’s a core foundation, isn’t it? I’m feeling that way with this new series of work because I’ve really enjoyed letting them build themselves from the pinheads—embracing, enhancing and framing those elements to the point where they become their own thing.

When you’re performing on stage, especially as the singer, you’ve got that intuitive role of winning the audience over. Do you ever feel that when you’re painting, wondering if you’ll win someone over?

Not if everyone else feels that doubt?

Well, you might think during a performance, “Oh, I’m really failing here. And they can see it.” And then later someone is like, “Man, that was the best!” And you think, “Oh, okay, cool.” It changes how you thought of the event as well, especially when it’s someone’s opinion you admire and trust. But when I’m painting or sculpting, I want to firstly impress myself. I have to dig it. I think, “Would I want this out in the world?” There’s always going to be someone who loves it and somebody who hates it, so for me the first question is: do I stand by it? The rest is out of my control.

Have you reflected on why you like bold and bright colours so much?

In high school, I went through a stage where I used to only wear black and one day my friend’s mum was like, “Why are you always wearing black, Brendan?” Maybe it was that teenage emo thing; my brother was a goth so that was kind of influential. But one day after that I was like, “I’m gonna wear this red t-shirt that I’ve never worn.” And it felt good, you know. It changed my perspective and my mood. I get a real joy out of picking colours and finding the ways they coordinate or clash. Sometimes it’s so wrong it’s right—it’s like a game. And I trust my intuition when it comes to colour patterns. I don’t know where that trust comes from—maybe from growing up with parents who were makers, potters, painters, so I was taught about colour theory early. And I was constantly drawing from a young age, and then doing graffiti back in the day. I’d go in and pick colours off the Bunnings shelf or something and ask myself, “How can I make these colours work so it really kicks?” And maybe sometimes you don’t get it right, but then you work on it till you do.

True to Life Brendan Huntley

Tolarno Galleries (Melbourne VIC) Until early September

In the building stages it has to come back to yourself. If you’re playing and doubting yourself… Doubt can be good but…

Comment

Working Title What happens when the starving artist trope becomes all too real, alienating artists from their practice, health and happiness? W R ITER

Caitlin Aloisio Shearer

In the early 2000s, towards the end of her life, American painter Agnes Martin penned a handwritten list for her monograph, which reads: “I have worked: in a factory. In a hamburger stand. As a receptionist. In a butcher shop. In a nursery. In a cafeteria. As a baker’s helper. As a waitress many times. As a dishwasher three times. As a janitor once. As a cook once. In a parking garage. Packing ice cream. As a tennis coach. On a farm, milking. As a janitor…” It stretches to 35 other such jobs, an unusual biography for someone who garnered success in the art world. Martin’s transcendently poignant planes of paint have now come to typify mid-century Abstract Expressionism, hanging in the world’s lauded art institutions. And yet, Martin’s success did not come without sacrifice; she also lived for many years in a self-built, mud-brick structure in the Taos desert of New Mexico, without electricity or running water. I often contemplate Martin’s list because it is a stark reality for so many of us who create, and who endeavour to make art their life’s work. A second job is often the crux of an artist’s livelihood as financial insecurity is still a (largely) unspoken sacrifice, which many are oddly willing to make. I have a list reminiscent of Martin’s. As an artist I have worked: in an art supply store. As a nanny. Sewing clothing. Proofreading. Polishing jewellery. As an assistant. Babysitting. Doing data

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entry. Re-selling vintage clothes. Designing graphics. Taking pictures. Hosting workshops. Organising exhibitions. Wiping bottoms. Cooking dinners. These part-time roles have financially sustained me while pursuing a career in the arts, interwoven into a life of making do. However, to my dismay, the dreams which once burned so brightly are beginning to taper off as I face the realities of a future where decisions like motherhood and a mortgage cannot likely be sustained on the income of a creative practitioner. What happens when the trope of the starving artist becomes all too real, and the accompanying sacrifices and stresses of pursuing a creative career alienate you from your own practice—and from health and happiness, too? I know I’m not the first woman who has had to grapple with the realities of establishing a comfortable career in the arts—most of my creative friends are in the same boat. I know a painter who washes other people’s dishes during the day and paints on cloth by lamplight at night. There’s the sculptor who bicycles to the studio in stiff mid-winter air and spends a third of his weekly support work paycheque on the purest pigments of blue. I consider the unemployed poet who circles a figure eight through the local park, his workplace: the world. The painter who straddles three jobs, plus study and the needs of a small child, whose subject matter is domestic calm in the eye of a demanding storm. The photographer who

Illustration by Caitlin Aloisio Shearer.

shapeshifts into a law secretary between the hours of 9am and 5pm, later committing to the darkness required for exposing pictures in silver nitrate, by gloved hand. These are not uncommon stories. Most of the artists I know exist in two necessary realms, the day job and the night job, moonlighting as our true selves when time and resources allow it. We learn to be frugal, to juggle responsibilities and deadlines. But despite popular belief, no one can survive on self-expression, monastic obsession, or an intense desire to put paint on canvas. Perhaps the romanticised fallacy of the starving artist has led us to believe that artists do not require much more in life. How wrong this misconception is, and dangerous too. Scrolling once again through job-searching site Seek, I noticed that the job growth projection for Australia’s creative industries is a depressing 0.8% over the next five years. Seek currently displays a mere 280 arts positions nationwide (and some of these are misplaced roles, like “Sandwich Artist” at Subway). Construction counts 6,887 jobs, education has 14,227, and healthcare boasts 22,883. Creatives swim in a small pool, jostling for a handful of opportunities, which makes it increasingly difficult to sustain meaningful part-time employment alongside a creative practice. Not to mention a focus purely on arts training can often leave one

under-skilled in positions where other kinds of proficiency is essential. It is important to remember that artists are workers, even though arts and design workers are not protected by unions. The struggle to secure superannuation, sick pay, award wages and career stability is enough to drive hopeful arts workers to defect to other industries to protect themselves and their livelihoods. The consequence is that arts industries are drained of precious knowledge, skills and niche expertise. The artist friends I mentioned earlier make art because they love it. As do I. We couldn’t imagine leading lives in which making things with our own two hands wasn’t a central force—but it’s also an uncomfortable reality when your paintings hang in the kinds of homes that you could literally only dream of inhabiting. Artists work hard to create cultural capital, and yet they can barely afford to indulge in it themselves. Thinking again of Martin, surviving on odd jobs and painting with her back to the world, and without romanticising that trope further, I realise that “making it” as an artist in this lifetime might just be the oddest job of all. Caitlin Aloisio Shearer is a painter and illustrator who also works for Art Guide Australia.

Posters on the Pulse Since their radical rise in the 1970s, posters have been used by artists and activists for feminist, political, environmental and cultural issues. As a new exhibition at Wagga Wagga Art Gallery attests, today may be no different. W R ITER

Louise Martin-Chew

The way humans communicate has changed dramatically since the 1970s—yet Wagga Wagga Art Gallery’s exploration of prints and posters from 1978 to now might suggest that the more the issues change, the more they remain the same. Wagga Wagga director Lee-Anne Hall has curated political prints for many years. Her latest exhibition, On Message – Environmental Prints and Posters 1978-2023, traces the conceptual shifts and technological developments that have impacted both what we communicate and how these messages may be printed—all across 45 years. In creating the show, Hall has drawn on Wagga Wagga’s extensive print and poster collection, with a loan of earlier material from the National Gallery of Australia. As she explains, “Environmental issues have been at the heart of much political poster making for some decades. I’ve included Pam Debenham’s No nukes in the Pacific, 1984 poster, and Bob Clutterbuck’s Save the Franklin Damn the government, 1982, which protests logging in Tasmania. “More recent posters, like Thea Anamara Perkins’s collaboration with Tangentyere Artists (Alice Springs), target the issues confronting remote Aboriginal communities today, such as fracking and mining. Others protest industrial pollution and climate change; they are calls to action. Within this group of posters you can see how the issues and thinking around the environment has evolved. The climate crisis has seen artists act with even

greater urgency.” The exhibition is contextualised within Wagga Wagga’s annual program Green 2023, a year of the environment, which devotes all activities to climate discussions and required action. It is a significant investment for a gallery located in a large inland farming region. “It’s been incredibly well received,” says Hall. “We are getting a lot of traction. The program allows us to facilitate conversations about really difficult subject matter, and you can never know where those conversations will finally land. We are in a crisis, and we are committed . . . However, many galleries do work with artists who are engaged in talking about the environment, to question and critique, or just to remind us of how extraordinary the natural world is—and what we are absolutely losing minute by minute.” It is not uncommon for artists to make political work, with the climate crisis a key area for activist practices. What differentiates posters is that they are made as ephemeral objects. In the 1970s and 80s, the cheapest available paper was used for screen printing, and posters were designed to convey a political message as cogently as possible into the places where they impacted communities. As the Paris-based Atelier Populaire (the people’s workshop that printed posters) claimed in 1968, posters are “weapons in the service of the struggle . . . Their rightful place is in . . . the streets and on the walls of the factories.” Hall recalls that in Australia

Pam Debenham, Tin Sheds Posters, Sydney University Art Workshop (Tin Sheds), No nukes in the Pacific., 1984. national gallery of austr alia, k amberri/canberr a, purchased 1990.

Chips Mackinolty, Jalak Graphics, Redback Graphix, Nyuntu anangu maruku ngurangka ngaranyi. You are on Aboriginal land., 1985. national gallery of austr alia, k amberri/canberr a, purchased 1987. © redback gr aphix.

Julie Shiels, After Bellini’s Agony in the Garden, 2023, digital print, 39 x 29 cm, from the series Infernos, Floods and Deserts.

“The climate crisis has seen artists act with even greater urgency.”

— LE E -A N N E H A L L , DI R E C T OR , WAG G A WAG G A A R T G A L L ER Y

too, “There was an immediacy around posters; they were made for campaigns about issues that artists were strongly engaged with. Some of the earliest ones in the exhibition are around the nuclear threat. Others, like Chips Mackinolty’s You Are On Aboriginal Land, 1985, celebrated the hand back of Uluru to its traditional owners.” Yet the way that posters are produced and circulated has shifted. Screen printing has become more expensive and contemporary posters may be printed on paper, but using digital or offset methods, allowing larger numbers to be produced. In recent posters by artists like Julie Shiels and Alison Alder, an interest in the broadest possible audience for their work continues. Shiels uses 17th-century art historical images, altered to draw attention to a witty political message and the climate emergency. Digital means were used by Climarte artists in posters developed in 2019 for city-wide bus shelters. Designed to engage people with climate action, their visual presentation is nuanced, with a design dissonance that stands apart from the easily read advertising imagery often seen on the same sites. Some of these posters, by artists such as Salote Tawale, are also included in the exhibition.

Hall observes, “While political poster making and screen printing continues to occur, increasingly designers and artists have chosen to communicate more directly with an audience using social media platforms. It is not just technical change, in terms of reproduction, but that the platform itself has shifted.” The relevance of this art form to both the social and political issues faced by contemporary audiences, and their accessibility to a wide community, has continued to engage artists within the shapeshifting form. While the means and the mechanisms have evolved, artists continue to use posters to convey their beliefs. Often tuned into their natural environment, this exhibition documents artists’ impetus for change, drawn from images with strong graphic qualities first seen on the streets. It speaks also to Wagga Wagga Art Gallery’s ambition: to lead community conversations and create a safe space for the sharing of ideas.

On Message – Environmental Prints and Posters 1978-2023 Wagga Wagga Art Gallery (Wagga Wagga, NSW) 2 September—19 November

Creating Nature At the Museum of New Art (Mona), two international artists are centering the sensory experiences of nature, from local materials to volcanic eruption. W R ITER

Sally Gearon

Jean-Luc Moulène and Teams. photogr aph: mona/jesse hunniford. image courtesy of mona museum of old and new art, hobart, tasmania, austr alia.

“To create is to embody a thought.” — J E A N -LUC MOU LÈ N E

What drives the creative impulse? Is it a reaction to the world, or an attempt to create new worlds? Human nature, or human ambition? French artist Jean-Luc Moulène takes a Descartian stance; he says, “To create is to embody a thought.” The lead up to his long-awaited and first solo exhibition in Australia has taken much thinking, and much communicating, working with a team of people across the world to create Jean-Luc Moulène and Teams. The teams are varied. Moulène himself lives and works three hours outside of Paris; Mona commissioning curator Olivia Varenne is based in Geneva; guest curator Michel Blancsubé lives in Mexico; and Mona is, of course, in Hobart. The project was first conceived in 2018 and was intended to be exhibited in 2020, then 2021, and is now finally coming to fruition. The pandemic resulted in delays, but the delegatory nature of Moulène’s creative process was already in place. “It was the experience of entrusting the teams not only with the exhibition but with the works,” says Moulène. “It was a question of distance and time. Then, the coronavirus pandemic came and gave a new necessity to this question because I couldn’t be present anyway.” Mona curator Sarah Wallace agrees, explaining, “Even pre-Covid, when the project was first conceived, we always understood that Moulene’s delegation of artistic authority is essential to his practice.” The exhibiting works span existing pieces and four newly commissioned sculptural objects that were created in Australia, using Australian materials and technicians. One is made with wax, another metal, the third Triassic sandstone, and the final timber from primaeval Tasmanian underwater forests. “The materials are specific to the location,” says Wallace. “Each material was selected by Moulène

and then totally transformed. His ideas always evolve from a deep and considered engagement with material form and process, and then he worked closely with our teams at Mona to create these works.” The objects Moulène has created throughout his career differ greatly in style. Some have an artificial and playful manner, from a scythe attached to a plastic chair, or a blender replacing the lens of a camera. But these new works have an earthen quality, largely due to the materials used. The sandstone sculpture, though made to precise specifications, looks like it could have formed naturally over years of careful erosion. Moulène himself downplays the intention of the materials, instead focusing on the collaboration. “The materials used for these new works, produced in Australia, could be found everywhere,” he says. “There is wood and stone worldwide, but producing locally is the specific pleasure of making, and also the pleasure of meetings, of creating new teams for one time, one project.” In another room of Mona is another international artist. They are also recreating the natural world, but through a purely sensorial experience: Icelandic musician and visual artist Jónsi has created the sensation of being in the belly of a volcano. The impetus came from the 2021 eruption of Fagradalsfjall in Iceland, which had lain dormant for 800 years. Jónsi was in the United States at the time, unable to leave due to the pandemic. Restricted to watching videos shared by his friends and family, who witnessed the eruption from a safe distance, was frustrating. “I really wanted to see it and experience it, to smell it,” says Jónsi. “I wondered, ‘How can I create a volcano?’”

Jean-Luc Moulène and Teams. photogr aph: mona/jesse hunniford. image courtesy of mona museum of old and new art, hobart, tasmania, austr alia.

Hrafntinna (Obsidian) is the result. Visitors enter a dark room, first encountering the smell of fossilised amber. “It has a sweet and smokey tar-like smell,” says Wallace. Next come the soundtracks: a mixture of haunting hymns and choral pieces accompanied by abstract soundscapes and bass lines that reverberate bodily, played through 16 channels and 195 speakers that encircle the visitor. The experience lasts 25 minutes and includes a ‘secret’ element that Mona is waiting for audiences to discover themselves. Such soundscapes are to be expected from the musician, who’s band Sigur Rós is one of the most famous Icelandic exports since Björk. But the olfactory sensation is another passion of Jónsi’s. Wallace describes how he began experimenting with essential oils and aroma chemicals in 2011, and would carry around a portable perfume kit on tour. In 2017 he co-founded a perfumery in Reykjavik with his family, and has been increasingly incorporating scent into his practice. “Most of his installations and sculptural assemblages are grounded in sensory experiences,” says Wallace. “They all combine, in some way, visual, auditory and olfactory senses.”

For Jónsi, the non-visual senses possess the ability to transport us. “Despite their invisibility, scent and music have so much capacity to make us feel,” he says. “They engage us physically, trigger us physically, while simultaneously allowing our minds to wander through memory, and across landscapes.”

Jean-Luc Moulène and Teams Jean-Luc Moulène Hrafntinna (Obsidian) Jónsi Museum of Old and New Art (Hobart TAS) 30 September—1 April 2024

29 July– 19 November 2023

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ARCHIE 100 HOTA, Home of the Arts 15 July – 2 October 2023

A CENTURY OF THE ARCHIBALD PRIZE An Art Gallery of New South Wales touring exhibition

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

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JANE BURTON: Retu r n i ng 2 Sept–5 Nov Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton, Victoria T: 03 9261 7111

This exhibition and lightbox installation presents a series of newly commissioned photographs engaging with Brighton’s historic mansion Billilla alongside recent works including the Kingdom of pleasure ambrotypes that explore St Kilda’s Luna Park as a key site within our collective memory. Lightboxes: Billilla Mansion, 26 Hallifax Street, Brighton

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

Image: Jane Burton, Untitled 2023, pigment print, 110 cm x 110 cm. Courtesy the artist

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Mornington Peninsula Regional Gallery 15 September – 5 November 2023

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CAROLINE ZILINSKY FOR WHOM THE BELL TOLLS 9 – 25 NOV, 2023

Image: Refract Back, 2023, Oil on linen, 112 x 122cm

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bowerbird Helen Fuller

17 October 2023 – 10 March 2024 QUT ART MUSEUM Brisbane City, QLD FREE ENTRY | artmuseum.qut.edu.au Helen FULLER Untitled 1-3 2022, terracotta with porcelain slip. QUT Art Collection. Donated by Helen Fuller, 2023. Pat HOFFIE FORCE MAJEURE (Underworld Bunny) (detail) 2019, watercolour and gouache on tracing paper. Private collection, Brisbane.

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1 – 24 Sep

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Within my skin 2 Sept –7 Oct Emily Dober Bronwyn Hack Sammi-Jo Matta Lisa Reid Ema Shin

Curated by Jodie Kipps & Alysia Rees

ARTWORK: Bronwyn Hack My Heart Goes On 2022 © Copyright the artist, represented by Arts Project Australia

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Ballarat International Foto Biennale comes to RACV Goldfields Resort 19 August – 3 December 2023 Winterbloom Aldona Kmieć

Aldona Kmieć invites us to explore the boundaries of our own imaginations and to embrace the power of creativity in her new series.

Behind the Image Erik Johansson

Step behind the curtain, or in this case the image, and into the world of Erik Johansson, featuring original drawings and short documentaries.

Within the Landscape

Naomi Hobson, Selina Ou & Lisa Sorgini Hidden outside and around the RACV Goldfields Resort, this exhibition examines recent Australian photography that focuses on children and adolescents within three distinct regions of Australia.

Visit racv.com.au/art for more information.

Stay at RACV Goldfields Resort during the festival. Use promo code FOTO2023 online to save 15%*. Plus, RACV Members save more when booking direct. *Terms and conditions apply. Subject to availability. Restrictions and blackout dates apply. Promo code or membership number must be quoted at time of booking. Not available in conjunction with any other offer unless otherwise stated. Valid from 26/8/2023 to 22/10/2023.

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Image Imagecredit: credit:Aldona AldonaKmieć, Kmieć,Winterbloom Winterbloom1111(detail), (detail),2021. 2021.Courtesy Courtesythe theartist. artist.

Image Imagecredit: credit:Erik ErikJohansson, Johansson,Impact Impact(detail), (detail),2016. 2016.Courtesy Courtesythe theartist. artist.

Image Imagecredit: credit:Selina SelinaOu, Ou,The ThePines Pines(detail), (detail),2022. 2022.Courtesy Courtesythe theartist artistand andSophie SophieGannon GannonGallery, Gallery,Melbourne. Melbourne.

An exhibition developed by 4A Centre for Contemporary Asian Art, curated by Amrit Gill and Reina Takeuchi

BUSH DIWAN Anindita Banerjee Amardeep Shergill Sukhjit Kaur Khalsa Perun Bonser Monisha Chippada Manisha Anjali Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 16 Sep – 12 Nov 2023

Bush Diwan centres on the story of Siva Singh, an early 20th century Victorian resident, Sikh community leader and civil rights campaigner. In responding to the Siva Singh story, artists illuminate two significant – yet little known – moments in Australian history.

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

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5 AUG -12 NOV 2023

An enriching and life-affirming exhibition, The Soils Project explores the meaning of soil as both matter and metaphor.

This ongoing research-based experimental project brings dynamic new works to TarraWarra from the Netherlands, Colombia, Indonesia and Wurundjeri Country – including paintings, sculptures, weavings and videos. Developed in collaboration with leading contemporary arts museum the Van Abbemuseum in Eindhoven, the Netherlands and Struggles for Sovereignty, a collective based in Yogyakarta, Indonesia.

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Peta Clancy, detail from the photographic installation Surfacing 2023. Courtesy the artist and Dominik Mersch Gallery, Sydney. SUPPORTED BY

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Step inside the largest experience of First Nations art and culture ever created, featuring 110 visual and musical artists. EMILY KAME KNGWARREYE

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Park Dream Wona Bae & Charlie Lawlor 2 September – 19 November 2023

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

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

Wyndham Art Gallery established the Wyndham Art Prize in 2015. It has become one of the largest prizes, regarding the number of artists shortlisted, in the country. Each year the artists are selected by Wyndham Art Gallery curators and judged by independent curators and art professionals.

Opening: Wed 16 August, 6.30 – 8.30pm Exhibition: 17 Aug – 29 Oct 2022 Wyndham Art Prize Winner, More Like a River (Portrait) (detail), Lilah Benetti, 2022. Image courtesy of the artist.

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The

Polyphonic Sea 8 July - 8 October

New work by artists from Aotearoa New Zealand

Antonia Barnett-McIntosh • Andrew Beck • Ruth Buchanan • The Estate of L. Budd • Sione Faletau • Samuel Holloway et al. • Sarah Hudson • Sonya Lacey • Nova Paul • Sriwhana Spong • Shannon Te Ao Nova Paul, Hawaiki, 2022, 16mm colour film (still)

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Little Horn II 2012 monotype 60.5 x 45.5 cm

Masterful monotypes from decades of printmaking are exhibited by highly respected printmaker Wayne Viney, represented by Australian Galleries. Dramatic black-and-white landscapes of Tasmania and Lake Charm, near Kerang in Victoria, are juxtaposed against vibrant colour field images. Whitehorse Artspace, Box Hill Town Hall Tuesday to Friday 10am – 4pm, Saturday 12pm – 4pm

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50 th Anniversary Exhibition | Opening 26th October 2023

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Lucy Culliton Graeme Drendel

31 August - 23 September 2023

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Graeme Drendel - ‘The tutorial’, oil on canvas, 60 x 71cm (detail)

Lucy Culliton - ‘The dog room’, oil on canvas, 97 x 107cm (detail)

Mikaela Castledine Syanthropes And Other Animals 30 August - 16 September West Perth

Mikaela Castledine, ‘Pigeons’ 2023, Crocheted cellulose raffia, sculptural hardener, found twigs, timber framing, dimensions variable

Julie Davidson Seasons 14 September - 1 October Subiaco

Julie Davidson, ‘Songs of Spring’ 2023 [detail], Oil on linen, 122 x 137 cm

Johnny Romeo Dodge City 2 - 21 October West Perth

Johnny Romeo, ‘Rich Rider Rise’ 2023 [detail], Acrylic on canvas, 200 x 200 cm

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SPINIFEX COUNTRY 18 AUGUST – 29 SEPTEMBER 2023

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ROY UNDERWOOD circa 1937 – 2018 Mulaya 2014 (detail) synthetic polymer paint on linen © Roy Underwood/Copyright Agency, 2023

THE PERCIVALS 2024 22 JUNE – 1 SEPTEMBER

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Michael Lindeman I… [detail] 2020 Watercolour and acrylic on canvas, 196 x 138 cm Winner of the acquisitive Percival Portrait Painting Prize 2022, Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection. Accession number: 2022.0137.000

Perc Tucker Regional Gallery Cnr Denham and Flinders St Townsville QLD 4810 Tue - Fri 10am – 5pm Sat - Sun 10am – 1pm

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23 Nov - 10 Dec 2023

Flaxton Gardens, Sunshine Coast Hinterland, QLD

Immerse yourself in creativity! An 18 day festival featuring an indoor and outdoor sculpture exhibition, comprehensive daily workshop program, artist talks and special events.

All photos by Barry Alsop Eyes Wide Open Images: Jason Murphy welcoming guests to Jinibara Country in front of Sophy Blake’s Dogs in Flight, Wearable Art by Cindy Vogels, Aves #5 by Gabe Parker, guests at the official opening, Cory Carlyon Music

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WEDDINGS

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In the Glow of Green Clare Belfrage

4 August – 26 November 2023 Clare Belfrage Canopy, Green I 2023. blown glass with cane drawing, sandblasted and pumice polished. 44 (h) x 30 (w) x 15cm (d). © The artist Photo: Pippy Mount Clare Belfrage is represented by Sabbia Gallery, Sydney

The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.

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Museum of Contemporary Art Australia

Zoe Leonard

11 August – 5 November 2023

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The exhibition Zoe Leonard: Al río / To the River is organised by the Museum of Contemporary Art Australia in association with Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and the Musée d’Art Moderne de Paris, Paris Musées. Zoe Leonard, Al río / To the River (detail), 2016–2022, gelatin silver prints, C-prints and inkjet prints, production supported by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Musée d’Art Moderne de Paris, Paris Musées, Museum of Contemporary Art Australia, Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, Galerie Gisela Capitain and Hauser & Wirth, image courtesy the artist, Galerie Gisela Capitain, and Hauser & Wirth, © Zoe Leonard

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DEMAND PLANNING ART LESSONS HAS NEVER BEEN EASIER Practical online curriculum support for Australian teachers. High quality, curriculum aligned learning units with sequenced lesson plans. Foundation to Secondary – covering a broad range of materials, techniques and subject matter. Reduce your workload and focus on your student needs. Designed by teachers for teachers.

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\SCIENCE\ \ENVIRONMENT \ENVIRONMENT \SUSTAINABILITY\ NATURE\ \SUSTAINABILITY\ \BIODIVERSITY\ HABITAT\

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112 Adderley St, West Melbourne 0415 243 917 | westendartspace@gmail.com

Lev Khesin Widaxo (detail), 2023 Lenticular print, box-framed in Tasmanian Oak 83 x 56cm

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OVER 30 ABORIGINAL ART CENTRES EXHIBITIONS + MARKETPLACE + TALKS + WORKSHOPS + FILM + MORE Araluen Arts Centre Mparntwe (Alice Springs) Opening 7 September until 22 October Visit desertmob.com for more details Proudly sponsored by

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Anna van der Ploeg, Salt Lick, Acrylic on Canvas, 100 x 140cm 424 Malvern Road, Prahran VIC 3181 otomys.com @otomys

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ADAM ALCORN SOLO EXHIBITION

OCTOBER 18 - NOVEMBER 11

Exhibition opening Friday 27th October 6:00pm - 8pm

the.imaginer gallery | studio | imagining space

105 Sydney Rd, Manly 2095

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4 AUGUST–29 OCTOBER

A Flaw in the Dance Rick Ball Collateral Veins Alexandra Rosenblum Creations of the Night: Inspired by Dreams and Fantasy Willyama Arts Society Inwards Annika Romeyn

Broken Hill City Art Gallery 404–408 Argent Street Broken Hill, NSW 2880

Tuesday to Sunday, 10am–4pm bhartgallery.com.au bhartgallery.com.au

Annika Romyn, Old Mutawintji Gorge, (detail), 2023, watercolour monotype, 168 x 228 cm. Photo: Brenton McGeachie.

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26 AUGUST – 29 OCTOBER 2023 South Australian Museum | Open daily 10am – 5pm

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Dan Jones, Nectar of Life (detail). Finalist in the Macro category.

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6 EXHIBITIONS 1 SOLO + 5 MINI On October 14 Joaquin Valdez Macher (USA) heads with his solo show “Happy Place”, accompanied by five mini solo shows from artists Sean Edward Whelan (AUS), Amber Kingi (AUS), Silas (NL), Nector (CO) and Caitlyn Taylor (AUS). Please email info@19karen.com.au to receive a Collector’s catalogue.

@19karengallery 19karen.com.au | info@19karen.com.au | 07 5554 5019 19 Karen Avenue, Mermaid Beach, Gold Coast QLD 4218 Tue - Thurs: 9am – 4pm | Fri - Sat: 10am - 2pm

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ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION NEW EXHIBITION NESSAFAYE - Nurtured by Nature 18 September - 26 October 2023

4 Russell Street, Toowoomba, Qld Gallery Open: 9am – 5pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art featherandlawry.com.au/art

Enrico Donadello

Introducing for the first time to an Australian audience Italian artist, Enrico Donadello. Working from a studio in Vicenza, Enrico’s ceramic objects are quickly gaining notoriety throughout Europe and abroad, a testament to meticulous and refined skill in the process of hand building. Creating sculptural forms that blend tradition with modern sensibilities has resulted in a body of work that is unique and unexpected, with fluid lines, irresistible tactility and earthy tones.

Exclusively at The Front Room.

A limited collection of unique commissioned works are now available, exclusively at The Front Room.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121

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A–Z Exhibitions

Victoria

SEPTEMBER/OCTOBER 2023

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

Anna Schwartz Gallery annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–6pm, Sat 1pm–5pm. Until 16 September holding several threads at once, figuring a future together Louisa Bufardeci Until 23 September Straight torque, twin series Amrita Hepi Until 16 December Mike Parr

Tony Smibert, Tao Sublime 14: Winter, 2022, acrylic on canvas, 183 x 122 cm.

Art Gallery of Ballarat

16 September–22 October Tony Smibert: Tao Sublime

artgalleryofballarat.com.au

Following on from the major survey exhibition Tony Smibert: Tao Sublime, at Queen Victoria Museum and Art Gallery (GVMAG), in Launceston Tasmania, ACAE Gallery is excited to present selected works from Tony’s Tasmanian studio. “A singular voice in traditional, minimal and abstract art - a painter whose work blends eastern and western traditions.” Damian Smith, Director ACAE Gallery.

40 Lydiard Street North, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information. Ballarat International Foto Biennale 2023: 26 August–22 October People Power – Platon Celebrity photographs by well-known photographer Platon. Ticketed exhibition.

ACMI

26 August–22 October Instant Warhol

acmi.net.au

A selection of polaroids by Andy Warholl. Ticketed exhibition.

Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Open daily 10am–5pm.

12 August–5 November The Stephanie Collection Yvonne Todd New Zealand-based photographer known for her unique and unconventional approach to portraiture.

L-R: Laverne Cox in Paper Magazine, 2020, © Joshua Kissi. Marilyn Monroe, image by Milton H. Greene, © Archive on behalf of Milton H. Greene. 2007 SAKURAN Film Committee © Moyoco Anno/ Kodansha. Winnie Harlow. Courtesy Albert Sanchez and Pedro Zalba.

Ramak Bamzar, Leila from the Moustachioed Women and Rhinoplastic Girls series, 2022, pigment inkjet print on paper © Ramak Bamzar.

5 April—1 October Goddess: Power, Glamour, Rebellion Curated by Bethan Johnson.

26 August–5 November Pro Femina Ramak Bamzar

Alcaston Gallery

A celebration of the strength of Iranian women by Iranian photographer Ramak Bamzar.

alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 138

Ian Kemp, Carachi Pampa, 2023, digital photograph. © Ian Kemp. 17 August–22 October Neverlasting Ian Kemp Photographs of Andean plateus, exploring transience of life. Artscreen In Alfred Deakin Place: 29 August–22 October Digital Anthropocene Serwah Attafuah and Jonathan Zawada Exploration of the merging of art amnd science at the virtual forefront. 26 October–3 December Where the Light Enters Anzara Clark Paper artist Anzara Clark explores the ideas that wounds allow light to penetrate hidden spaces.

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

Selina Ou, The Temple, 2022, inkjet print, 120 x 80 cm. Courtesy of the artist and Sophie Gannon Gallery, Melbourne.

12 August–19 November Effacement Karenne Ann and Heather Horrocks

ArtSpace at Realm: Until 17 September Neighbourhood Tales Selina Ou

Crocheted video tapes form masks, which feature in powerful photographs

Neighbourhood Tales is an exhibition of photographs produced in Maroondah

VICTORIA and surrounding suburbs between 2020 and 2022 by Selina Ou in collaboration with her two sons who appear in each of the images, sometimes together, sometimes alone. Ou, an Australian artist of Malaysian Chinese descent, describes these artworks as “narrative landscape photographs”, meaning that she has invited her children to pose as figures within colour documentary images of local landscapes to tell stories about their shared experience of suburban life. Each image (or tale) is carefully staged and subtly lit, bringing a theatrical scenography to these familiar environments. As those of us who are old enough to remember know, this project was conceived in the thick of the Covid-19 Pandemic. Ou, as an artist and mother – like all Australian parents of young children – was thrust into lockdown and subjected to public health measures that could hardly have been imagined: home schooling, severely limited physical interaction beyond the family unit, and heavily restricted outdoor activity.

Until 1 September Our Plants, Our Heritage Leila Ashtiani, Sofie Dieu, Humaira Fayazi, Abouk Giir and Rahila Zeeshan

The artist’s more usual subjects – documentary portraits of people at work and play – were suddenly off limits. Neighbourhood Tales is Ou’s creative solution to remaining productive through this unusual and challenging time. The result is a compelling series of images that is at once intensely personal and universally relatable.

Arts Project Australia

Maroondah Federation Estate Gallery: Until 1 September The Texture of Memory T-Collective

In partnership with Multicultural Women Victoria, artists Leila Ashtiani (Iran), Sofie Dieu (France), Humaira Fayazi (Afghanistan), Abouk Giir (Sudan) and Rahila Zeeshan (Pakistan) exhibit together for the first time to explore cultural traditions through the plants that are sacred to their people.

Sofie Dieu, Poppy Flower and Apple Bloom, 2023, digital photograph.

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

This project sits at the intersection of ecological preservation, decolonisation and transmission of ancestral belief systems. Using textiles, graphic design and photography the artists explore the floras of their birth places and their uses in medicine, ceremony and cooking. In Our Plants, Our Heritage the artists immerse the viewer in stories about their family affinities with the intangible, emotional qualities of plants.

artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed-Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

T-Collective is four mature-age artists, Simon Crosbie, Mig Dann, Yiwon Park, Jude Worters, whose work is based on the lived experience of personal trauma. The artists connected as PhD candidates in the School of Art at RMIT University. As a collective they bring four distinct perspectives of agency and resilience to this subject. Working with diverse media, the artists explore the mutability and complexity of memory, the inherent problems in interpreting childhood experience and negotiate multiple trajectories through a visual language of trauma. The Texture of Memory creates a dialogue around this common theme that departs from the perception that trauma-informed art is purely about catharsis and isolates the artist as victim. As such, the exhibition creates ground from which emotion and feeling may flow, acting as the impetus for new discourse on this topic.

Ararat Gallery TAMA

Ema Shin, Hearts of Absent Women, 2023, embroidery, cotton, linen, glass beads, vintage beads, polyester. 29 x 23 x 14 cm. Image courtesy of the artist. Until 29 October Hearts of Absent Women Ema Shin

2021 Major Acquisitive Prize Winner: Melissa Smith, Listen Deeply – Lake Sorell, 2021, intaglio collagraph print on magnani paper, 76 x 120 cm (triptych). Until 19 November WAMA Art Prize

ARC ONE Gallery arcone.com.au Bronwyn Hack, My Heart Goes On, Untitled, 2022. 2 September—7 October Within My Skin Co-curated by Jodie Kipps and Alysia Rees. Featuring works by Emily Dober, Bronwyn Hack, Sammi-Jo Matta, Lisa Reid, and Ema Shin. Within My Skin explores the bodily connection and presence of the female figure within a contemporary landscape. Arts Project Australia artists Emily Dober, Bronwyn Hack, Sammi-Jo Matta and Lisa Reid in collaboration with Ema Shin explore themes of sexuality, fragility, and identity through an alluring and interactive symposium of textiles, installation, collage, photography and the drawn line.

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

Guo Jian, Blow a balloon, 2023, acrylic on canvas, 200 x 300 cm. 139

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

Australian Galleries

Until 16 September Our Lives Are Full Of Sunshine: 我们的生活充满阳光 Guo Jian

australiangalleries.com.au

20 September–21 October Desmond Lazaro 25 October–25 November Guan Wei

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

ON-GOING presents the work of Swedish design duo Studio Brieditis & Evans combining their experiences in design, textile product development and crafting techniques to explore sustainably focused textile art. The contemporary design outcomes of this practice push the boundaries of sustainable fashion and textile design to challenge our relationships with seemingly ‘worthless’ waste materials. Utilising clothing donations, dead stock fabric and textile waste, Brieditis & Evans ask the question ‘how does the choice of material and material properties affect the technique and final outcome?’ Responding to the materials received they experiment how a textile can morph into another sculptural form. Working with textiles offers many facets, endless challenges, surprises, and adventures. A never-ending process, that is ‘ON-GOING.’

Kevin Mortensen, Fans in a stream, 2022, ink and pastel on paper, 78 x 86 cm. Until 9 September George Baldessin Fans in the stream Kevin Mortensen 19 September–7 October Wayne Eager Courtesy James Nguyen. 16 September–19 November James Nguyen: Open Glossary In collaboration with Tamsen Hopkinson, Budi Sudarto, Kate ten Buuren and Chris Xu. Curator: Shelley McSpedden. James Nguyen’s multi-lingual installation Open Glossary interrogates the politics of language, cultural exchange, activism and belonging. Born in Vietnam and based in Narrm (Melbourne), his practice examines ways to decolonise and interrogate the politics of family history, translation, displacement and diaspora. For Open Glossary, Nguyen and his collaborators, Tamsen Hopkinson (Ngāti Kahungunu, Ngāti Pāhauwera), Budi Sudarto, Kate ten Buuren (Taungurung) and Chris Xu, present dynamic installations, videos, performances and events across all four ACCA galleries, each carrying multi-lingual conversations on a range of contemporary issues including gender diversity and sexual identity, the linguistic and spiritual connections of Southeast Asia, First Nations Australian and Moana neighbours, as well as Land Rights and Indigenous Constitutional Recognition. This project is presented in partnership with the Copyright Agency as part of the 2023 Copyright Agency Partnerships (CAP) Commission, supporting midcareer and established Australian visual artists to produce a major new commission. The first in the series was TextaQueen’s Bollywouldn’t at the 4A Centre for Contemporary Asian Art’s Haymarket Gallery. 140

Big River Way Peter Stevens 17 October–4 November Graeme Drendel Inge and Grahame King Watching you, watching me, watching you Rona Green Monique Auricchio, August Carpenter and Chris Ingham

Australian Tapestry Workshop (ATW) austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm. See our website for latest information.

Bundanon Art Museum, designed by Kerstin Thompson. Photograph: Rory Gardiner. 22 August—28 September 2023 Tapestry Design Prize for Architects This exhibition will feature the ten finalists of the 2023 Tapestry Design Prize for Architects (TDPA). This year’s prize featured entries from across Australia and Internationally and challenged entrants to design a hypothetical tapestry for this year’s site – the multi award winning Bundanon Art Museum designed by Kerstin Thompson Architects. Breaking with tradition, the ATW will produce large format woven studies of each design, showcasing the interpretive and technical skills of the ATW weavers and visitors will be able to see them being woven onsite in South Melbourne. An event announcing the First Prize and People’s Choice Award will be held on the 6th of September 2023.

Bayside Gallery bayside.vic.gov.au/gallery

Studio Brieditis & Evans, Pepita, work in progress. Photograph courtesy of the artists. 10 August—27 October ON-GOING Studio Brieditis & Evans

Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. Free admission. See our website for latest information. 2 September—5 November Jane Burton: Returning Jane Burton: Returning includes newly commissioned works by nationally

VICTORIA innovative international exhibitions, public programs and events. Featuring Australian Art from the 1850s to the present day, art from the Bendigo goldfields and 19th century European paintings, sculptures and decorative arts.

Jane Burton, Kingdom of pleasure #1, 2022, ambrotype: wet plate collodion on black glass, 25.5 cm x 25.5 cm. Courtesy of the artist. renowned photographer Jane Burton taken at Brighton’s historic mansion ‘Billilla’. Also featured is an important recent series of ambrotypes exploring St Kilda’s Luna Park as a key site within our collective memory.

Dr Nicola Hooper, Love Potion and Methodology, (detail), 2019, hand-coloured lithographs, and Lady Wildes Toxoplasmosis Wallpaper, 2017, digital vinyl print of hand-coloured lithograph, image courtesy the artist. 2 September—5 November Zoonoses Zoonoses is a major touring exhibition showcasing artworks by Dr Nicola Hooper. Through drawing and lithography, she uses fairy-tale iconology and rhymes to explore concepts surrounding zoonoses (animal diseases that can infect humans) and how we perceive certain animals in the context of fear and disease. Presented by Logan Art Gallery, Logan City Council, in partnership with Museums & Galleries Queensland.

Bendigo Art Gallery bendigoartgallery.com.au 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm We are one of the oldest and largest regional galleries in Australia. Audiences come from around Australia to our

John Wolseley, The life of inland waters - Durabudboi river, (detail), 2015–18, watercolour, graphite, woodcut on paper. Courtesy of the artist. 9 September–14 January 2024 Essays on Earth. Brodie Ellis, Paul Kane and John Wolseley

Tom Aberneithie, Decorative Bush 6, 2023, acrylic, pencil, chalk, oil pastel and rhinestones on white card, 60 x 84 cm. land. Upon closer inspection however, each piece is contrasted by rhinestone gems applied decoratively within each scene. These ‘decorative bushes’ whilst professing the sublimity of nature, also riff on the traditions of aesthetic beauty. The plastic rhinestones pull you in, also posing important questions about oil derivatives, industrial manufacturing and the imminency of deforestation.

Marikit Santiago, Filipiniana, 2021, acrylic, interior paint, pen and oil on found cardboard. Courtesy of the artist. 28 October–4 February 2024 The Kingdom, the power Marikit Santiago

Bond Street Gallery bondstreeteventcentre.com 10 Bond Street, Sale, VIC 3850 03 51828770 Director: Allison Yanez By appointment only. 18 September–16 October Decorative Bush Tom Aberneithie In his new series of work, Decorative Bush, Aberneithie engages with accepted notions of landscape painting being both ornamental yet chiming with deeper chords of nationalism, identity and conservation. The ten studies exhibited, developed from intuitive photographs taken around the Great Ocean Road and the Grampian area of Victoria, sit neatly within the area between drawing and painting. Joyous in colour, the works celebrate the fertility of Australia’s

Image courtesy of Bond Street Gallery. Expressions of interest to exhibit at Bond Street Gallery: We are always looking for artists who will support our mission. When you choose to exhibit at Bond Street Gallery, you are supporting the provision of social activities and projects in the local community. We offer visitors and customers a unique blend of heritage charm and modern technology. Support Bond Street Gallery.

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Brunswick Street Gallery

14 September—1 October Feels Jacob Thompson

brunswickstreetgallery.com.au

14 September—1 October River Rainforest Lauren Guymer

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

14 September—1 October BOTANICA B. Twomey Opening event Friday 15 September 6pm–8pm. 5 October—22 October dharpa djäma Artists of Elcho Island Arts 5 October—22 October Street Sweepers Anke Kindle

and made inks from the vegetation at the Barrier Landing area in Lakes Entrance. 7 October–18 November Colour Fields /Negation of Line Prue Crome Prue Crome investigates the conceptual notion of canvas as object and surface where vision and thoughts are engaged in the intention and meaning held on the canvas. Colour fields continues the investigation with line and marks minimised, omitting a focal point, subtle layering of pigments hopes to capture the illusive nature of light and depth perception on a thin surface. The intention is to create an immersive quality, felt with all the senses.

5 October—22 October It is all I can do to remember what once was Dana Falcini Opening event Friday 6 October 6pm–8pm.

Burrinja burrinja.org.au

Graham Rostron, Kabirrimang manme (people collecting bush food), ink on paper, 29 x 21 cm. 24 August—10 September Bininj Binihwokdi: Two people were talking [to each other] Graham Rostron 24 August—10 September Drift Rachelle Mascini 24 August—10 September I was simply the lesson Dwayne Hutton

cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. See our website for latest information. 19 August—30 September Transition Amanda Page Transition depicts states of change in atmospheric activity. Through sitespecific observations of icy vistas in Antarctica and Iceland Amanda Page developed artworks which reference that change. 19 August—30 September The Land Speaks Meg Gooch In this exhibition of watercolours and paintings Meg Gooch explores memories embedded in the land and elements of change that have effected the Gippsland lakes system since colonisation. Using natural dyes from the local vegetation

Cathryn Sofarnos, The Red Dress, 2023, acrylic, oil paint and oil stick on canvas, 200 x 200 cm. Image courtesy of the artist. 7 October–18 November Outside the Line Cathryn Sofarnos Cathryn Sofarnos presents an introspective body of work that embarks on an ontological journey, delving into the essence of abstract concepts and their profound connections to childhood memories and experiences. Through vibrant and evocative abstract expressions, this collection invites viewers to explore the blurred boundaries between reality and imagination.

Bundoora Homestead Art Centre arts.darebin.vic.gov.au/ bundoorahomestead 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Sat 11am–4pm. See our website for latest information.

Lucy Mim, How Sweet It Is, acrylic on canvas, 125 x 105 cm. 24 August—10 September Living Joy Lucy Mim 142

Prue Crome, Colour Field #2, 2021, oil on canvas, 180 x 180 cm. Image courtesy of the artist.

Until 23 September Us Mob Aunty Bunta Patten, Aunty Frances Gallagher, Uncle Herb Patten, Aunty Gwen Garoni, Aunty Gwen Brooke, Uncle Kennedy Edwards, Aunty Lorraine Nelson, Ray Thomas and Uncle Talgium Edwards. Curated by Sharon West, Dr. Lyndon Ormond Parker and Simon Rose.

VICTORIA Sukhjit Kaur Khalsa, Perun Bonser, Monisha Chippada and Manisha Anjali. An 4A Centre for Contemporary Asian Art exhibition. Curated by Amrit Gill and Reina Takeuchi.

Buxton Contemporary buxtoncontemporary.com Truth Telling Space (installation view), 2023. Courtesy of Darebin Council. Ongoing Truth-Telling A permanent display created by the Wurundjeri Woi-Wurrung Cultural Heritage Aboriginal Corporation, in collaboration with Darebin Council. We invite you to learn more about living Wurundjeri Woi-wurrung culture, and the varied history of Bundoora Park, Darebin, and the place where Bundoora Homestead stands.

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

Until 27 September Spring Equinox Exhibition Jeremy Blincoe, Jenny Norberg, Claudia Lau, Hendel Futerfas, Ben Mazey.

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

Lisa Sammut, FULL CIRCLE (ii), 2023, video still. Image courtesy of the artist.

Louise Meuwissen, Of Earth and Ether (Flowers never bend), 2023. 30 September–16 December Of Earth and Ether (Flowers never bend) Louise Meuwissen 30 September–16 December Nimbostratus Aleeshanee Faery, Larissa McFarlane, Penelope Pollard, Angela Blazevic, Warren Loorham, Joanna Kiriazis, Nicole Tsourlenes, Bridgette Griffiths Mark, Jane Tomlinson, Dinithi Samarawickrama, Marnie Woods

26 May–29 October nightshifts

Rinko Kawauchi, from the series, Halo, 2017. © Rinko Kawauchi.

nightshifts is a contemplative new group exhibition that considers the importance of solitude through contemporary arts practice. Drawing from the Michael Buxton and the University of Melbourne Collections, the exhibition looks to the ‘after hours’ as a metaphor to explore the restorative qualities of rest, privacy and temporary seclusion from peers and public. Curated by Hannah Presley and Annika Aitken.

21 July—10 September Walking Through the Darkness

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

Bunjil Place Gallery bunjilplace.com.au

Photography is often thought of as the medium of light; however, in truth, photography relies on darkness and light in equal measures. Walking Through the Darkness embraces the potential of photography to bring stories out of the darkness and into the light through its capacity to explore, comprehend and record new landscapes and impressions, to remember and ensure posterity across time and absence, or to combat censorship and draw attention to forgotten or suppressed histories. This exhibition features the work of Australian and international artists and photographers Rushdi Anwar, Renato Colangelo, Liss Fenwick, Seiichi Furuya, Buzz Gardiner, Amos Gebhardt, Ori Gersht, Todd Hido, Rinko Kawauchi, Fassih Keiso, Li Yang, Morganna Magee, Chloe Dewe Mathews, Georgia Metaxas, Darren Tanny Tan and Vanessa Winship.

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

A group of Sikhs gathered at Siva Singh’s property at Reef Hills outside Benalla, 1920. Photo courtesy of the WJ Howship Collection, University of Melbourne. 16 September–12 November Bush Diwan Anindita Banerjee, Amardeep Shergill,

James Tylor, 2023. Photograph: Jacquie Manning. Jeremy Blincoe, Atmospheric Sea, 2023.

22 September—12 November Turrangka … In the shadows: James Tylor 143

ar t g ui d e .c o m . au CCP continued... James Tylor is a leading Australian artist whose practice examines histories of colonisation and their profound impact on Indigenous cultures and their relationship to place and spirituality. Turrangka…In the shadows brings together ten years of practice with a collection of his acclaimed daguerreotypes and digital photographs in installations that incorporate the artist’s handmade objects and wall treatments. Together the works speak to the Australian environment, culture, and social history through experimental photographic processes and the remaking of Kaurna cultural design.

Charles Nodrum Gallery charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm. Georgie Brunmayr in studio, part of the exhibition Occupying Space, 2023 at Craft Victoria. Image: Henry Trumble. 23 September–4 November Occupying Space Georgie Brunmayr, Sonja Carmichael, Elise Jane ‘Leecee’ Carmichael, Rebecca Diele and Nadia Hernandez

1 October—31 October CCP Print Sale Fundraiser 2023 Throughout October, a range of emerging and established international and Australian artists will be selling prints of their work as part of CCP’s inaugural Print Sale Fundraiser. The sale will feature both open and closed edition 8 x 10 inch prints, with all funds raised going towards supporting CCP’s vibrant exhibition and event programming showcasing lens-based practices. The sale takes place online via the CCP website. Artists featuring in the sale include Hoda Afshar, Ying Ang & Patrick Pound.

Edwin Tanner, Horoscope Series, 1958–71, acrylic on canvas, 92 x 102 cm. 16 September–7 October Edwin Tanner

City of Melbourne

Visit: whatson.melbourne.vic.gov.au/ things-to-do/art-and-heritage-collection-tour

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Craft Contemporary returns this October with the biggest program to date, taking place across Melbourne and regional Victoria with a month-long calendar of more than 150 events to ignite the Australian creative community.

compendiumgallery.com

Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000. [Map 2] Tuesdays 1pm–2pm, Thursdays 9.30am–10.30am. Bookings essential.

City of Melbourne: Art and Heritage Collection store Tours

1 October–31 October Craft Contemporary

Compendium Gallery

citycollection.melbourne.vic.gov.au

The earliest items in the collection date to the 1850s but it is only over the last twenty or thirty years that it has been organised, stored and staffed along contemporary museological lines. A major development, dating to 2000, was the establishment of a permanent collection store with facilities in line with international museum standards. More incrementally, the display of the collection has expanded beyond a single floor of Melbourne Town Hall to take in the entire building. It is also now displayed in Council’s two administration buildings, Council House 1 and Council House 2, and in the municipality’s premier community facilities. In addition, 171 outdoor artworks are on display in the streets and parks of Melbourne

Occupying Space considers spatiality and contemporary textile practice. Five women artists explore three-dimensionality in a series of fibre-based sculptural installations. The works are assertive and bold in their manipulation of fibre and thread; transformed into dynamic structures of mass and volume.

909 High Street, Armadale, VIC 3141 [Map 6] 0452 234 863 Tue to Sat 11am–5pm.

Jan Murray, Glimmering (Berlin), 2023, oil on linen, 153 x 107 cm. 14 October–4 November Jan Murray

Craft Victoria craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via exhibitions that combine mastery of materials with innovative techniques and big ideas and our rich program of festivals, talks, and community events.

Matthew Quick, #fitspo. 22 September–7 October Gallery I: Kris Sunkee: An Offering to God Gallery II: Five Minutes to Famous Matthew Quick Opening Friday 22 September, 6pm–8pm.

VICTORIA MEMORY: PLACES & COUNTRY presents a curated selection of works by some of the most celebrated Australian First Nations artists, such as Clifford Possum, Paddy Bedford and Makinti Napanangka. Their significant contributions to contemporary art are celebrated alongside artists Nola Campbell, Neville McArthur and Tjunka Lewis, all of them highlighting the gifts painters possess in old age. The subject of their work draws from the eternal present of the Tjukurrpa, spanning memory, time and location, and in turn altering and renewing its meaning within the Western imagination. As this generation of artists continues to fade, their work will not, and we honour their impact and place in Australian art. Showing at Sydney Contemporary Art Fair. Adam Cusack. Chris Watts. 13 October–28 October Gallery I: Howdy Chris Watts Gallery II: PIANK Holly Funk Opening Friday 13 October, 6pm–8pm.

September—October Fixing the narrative Adam Cusack An evolving series of figurative works and object studies from Australian artist, Adam Cusack. These meticulously rendered paintings and drawings resonate with a personal symbolism and themes of identity, transformation and popular consumer culture.

Cusack & Cusack cusackgallery.com

D’Lan Contemporary

31 Piper Street, Kyneton, VIC 3444 [Map 1] 0408 118 167 Fri to Sun 10am–3pm.

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

Spinifex Men’s Collaboration, Pukara, 2014, synthetic polymer paint on linen, 197 x 233 cm. © Spinifex Men’s Collaboration / Copyright Agency 2023. Until 29 September Spinifex Country: Works From The Spinifex Arts Project Spinifex Country presents a select group of works by some of the Spinifex Arts Project’s most influential and celebrated artists, including the revered Lawrence Pennington, matriarchs of the Project – Estelle Hogan, Tjaruwa Woods and Carlene West – and Senior holders of Tjukurpa and Law – Simon Hogan, Roy Underwood, and Ned and Fred Grant. Highlights include several significant paintings by senior artists that showcase their signature styles, which can also be seen, united, in the powerful collaborative work Pukara, 2014.

Deakin University Art Gallery at Burwood deakin.edu.au/art-collection/ Jonathan McBurnie. September—October Dread Sovereign Drawings Jonathan McBurnie Work that oscillates on that fine line between pathos and sincerity, a relentless outpouring of ideas and moments is hammered out with a vast and sophisticated graphic lexicon, in turns delicate and brutish.

Makinti Napanangka, circa 1922-2011, Untitled - Lupulnga (detail), 2009, synthetic polymer paint on linen, 107 x 91 cm. © Makinti Napanangka/Copyright Agency 2023. 7 September–10 September MEMORY: PLACES & COUNTRY Sydney Contemporary Art Fair

221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Mon to Fri 11am–5pm during exhibitions. Closed public holidays. See our website for latest information. Until 13 October Deakin University Contemporary Small Sculpture Award 145

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

Until September 19 Three sisters from Warlukurlangu Striking new paintings by Western Desert sister/cousins Cecily Napanangka Marshall, Judith Nungarrayi Martin and Valerie Napanangka Marshall. In partnership with Warlukurlangu Aboriginal artists.

2021 Deakin University Contemporary Small Sculpture Award, installation view. Photograph: Polo Jimenez. Venue: Deakin University Art Gallery, Building FA, Burwood Campus. The Deakin University Contemporary Small Sculpture Award was established in 2009 and is organised by the Art Collection and Galleries Unit at Deakin University, Victoria. The award celebrates contemporary sculpture with an exhibition of finalists’ work at the Deakin University Art Gallery.

Stephen Dupont, Tim Page, Sydney, 2013, digital photograph print. Courtesy of the artist.

Supported by Community Bank at Deakin University.

Everywhen Artspace everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Sun 11am–4pm. See our website for latest information. Contemporary Australian art gallery established by art writers and gallerists Susan McCulloch OAM and Emily McCulloch Childs. Presenting fine quality art by leading Aboriginal artists Australia-wide.

Gurrundul Marawili, Lulumu, 2023, ochres on bark, 133 x 73 cm. Courtesy the artist and Buku Larrnggay Mulka. September 29–October 16 Lulumu Gurrundul Marawili A solo exhibition of barks by leading East Arnhem Land painter Gurrundul Marawili, featuring her classic renditions of Lulumu (the stingray). Plus a selection of new generation artists from Ernabella Arts. In partnership with Buku-Larrnggay Mulka.

Federation University Post Office Gallery

It is a catalogue of everything that can go wrong in photography, featuring double-exposures, light leaks, X-ray clouding, and corrupted computer files. Despite unintended damage to his images, Dupont finds spectacular beauty within the frame. This exhibition is a celebration of the accidental, the unpredictable, and the imperfect, returning to the primal magic of photography and its ability to capture something beyond intent. Fucked Up Fotos is a showcase of the unexpected and the remarkable in the most unlikely places, a meditation on chance and the power of photography to capture the unforeseen. Presented by the Ballarat International Foto Biennale. Proudly supported by Federation University.

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

federation.edu.au/pogallery Institute of Education, Arts and Community, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Mon to Sun 10pm–5pm, Tues by appointment. 26 August—22 October Fucked Up Fotos Stephen Dupont Valerie Napanangka Marshall, Pikilyi Jukurrpa (Vaughan Springs Dreaming), 2023, acrylic on linen, 107 x 91 cm. Courtesy the artists and Warlukurlangu Artists. 146

Stephen Dupont’s photographic mishaps celebrate chance and imperfection in Fucked Up Fotos. The series spans thirty years, five continents and more than a dozen countries, including Afghanistan, Papua New Guinea, China, and Romania.

Christina May Carey, video still, 2023. 1 September–30 September Making the Invisible Visible Skye Malu Baker, Christina May Carey, Julien Comer-Kleine, Gabriella D’Costa, and Kate Wallace. Making the Invisible Visible brings together works by Skye Malu Baker, Julien Comer-Kleine, Christina May Carey,

VICTORIA Kate Wallace and Gabriella D’Costa to explore notions of perception, awareness, intuition, resonance and the nature of experience.

Footscray Community Arts

Flinders Lane Gallery

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

flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–5pm. See our website for latest information. Our gallery has been championing the practices of emerging, mid-career and established Australian artists since its inception in 1989. The FLG stable is unified by a commitment to presenting high quality, exceptional artworks that demonstrate conceptual rigour, technical expertise and creative sensitivity.

footscrayarts.com

29 August–23 September Swarm Bronwyn Hill 26 September–14 October Confluence Agneta Ekholm

17 October–11 November Cross-pollination Melissa Boughey

19 September—30 September A Home Among the Plum Trees Kelvin Lau Photography/installation. 3 October—14 October Don’t Start James Hale 3 October—14 October Near Sighted Kate Hunter Installation.

Ammar Yonis, Salon Gâr, Local Acquisition Prize Runner-Up, 35mm film photograph on silk.

Naarm Textile Collective, Stitching Change. 17 October—28 October Uncommon Threads Naarm Textile Collective Group Show—textile art

fortyfivedownstairs fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm. See our website for latest information. As an unfunded and not-for-profit organisation we support independent, experimental and thought-provoking art forms, striving to make money for artists – not from them.

Melissa Boughey, Cross-pollination, 2023, mixed media on Arches 300 gsm paper, 112 x 150 cm.

Group show.

Drawings.

15 July—17 September Footscray Art Prize 2023 Abbra Kotlarczyk, Adrian Lazzaro, Ammar Yonis, Anna Kiparis, Annika Koops, Belinda Yee, Bruce Reynolds, Carolyn Cardinet, Cathy Staughton, Chelle Destefano, Connor Ovenden-Shaw, David Murphy, David Egan, Diego Ramirez, Donna Marcus, Dustin Voggenreiter, Edwina Green, Elyas Alavi, Fassih Keiso, Fleur Brett, Foni Salvatore, Giordano Biondi, Hootan Heydari, Isabella HoneSaunders, Jack Lee, James Nguyen, Jenna Lee, Jennifer Tran, Jessie Deane, Jody Haines, Katie Paine, Kent Morris, Mark Forbes, Minaal Lawn, Ming Liew, Nicholas Burridge, Nikki Lam, Noah Spivak, Rhys Cousins, Roberta Joy Rich, Sara Kian-Judge, Victoria Pham and Virginia Keft. Bronwyn Hill, Butterfly Effect, 2023, oil on board, 61 x 45 cm.

5 September—16 September Untitled - works from students in custody, a secure care setting, or transitioning from these settings. Parkville College

8 August—2 September Unsprung Janno McLaughlin Craft, Painting, Fabric 5 September—16 September TRACCE - TRACES: Works 1992-2023 Michelangelo Russo

Dena Ashbolt, Mama and Ilana at the Table, oil on birch, 24 x 30 cm. 17 October—28 October LEBENSLUST Dena Ashbolt and Ilana Guriel Paintings. 31 October—11 November Of Dingoes and Witch Hunts Sharon Monagle Paintings. 31 October—11 November Untitled Robert Lee Davis Solo show

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Fox Galleries foxgalleries.com.au 63 Wellington Street, Collingwood, VIC 3066 [Map 3] 03 8560 5487 Mon to Sat 10am–6pm.

dates prior to your visit. Cube and FAC Galleries. Free Entry. One of the largest outer metropolitan arts venues in Australia, Frankston Arts Centre was designed by renowned Australian Architect, Daryl Jackson, and incorporates an 800 seat theatre, five exhibition gallery spaces, a function centre, a 200 seat black box theatre, and a creative arts hub. Each year approximately 160,000 people visit Frankston Arts Centre, with over 50% of visitors from outside the Frankston municipality.

and lots of prizes including a People’s Choice Award.

Rubaba Haider, The stitch is lost, unless the thread be knotted III, 2014. FAC – Curved Wall: Until 28 October The Threads That Bind Us Rubaba Haider Rubaba Haider, who studied miniature painting in Pakistan, was forced to seek refuge in Australia due to the persecution of her people. In this exhibition of her exquisite works, Rubaba has created beautiful and intricate renderings of cloth and thread, illustrating the fragility of life and the ties between us.

Yvonne Boag, untitled, 2022, oil on canvas, 132 x 131.5 cm.

FUTURES

31 August–24 September Continuation Yvonne Boag

futuresgallery.com.au

Eleesa Howard, Untitled (detail). Photograph: Kinfolk Imagery. FAC – Mezzanine Gallery: Until 28 October Edge of Colour Eleesa Howard Frankston, it is full of energy, brightness and colour: It is full of life! Eleesa Howard uses paint, paper, and photography to express her view of the world in an abstract manner and to celebrate the beauty of the Frankston community within the urban environment and natural landscape. Proudly supported by Frankston City Council’s Artist Project Grant program.

21 Easey Street, Collingwood, VIC 3066 [Map 3] 0450 103 744 Thu to Sat 12pm–5pm. See our website for latest information.

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

Cube 37 – Glass Cube: Jo Darvall, Hydrosphere No 3, 2023, monoprint on BFK, 152 x 114 cm. 28 September–29 October Hydrosphere Jo Darvall 5 October–26 October Wild World Anton Thomas

Frankston Arts Centre

Until 28 October 48 Hours, 24 Minutes and 15 Seconds Dan Elborne According to recent global estimates, a person dies by suicide once every 40 seconds. For the purpose of awareness, Dan Elborne created a handmade ceramic figure every 40 seconds, with no breaks, as a 1:1 reference to this ongoing crisis. The finite period of production was livestreamed with a direct donate link to the White Wreath Association: Action Against Suicide.

thefac.com.au

Cube 37 – Cube Gallery:

27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition

Until 30 September Famous Faces FAC Kids Art Competition

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Young artists aged 4 to 12 create portraits that address this year’s theme of Famous Faces and experience being part of a professional art show and competition with a VIP opening event

Fiona Halse, Shifting Journey & Embrace, (detail), mixed media, 92 x 92 cm. 2 September—1 October Visions II Don Barrett, Ben Fasham, Fiona Halse

VICTORIA 12 October–2 December Waste Not, Want Not Adelaide Butler, Amanda Benn, Catherine Lees, Di Ellis, Jane Bodnaruk, Jem Olsen, Julia Wright, Karryn Argus, Katherine Marmaras, Kris Estreich, Miranda Brett, Nettie Sumner, Rachael Wellisch, and Rozalie Sherwood. This event is presented as part of Craft Contemporary 2023, an initative of Craft/@craftvictoria.

Geelong Gallery geelonggallery.org.au Christopher Raynor, Legendary Journey, oil on canvas, 122 x 122 cm. 7 October—29 October Kaleidoscope Christopher Raynor and Dinusha Joseph

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

Geelong Art Space geelongartspace.com

Helen Grace and Narelle Jubelin, sound by Sherre DeLys, The Housing Question, 2019, UHD video still. Courtesy of the artists. © Helen Grace and Narelle Jubelin. Until 29 October The Housing Question The Housing Question is a collaborative video work by Helen Grace and Narelle Jubelin that takes its title from Friedrich Engels’ seminal 1872 texts addressing the severe housing shortages in his native Germany. 150 years later, this question remains central to contemporary social and political debates. A Geelong Gallery exhibition. 21 October–25 February 2024 Kungka Kuṉpu (Strong Women)

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

Drawn from AGSA’s collection, Kungka Kuṉpu (Strong Women) showcases major contemporary works by celebrated women artists from the Aṉangu Pitjantjatjara Yankunytjatjara Lands – cultural custodians of an oral tradition that epitomises the art of storytelling. This exhibition reflects the adaptive genius, energy and dynamism of Aṉangu culture and the inspiring tale of women supporting each other across generations.

Gertrude Shari Nye, Openings, acrylic on birch panel, 34 x 34 cm. Courtesy of the artist and Geelong Art Space. Until 30 September Pink & Green... with something in between A group exhibition featuring works created by local and regional contemporary artists and craft makers together with those from further afield.

Katherine Hattam, The pinch, 2022, woodblock (printed by Martin King & Simon White), edition 4/15. Courtesy of the artist and Australian Print Workshop. © the artist. Until 8 October 2023 Geelong Acquisitive Print Awards This nationally acclaimed acquisitive prize exhibition features entries from around Australia by established and emerging printmakers representing the diversity of current practice through both traditional printmaking techniques as well as contemporary processes. A Geelong Gallery exhibition. Until 15 October Graphic Investigation—Prints by Postwar Emigré Artists in Australia

Katherine Marmaras, [Sometimes] hard to let go...,. courtesy of the artist and Geelong Art Space.

This exhibition presents a selection of works on paper by two generations of European émigré artists who exerted a profound influence on the production, reception, and teaching of printmaking in postwar Australia. Through their direct and diverse experiences of European art traditions, contemporaneous practices and pedagogical models—including the German Bauhaus—these artists went on to develop networks, associations and educational structures that shaped future generations of local artists. A Geelong Gallery exhibition.

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 12pm–5pm. See our website for latest information. Gertrude Contemporary: 16 September—29 October In the Belly of Mary Shelley Sarah Contos 16 September—29 October Pleasure First Lou Hubbard Gertrude Glasshouse: 8 September—7 October Nina Sanadze 13 October—11 November Francis Carmody

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Gippsland Art Gallery

2 September–19 November Linda Gibbs: Heartlands

Until 22 October Beneath the Surface, Behind the Scenes

gippslandartgallery.com

Until 11 February 2024 Gwandidj Djiriban – They Are Us

Nadia Hernández: Palomita/Soledad

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

Ongoing & Evolving The Art of Annemieke Mein

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

Until 4 February 2024 Always Modern: The Heide Story

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

7 September–1 October Growth Glen Eira Youth Art Exhibition 6 October–12 November The Endless Interior (from Austria to the Antipodes) Presented by the School of Design, University of Melbourne. 7 September–1 October Musical Notes from Glen Eira Glen Eira Historical Society. Wona Bae & Charlie Lawler, Resonance, 2019, Installation view, Heide Museum of Modern Art, Melbourne, as part of the exhibition En Route. Courtesy of the artists. © the artists. 2 September–19 November Wona Bae & Charlie Lawler: Park Dream 2 September–19 November 2023 Gippsland Print Award 2 September–19 November SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022

6 October–22 October Connection Warrawee resident’s exhibition. 24 October–12 November Solace Bronwyn Scaletti

Heide Museum of Modern Art heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. See our website for latest information. Until 3 September Raafat Ishak: Eye Looking at Large Glass Broken Paul Yore + Albert Tucker: Structures of Feeling

Linda Gibbs, Before the Fall, 2014, oil on linen, 183 x 112 cm. Courtesy of the artist. © the artist. 150

Installation view, Beneath the Surface, Behind the Scenes, Heide Museum of Modern Art, photograph: Christian Capurro.

Deborah Kelly, CREATION Regalia, 2021, cotton, wool, silk, linen, lace, mother of pearl, wire, papier-mâché, felt, paint, glue, beads, pearls. Installation view, Griffith University Art Museum, Brisbane, 2022. Co-design and construction: James Lionel King. Photo: Carl Warner. Until 5 November CREATION Deborah Kelly Deborah Kelly’s CREATION is a multivenue, multi-disciplinary collaborative artwork about human connection, learning exchange, belief and hope that takes the form of a queer insurrectionary science fiction climate change religion. CREATION evolves in real-time through a series of cross-disciplinary projects, public brainstorms and participatory performances drawn from practical politics, evidence, mysticism and practices of collectivity. It seeks to enchant powers of collective creativity and cooperative decision-making, and to centre marginalised voices in all its aspects. At the heart of CREATION is The Liturgy of the Saprophyte by artist and writer SJ Norman, which sets out the principles and aspirations of this new belief system, and grounds the CREATION project in a gothic First Nations sensibility. The liturgy guides the iterations of CREATION throughout artforms, across time and space. CREATION continues its evolution at Horsham Regional Art Gallery in 2023, bringing together elements from each of its previous sites in interesting and unexpected ways to create a magnificent new spectacle of song, dance, poetry, costume and custom in a joyous celebration of human connection and collaboration.

VICTORIA

Hyphen — Wodonga Library Gallery

Opening Friday 15 September, 6.30pm–8.30pm. The Banyule Award for Works on Paper is awarded biennially to an outstanding contemporary work on paper. This is a prestigious national art prize, with the winning artwork entered into the Banyule Art Collection. The theme for the 2023 Banyule Award for Works on Paper is Nhalinggu Bagung, which means ‘come gather’ in the Woi Wurrung language.

hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. See our website for latest information. Our exciting new community venue is dedicated to the presentation of experiences that nurture creativity, connection and curiosity in an accessible and inspiring environment. It is a place where the community of Wodonga, as well as visitors to the city, can encounter, discover and connect with ideas, skills and knowledge.

Incinerator Art Award 2022, Soup Collective installation view. Photography: Lucy Foster.

On 5 December 2022, Banyule Council officially adopted the ‘Uluru Statement from the Heart’ in full, and committed to taking practical action for a better future and reconciled Australia. As part of Banyule’s ongoing commitment to this action, we have set this theme in recognition that Reconciliation requires all of us to come together and do our part to build a future for all Australians. We invited entries from Australian artists to explore the concept of Reconciliation, and show us what it looks like from their perspective.

Incinerator Art Award winners, 2022. Photograph: Lucy Foster. design. This year, 28 entries from 30 artists were shortlisted. Incinerator Art Award pays homage to Walter Burley Griffin and Marion Mahony – the progressive architects who collaboratively designed the Essendon Incinerator in 1929 – who believed art and architecture are ethical enterprises that should aim to bring about positive social change. Opening night is on Friday, 6 October, which will see the announcement of the $10,000 Incinerator Art Award and $1000 Moonee Valley Mayoral Award winners. Shortlisted artists will then have their artworks displayed in the gallery until 19 November. The $1000 People’s Choice Award, voted on by gallery visitors, will be announced after the exhibition’s conclusion.

Stitch, courtesy of Wodonga TAFE. Until 11 February, 2024 Stitch Students from Wodonga TAFE

Incinerator Gallery incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. 6 October–19 November Incinerator Art Award 2023 Incinerator Art Award 2023 is a national exhibition dedicated to the theme of ‘art for social change’. The award invites entries from both emerging and established artists from all over Australia, encompassing visual art, film, performance, writing, architecture or

Incinerator Art Award 2023 Shortlist: Agus Wijaya, Alycia Bennett, Amala Groom, Angus Scott, Baby Guerrilla, Chantelle Mitchell and Jaxon Waterhouse, Dani Reynolds, Eden Menta and Janelle Low, Edwina Green, Elyas Alavi, Isabella Hone-Saunders, Jack Lee, Kathy Holowko, Katie Stackhouse, Linda Studena, megan evans, Ming Liew, Mira Oosterweghel, Miream Salameh, Moreen Wellington Lyons, Nicholas Hubicki, Nina Sanadze, Olivia Koh, Patrick McDavitt, Phuong Ngo, Rebecca Jensen, Scotty So, and Xanthe Dobbie.

Ivanhoe Library and Cultural Hub banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Art Gallery 275: 16 September–26 November The 2023 Banyule Award for Works on Paper – Finalists’ Exhibition: Nhalinggu Bagung

Anna Farago, Up & down, 2022 (from the series Bearing Witness). Photo: Tristan Pierce. Loft 275: 15 September–8 October Patch Anna Farago Opening Friday 15 September, 6.30–8.30pm. Patch is an exhibition of Anna Farago’s textiles and performative photography made over the past decade. The works on show will include Spectrama a large patchwork made during a Mungga Artist Studio residency in 2022. This piece was photographed at the site of Farago’s childhood home on GunaiKurnai Country, for a series of photographic works included in her recent exhibition Threads at Gippsland Art Gallery. Anna Farago has been living in Montmorency since 2013, when she started this body of work. 15 September–8 October Alight Patrick O’Luanaigh and Tai Platania Patrick O’Luanaigh and Tai Platania are Melbourne/Naarm based contemporary dance artists that grew up in Banyule. Having danced together for the past three years at the Victorian College of the Arts, Patrick and Tai are excited to begin their first collaboration. With the generous support of a Banyule Arts & Culture Project Grant, they will be in residency in the Mungga Artist Studios to develop and create Alight, a new abstract dance duo for Banyule’s Mental Health Week 151

Explore Banyule's vibrant arts community on

October 14th-15th, 2023.

Visit over 40 talented artists in their studios and creative spaces showcasing diverse art forms such as sculpture, painting, digital art, textiles, and more. Experience demonstrations, workshops, film viewings, while directly engaging and supporting local artists with the ability to purchase their work. Don't miss the central Artist's Hub, First Nations artwork display at Barrbunin Beek, and Dimension Art Project Space performance evening for an enriching arts weekend! Opening Event - 13 October 7pm at TACAS Visit our website for more information

www.banyuleopenstudios.com.au

Proudly supported by

banyuleopenstudios.com.au

VICTORIA Ivanhoe Library continued...

Image courtesy of the artist. program. Alight is a performance that functions as a meditation for the audience, designed with binaural beats and hypnotic movement to create an oasis of calm and mindfulness. The work provides a brief reprieve from the overstimulation of our current world; a chance to step off and land in a more quiet place. 26 September–22 October Artist-in-residence (Mungga Artist Studios).

Sean Hogan, Data Field #19, 2023, block ink on cradled wooden board, 30 x 40 cm. 26 October—18 November Data Fields Sean Hogan

12 and 13 October, 6.30pm and 14 October, 2pm Performances Located at the Yarra-me Djila Theatrette.

Jewish Museum of Australia

Jacob Hoerner Galleries

26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish holidays.

jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 0412 243 818 [Map 5] Wed to Sat 12pm–5pm and by appointment. See our website for latest information.

jewishmuseum.com.au

Yvette Coppersmith, Self Portrait with Black Bow, 2022-2023, oil on jute. (1887—1985) native Russia and the Parisian avant-garde, with fauvist, cubist, and expressionist styles, Chagall created a sensibility that was truly his own, with his name and influence held by many alongside Picasso, Matisse and Monet. CHAGALL expands on the Museum’s previous offerings through a Contemporary Australian Artist Commission – supported by Daniel Besen – that provides an inspired opportunity of interpretation and response to Chagall’s story, themes and practice. The Jewish Museum is thrilled to have award-winning creative practitioner Yvette Coppersmith as the inaugural Contemporary Australian Artist Commission. Coppersmith will take over the ground floor galleries during CHAGALL with a selection of works featuring portraits, still lifes and abstracts.

The Johnston Collection johnstoncollection.org 192 Wellington Parade, East Melbourne, VIC 3002 [Map 5] 03 9416 2515 Wed to Sun with three tours daily at 10 am, 12pm and 2pm. We are closed on public holidays. See our website for latest information.

Marc Chagall, Si Mon Soleil (If my Sun), 1968. © Marc Chagall, ADAGP/Copyright Agency, 2023. Until 10 December CHAGALL Marc Chagall, Yvette Coppersmith Alex Hamilton, Carbon Monoxide Apple HQ Federation Square Melbourne19, 2023, acrylic ink watercolour paper photocopy, 82.6 x 58.3 cm. 28 September—21 October Sinister National Costume Alex Hamilton

International curator and art historian, Jade Niklai, has transformed the Jewish Museum into a Chagallinspired dreamscape that includes an exclusive capsule of original works and poems, alongside bespoke immersive experiences. Combining the Jewish folkloric painterly roots of Marc Chagall’s

Photograph: Adam Luttick, Luts Photography, Melbourne. 5 April—1 October THE BEST OF BRITAIN | William Johnston: His Residence and Collection

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VICTORIA

Kingston Arts kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 9556 4440 Wed to Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Sat 11am–4pm.

theme, For our Elders, Kingston Arts presents a group exhibition of esteemed Aboriginal and Torres Strait Islander artists that encourages conversation between traditional practices and contemporary approaches. 6 September–6 October Youth Art Expo | Who Am I? Presented by Kingston Youth Services and Kingston Arts The Youth Art Expo is back, and this time, it’s exploring the theme of Who Am I? This is an exciting opportunity for young artists aged 12-25 who live, work and play in the City of Kingston to showcase their creativity. Participants are encouraged to create a work of art representing their vision of identity and self-discovery, using any style or medium they prefer, from painting and drawing to sculpture and digital work.

Latrobe Regional Gallery latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. Until 17 September Spectral Sea Kim McDonald A Forest Ros Atkins, John Bellany, Juan Ford, Janina Green, Eileen Harrison, John Ford Patterson, Bob Pelchen, Pezaloom, Susan Purdy, Dean Smith, Polly Stanton, Sophia Szilagyi, Peter Whitting, John Wolseley.

Lauraine Diggins Fine Art Judy Thompson, Approaching Rain, 2022. Image courtesy of the artist. G3 Artspace: Until 23 September Moments in Time Granary Lane Artists Granary Lane Artists share figurative, impressionist and abstract works in various fine art media in their eighth group show. The Granary Lane Artists are a collective of Melbourne artists including: Sue Blackburn, Valerie Conboy, Penny Cowie, Rick Graham, Colin Heymann, Vicki Jans, Steve Jarrold, Alan Jenkins, Trevor Ling, Kathie Mathes, Judy Thompson and David Webster.

diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

Hilda Rix Nicholas (1884–1961), Rix Catching the Horse, c1949, oil on canvas, 117 x 117 cm. Copyright: Bronwyn Wright.

Pitcha Makin Fellas (Trudy Edgeley, Gimuy Walubarra Yidinji; Alison McRae, Dja Dja Wurrung, Gunditjmara and Yorta Yorta; and Ted Laxton, Gunditjmara), Why Don’t Whitefellas Like Trees? (detail), 2022, synthetic polymer paint on foamboard, 260 x 156 cm. Monash University Collection, Melbourne, Installation view, Collective Movements, Monash University Museum of Art, Melbourne, 2022. Photo: Christian Capurro. 5 August–22 October Collective Movements

Jenna Lee, White Tree 3, 2021, places of Aboriginal words and place names, bookbinding thread, organic cotton thread, florist wire, glue, book cover board, 105 cm, 38 cm x 32 cm. For Our Elders 2023 (installation view). Photo: Yanni Creative. Kingston Arts Centre: Until 2 September For our Elders Presented by Kingston Arts Reflecting on the 2023 NAIDOC Week

Hilda Rix Nicholas (1884–1961), The Pied Piper, c.1911, oil on canvas, 110 x 160 cm. Copyright: Bronwyn Wright. September—October Hilda Rix Nicholas

Collective Movements is a MUMA / NETS Victoria touring exhibition, curated by Kate ten Buuren, Maya Hodge and N’Arweet Professor Carolyn Briggs AM PhD with advice from Professor Brian Martin. This project has been supported by the Victorian Government through Creative Victoria and the Australian Government through the Australia Council for the Arts. Open Channels Kate Mitchell Kate Mitchell is an artist whose work explores notions of magic and New Age 155

cusackgallery.com

VICTORIA 14 September—15 October Playing the Man Graham Miller

Latrobe Regional Gallery continued...

Dean Home, Moonlights and the misty forest, 2023, oil on board, 90 x 80 cm.

Kate Mitchell, Taking out the karmic trash (detail), 2022, copic ink on paper, digital collage, digital print on archival watercolour paper, edition 1/1, 29.7 x 42 cm. Courtesy of the artist. practices, and how these intersect with themes of productivity, labour, success, and failure within contemporary society. In this exhibition, viewers will encounter videos and a suite of ink works, which probe questions around existential concepts. Often approaching these ideas in a humorous, performative, or experimental way, Mitchell presents work that is multi-layered and invites the viewer to consider their own being and beliefs.

Lennox St. Gallery metrogallery.com.au 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Open by appointment: Tue to Fri 10am–5pm, Sat 11am–4pm.

Jorna Newberry, John Olsen, Louis Pratt, Mattew Quick, Saxon Quinn, Steve Rosendale, Llewellyn Skye, Loribelle Spirovski, Jim Thalassoudis, Anthony White, Bettina Willner, Jackie Wirramanda, Robby Wirramanda, Raymond Young, Richard Young. 4 October—21 October Recent paintings and installation-based works Tom Gerrard 25 October—11 November Recent Sculpture and Glass Etchings Louis Pratt Love Art Jim Thalassoudis

Daniel Kotsimbos, Tri-Insulator Chandelier, 2022, steel, string and glass, 20 x 35 x 35 cm. Image courtesy of the artist. 23 September—26 November Design Fringe 2023 Speculation: Eight Billion Little Utopias

Linden New Art

LON Gallery

lindenarts.org

longallery.com

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

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

17 June—10 September Everything that came before makes the present Johnathon World Peace Bush

LON Gallery represents a diverse group of artists at various stages in their careers and maintains a strong curatorial focus on thematic group exhibitions. LON operates out of its premises in Richmond as well as regularly engaging in off site exhibitions and art fairs.

James Money, The Landing, 2023, acrylic on board, 122 x 242 cm. 23 August—9 September Feathers will fly: paintings and works on paper by James Money 13 September—30 September Lennox St. Gallery Launch Exhibition A group exhibition representing a wide selection of paintings, works on paper, ceramics, and sculpture by selected represented artists including Adnate, John Aslanidis, Carlos Barrios, Fabrizio Biviano, Andrew Bonneau, Eolo Paul Bottaro, Donovan Christie, Luke Cornish (Elk), Augustine Dall’ava, Tom Gerrard, Dean Home, Michael Johnson, David Laity, Bruno Leti, Ross Miller, James Money,

Graham Miller, The Galloping Gasometer Mick Nolanr (1979 second edition), 2019, archival pigment print, 60 x 42 cm. Image courtesy of the artist.

Caleb Shea, Untitled (L-R), 2022, aluminium and polyurethane paint, 220 x 150 x 138 cm and 90 x 35 x 140 cm. 23 August—16 September Caleb Shea 157

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

Ryan Hancock, Spawn, 2023, earthenware, maiolica, 43 x 34 x 34 cm. 20 September—14 October Ryan Hancock

THE LUME Melbourne thelumemelbourne.com Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne VIC [Map 2] Mon to Wed 10am–6.30pm (last entry 5pm), Thur to Sat 10am–9.30pm (last entry 8pm), Sun 10am–6.30pm, (last entry 5pm) See our website for latest information.

Connection. Image courtesy of THE LUME Melbourne. Continuing Connection The most comprehensive telling of our country’s story through art, Connection brings together First Peoples’ art, music and culture in a breathtaking experience. Connection features nearly 650 digital and original artworks from more than 110 artists including Gabriella Possum Nungurrayi, Tommy Watson, Sarrita King, Konstantina (Kate Konstantine) and more - representing the largest collection of First Peoples’ art ever assembled. Developed in collaboration with the National Museum of Australia 158

and curatorial experts like Margo Neale, Rhoda Roberts AO, Wayne Quilliam and Adam Knight, Connection is a groundbreaking showcase that fuses the world’s oldest culture with the most cutting-edge technology.

practices and references the movement in the passages of water along the eastern coast of Australia connecting land and people of the Torres Strait in the far north to Tasmania in the south.

Connection spans 3,000 square metres of gallery space, with projections four storeys high and an incredible display of original art to complement the main multi-sensory gallery – including the first public display of Emily Kame Kngwarreye’s remarkable Emily’s Wall series in Australia. Visitors are invited to step inside the works of established and emerging First Nations artists, whose works come to life through an emotional soundtrack of First Nations artists including Yothu Yindi, Baker Boy and Gurrumul.

MAGMA Galleries magmagalleries.com 5 Bedford Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 10am–4pm, Sat and Sun 11am–4pm. See our website for latest information.

Presented through the lenses of Land, Water and Sky Country, Connection maps the songlines that hold First Peoples’ diverse stories in a celebration of culture that every Australian can be proud of.

McClelland Sculpture Park + Gallery mcclelland.org.au 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. McClelland is a truly unique art gallery and sculpture park set amongst 16 hectares of natural bushland. Since opening in 1971, it has operated as a private art institution governed by a board of Trustees. At McClelland we showcase the value of Australian culture through a focus on sculpture and its connection to the environment. We are the only gallery dedicated to sculpture and spatial practice in Australia.

Bandarr Wirrpanda, Dhuruputjpi, 2023, etched alumnium, 60 x 45 cm. 2 September–1 October Bandarr Wirrpanda: Wäŋa-Waṯaŋu owners of the land

Lisa Waup, Holding Country, 2023, installation view. Photo: Christian Capurro. 29 July–19 November Current Gail Mabo, Lisa Waup, Dominic White Features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/ Torres Strait Islands), Dominic White (Palawa/Trawlwoolway). Their work affirms their powerful connection to their lands, waters and ancestors. The exhibition highlights the three vital and contemporary multidisciplinary

Piers Greville, Reversal, 2023, oil on linen, 122 x 182 cm. 7 October–29 October Objects in Space Piers Greville

VICTORIA

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

Midnight in Paris midnightinparis.com.au 71 High Street, Prahran, VIC 3181 [Map 6] 03 9510 9312 Tues and Weds 11am–5pm, Thurs to Sat 11am–11pm

Max Richards. Bridget Hillebrand, River, detail, 2023, linocut on washi paper. Until 30 September River Bridget Hillebrand

2 September–30 September Beyond Antumbra Max Richards

John Henry Olsen AO OBE (1928–2023), Brett Whitley about to Pounce, 1979, lithograph on paper. Mildura Arts Centre Collection.

Opening Saturday 2 September, 6pm–9pm.

Bridget Hillebrand’s site-specific work River draws on innovative techniques using handmade washi paper, relief printing and audio. The works are informed by the changing ecology of the Birrarung (Yarra River), which winds its way through Manningham to Port Phillip Bay. Until 30 September Made in China Elmira Ng Artist Elmira Ng creates a retail space in the gallery where stone-fired clay is currency. Western and Eastern symbolism merge in this exploration of culture and identity viewed through the lens of a second-generation Hong Kong Australian.

Herbert Frederick Kemble (1894-1986), Untitled, watercolour on board. Mildura Arts Centre Collection, Gift of Mr Norman Kemble, 2007.

Efrossini Chaniotis. 19 October–19 November Modern Icons: Angel Cooks and Brunswick Barbers– Greek/Australian art Efrossini Chaniotis Opening Thursday 19 October, 6pm–9pm.

Mildura Arts Centre milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. See our website for latest information. Matt Butterworth, Beauty Disrupted (detail). Image courtesy of the artist. Until 30 September Beauty Disrupted Matt Butterworth Manningham Council’s Citizen Science program inspires a new body of work by ceramic artist Matt Butterworth. These intimate sculptures question narratives surrounding function and beauty.

Until 8 October Monochrome Mildura Arts Centre Collection A painting, drawing, design, or photograph in black and white, or in shades of one colour often with black or white.

Until 15 October Botanic Mildura Arts Centre Collection Flora and botany have long been inspirations for artists and arts enthusiasts. Scenes from gardens, nature, and collected plant specimens have intrigued and delighted admirers. Cultivated from the rich pickings of the Mildura Arts Centre Collection, Botanic exhibits an assortment of interpretations in a varied mixture of media and styles.

Monash University MADA Gallery artdes.monash.edu/gallery Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Wed to Fri 10am–5pm, Sat 12pm— 5pm during exhibitions. Free entry. See our website for latest information.

Monochrome showcases a selection of compositions using black, white, and shades of grey, from Mildura Arts Centre’s diverse collection of artworks in various media, methods and styles. 159

Hilda Rix Nicholas

Hilda Rix Nicholas (1884–1961), Rix Catching the Horse, c1949, oil on canvas, 117 x 117 cm. Copyright: Bronwyn Wright.

Hilda Rix Nicholas (1884–1961), The Pied Piper, c.1911, oil on canvas, 110 x 160 cm. Copyright: Bronwyn Wright.

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

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

Mornington Peninsula Regional Gallery

Museum of Australian Photography (MAPh)

treasures from her archive that inform and inspire her. Curator: Anouska Phizacklea, MAPh Director.

mprg.mornpen.vic.gov.au

maph.org.au

Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information.

860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tues to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

21 September—12 November William and Winifred Bowness Photography Prize

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

Installation view of the Archibald Prize 2023 exhibition featuring (left-right) Yvette Coppersmith, Kim Leutwyler. Photograph:© Art Gallery of New South Wales. 15 September–5 November Archibald Prize 2023 An Art Gallery of New South Wales touring exhibition. Mornington Peninsula Regional Gallery will welcome enthusiastic art lovers for the prestigious and popular Archibald Prize 2023 with an extraordinary display of 57 portraits, featuring public figures and cultural identities from all walks of life, reflecting the stories of our times. This exclusive Victorian event will bring tens of thousands of visitors to the Mornington Peninsula to enjoy the works on display and the immersive program of events and art experiences. Established in 1921, the Archibald Prize is now more than a century old and is judged by the trustees of the Art Gallery of New South Wales.

Museum of Chinese Australian History

Anne Zahalka, The Bathers, 1989, from the series Bondi: Playground of the Pacific, chromogenic print, 95 x 112 cm. Museum of Australian Photography, City of Monash Collection, donated through the Australian Government’s Cultural Gifts Program by the Bowness Family 2010. Courtesy of the artist. Represented by ARC ONE Gallery (Melbourne), Josef Lebovic and Dominik Mersch Gallery (Sydney). Until 10 September ZAHALKAWORLD – an artist’s archive Anne Zahalka is one of Australia’s most highly regarded photo-media artists who has exhibited extensively in Australia and overseas for over 40 years. Her work explores cultural and environmental points of tension, interrogating them with humour and a critical perspective. Her practice is centred around deconstructing familiar scenes and representing them to allow for alternative narratives that reflect, amongst other things, on cultural diversity within Australian society and the ecological impact of the global climate crisis.

Rembrandt Harmensz. van Rijn, Selfportrait in a cap, wide-eyed and openmouthed, 1630, etching, 5.0 × 4.5 cm, Rijksmuseum, Amsterdam. Photograph: Rijksmuseum. 2 June–10 September Rembrandt: True to Life 2 June–8 October Up, Down and All Around: Daniel Emma for Kids Daniel To, Emma Aiston

ZAHALKAWORLD – an artist’s archive is a major survey exhibition centred around the artist’s archive and brings together key bodies of work that span Zahalka’s practice presented alongside collected

chinesemuseum.com.au 22 Cohen Place, Melbourne, VIC 3000 [Map 2] 03 9662 2888 Open everyday 10am–4pm. Closed on public holidays. See our website for latest information.

Installation view of Pierre Bonnard: Designed by India Mahdavi on display from 9 June—8 October 2023 at NGV International, Melbourne. Photograph: Lillie Thompson. 9 June–8 October Pierre Bonnard: Designed by India Mahdavi

Discover the history of Chinese-Australians in our multi-cultural society.

Gerwyn Davies, Altavista (Alpine), 2023, pigment ink-jet print, 125 x 95 cm. Courtesy of the artist. 161

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National Gallery of Victoria—The Ian Potter Centre NGV Australia ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information. 19 August—11 February 2024 Liam Young: Planetary Redesign

Namatjira, Gabriel Namatjira, Oscar Namatjira, Adolf Inkamala, Gerhard Inkamala, Clara Inkamala, Otto Pareroultja, Edwin Pareroultja, Edwin Pareroultja, Helmut Pareroultja, Henoch Raberaba, Brenton Raberaba, Mona Lisa Clements, Vanessa Inkamala, Kathy Inkamala, Betty Namatjira, Selma Coulthard, Cordula Ebatarinja and more.

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

North Gallery northgallery.com.au Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tues to Sat 10am–5pm. See our website for latest information. Led by Allister Paterson and Brooke Smith, North Gallery is a contemporary art gallery in the heart of Fitzroy, located upstairs at 55 Gertrude St. Focused on emerging and contemporary artists, the gallery is committed to connecting artists and makers with collectors.

Erin Smith, Dear, oil on card, 30 x 42 cm. Image courtesy of the artist. 1 September–22 September North TWO: Spring Group Show Jess Cochrane, Pip Ryan, Sahil Roy, Erin Smith, Sidney Teodoruk, Joshua Searle, Allister Paterson and others. Polly Borland, Untitled, 2018 from MORPH series, 2018, inkjet print on rice paper on lenticular cardboard, 216 x 172.7 × 13 cm. National Gallery of Victoria, Melbourne, Purchased, Victorian Foundation for Living Australian Artists, 2019, © Polly Borland, Photograph: Nicholas Umek / NGV. 13 October—4 February 2024 Photography: Real and Imagined Man Ray, Cindy Sherman, Wolfgang Tillmans, Gilbert & George and Nan Goldin, Max Dupain, Olive Cotton, Mervyn Bishop, Polly Borland, Destiny Deacon, Darren Sylvester and more.

David Keeling, A track well trodden, 2023, oil on linen, 66.5 x 56.5 cm. Until 16 September Early Riser - Chasing the Light David Keeling

Michael Bray, Get Q-ed, detail, 2022, mixed media on paper, 100 x 140 cm. Image courtesy of the artist.

Albert Namatjira, MacDonnell Ranges at Heavitree Gap, 1950s, watercolour, 34.5 x 52 cm (sheet), National Gallery of Victoria, Melbourne. Presented by Esso Australia Pty Ltd, 2018. © Namatjira Legacy Trust/Licensed by, Copyright Agency, Australia, Photograph: NGV / Predrag Cancar. 27 October—14 April 2024 Watercolour Country: 100 works from Hermannsburg Albert Namatjira, Enos Namatjira, Ewald 162

14 October–28 October Trust the Storm Michael Bray Rick Amor, Street acrobat, New York, 2023, oil on canvas, 41 x 36 cm. 20 September–14 October Rick Amor

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

VICTORIA

Platform Arts platformarts.org.au 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9am–5pm. See our website for current weekend hours. See our website for latest information.

Ema Shin, Hearts of Absent Women #7, 2021, tapestry, mixed media embroidery. Photograph: Matthew Stanton. Robyn Rayner, Lights out, drypoint etching, 60x 37 cm. 5 September–16 September Robyn Rayner: New Works “My immediate surroundings, the local environment and especially parklands and reserves where I walk every day is the inspiration for my work. I am fascinated by the ever-changing light and mood of these familiar landscapes that differ each day. I depict my personal experience and memories of these scenes, often working intuitively as each work evolves.” - Robyn Rayner.

Tarryn Love, karrang, 2023, digital work. 26 August—22 September Keepers of The Flame and YOOKAPA - it burns for us. Norm Jurrawaa Stanley and Nikki McKenzie (Wurriki Art), Tarryn Love (YOOKAPA). “Our stories are the oldest stories in the world. Our Ancestors passed these stories down to us over thousands of years and across hundreds of generations. We are creating our own stories of life and Culture as we live and continue on in our Ancestors footsteps. We have become the holders of these stories. We are now The Keepers of the flame.” —Wurriki Art

Rosemary Eagle, Smoke Haze No.3, monoprint. 10 October–21October Solitude Rosemary Eagle “I am fortunate that I thrive on solitude, peace and silence. My studio is my quiet place where I get lost in my art work. My abstract landscapes are inspired by locations that I have visited and moments in time I have experienced. The sunrises and weather that I closely observe from level 5, Epworth, Geelong, during regular stays for pain management are a constant source of inspiration as is the surrounding landscape of the Grampians region where I live. Art lets me enter an inner world that’s beyond words, this is my sanctuary.” - Rosemary Eagle.

YOOKAPA - it burns for us exhibits works curated and created by First Nations Artists placed on Wadawurrung Country. YOOKAPA is to give and receive; it is to build relationships through interconnectedness, collaboration, exchange and reciprocity. Proud Gunditjmara Keerray Woorroong woman Tarryn Love curates alongside proud Noongar, Ngapuhi and Ngati Tuwharetoa woman Kiri Tawhai. Exhibiting artists include Jessi Rebel, Savannah Jenkins, Indie Bell, Bri Pengarte Apma Hayes, Bindy Wicks, Idris McChesney, Kelsey Love, Lowell Hunter, Kiri Tawhai and Tarryn Love. 7 October—4 November My Heart Tegan Iversen, Ema Shin, Lucy Maddox, Steph Lam My Heart is a group show celebrating the physical and emotional qualities of the heart, featuring a variety of works by artists both emerging and established.

Ema Shin’s work presents body organs and flowers as symbols of her life and emotions. Her work incorporates tapestry, mixed media embroidery, printmaking and paper-mache, presenting the fecundity of the female body. Lucy Maddox is an emerging Melbourne-based artist working across a range of modern and traditional mediums. Tegan Iversen is an artist & illustrator based in Essendon, Melbourne. Tegan has created illustrations for AHD Paper Co., Alex Lahey, Junkee & The Big Issue Magazine, as well as exhibited in galleries including Flinders Lane Gallery, Off the Kerb, Incinerator Gallery, No Vacancy Gallery, Mall Galleries (London), and Almost Perfect in Tokyo, Japan. Opening Saturday 7 October, 4pm–6pm. 7 October—4 November Flux Apex Shan Dante and Holly Goodridge Flux Apex is a collaboration between artists Shan Dante and Holly Goodridge, merging practice and research of queer theory and expanded painting, developing a work that disrupts the normative and extends a surreality. Works include performance on soil installation & floor and wall mounted bright abstract paintings. Opening Saturday 7 October, 4pm–6pm.

Print Council of Australia Gallery printcouncil.org.au Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tues–Fri 10am–4pm. 1 September 22 September Sea Sings, Lumen and Wings Realm Curated by Jo Darvall, Sea Sings, Lumen and Wings Realm will feature works by Australian artists Jo Darvall, Martin King, and Clare Humphries, who explore connectedness to land, sky and species. Each artist’s work arises through 163

galleryelysium.com.au

VICTORIA Print Council of Australia Gallery continued...

“I am the third-generation child of Italian migrants. My father, grandfather and great-grandfather migrated to Australia from Italy because of World War I and II. This exhibition investigates how my Italian ancestors, from the small village of Fara San Martino in the Province of Chieti, were affected by World War II. By exploring my family history with a focus on oral stories, old photographs, cartography and archival objects, I confront ancestral intergenerational trauma, and explore my own position within this entangled web and migration narrative.” - Katie Alleva.

Project8 Gallery project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. Jo Darvall, Winged Realm no. 31, 2021, monoprint on chine colle on Hahnemuhle paper, 78 x 55.5 cm. practices of wondering, observing and passing through—sometimes walking around urban parks, sometimes strolling in bushland, at other times leafing through books and archives, or watching the rising moon. They seek to become more attentive to the presences around them, and to honour the species and ecosystems that are under constant threat in the colonial anthropocene. 1 September–31 October PCA Print Commission 2023 Since 1966 the PCA has commissioned new work in print media on an annual basis. We are thrilled to launch the Print Commission 2023. Congratulations to commissioned artists James Farrar, Abbi Gilbert, Lana De Jager, Robert Mihajlovskii, Alethea Richter.

Katie West, The Women Plucked the Star Pickets from the Ground and Turned Them Into Wana (digging sticks), 2023. Steel star pickets, found farm machinery, radios, fabric, beads. Dimensions variable (detail) installation view, the National 4: Australian Art Now, Carriageworks. Photograph: Zan Wimberley.

racv.com.au/art 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm.

9 September—14 October Emanations Melanie Cobham, Annika Koops, Wade Marynowsky, Nancy Mauro-Flude, Arthur Nyakuengama, Huang Qiuyuan, Jeffrey Strayer, The Telepathy Project, Katie West, Chaohui Xie.

QDOS Fine Arts qdosarts.com

3 October–20 October Tracing Threads Katie Alleva

Twenty years ago, when the Taliban first took over Afghanistan, Alexandra Copeland was asked by Afghan friends to design carpets to be woven by weavers displaced by the fighting. Alexandra had been involved with collecting and selling traditional textiles and antique carpets in Afghanistan since 1972. The carpet project has been disrupted repeatedly but now employs 18 weavers who are living in or near Kabul.

RACV Goldfields Resort

Emanations invites us to consider the nature and aesthetics of human and non-human communicative processes. How, and in what kinds of ways, is information and experience transmitted from one mind, agent or entity to another? And what kind of vehicular medium is required to make such a passage possible? Curated by Cūrā8.

Katie Alleva, Across the Generations, 2023, cyanotype, perforations, stitching, Renaissance wax, 19 x 28 cm.

Tree of Knowledge. Image courtesy of QDOS Fine Arts.

35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. 3 September–23 September Alexandra Copeland In aid of the women of Afghanistan.

Aldona Kmieć, Winterbloom 11, 2021. Courtesy of the artist. 19 August—3 December Goldfields Gallery: Winterbloom Aldona Kmieć Kmieć invites us to explore the boundaries of our own imaginations and to embrace the power of creativity in her new series, Winterbloom as part of Ballarat International Foto Biennale. These fluid and bright photographs were made in the depths of winter during COVID-19 as an act of creative rebellion. She has used 165

Enrico Donadello

Exclusively at The Front Room.

A limited collection of unique commissioned works are now available, exclusively at The Front Room.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121

@thefrontroom__gallery thefrontroomgallery.com.au thefrontroomgallery.com.au

VICTORIA RACV Goldfields Resort continued... a freedom of colour and movement to create this series of visually captivating self-portraits. Aldona is a Polish-born photographer, living in Australia (Ballarat / Melbourne) since 2009. Key projects include Paste Up Photography, Ballarat (2012), Under the Floorboards, Ballarat (2013) and State of Change, State Library of Victoria (touring 2020-22). 19 August—3 December ArtHouse: Behind the Image Erik Johansson Step behind the curtain, or in this case the image, and into the world of Erik Johansson. This is a special exhibition with Erik Johansson, an international headliner artist of the Ballarat International Foto Biennale. Using original drawings and short documentaries, understand how Erik’s physical photography is brought to life with digital effects within his digital-darkroom to create his world-renowned images. Get creative and take part in an art activity inspired by his artworks in ArtHouse. Erik is a Swedish photographer and visual artist based in Prague, Czech Republic. He is known for creating surreal worlds through the combination of photographs. He primarily focuses on personal projects and exhibitions, and his approach to photography is unique in that he seeks to capture ideas rather than moments.

RMIT Design Hub Gallery designhub.rmit.edu.au/ Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission.

Design: Stuart Geddes, with artwork courtesy of Jessie French. 15 August–30 September Wild Hope: Conversations for a Planetary Commons Wild Hope: Conversations for a Planetary Commons calls for a radical shift towards ‘planetary thinking’ for the survival of human and non-human life on Earth.

RMIT First Site Gallery Selina Ou, The Pines, 2022. Courtesy of the artist and Sophie Gannon Gallery. 19 August—3 December RACV Goldfields Resort surrounds: Within the Landscape Naomi Hobson, Selina Ou & Lisa Sorgini Hidden outside, around the RACV Goldfields Resort, Within the Landscape is part of the Ballarat International Foto Biennale. This exhibition examines, recent Australian photography that focuses on children and adolescents within three distinct regions of Australia. Naomi Hobson shares with us her home in Remote Far North Queensland; Selina Ou, suburban Melbourne; and Lisa Sorgini the Northern Rivers of New South Wales. Explore the Resort surrounds to discover photography that investigates play, familial bonds, nature, and a sense of anticipation for the future.

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

Basalt Study Christine McFeltridge Off the Well-Worn Path Ryley Clarke

RMIT Gallery rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm.

Rupert Bunny, The Shelter [I], c. 1913-21, RMIT University Art Collection. Gift of Ruper Bunny Estate. 5 September—4 November Spring Spring contemplates states of seasonal transition, reflecting on the mood and optimism around cultural notions of springtime.

Shepparton Art Museum sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuesdays. Until 22 October JamFactory ICON Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places). Until 5 November Three Hares Curated by Adam John Cullen. Until 10 December Surfaced Stories. Until February 2024 We can’t keep going the way we’ve been going but we know no other way to go. Jess Johnson

Pug, Dark Botanical Landscape, 2022. Image courtesy of the artist.

Dance Me to the End of Love: Journeys from birth to death in the SAM Collection.

22 August—15 September

Until May 2024 Spatial deconstruction #30 (social fabric). Emma Coulter

The Dark Botanical Garden Pug

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WILLIAM JOHNSTON: HIS RESIDENCE AND COLLECTION 5 APRIL – 1 OCTOBER 2023

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

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL:

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

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

johnstoncollection.org

VICTORIA

Stockroom Kyneton

STATION

stockroom.space

stationgallery.com

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm. See our website for latest information.

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

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.

2 September—30 September Michael Staniak

2 September—30 September Dane Lovett

7 October—4 November Isadora Vaughan

Sullivan+Strumpf Melbourne sullivanstrumpf.com

Tayla Harris, The Kick, 2019. Courtesy of Michael Willson.

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

Donna Bailey, Dean Bowen, Helen Cooper, Paul Dunn, Rennie Ellis, Louise Hearman, Glenn Morgan, Peter Nicholson, Jim Pavlidis, David Ray, Stewart Russell and Kate Daw, Geoffrey Ricardo, Kahled Sabsabi and Michael Shannon.

Until 9 September World Cloud Jemima Wyman

Home Ground invites our “Home” players and supporters, as well as the broader public, to view the game of Australian Rules Football through a lens quite different to the all-consuming high paced world of weekend footy. Through photography, ceramics, paintings and prints, Home Ground will take the viewer behind the scenes and in many cases beyond the glare of the bright lights to a more contemplative and nuanced interpretation of players and supporters.

Robert Hague, Victoria (the Famine Queen), 2023, hand-coloured, stone lithograph on cotton rag paper, with 24ct gold leaf, 57 x 76 cm, edition of 25. 2 September–1 October Empire Robert Hague 7 October–12 November Cameron Robbins

5 August—24 September Beyond the Boundary Michael Willson Michael Wilson, the AFL’s Chief Photographer captures the action, the heartache and the emotion both on and off the oval in this dramatic and insightful photographic expose. 7 October—3 December Conflated

Sarah Rudledge, Belly-Up, 2023, digital print on cotton, wool embroidery, wooden embroidery hoop, 105 x 109 cm. 2 September–1 October Something Holding these Bodies In-Kind (30:55) In-Kind Collective Chris Fontana, Claudia Phares, Corinna Berndt, Josephine Mead, Leila Gerges, Lucy Foster, Marcela Gómez Escudero, Nina Sanadze, Sarah Rudledge, Sofi Basseghi, Tara Gilbee, Tina Stefanou Curated by Sarah Rudledge. 7 October–12 November Nicholas Burridge

Sam Leach, Vaucanson Duck Fight, 2023, oil on wood, 30 x 40 cm. 14 September–7 October Emotion Harvest Sam Leach 26 October–11 November Gregory Hodge

Swan Hill Regional Art Gallery swanhillregionalartgallery.com.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. 5 August—24 September Home Ground

When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined. Conflated presents a range of inflatable materials, from balloons to digital audio and video informed by inflatable processes. Positioning the inflatable as the medium of our times, the exhibition prompts us to explore the inherent plasticity and transformative potential of that which can be blown up. Conflated is a NETS Victoria touring exhibition, curated by Zoë Bastin and Claire Watson. This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria. 169

hueandcry.com.au

26 September – 3 November Curated by Tess Maunder, Commissioning Institution NorthSite Contemporary Arts.

This exhibition directs us towards where the sea meets the sun; and dares us to imagine a future deeply respectful for the multiplicity of perspectives derived from the many custodians of the planet.

Walker Street Gallery and Arts Centre Corner Walker and Robinson streets, Dandenong greaterdandenong.vic.gov.au/planetarygestures

Image caption: Raqs Media Collective, Deep Breath Film Stills, gallery view, 2019.

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VICTORIA

Tolarno Galleries

Until 12 November The Soils Project

tolarnogalleries.com

An enriching and life-affirming exhibition, The Soils Project explores the meaning of soil as both matter and metaphor.

Level 5, 104 Exhibition Street, Melbourne, VIC 3000 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information. Until 16 September Kieren Karritpul 23 September–21 October Tim Johnson 9 September–7 October Patricia Piccinini

The Soils Project is an ongoing researchbased experimental project which has been in development since 2018. It is a collaboration between TarraWarra Museum of Art, Struggles for Sovereignty, a collective based in Yogyakarta, Indonesia, and leading contemporary arts museum the Van Abbemuseum in Eindhoven, the Netherlands. This exhibition includes dynamic new artworks including paintings, sculptures weavings and videos from 13 artists and collectives. These creative and varied works respond with a sense of nurture and care to the ecological conditions and cultural histories, that have arisen in the wake of colonisation and climate change in a range of localities.

Cyrus Tang, Lacrimae Rerum - 4505.00s, 2016, archival pigment print, 100 x 100 cm. Image courtesy of the artist and ARC ONE Gallery.

The Soils Project participants are:

14 October–11 November This body is experiencing pleasure Hannah Gartside

Fellows and Artists: Uncle Dave Wandin (Wurundjeri) and Brooke Wandin (Wurundjeri), Wandoon Estate Aboriginal Corporation; Peta Clancy (Bangerang); Megan Cope (Quandamooka) and Keg de Souza; D Harding (Bidjara, Ghungalu and Garingbal); Badan Kajian Pertanahan (Bunga Siagian & Ismal Muntaha); Beyond Walls (Armando Ello, Jeremy Flohr, Glenda Pattipeilohy, Suzanne Rastovac); Wapke Feenstra; Lian Gogali and the Insitut Mosintuwu and Poso communities; Moelyono; Pluriversity weavers: Seynawiku Izquierdo Torres, Dwasimney Del Carmen Izquierdo Torres, Dwanimako Arroyo Izquierdo, María Eufemia Arroyo Izquierdo (Kwarte Umuke community, Sierra Nevada de Santa Marta, Colombia), Ana Bravo Pérez, Aldo Ramos, Aliki van der Kruijs, LI Yuchen; Riar Rizaldi; Yurni Sadariah and the Sekolah Adat members and Rangan Adat communities; Diewke van den Heuvel; Rolando Vázquez.

TarraWarra Museum of Art

Advisors: Wandoon Estate Aboriginal Corporation, Zena Cumpston (Barkandji), Antariksa, Dr Danny Butt, Dr Helen Hughes, Rolando Vázquez.

Hannah Gartside, Untitled (crazy patchwork), 2023, found recycled second-hand sequinned polyester dresses c.2000-2010, deadstock cotton fabric, thread, eyelets, 77 x 70 cm. Image courtesy of the artist and Tolarno Galleries.

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

Town Hall Gallery boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. 26 July—21 October The Memory Palace: Cyrus Tang

Peta Clancy, detail from the photographic installation Surfacing, 2023. Courtesy the artist and Dominik Mersch Gallery, Sydney.

The Memory Palace: Cyrus Tang is a major exhibition at Town Hall Gallery featuring highlights from Cyrus Tang’s multidisciplinary art practice. Over the past 20 years Tang has examined sentiments of nostalgia within memory and fantasy, reconstructing ephemeral mental images and sensations in permanent materials.

Sarah Grieves, Afternoon Tea at Rye, 2022, acrylic on canvas, 47 x 37 cm. Image courtesy of the artist. 13 September—28 October Community Exhibition: Healing Sarah Grieves, Lesley O’Gorman, Jane Tanner and Elizabeth Whyte Healing is a community exhibition featuring four artists who explore the human psyche and how artmaking can benefit physical disabilities and mental health.

Walker Street Gallery and Arts Centre greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 9706 8441 Tue to Fri 12pm–4pm. See our website for latest information. 26 September–3 November Planetary Gestures Amrita Hepi, Susie Losch, Raqs Media Collective, Rirkrit Tiravanija, Jimmy John Thaiday and Trevor Yeung Curated by Tess Maunder, Commissioning Institution: NorthSite Contemporary Arts. Planetary Gestures is an exhibition 171

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VICTORIA Walker Street Gallery continued...

Evangeline Cachinero, The Four Pillars, 2021-2022, hand embroidery on stained canvas, size variable. © Artist.

Raqs Media Collective, Deep Breath Film Stills, gallery view, 2019. devised to explore ideas surrounding ecological systems, ancient knowledge, celestial blueprints and tidal movements across the land, sea and sky known as Australasia, part of the wider Asia-Pacific and the ‘Great Ocean’. This framework brings together a range of artists who think deeply about alternative geographies; paying respect to the cultural continuum and envisioning a future, not only equipped with this knowledge but also actively enacting it. Explored by local and international artists, this exhibition directs us towards where the sea meets the sun; and dares us to imagine a future deeply respectful for the multiplicity of perspectives derived from the many custodians of the planet.

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

30 September–5 November The Four Pillars Evangeline Cachinero Todd Robinson, bodies/things/ sensations/correlations, patinated bronze, steel stand, enamel paint, 45 x 42 x 10 cm, unique. Courtesy of the artist. 6 September–10 September SYDNEY CONTEMPORARY Nancy Constandelia | Todd Robinson 5 October–28 October Oliver Wagner

Wangaratta Art Gallery

Until 28 November The sounds I saw Marc Bongers

West Space westspace.org.au Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Sat 11am–6pm.

wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. See our website for latest information. The Wangaratta Art Gallery presents a diverse visual arts program of national, state and regional exhibitions. The program includes shows by regional artists, touring exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere. Until 22 October Looking Glass Judy Watson and Yhonnie Scarce

HOSSEI, THUNDERBLOOM, 2023, still from moving image. 2 September–14 October HOSSEI: THUNDERBLOOM A new work by Sydney-based artist HOSSEI, THUNDERBLOOM unpacks established ideas of care as they relate to migrant families, by exploring the relationship between mother and son through a framework of healing.

Chris Ng. 28 October–16 December Chris Ng: Where you from? Albert Tucker, In the mirror: self portrait with Joy Hester, 26 Little Collins Street Melbourne (detail), 1939, Chromogenic print, 15 x 14 cm. Courtesy Albert and Barbara Tucker Foundation. Louise Paramor, Tourists, 2020, inkjet print, 113 x 79 cm ( paper size ). Courtesy of the artist. Until 30 September Louise Paramor

28 October–10 December The Tucker Portraits Until 24 September Warriors Unmasked The Art Project, Centre Against Violence

West Space presents new work by Mparntwe/Alice Springs artist Chris Ng in partnership with regional spaces Watch This Space (NT) and Situate (TAS). Where you from? is born from the artist’s experience of living in Mparntwe/ Alice Springs, as a person of colour and first-generation ‘Australian’. It is a project for the culturally ambiguous by the culturally ambiguous, for whom the term “culturally diverse” is complex. 173

9 Sep_ 10 Sep 2023

A CELEBRATION OF SCULPTURE AT PT. LEO ESTATE

with Jaume Plensa

Pt. Leo Estate welcomes world-renowned contemporary artist, Jaume Plensa. The visit is being celebrated with two days of art, food and wine events, headlined by the Spanish artist. Saturday, 9 September\\ Tour, Talk and Brunch with Jaume Plensa Sculpture Park,10.30am $150pp An Evening with Jaume Plensa Laura, 6pm Six-course dinner in Laura with menu by Culinary Director, Josep Espuga and wines curated by Head Sommelier, Amy Oliver $500pp Sunday, 10 September\\ A Celebration of Sculpture Pt. Leo Restaurant, 12 noon Three-course lunch and estate wines with Jaume Plensa and artists whose works feature in the Sculpture Park $220pp Image: Jaume Plensa, Laura , 2013, Cast Iron Book your experience via QR code 3649 Frankston Flinders Road, Merricks, 3916 03 5989 9011 ptleoestate.com.au

ptleoestate.com.au

VICTORIA

Whitehorse Artspace

artworks by Gardiner were donated to the Whitehorse Art Collection from the estate of this important artist in 2015.

whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm. See our website for latest information.

30 September—4 November Wayne Viney: Monotypes Masterful monotypes from decades of printmaking are displayed by much-respected printmaker Wayne Viney, represented by Australian Galleries. Dramatic new black and white landscapes of Tasmania are juxtaposed against vibrant colour field images.

back, providing a safe space for people of all cultures, genders and abilities to participate in what the gallery offers. Underlying these considerations is the ongoing commitment in the gallery to centre First Nations people, culture and knowledge and expand our community’s connection to place, generating a sense of belonging in our community, learning from Indigenous ways of relating to people and place.

Wyndham Art Gallery wyndham.vic.gov.au/arts

Rona Green, Welig, 2022, hand coloured linocut. 19 August–23 September Back to Box Hill An exhibition of artworks created by artists who taught in the remarkable heyday of art education, offered at the Box Hill Institute of TAFE. Artists include Rona Green, Dawna Richardson-Hyde and Sue McFarland, together with artwork by the enigmatic Ian Gardiner. Multiple

177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–4pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information. Wyndham Art Gallery is a council owned and run gallery in the City of Wyndham. Over the last 11 years it has offered a curated program that reflects the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas. Its programs and projects allow the diverse community of Wyndham to see themselves reflected

Wyndham Art Prize 2022. Photo: Jorge de Araujo. Until 22 October Wyndham Art Prize 2023 Wyndham’s annual Art Prize has become known for its scale, inclusivity, and contemporary nature. This year, more than 550 works of a very high calibre were entered and 71 were shortlisted for exhibition. There was a variety of mediums including painting, drawing, photography, sculpture, textile, and video, with a growth in sculptural entries. Come by to view the finalists works.

CREATION Deborah Kelly

8 July – 5 November 2023 | entry FREE Horsham Regional Art Gallery | 80 Wilson Street, Horsham VIC 7 days a week | 10am – 4pm | horshamtownhall.com.au Image: Deborah Kelly + collaborators, still from For Creation (detail) 2021. Digital animation from paper collage.

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A–Z Exhibitions

New South Wales

SEPTEMBER/OCTOBER 2023

NEW S OUTH WALES

16albermarle 16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment.

7 October–11 November All that surrounds us: Contemporary art from Cambodia Curated by Lauren Elise Barlow, Vuth Lyno, Chum Chanveasna and Moeng Meta. Including work by 12 younger and mid-career artists, All That Surrounds Us presents contemporary art from Cambodia to Australian audiences and provides the opportunity to learn more about the country through its art. Reflecting Cambodian art that explores the country’s complex history, future and place in the broader community of southeast Asia, the exhibition includes works in many media – painting, sculpture, architecture, ceramics, photography, installation, video and works on paper – and from many parts of the country.

Art Gallery of New South Wales - North Building artgallery.nsw.gov.au Shani Black, West Connex Revisited, 2021, etching, 29.5 by 29.5 cm. Until 16 September Disruption: Discourse and Exchange Curated by Carolyn Mckenzie-Craig An exhibition that delves into the profound significance of printmaking as a medium of communication. Students and their lecturers from the printmaking departments of four well known art schools from Australia and southeast Asia address the theme of disruption in small bodies of prints. The exhibition features work from the National Art School, Sydney, Queensland College of Art, Brisbane, Institut Seni Indonesia, Surakarta and King Mongkut Institute of Technology, Bangkok, and sheds light on the relevance of this traditional art form amidst a contemporary landscape characterised by image flux and the overwhelming presence of digital media.

Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. Ongoing Yiribana Gallery Displaying works from the Aboriginal and Torres Strait Islander art collection, Yiribana acknowledges the location of the Art Gallery on Gadigal Country.

Howie Tsui, Retainers of Anarchy, 2017. Art Gallery of New South Wales. Purchased with funds provided by the Asian Art Collection Benefactors 2018. © Howie Tsui. Image © Art Gallery of New South Wales.

Ongoing Outlaw Celebrating the antiheroes of popular culture with works from the Art Gallery’s collection, in our first-ever purpose-built gallery for time-based art. Ongoing Making Worlds Kimsooja’s monumental work Archive of mind forms the centrepiece of Making Worlds, A display of contemporary art from across the globe from the Art Gallery’s collection.

Art Gallery of New South Wales - South building 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. Until 3 September Archibald, Wynne and Sulman Prizes 2023 The annual Archibald, Wynne and Sulman Prizes are the most engaging art events of the year, eagerly anticipated by artists and audiences alike. The Archibald Prize for portrait painting is a who’s who of Australian culture – from politicians to celebrities, sporting heroes to artists.

Hoda Afshar, Untitled #88, from the series Speak the Wind, 2015-22. © Hoda Afshar. 2 September—21 January 2024 A curve is a broken line Hoda Afshar The first major solo exhibition by one of Australia’s most innovative and unflinching photo-media artists. Through her photographs and moving image works, Iranian-born, Melbourne-based Hoda Afshar examines the politics of image-making. Deeply researched yet

Neak Sophal, Straw, 2022, digital print, 100 x 67 cm.

Reena Saini Kallat, Woven Chronicle, 2018. Art Gallery of New South Wales. Purchased with funds provided by the Roger Pietri Fund and the Asian Art Collection Benefactors 2018. © Reena Saini Kallat. Image © Art Gallery of New South Wales.

Kirsten Coelho, The crossing, 2019. Art Gallery of New South Wales, Vicki Grima Ceramics Fund, 2020 © Kirsten Coelho, image © Art Gallery of New South Wales. 177

ar t g ui d e .c o m . au Art Gallery of New South Wales continued... emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry. Until January 2024 brick vase clay cup jug Guest curated by Glenn Barkley, brick vase clay cup jug is a space between gallery storage and gallery display where magical associations are conjured.

senses, and considers how the flux of our circumstances impact our shifting sea of emotion. Presenting installation art, immersive experiences, technology-based and traditional art forms, this exhibition sheds light on the overlooked emotional experiences of intersectionality, alienation and Third Culture Individuals living between worlds.

Maruku Punu Artists, Billy Cooley; Lulu Cooley & Sydney Friends.

Art Space on The Concourse Madeleine Tuckfield-Carrano, Corporate Archaeology, oil, encaustic, mixed media on canvas, 152 x 182 cm. Courtesy of the artist and Artsite Contemporary.

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. Until 3 September Persistence of Vision; The Sleep of Reason Produces Monsters Claire Healy and Sean Cordeiro A Willoughby City Council curated exhibition exploring the realm of the phantastic. Belief in the phantasms of the past such as The Loch Ness Monster, ghostly spectres, Little Green Men and Bigfoot have mostly been put to bed through modern scientific analysis. But what has replaced these bug-a-boos? Claire Healy and Sean Cordeiro combine the diaphanous spectres of the past with the delusions of the near-present. Utilising Lego as its primary medium, Persistence of Vision; The Sleep of Reason Produces Monsters offers Lego mosaic renderings of endearing paranormal entities of the past combined with small Lego sculptures of improvised weapons collected in the aftermath of the January 6 insurrection in DC.

Shivanjani Lal, Yalava (detail from Ghar), 2023, video still. Image courtesy of the artist. 7 September–1 October Entwined Within Noula Diamantopoulos, Kirtika Kain, Shivanjani Lal, Hyun-Hee Lee, Jumaadi, Pamela Leung, Origin Collective and Hiromi Tango. Co-curated by Faye Chen and Willoughby City Council’s Curator, Entwined Within illuminates the diverse ways in which emotions are expressed across cultures. It also considers the impact of new technologies on emotional expression. The exhibition explores a wide range of feelings and psychological 178

9 September–2 October About Time! Madeleine Tuckfield-Carrano

Paul McDonald, Ed, 2021, photograph. 4 October–22 October Letter to Self Paul McDonald If you had the opportunity, what would you tell your younger self? In this exhibition, the artist has collaborated with each participant to create portraits and tell their stories. The portraits are accompanied by archival photographs and their words. The artist’s process includes dialogue, collaboration and walking within the natural environment. The works created through this process include a series of landscapes in response to the conversations with participants and the artist’s own lived experiences. 25 October–5 November Ebb & Flow Geoffrey Adams Geoffrey Adams’ mangrove landscape paintings use multiple layers of pigment, and often run across the canvas in different directions. He frequently paints while the canvas is flat on the ground, dripping pigments from different heights. The canvas is then lifted and turned as the liquid paint forms random patterns and colour combinations. This experimental process can be quite random, but produces unexpected and highly distinctive works that are almost impossible to replicate.

Daniel Pata, Pony Neuf, Paris, oil on canvas, 60 x 90 cm. Courtesy of the artist and Artsite Contemporary. 9 September–2 October Wanderlust Daniel Pata

Australian Design Centre australiandesigncentre.com 113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Entry by donation. We play a critical role in building a significant design culture for this country by nurturing a nation of innovative makers and thinkers to use design in their lives.

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

Make Award. Image courtesy of Australian Design Centre.

NEW S OUTH WALES 28 September—22 November MAKE Award: Biennial Prize for Innovation in Australian Craft and Design An exhibition of the 30 finalists in this new biennial prize for innovation in craft and design. MAKE Award acknowledges the richness and diversity of creative talent in Australia with a non-acquisitive total cash prize $45,000 to be announced.

Peter Kingston, Shirleys story – Bonny Doone, 2020, hand-coloured linocut, 30 x 30 cm. 5 October–22 October Colin Lanceley 31 October–19 November Ayako Saito Margie Sheppard

Bathurst Regional Art Gallery bathurstart.com.au Kelly McDonald, Winners never change the rules, bubble blower pendant, 2020, steel ,17 x 10.5 cm. photograph: Kelly McDonald. Image courtesy of Australian Design Centre. 5 October—22 November Deep Material Energy Kelly McDonald, Victoria McIntosh, Neke Moa, Rowan Panther, Claire McArdle, Cara Johnson, Inari Kiuru and Lisa Waup. An evolving exhibition of contemporary jewellery/body adornment and objects by eight makers from Aotearoa, New Zealand, and Naarm/Melbourne, Australia, whose practices involve a deep and holistic engagement with materiality and process.

australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm. See our website for latest information. 1 September–24 September Tricky Cad Peter Kingston

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.

Emma Fielden, States of Matter, 2018, courtesy of Parramatta Artists’ Studios. 3 August–9 September The Unseen Emma Fielden, Owen Leong, James Nguyen, Emily Parsons-Lord, Lisa Sammut

Object Space (window gallery)

Australian Galleries

Blacktown Arts

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

5 October—22 November Studio 63: Ebony Russell and Alexandra Standen As residents at Sydney’s Kil.n.it Experimental Ceramic Studio, artists & friends Ebony Russell and Alexandra Standen have collaborated on creating a series of ceramic-based wall sconces incorporating light and shadow, crossing boundaries between art, craft, sculpture, and design.

artworks that respond to the Prize’s fundamental question: what is drawing? The answers are compelling, challenging, and exhilarating, in an astonishing array of mediums and materials, from traditional pencil and graphite on paper to salt, staples and rust; from resin, fibreglass, enamel and wood to intricate three-dimensional wire objects; bodily video performance to sculptural forms built with tea bags and bamboo. The exhibition is a vital tribute to the human ingenuity and imagination that arises from the simple act of making a mark and represents a singular gauge for the breadth and dynamism of current drawing practices in Australia. Opening: Friday 1 September, 6pm.

Julie Rrap, Drawn Out, (detail), 2022, Video, 12 mins, 160 x 280 cm (dimensions variable). Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Arc One Gallery, Melbourne. 2 September—5 November Dobell Drawing Prize #23 Bathurst Regional Art Gallery (BRAG) presents the Dobell Drawing Prize #23, a National Art School Touring Exhibition. The Dobell Drawing Prize is Australia’s leading prize for drawing, an unparalleled celebration of technique, innovation, and expanded approaches to drawing by acclaimed and emerging drawing practitioners. The biennial prize began 30 years ago at the Art Gallery of New South Wales in 1993 as the Dobell Prize for Drawing and is now presented by the National Art School in partnership with the Sir William Dobell Art Foundation. The Dobell Drawing Prize #23 touring exhibition showcases over 45 finalist

Curated by Elizabeth Chang. In partnership with Parramatta Artists’ Studio, Blacktown Arts are thrilled to introduce, The Unseen. The Unseen explores the invisible qualities of our world as a metaphor for personal or collective reflection. Parramatta Artists’ Studios artists and alumni present a contemplative and deeply felt examination of the intangible qualities of memory, cosmos, and sensation. The exhibition brings together works that handle and express this theme through video, sculpture, collage and installation. Through a range of approaches, the exhibition shows that the unseen can be imagined through expansive and intimate gestures alike. 20 September—28 October We Are Emmanuel Asante, Joseph Barale, Richard J Bell, Virginia Bucknell , Taylah Devlin, Robyn Kemp, Maria Macabenta, Tim Martin, Grazia Napoletano, Jane Thatcher, Rebecca Sciroli, Kiri Smith, Marie Therese Kinsella, Miah Tito-Barratt, Zoe Tomaras, 179

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Brenda Colahan Fine Art

Blacktown Arts continued...

brendacolahanfineart.com 78B Charles Street, Putney, NSW 2112 02 9808 2118 Thur to Sat 9.30am–5pm, Tue and Wed by appointment, closed Sunday and Monday.

Courtesy of We Are Studios and the artists. Ebony Wightman, Kathryn Yuen. Artist Facilitators: Liam Benson and Linda Brescia. WE ARE is the debut exhibition and public program celebrating the creative practices of We Are Studios artists. Over 10 weeks, We Are Studios have worked collaboratively to develop new interdisciplinary artwork onsite through a creative takeover of Blacktown Arts. We Are Studios is a fully disability-led, inclusive studio that empowers artists with disability to reach their creative potential by creating space to thrive. WE ARE reflects the diverse stories, experiences and connections shared within the We Are Studios artist community, through an accessible multi-sensory and interactive exhibition. Together, the artists have responded with their unique practices to elaborate on defining, embracing and sharing who we are as individuals, within a creative network and as Western Sydney artists. The exhibition invites people of all abilities to visit and experience the multi-sensory exhibition and participate through guided workshops facilitated by We Are Studios artists to contribute to participatory community installations and artworks.

Blue Mountains City Art Gallery

Katya Petetskaya, Exploration #2, 2023, synthetic polymer paint on primed aluminium, 2200 x 1200 cm. Sensorial embraces all our senses and moves beyond the dominance of sight within the gallery space. Created for and by the neurodivergent community the exhibition aims to be an inclusive space for those who are often overwhelmed by bright lights and loud noises. A Blue Mountains City Art Gallery exhibition curated by Rilka Oakley. This exhibition is supported by the Dobell Exhibition Grant, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW.

bluemountainsculturalcentre.com. au

Joanna Cole, Seeking the familiar in the unfamiliar (Introduced species), 120 x 120 cm, oil on linen. Until 9 September Seeking the Familiar in the Unfamiliar: A Spanish Residency Joanna Cole

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

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. 22 July–10 September Tracing The Rupture Tracing the Rupture explores selfhood and the fractured contexts we experience throughout life. Those moments where we confirm or develop our identity as a consequence of what we’ve lost or what has been taken from us. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena. 19 August–8 October Katya Petetskaya : Am I Nature? Katya Petetskaya’s Altitude Exhibition Am I Nature? features fluid, gestural paintings which respond to the artist’s personal examination of their relationship with nature. A Blue Mountains Cultural Centre Altitude exhibition. 16 September–12 November Sensorial 180

Karlina Mitchell, Uto/Breadfruit, 2022, mixed media collage, 35 x 20 cm. 14 October–3 December Karlina Mitchell: a place with no other A place with no other, explores Karlina Mitchell’s Fijian heritage and her connection to her current home, the Blue Mountains. A Blue Mountains Cultural Centre Altitude exhibition.

Rick Ball, studio photo: A Flaw in the Dance. Until 29 October A Flaw in the Dance Rick Ball

NEW S OUTH WALES All the works have been selected from the twenty-one years Ball has lived in the arid zone of NSW, based in Broken Hill. Included are interrelated drawings, paintings, and sculpture. As Ball writes, “The old desert has permeated the work over this time in unforeseeable ways, shaping my thoughts about nearly everything”. Until 29 October Collateral Veins Alexandra Rosenblum As the granddaughter of a Holocaust survivor, Rosenblum traces how trauma has passed through her paternal line over generations. Understanding intergenerational trauma as lodged in our bodies and bequeathed to us through our very DNA. This new series literally unravels the bind of trauma – investigating the healing power of movement and artmaking.

As an invited curator, an idea evolved for Doyle after looking through the BHCAG collection to discover what art the (Far West NSW) region had produced throughout the years, then to show the unique qualities of the different regions of Aboriginal Australia. The exhibition includes works by Doyle.

Bundanon

Campbelltown Arts Centre (C-A-C) c-a-c.com.au 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm. See our website for latest information.

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

Until 29 October Creations of the Night: Inspired by Dreams and Fantasy Willyama Arts Society

Khaled Sabsabi, Wonderland, 2013-2014, community responses developed by Khaled Sabsabi in consultation with the Red and Black Bloc and Western Sydney Wanderers FC, artist collaborator and filmmaker: Ludwig El Haddad, 2023. Commissioned by Campbelltown Arts Centre supported by Create NSW’s Audience Development Fund, a devolved funding program administered by Museums & Galleries of NSW on behalf of the NSW Government. Photograph: Silversalt Photography.

As an arts’ collective, the Willyama Arts Society has had a presence in Broken Hill for over 60 years, particularly in its members’ representations of landscape and Broken Hill life. This current exhibition veers into new territory and explores the world of fantasy, dreams, and visions of the future.

8 July—15 October COLLECTIVE KNOWLEDGE

Sarah Hudson, re: place, 2022, soil, clay & rock hand gathered from Whakaohorahi during Autumn 2022. Annika Romeyn, Old Mutawintji Gorge (detail), 2023, watercolour monotype, 168 x 228 cm. Photograph: Brenton McGeachie. Until 29 October Inwards Annika Romeyn Centred on the experience of entering Old Mutawintji Gorge, this exhibition is Romyn’s initial response to two weeks camping in Mutawintji National Park on Barkandji/Malyangapa Country as part of the 2022 Broken Hill City Art Gallery’s Open Cut Commission. Multi-panel watercolour monotype prints and carbon pencil drawings convey something of the physical and psychological experience of walking into the Gorge. Perspective ArtsCOOL Group This after school program run by the Broken Hill City Art Gallery is presenting an exhibition of works by the teen-class. Each participant has interpreted what perspective means to them, then created multi-media, individual projects. Until February, 2024 Shades of Blak Collection Curator: David Doyle, Barkindji/ Malyangapa

Until 8 October The Polyphonic Sea Antonia Barnett-McIntosh, Andrew Beck, Ruth Buchanan, The Estate of L. Budd, Sione Faletau, Sarah Hudson, Samuel Holloway et al., Sonya Lacey, Nova Paul, Sriwhana Spong, Shannon Te Ao. The Polyphonic Sea presents the recent work of twelve artists from Aotearoa New Zealand. It explores the wealth of languages around us, from speech and writing, gesture and music, to the ongoing flow of communications from the natural environment. The exhibition reflects two of Bundanon’s guiding principles: to create a working environment for artists through its onsite residency program, and to support a diversity of art forms. Many of the works were created or transformed at Bundanon from existing ideas and in conversation with the site. Some artists acknowledge their Māori heritage, drawing on First Peoples’ knowledge and language in the creation of their work. Others respond more broadly to the diversity of communication that surrounds us, from the human to the environmental.

A new initiative by Campbelltown Arts Centre, COLLECTIVE KNOWLEDGE brings together community knowledge and perspectives to enrich our collective understanding of artworks in the Campbelltown City Council Art Collection. The first iteration focuses on Khaled Sabsabi’s artwork Wonderland (2013–14) and aims to present and honour community voices at Campbelltown Arts Centre and beyond.

Savanhdary Vongpoothorn, Aflame, (detail), 2023, photogravure, Viridian Press. Courtesy Niagara Galleries. 26 August—15 October Savanhdary Vongpoothorn: Aflame Campbelltown Arts Centre presents Savanhdary Vongpoothorn: Aflame, an exhibition of new work created by Vongpoothorn over a two-year period. The body of work draws inspiration from the Ādittapariyāya Sutta (Pali, “Fire Sermon Discourse”) in Theravada Buddhism – a discourse from the Pali Canon popularly known as the Fire Sermon. In this discourse, Buddha preaches about achieving liberation from suffering through detachment from the five senses and 181

ARTS TRAIL OCT 2023

BRAIDWOOD BUNGENDORE QUEANBEYAN SOUTHERN TABLELANDS, NSW TREASURETRAIL.COM.AU/ARTS learn more

treasuretrail.com.au/arts

NEW S OUTH WALES Campbelltown Arts Centre continued... mind. The Fire Sutra is a repeated motif in Vongpoothorn’s work, inspired by her family’s experience of the Black Summer bushfires of 2019-2020 on the New South Wales South Coast, and compounded by further fire, flood and pandemic events. 28 October—8 December Fisher’s Ghost Art Award 2023 The Fisher’s Ghost Art Award is an annual art award and exhibition inviting artists to submit works in a variety of artistic categories and mediums. Now in its 61st year, across the categories there is over $60,000 in prize money to be won. In 2023, the celebrated Open Award, which is acquisitive to Campbelltown City Council collection, is valued at $50,000. To enter, visit c-a-c.com.au/fishers-ghost-artaward-2023.

Casula Powerhouse Arts Centre casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tues to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information. Casula Powerhouse aims to draw on the strengths of its community, and to make work that speaks to people both locally and globally. With over 140 languages spoken in the local area, we aim to represent our city’s culturally diverse stories. As both producer and presenter, we highlight the skill and creativity of local artists through music, exhibitions, performances and programs. Until 1 October Birds Lisa Woolfe Until 24 September Regional Futures: artists in volatile landscapes (Exhibition and Symposium) Jodie Munday, Kim V. Goldsmith, Kris Schubert & Jade Flynn (Janhadarrambal), Ronnie Grammatica, Scott Baker, Juanita McLauchlan, Kit Kelen Allison Reynolds, Tracy Luff, Joanne Stead & Tania Hartigan, Jane Richens, Alana Blackburn & Mike Terry, Laura Baker, Holly Ahern & Eden

Crawford-Harriman, Caity Reynolds, Grace Barnes, Ian Tully & Kristin Rule, Anna Glynn, Jacob Charles & Hape Kiddle, Sian Harris, Andrew Hull, Julianne Piko. Until 24 September Paradoxes of Paradise Curated by Creative Hybrids Lab Andrea Barrett (UK), Tereza Crvenkovic (NSW), Dylan Mortimer (USA), Dominic Quagliozzi (USA), Bianca Willoughby (NSW)

Chau Chak Wing Museum sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Weekdays 10am–5pm, Thurs evenings until 9pm, Weekends 12noon–4pm. See our website for latest information. 9 January—November Ömie barkcloth: Pathways of nioge

everyday objects, these splendid miniatures manifest Chinese culture and material values. The exhibition Chinese Toggles: Culture in Miniature was developed in a partnership with Powerhouse Museum and features objects on loan from the Powerhouse collection, which includes one of the world’s largest collections of Chinese toggles donated to the Museum by Hedda and Alastair Morrison.

An exhibition of dynamic contemporary nioge (barkcloth) made by Ömie artists from the rain-forested highlands of Northern (Oro) Province, Papua New Guinea. These vibrant and stylistically distinct works resonate with the cultural jögore (law), environmental knowledge, and creativity of their makers. This is the first showcase of Ömie nioge, with the Museum housing what is thought to be one of the largest public collections – including some of the earliest commercially collected works. From 11 March Penelope and the Seahorse

Hiroshi Sugimoto, State Theatre, Sydney, 1997, silver gelatin photograph. University Art Collection, Chau Chak Wing Museum.

The newest work of Mikala Dwyer will be an aquatic-themed installation, Penelope and the Seahorse which alludes to the hippocampus and its multiple meanings: the genus name for the fragile and now endangered sea-horse; the equine fish in Greek mythology who drew Poseidon’s water chariot; and the structure within the brain often associated with memory and spatial navigation. Incorporating antiquities from the museum’s collections, Dwyer’s work also includes video and sound collaborations with animator Gina Moore and composer James Hayes.

From 29 April Photography and the Performative

From 22 April The Staged Photograph

Chalk Horse

This exhibition explores staged photographs created in the theatrical space of the photographic studio from the mid-19th to early 20th century. Drawn from the Chau Chak Wing’s historic photography collection.

chalkhorse.com.au

From 29 April Chinese Toggles: Culture in Miniature

Dylan Mortimer, Airway Clearance, 2015, glitter and paint on paper. Courtesy of the artist.

Toggle in the shape of two boys tumbling in an embrace, amber, China, 1700s–1900s. Powerhouse collection.

Belt toggles, known as zhuizi, are small carved ornaments used as counterweights on cords tied around belts in traditional Chinese dress. Carved from a diverse range of natural materials to represent a variety of plants, animals, and

This exhibition examines recent ideas and theories that frame performance as a phenomenon that is everywhere. Performative actions may include the manifestation of ideas, whether literal, oral, spoken, or written. Such forms can be visual, architectural, spatial, gestural and gendered. This exhibition looks at how these different modes may be ‘recorded’ via the medium of photography.

167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm. 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. 183

Entries now open for the 68th Blake Prize Scan for more info

casulapowerhouse.com/prizes/the-blake-art-prize

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Cooee Art Gallery

Regional Art Gallery. The winner of the Calleen Art Award 2023 will be announced at the finalist’s exhibition opening on Saturday 7 October 2023.

cooeeart.com.au 17 Thurlow Street Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm. See our website for latest information.

Darren Knight Gallery darrenknightgallery.com

Robyn Stacey, Fontaine de Vaucluse, 2009, from the series Empire line, chromogenic print,120 x 169.5 cm. Museum of Australian Photography, City of Monash Collection. Courtesy of the artist, Darren Knight Gallery (Sydney) and Jan Manton Gallery (Brisbane).

Albert Namatjira, Glen Helen Gorge, 1943, watercolour on paper on board, 40 x 30 cm, #20579. 7 September–10 September Sydney Contemporary Guarding for Change Showing at Carriageworks, Everleigh, Booth H09.

Europe. Inanimate objects took on symbolic meaning, creating a type of code through which status and narrative could be communicated. Still life was the perfect subject matter for photographers to focus on during the medium’s infancy. Inanimate, unmoving objects could be composed in elaborate and dynamic compositions within a controlled environment, allowing for the long exposures that photography demanded. Artists include: Katthy Cavaliere, Olive Cotton, Max Dupain, Joachim Froese, Christine Godden, Janina Green, Fiona Hall, Penelope Malone, David Moore, George J Morris, Michael Riley and Anne Zahalka. Curator: Anouska Phizacklea, Director, Museum of Australian Photography. A Museum of Australian Photography travelling exhibition.

840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 See our website for latest information.

Anne Wallace, Passage, 2023, oil on linen, 180 x 150 cm. Until 30 September Anne Wallace: Recent work 7 September–10 September Darren Knight Gallery at Sydney Contemporary Carriageworks, Sydney. Booth G02.

Betty Muffler, Ngangkari Ngura (Healing Country), 2021, synthetic polymer paint on belgian linen, 152 x 198 cm, #20615. 2 September–30 September Cooee Art Leven - S.C. In House

Cowra Regional Art Gallery cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10am–2pm. Admission Free. See our website for latest information. Until 1 October Robyn Stacey: as still as life Robyn Stacey: as still as life explores the tantalising world of the still-life tradition. The exhibition includes large scale monumental and magnificent photographs by Robyn Stacey, spectacular in their detailed beauty, as well as still-life photographs drawn from the Museum of Australian Photography Collection. Still life is one of the most enduring genres that flourished during the 17th-century Baroque period in

Derek O’Connor, Weather Report, 2022, oil on canvas, 198 x 167.5 cm. Winner Calleen Art Award 2022. 8 October–19 November Calleen Art Award 2023 Well known as a leading national art award that aims to promote originality and excellence the annual Calleen Art Award was established in 1977 as an acquisitive art prize by art patron Mrs Patricia Fagan OAM. An entered artwork must be an original artwork by the artist in any painting medium including oil paint, acrylic paint and watercolour. The Calleen Art Award is open to artists across Australia and the award prize for 2023 is $25,000. The winning artwork will join the Calleen Collection at the Cowra

Natalie Thomas, Failed State Motel, 2020, welded, laser cut steel, automotive paint, (edition of 2), 55 x 35 x 16 cm, photo: Christian Capurro. 7 October–4 November Natalie Thomas: Sunset Clause

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Fairfield City Museum & Gallery fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays, and Public Holidays.

otherwise concealed from public view and concern. In sharing these difficult narratives, the exhibition seeks to foster a sense of empathy, understanding and community.

Fellia Melas Gallery fmelasgallery.com.au

introduce fresh and original methods to conventional artistic mediums such as printmaking, painting, weaving, fibre art, textiles, film, digital AI, ceramics, and sculptural installation. They achieve this by integrating natural debris, saps, pigments, and the surrounding atmosphere. Gallery Lane Cove + Creative Studios Guest Curator Program.

2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tues to Sat 10am–5pm. See our website for latest information. Works by: McLean Edwards, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, B. Whiteley, M. Woodward, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, V. Rubin, P. Griffith, R. Harvey, T. Irving, S. Paxton, S. West, M. Winch, M. Worrall, S. Buchan, M. Perceval, and many others. (See ad page 182).

Later era Đông Sơn broze drum, 8003000 years old. On loan from Re-Sounding Collective/James Nguyen. Image: Silversalt Photography. 29 April–14 October MÌNH Contributors: Dacchi Dang, Christina Huynh, Matt Huynh, Phương Ngô, Đình Huy Nguyễn, James Nguyen, Lucia Tường Vy Nguyễn, Lynn Nguyễn, Kim Phạm, Victoria Pham, Vivian Pham, Hoài Mành Tất, My LệThi, Bic Tieu, Huyen Hac Helen Tran, Maria Trần, and Garry Trinh. Through the work of artists and writers, MÌNH explores Vietnamese and Chinese diasporic life in Australia today, and questions what it means to be who we are now. Presenting 17 contributors, the exhibition reveals these collective memories, yearnings and preoccupations. Curated by Sheila Ngọc Phạm in collaboration with FCMG.

Gallery Lane Cove + Creative Studios gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information.

13 September–7 October forage: symbiotic (trans)formations Curated by Nicole Wallace

26 August—10 February 2024 A Whisper Echoes Loudest Rosell Flatley, Carmen Glynn-Braun, Dennis Golding, Mehwish Iqbal, Shivanjani Lal, Nadia Refaei, Roberta Joy Rich and Sha Sarwari. Curated by Nikita Holcombe, A Whisper Echoes Loudest reflects on individual and collective experiences of colonialism by those who have always and those that now call Australia home. Through gentle and resilient artistic practices, the artists involved in the exhibition explore difficult and often violent narratives that are 186

11 October–4 November Strange Notions Untethered fibre artists: Rebecca Brady, Jennifer Corkish, Lorna Crane, Pam de Groot, Jennifer Florey, Desdemona Foster, Cathie Griffith, Ellen Howell, Catherine Lees, Denise Lithgow, Brenda Livermore, Helen MacRitchie, Mandy McAlister, Robyn McGrath, Rhonda Nelson, Samantha Tannous, Kirry Toose, Judith Wilson, Elaine Witton. Strange Notions, is a group exhibition by 19 fibre and textile artists known collectively as Untethered Fibre Artists Inc. Their aim is to extend the viewers vocabulary of textile and fibre art and to provoke personal thoughts and journeys through contemporary, innovative, and expertly crafted works.

Katherine Boland, Aquarium I #5, 2023, acrylic glass print. Image courtesy of the artist.

Nadia Refaei, 1998-2011, (detail), 2020. Image courtesy of the artist.

Pam de Groot, Changeling (detail), 2023, felt. Image courtesy of the artist.

Alyson Bell, Katherine Boland, Heather Burness, Katie Harris-MacLeod, Catriona Pollard, Rhonda Pryor, Jo Victoria and Liz Williamson. In a period of concerning climate change, forage: symbiotic (trans)formations explores, interprets, transforms, and preserves natures ephemera and our relationships to it; inviting visitors to pursue deepened connections with their surroundings, environmental awareness and the veneration of our human-enviro symbiosis. forage: symbiotic (trans)formations brings together eight east coast, metro and regional female artists for whom foraging natural materials is at the core of their artistic practices. The artists

Strange Notions presents representational and conceptual works of fibre art that delve into rich resources, from the tangible to the non-tangible, the personal to the communal, yielding critical reflections and thoughtful projections. Each artwork is a celebration of difference in the combination of fibres and techniques, rephrasing assumptions and reflecting the diversity in approach to artmaking, through the vocabulary of fibre.

Gallery76 embroiderersguildnsw.org.au/ Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm Sat to Sun 10am–2pm. 7 September—4 October Redefining the Basket Curated by Lissa-Jane de Sailles What is a basket and how does basket making bridge traditional and contem-

NEW S OUTH WALES view as to how they interact with the world around them. While each artist draws upon their individual experiences, they appreciate the creative interactions which emerge via the group’s supportive environment. The Design Divas are challenging the boundaries of contemporary stitch and design, while promoting the use of embroidery as an art form. They formed following the completion of an advanced class at the Embroiderers’ Guild NSW which taught students to think ‘outside the box’ while using needle and thread. This is their first major exhibition.

Glasshouse Port Macquarie glasshouse.org.au

Phu La, Three Clowns. porary art? Traditionally baskets have been viewed as utilitarian objects, yet many contemporary artists have been employing or are returning to traditional basketry techniques to explore their art practices. This exhibition brings together an eclectic group of artists, ten each from the USA and Australia, to show the diverse ways that basket making has been redefined through innovative use of techniques, materials, images and meanings. Curator Lissa-Jane de Sailles is a fibre artist based on the beautiful NSW South Coast. She specialises in traditional and contemporary basketry, and is passionate about travel and teaching. In June 2023 Lissa-Jane was the first international instructor to be included in the American National Basketry Organization workshop programme.

Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

6 October—5 November The Sum of Us Design Divas The Sum of Us explores concepts of unity and strength. Members of the Design Divas have each created new work in response to this prompt, with some expressing the importance of personal relationships and others taking a broader

Goulburn Regional Art Gallery goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. We are the region’s hub for presenting, exhibiting and collecting contemporary art. Our program is big, bold and full of ideas that will provoke conversation and connection to the work of the artists we work with.

22 July–10 September ARTEXPRESS Featuring a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in NSW.

Lisa Sammut, source image (the group), photograph by the artist. 6 October—18 November Radial Sign Lisa Sammut

Image courtesy of Glasshouse Port Macquarie. 5 August–10 September This Special Place The artists of the Hastings Valley are thrilled to provide this glimpse of what is meaningful in their world.

Helen Inglis, A Bird’s Eye View of Us: Walking with Drone.

One of the most powerful voices in art today. William Kentridge emerged as an artist during the apartheid regime in South Africa.

Radial Sign sees artist Lisa Sammut consider the ways cosmic forms and forces mirror the elusive dynamics, relations and dimensions of our social worlds. In a new immersive work incorporating objects, light and moving image, Sammut draws on natural, cultural, and historical imagery, transforming familiar visual language in unexpected ways. Radial Sign extends Sammut’s interest in overlaying celestial phenomena and human narratives to investigate themes of otherness, power, and agency. Working in sculpture, video and installation, Sammut’s practice oscillates between notions of cosmic perspective, belonging, connection and time. Privileging the poetic, intuitive and experiential, her immersive installations use a wide range of media to alter perceptions and question human-centric thinking.

William Kentridge, I am not me, the horse is not mine, 2008 (still), Art Gallery of New South Wales, gift of Anita Belgiorno-Nettis AM and Luca Belgiorno-Nettis AM 2017, donated through the Australian Government’s Cultural Gifts Program. © William Kentridge.

Prue Hazelgrove, The way You are. - Miki, She/Her Banksia coccinea, 2023, tintype diptych, courtesy the artist.

23 September–26 November William Kentridge: I am Not Me, the Horse Is Not Mine

6 October—18 November The way You are. Prue Hazelgrove 187

carriageworks.com.au

EXHIBITION DATES 9 September 2023 to 11 February 2024

www.tamworthregionalgallery.com.au

This project has been assisted by the Australian Government’s Visions of Australia and Regional Arts Fund programs.

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NEW S OUTH WALES Goulburn Regional Art Gallery continued... “Though we’ve been married a couple years now, I met my wife earlier this year. The way You are. is a love letter to Junia and the other beautiful transgender humans in my life. Juni and I grow flowers together, so this seemed like a natural language for me to incorporate into this work. Humans have ceremonially used flowers for thousands of years; they are used to communicate and mark all kinds of occasions from celebration to mourning. Through this body of work, I want to celebrate the beauty and joy of my queer siblings whilst also acknowledging the grief and everything else that comes with the process of finding yourself, courtesy of the society that we live in. I want to highlight the diversity of this community and for the audience to see someone like themselves in this work. Bringing portraits of flora and humans into conversation with each other I invite the viewer to consider how intricately wonderful and incredibly ordinary gender and sexuality can be.” Prue Hazelgrove, 2023.

Abbotsleigh, an Anglican pre K-12 Day and Boarding School for girls.

Harriet Scott, Emperor Moth Syntherata Janetta, 1850/1870. 1 September–30 September Transformations: Art of the Scott Sisters A touring exhibition produced and sponsored by the Australian Museum presents reproductions of the work of Harriet and Helena Scott, two extraordinary 19th century artists and naturalists.

Garry Trinh, The Hand that Feeds You, 2023. and Raquel Caballero and loaned works from local and wider artists.

Hawkesbury Regional Gallery hawkesbury.nsw.gov.au/gallery Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] (02) 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed Tuesdays and public holidays. See our website for latest information.

Gosford Regional Gallery gosfordregionalgallery.com 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free Admission. See our website for latest information. Samantha Jade, Studio Garden. 6 October–28 October Fieldwork Jack Harman (Curator), Bryden Williams, David Haines, Ellen Dahl, Emilio Cresciani, James Farley, Koji Makino, Matthew James, Rebecca Murray, Remi Siciliano, Samantha Jade, and Yvette Hamilton

2022 Gosford Art Prize finalist exhibition view. 9 September–5 November 2023 Gosford Art Prize Winners Announced: 8 September, 6pm. The Gosford Art Prize awards a $15,000 main prize with over $28,000 in prize money.

Grace Cossington Smith Gallery gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Tues to Sat 10am–5pm. Free entry. The Grace Cossington Smith Gallery is a not-for-profit initiative run by

Fieldwork brings together a survey of artists whose practices critically engage with ecology, materiality, and temporality through the medium of photography.

Granville Centre Art Gallery cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–4pm, Sat 11am–3pm. Until 11 November The Great Granville Garden Show The Great Granville Garden Show explores the importance of the humble garden. From creating community to their decorative and joyful nature or to their political controversies, this exhibition celebrates all things gardens. Featuring new commissions by artists Garry Trinh

Liam Benson, Untitled (Jesus), 2008, c type print, 61 x 91 cm. Commissioned by Artcell, 2008. Private collection. Photograph: Adam Hollingworth. Until 22 October Liam Benson: Virtue Without Stain This exhibition highlights Benson’s photographic work, new media, performances, and embroidery practice. Virtue Without Stain includes new collaborative works made with local communities and presents Benson’s vision about what defines contemporary Australian masculinity. Please see our website for details on public programs related to Liam Benson’s work. Virtue Without Stain is a touring exhibition from Bathurst Regional Gallery, curated by Richard Perram OAM.

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Hazelhurst Arts Centre

Incinerator Art Space

hazelhurst.com.au

willoughby.nsw.gov.au/arts

782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.

2 Small Street, Willoughby, NSW 2068 0401 638 501 Wed to Sun, 10am–4pm. See our website for latest information.

that emulate the North Shore rock pools. Michelle explores grief, energy, and life cycles in her delicate geometric porcelain slip cast wall tile installations. 11 October—29 October Altered States Primrose Paper Arts This exhibition showcases artworks which push the boundaries of how paper is made using recycled materials. Creative expressions in paper include delicate sculptures, printmaking, artist books and collaborative altered books by members of Primrose Paper Arts.

The Japan Foundation Gallery jpf.org.au Martin King, Strangerlands II, 2021, Winner Hazelhurst Art on Paper Award 2021, graphite, watercolour, gouache, gold foil on drafting film and paper.

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

16 September–12 November Hazelhurst Art on Paper Award 2023 The biennial Hazelhurst Art on Paper Award is a significant national exhibition that aims to elevate the status of works on paper while supporting and promoting artists working with this medium. Exhibiting the works of finalists from across Australia the awards total $26,000.

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

Yuri Shimmyo, Mixed recycling, 2023, oil on canvas. 30 August–17 September Wasted Opportunities Annarie Hildebrand and Yuri Shimmyo Wasted Opportunities is grounded on the notion of contemplating waste as an opportunity for creativity. As creatives, Hildebrand and Shimmyo are constantly on the lookout for inspiration. Sorting through recycling containers, they found shapes and forms for thought-provoking still life compositions. Exploring the boundaries between reality and imagination, the artists reference domestic life to create innovative contemporary artworks, including mixed media paintings, works on paper and ceramics.

Our arts and culture program brings a variety of events exploring Japan’s diverse identity to Australian audiences throughout the year, ranging from gallery exhibitions to creative exchange workshops. Many take place at our Central Park premises in Sydney, which features a gallery and an event space.

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

Korina Konopka, Water’s mark, 2023, wheel thrown glazed droplet pouring over the rock. Photograph: Greg Piper. 20 September—8 October Reshaped Michelle Carr and Korina Konopka

Cover illustration for The hush Treasure Book by Kevin Burgemeestre. Cover design by Lee Burgemeestre. 29 July—8 October The Hush treasure book exhibition

Reshaped is a dynamic exhibition of contemporary ceramic works by emerging artists Korina Konopka and Michelle Carr, graduating from the Advanced Diploma in Visual Arts (Ceramics) Northern Beaches TAFE NSW. Korina reflects on her deep connection to natural environments, creating thrown and hand-built objects

Ken Done, Hot day, 2023, oil and acrylic on linen, 76 x 61 cm. Until 12 October Ken Done: Recent Work

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HISTORIC BARKS & SCULPTURE PART II

from the Private Collection of Bill and Anne Gregory

13 September - 13 October 2023

ANNANDALE GALLERIES annandalegalleries.com.au info@annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 11am - 4pm Wed - Sat John Mawurndjul, Bikkurr, lorrkon at Kudjidmi, 1999 natural earth pigments and synthetic binder on eucalyptus bark 127.5 x 76 cm (details) annandalegalleries.com.au

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

houses in Carlton, a jetty on the Swan River in Perth - are all held together by my preoccupation with light and my personal associations with each place.”- Tom Carment, 2023.

represented by Salon 94 Design in New York and recently collaborated with Finnish brand Vaarnii and Swedish brand Hem.

Korean Cultural Centre Australia

royalart.com.au

koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free Admission.

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

Amanda Penrose Hart, Headland, 2023, acrylic on canvas, 122 x 155.5 cm. Until 23 September Dragonflies Amanda Penrose Hart “Dragonflies in my studio, all day everyday, during Summer. My new digs for 12 months situated in Duffys Forest, NSW – beside a – tributary – creek – running stream. I started thinking about their ability to fly – hover – land – fly backwards – swim? Do they swim I was wondering? They are ground dwellers, fly high and die quickly. They only live 7 – 56 Days – should be the life span of an artist. They became my backyard buddies - elegant company.” - Amanda Penrose Hart, 2023.

Leasha Craig, Ebb & Flow. 1 September–1 October Annual Spring Exhibition Kwangho Lee, Cutting Lines series (detail), 2023. Image courtesy of the artist. 15 September–10 November Kwangho Lee: Cutting Lines The Korean Cultural Centre Australia presents the first solo exhibition of Kwangho Lee in Australia as part of Sydney Design Week 2023. Kwangho Lee: Cutting Lines features ten new works, showcasing Lee’s approach to unlocking the potential of different forms through the medium of 3D printing. With his visionary designs and intricate creations, Lee pushes the boundaries of traditional craftsmanship to transform everyday objects into mesmerising pieces of art.

Tom Carment, Windmill Outside Hawker I, 2022, oil on marine ply, 16 x 21 cm. Until 18 November Long Way Round Tom Carment “This exhibition marks fifty years since I left art school, in late 1973. Since then my approach has remained fairly constant painting the things that interest me, from life, on a modest scale. ‘Long Way Round’ is a collection of landscapes done since September 2021. Over years of repeated visits and circuitous explorations, I like to get to know a handful of places well; but this exhibition also covers some new territory, in particular, the southern Flinders Ranges - the result of six camping trips to Hawker SA. Other subjects mangroves at Mooney Mooney, Sydney jacarandas, the bush at Mount Victoria,

Making things by hand was a great joy of his as a child, reminding him of his grandfather, a farmer himself, who constantly made daily household goods from natural materials found nearby. Lee appreciated the way he looked at everyday objects and thus began to approach things in similar ways; to give new meaning and function to the most ordinary. Today, as Lee continuously presents new series of works, he develops his practice by discovering moments of materials joining another. Kwangho Lee lives and works in Seoul, South Korea, having received his Bachelor of Arts in 2007 from Hongik University, majoring in Metal Art and Design. Lee’s works are in the permanent collections at Powerhouse Museum, the Montreal Museum of Fine Arts and San Francisco Museum of Modern Art. Kwangho Lee is

Lyn Burns, From the Old Colo River Bridge. 7 October–29 October Water

The Lock-Up thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 11am–3pm. Until 8 October Signals From Shan Turner-Carroll and Ryota Sato Signals From presents a body of work from Shan Turner-Carroll and Ryota Sato’s ongoing creative partnership. The artists will respond to the site, environments, mood and history of The Lock-Up through their collaborative practice centring on the poetic 193

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

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au McLean Edwards, “Mary a Poet V”, Oil on Canvas, 120x90cm.

fmelasgallery.com.au

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NEW S OUTH WALES The Lock-Up continued...

Mon to Fri 10am–5pm. Group bookings must be made in advance.

Ken Unsworth, Untitled, 1978, charcoal, paper, 50.5 x 76 cm. Collection of Paul McGillick. Photograph: Effy Alexakis, Photowrite. Shan Turner-Carroll and Ryota Sato, My blanket is shrinking. intersection of digital craftsmanship with expanded forms of traditional practices. These new works reflect on interactions between buildings and workers, rumours and documents, ghosts and living beings.

Until 19 October Vibrations in Australian Drawing Curated by Rhonda Davis, Kon Gouriotis, Leonard Janiszewksi, Tom Murray In partnership with the Creative Documentary Research Centre, Macquarie University and Cowra Regional Art Gallery, Vibrations in Australian Drawing is an exhibition demonstrating the essence of the practice and the importance of drawing underlying a range of disciplines.

Maitland Regional Art Gallery mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 10am–5pm. Café, 8am–2pm. Free entry, donations always welcomed. the foul of the air. Photograph: Christopher Wright. 13 October–14 October the foul of the air Living Room Theatre

20 October–3 December Disclosure Julie Gough

Macquarie University Art Gallery artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437

Ildiko Kovacs, Nyarapayi Giles, Dani Marti, Sydney Ball, George Barker, John Coburn, Euan Macleod, Timothy Maguire, and Col Jordan. A collaborative exhibition between Maitland Regional Art Gallery and the Australian Museum of Clothing and Textiles. 2 September—19 November Suspended Moment | The Katthy Cavaliere Fellowship Suspended Moment brings together current and past work by the three recipients of The Katthy Cavaliere Fellowship alongside formative work by Katthy Cavaliere loaned from her estate. Curated by Daniel Mudie Cunningham featuring works by artists Giselle Stanborough, Frances Barrett and Sally Rees, the three recipients of this prestigious fellowship. 9 September—19 November Where the Seeds Grow Helen Fenner

Directed by Michelle St. Ann. A sound work without a score, a dance piece without steps, theatre without words. Inspired by Charlotte Wood’s award-winning book The Natural Way of Things, the foul of the air is a genre bending performance set in multiple spaces of Newcastle’s The Lock-Up with three double bass players, and a single woman who takes you on a visceral journey of how easily we become immune to the mistreatment of others, especially women.

Euan Macleod, Large floating figure, 1998-1999, oil on polyester, Maitland Regional Art Gallery Collection, with model in a 1970s jumpsuit, courtesy of the Australian Museum of Clothing and Textiles Collection.

Vincent Namatjira and Ben Quilty, The Crown, 2022, oil on linen, 202 x 265 cm. Until 5 November CrownLand Karla Dickens, Vincent Namatjira, Ben Quilty, Andrew Quilty, Megan Cope and Jake Chapman. Bringing together artists as friends and collaborators, CrownLand grabs hold of conversations taking place across the country fuelled by an uneasy humour, the uncomfortable and the unreconciled. Featuring artists vigorously engaged in timely discussions of sovereignty and power, this exhibition also pays respects to the queens of the community here on Wonnarua Country. 26 August–29 October Collecting in Colour: Stories of Fashion and Art

Where the Seeds Grow is an exhibition of new work from emerging Maitland based artist Helen Fenner. For many, art helps people navigate challenging and difficult times. Helen Fenner is a strong advocate for the role of creativity in nurturing mental health. This exhibition explores the idea that we are never far from our ancestral past. 9 September—12 November Eco Zine How do we deepen relationships with local ecologies in a time of profound change? In this project-based exhibition, writer, zine maker and citizen scientist Bastian Fox Phelan invites participants to engage with the natural world through the creation of ephemeral artworks such as zines, posters, soundscapes, and observational experiments. Curated by Bastian Fox Phelan.

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Manly Art Gallery & Museum

the power of cross-cultural collaboration and the ability of art to transcend borders and boundaries.

Until 9 September New Light Ildiko Kovacs

magam.com.au

1 September—8 October Lineage Heather Dorrough and Kate Dorrough

14 September–7 October Ḻuŋgurrma - On the North Wind

West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm.

In conversations across time, the multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism. This dynamic contemporary exhibition encompasses fibre art, paintings, prints, ceramics, sculpture, and video.

Martin Browne Contemporary martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm.

Until 9 September Touch a flower, Touch a cloud Dan Kyle 14 September–7 October Morgan Shimeld

Mosman Art Gallery mosmanartgallery.org.au 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Weds open until 8pm. Closed public holidays. See our website for latest information.

Jumaadi, Hanging on a Tree, acrylic on buffalo hide, 2021-22, 107 x 87 cm. 1 September—8 October At the End (My Love) Nature Wins Jumaadi This is the first in a new series of exhibitions working with contemporary artists to help re-define our understanding of the diverse communities that call the Northern Beaches home. Jumaadi’s practice explores themes such as love, nature, belonging, migration, and displacement while frequently drawing on his own experiences as an immigrant living in Australia. His art is deeply rooted in his Indonesian heritage, and often incorporates traditional motifs and symbols in the works – demonstrating Ildiko Kovacs, Tangent, 2023, oil on plywood, 102 x 75.5 cm.

Yasmin Smith, Angophora, 2023, Booragy/Bradley’s Head angophora ash glaze on white stoneware slip. Commissioned by Mosman Art Gallery, courtesy the artists and The Commercial, Sydney © the artist. Photograph: Jacquie Manning. Until 10 September Sediment Yasmin Smith Yasmin Smith’s works are a visual manifestation of the environmental and human history of a particular site. Her exhibition features newly commissioned works that focus on the sea kelp of Mosman’s harbour bays and the angophora forests at Booragy (Bradleys Head). Until 10 September Unseen Khaled Sabsabi

Heather Dorrough, Self Portrait No 6 (Buzz flies), 1982, detail, 212 x 54 cm, photographic silk screen printing and machine embroidery on silk organza and cotton fabrics. 196

Ildiko Kovacs, Parting Ways, 2023, oil on plywood, 210 x 160 cm.

Coffee covers the floor of the Gallery amidst a series of portraits that are anonymised and vailed by a layer of coffee wash to investigate Self, and the ideas of ‘other’ in this time and space.

NEW S OUTH WALES 2 June—22 October Form / Function Hany Armanious, Tim Silver, Bonita Bub and Anna Kristensen

Maddison Gibbs, Something in the Water, 2023, installation, exterior acrylic polymer paint, leaves, acrylic spray paint, stereo sound, approx. 2.05 mins (sound engineer Greg Le Couter), image courtesy Mosman Art Gallery and © the artist. Photograph: Jacquie Manning.

form / function is a showcase of recent acquisitions to MAMA’s collection. The acquisitions build on contemporary artworks currently held within the Collection by these Australian artists and offer moments of connection between the sculptural casting elements found in Hany Armanious’ Mystery of the Plinth and photographic series by Tim Silver. While simultaneously, Anna Kristensen and Bonita Bub transform familiar materials or objects into new decorative and dysfunctional forms.

Until 10 September Something in the Water Maddison Gibbs Proud Gunu Baakandji woman, artist and activist Maddison Gibbs’ newly commissioned work focuses on the Menindee fish kills, memorialising the life and journey of each fish that has been killed.

Aboriginal artists from Groote Eylandt, Yirrkala, Galiwin’ku, Milingimbi, Maningrida, Ramingining, Gunbalanya, Wadeye and the Tiwi Islands.

Murray Art Museum Albury (MAMA)

Susie Losch, New Old Stock, 2019, Installation view, Murray Art Museum Albury.

mamalbury.com.au

9 June–28 April 2024 Kids Gallery: Susie Losch

546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

12 May–8 October Home Group show: Auriel Alford, Brook Andrew, Jack Bennett, Alan Thomas Bernaldo, Kate Breakey, Ernest Buckmaster, Katthy Cavaliere, Fred Cress, Olive Cotton, Destiny Deacon, Russell Drysdale, Max Dupain, Cherine Fahd, Bruce Fletcher, Nicole Foreshew, Nornie Gude, Carol Hamilton, Patrick Hartigan, Margaret Olley, John Rigby, David Strachan, Salome Tanuvasa. Works from the Murray Art Museum Albury Collection that remind us that home does not always need to be made of brick and mortar – it can be a sense of belonging, a fleeting memory, the people around us, or the ground under our feet.

Artists in Focus highlights key bodies of work by more than 50 artists acquired by the Museum of Contemporary Art Australia since its inception in 1989. It represents a dynamic approach to the presentation of the MCA’s permanent collection, which will change over the course of 24 months.

MAMA’s popular Kids Gallery welcomes its second artist commission. Susie Losch is an artist who knows how to play! Her studio is filled with curiosities and objects collected for future inspiration. She is always looking at the beauty and usefulness of everyday things; seeing possibilities in shape and form and the vibrant colours with an endless sense of experimentation and discovery. 28 July–26 November Newell Harry: Esperanto

John Rigby, Red and Black Interior, 1966, oil paint on masonite. Image by Jeremy Weihrauch, Murray Art Museum Albury Collection. Purchased through the Albury Art Prize, 1967.

Naminapu Maymuru-White, Milŋiyawuy 7, 2022, installation view, MCA Collection: Eight Artists, Museum of Contemporary Art Australia, 2023, purchased with funds provided by the MCA Foundation, 2022, image courtesy the artist and Museum of Contemporary Art Australia, © the artist. Photograph: Jessica Maurer.

Esperanto, a major solo exhibition by artist Newell Harry, seeks a conversation across place, culture, and linguistic difference. An expansive installation comprising woven pandanus gift mats, photographs, works on paper, objects and artefacts, books and historical paraphernalia are presented alongside texts and an archival film program with daily screenings.

Museum of Contemporary Art Australia mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm, Fri until 9pm. Closed Tuesdays. Until 10 March 2024 MCA Collection: Artists in Focus Joan Brassil, Kevin Gilbert, Simryn Gill, Jumaadi, Tracey Moffatt, Sancintya Mohini Simpson, John Nixon, Leyla Stevens, Alick Tipoti, and a selection of bark paintings from the Arnott’s Collection showcasing

Zoe Leonard, Al río / To the River (detail), 2016–2022, production supported by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Musée d’Art Moderne de Paris, Paris Musées, Museum of Contemporary Art Australia, Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, Galerie Gisela Capitain and Hauser & Wirth, image courtesy the artist, Galerie Gisela Capitain, and Hauser & Wirth. © Zoe Leonard. Until 5 November Zoe Leonard: Al río / To the River For her first major exhibition in Australia, acclaimed American artist Zoe Leonard presents her large-scale photographic work Al río / To the River at the Museum of Contemporary Art Australia. Leonard’s complex and nuanced portrait of the river, which forms a border between Mexico and the United States of America, is a visually poetic and probing meditation on the river’s broader role as a site of agriculture, commerce, culture, policing and surveillance.

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NEW S OUTH WALES

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

Hanna Kay, Flurry 1, 2023, oil and tempera on linen, 100 x 200 cm. 3 July–28 October Flurries: Hanna Kay Flurries, a new series of works by artist Hanna Kay, derives its inspiration from seasonal cycles connected to natural processes of growth, decay, and regeneration. ‘The cascading leaves and the swaying grasses in the artworks are an aesthetic expression of the tensions I observe in my immediate surroundings in the Upper Hunter Valley, and other parts of the country. They reflect the ambiguities that are innate to the working of the natural elements in particular as they are induced by breezes, by the dry and by the wet.’ – Hanna Kay. With the use of tempera oils to create depth, Hanna Kay masterfully paints atmospheric and immersive artworks that reveal the often overlooked scenes of nature, inviting viewers to contemplate the subtlety of the their own environments. Development of work supported by the Arts Upper Hunter Micro Grants Program and the NSW Government. 3 July–28 October Oh, the Places You’ll Go!: Goodstart Early Learning, Muswellbrook

Curated by Dharug artist and former Muswellbrook gallery director, Brad Franks, A Field Guide to abstraction in the Muswellbrook Collections draws upon abstract works held in the collections at Muswellbrook Regional Arts Centre – a contemporary collection of Australian art, grounded in abstraction from its inception.

28 September–14 October Still Point Kathryn Ryan

Bev Wilson, What is behind the window?, 2023, digital print.

Antonia Perricone-Mrljak, Motif 5, 2023, oil on linen, 153 x 138 cm.

11 September—28 October Nocturne: Prelude to the Night

19 October–4 November Femare Lutto Antonia Perricone-Mrljak

From Muscle Creek to Karoola Park, carparks and laneways, photographers from Muswellbrook and District Camera Club explore the by-passed, the dark, sinister and mysterious Muswellbrook spaces within the hours of darkness. Following in the footsteps of the 2013 Artist in Residence Project Nocturne Muswellbrook by Doug Spowart and Victoria Cooper, Nocturne: Prelude to the Night reveals perhaps a more introspective view of Muswellbrook under the cover of nightfall – intimate and reflective.

Nanda\Hobbs

National Art School NAS Gallery nas.edu.au 156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm. Free admission. See our website for latest information.

nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

‘You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose. You’re on your own. And you know what you know. And YOU are the one who’ll decide where to go...’ – Dr. Seuss, ‘Oh, the Places You’ll Go!’ Inspired by the classic Dr Seuss book ‘Oh, the Places You’ll Go!’, children from Goodstart Early Learning, Muswellbrook present a playful display of papiermâché hot air balloons that explore the possibilities the future holds for each of them.

Elisabeth Cummings, Mornington, Kimberley, 2012, oil on canvas, 150 x 175 cm. Private Collection. Image courtesy of the artist and King Street Gallery on William.

11 September—28 October A Field Guide to abstraction in the Muswellbrook Collections

This major exhibition celebrates one of NAS’s most esteemed and beloved alumni. Elisabeth Cummings’ singular visual language and inimitable grasp of colour are on show with more than 55 works from the last three decades drawn from public and private collections. An event not to be missed from one of Australia’s truly exceptional artists.

The great acceptance of abstract art during the 1960s and beyond has been in part due to its beauty as decoration, and in part due to its ability to inhabit the very special space that exists between the representational and the non-representational - the space of becoming and falling apart. – Brad Franks.

Until 21 October Radiance: the art of Elisabeth Cummings

Suzanne Archer, Centrepiece, 2017, oil on canvas, 240 x 240 cm. 7 September–10 September Sydney Contemporary (Booth E04) Presenting: Suzanne Archer, Jun Chen, Selma Coulthard, Hubert Pareroultja, James Rogers

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COWRA REGIONAL ART GALLERY

NATIONAL PAINTING PRIZE – EXHIBITION OF FINALISTS

8 OCTOBER TO 19 NOVEMBER 2O23 2020

20 years

Cowra Regional Art Gallery 77 Darling Street, Cowra NSW 2794 Open: Tuesday–Saturday 1Oam–4pm, Sunday 10am–2pm (Mondays closed) Admission is free. Wheelchair access www.cowra.nsw.gov.au The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council cowraartgallery.com.au

NEW S OUTH WALES

New England Regional Art Museum 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.

response. Featuring local and national, emerging to established, and student artists.

Orange Regional Gallery orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm. See our website for latest information.

Outback Arts Gallery outbackarts.com.au

Trevor Smith, Apricot Pie, 2022, wool, polystyrene, foamcore. Courtesy of the artist and Michael Reid Gallery. 18 August—12 November Fluid Flax Liam Benson, Phil Ferguson, Dennis Golding, Blake Griffiths, Kate Just, Trevor Smith Fluid Flax features queer and non-binary textile artists who use traditionally ‘feminine crafts’ in new and at times subversive ways to express identity and ideas.

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

Young Archies, featured in two categories, Primary School and High School. Youth entries may explore any medium of their choosing. The art prize includes the major Outback Archies Prize, People’s Choice, Aboriginal Art Award plus first and second prizes for each category of ceramics, sculpture, two dimensional and photography. The Outback Archies showcases the talented creatives within regional NSW and brings them together to inspire one another as well as providing emerging artists with a platform to boost their profile.

PIERMARQ* piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm.

Outback Arts is a non-profit regional arts and cultural development organisation. We work with individuals, organisations and government to generate, promote and advocate for the arts and creative industries in the Far West region of NSW.

18 August—24 September Hidden Songs Sally Stokes Sally Stokes’s colourful landscapes embody a sense of place beyond the physical act of seeing. 29 September—12 November Objects of a Different Archaeology Liz Powell

Merren Turnbull, Life Blood of the Outback.

Tenterfield printmaker Liz Powell takes archaeology for a ride through the New England tablelands combining botany, early domestic labour, farm machinery and history.

Cannon Dill, Orchids, 2023, acrylic on canvas, 183 x 152 cm. 14 September—1 October Cannon Dill 5 October—22 October Galina Munroe

George Williams, Burruguu Miyay. 11 September–27 October Exhibition and Art Prize: Outback Archies of Landscapes and Legends Opening 16 September, 10am. Jeffrey Smart, Vacant allotment, Woolloomooloo, 1947, oil on canvas. Gift of Chandler Coventry, 1979. 29 September—4 February 2024 Inspiration and Iterations Various To culminate NERAM’s 40th anniversary year, Inspiration and Iterations celebrates both collection and community. 40 invited artists selected a work from the NERAM collections and created an artwork in

The Outback Archies Art Prize is an Outback Arts project, now in its twelfth year! In this time the Outback Archies has grown in anticipation with each year, shining a light on the diverse and talented creatives in the region, as they celebrate and explore the theme ‘Legends and Landscapes’. The art prize exhibits the work of artists from Broken Hill to the Liverpool Plains and also caters for our creative youth in Regional New South Wales with the

Ces McCully, Untitled, 2023. 26 October—12 November Ces McCully 201

This $45,000 prize is the richest non-acquisitive prize for craft and design in Australia. ADC On Tour presents the exhibition of finalists: Australian Design Centre (NSW) – 28 September to 22 November 2023 JamFactory (SA) – 15 December 2023 to 28 April 2024 Geelong Gallery (VIC) – 10 August to 27 October 2024

makeaward.au An Australian Design Centre Initiative makeaward.au

NEW S OUTH WALES

Rex-Livingston Art + Objects

30 September—21 October Tales from the late Anthropocene: Rise of marine megafauna David Smith

rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thur to Sun 11am–5pm Mon by appointment. (closed Tues and Wed). See our website for latest information.

The exhibition is about climate change. But rather than repeating an urgent call to action, David is looking wryly at a future where we have not responded. Sea levels have risen, humanity has retreated from coastal cities, and rapid evolution has given rise to new giant marine animals. But it’s not all gloomy, David’s imagined creatures are making good use of what we’ve left behind.

Until 10 September Mount Eyre Art Prize 2023 Finalists and Winner’s exhibition.

Roslyn Oxley9 Gallery roslynoxley9.com.au

Dennis Mortimer, Peacock Butterfly (Inachis io), acrylic on canvas, 2023.

Judi Moss, Morning Offering, 2023, oil, earth pigments and wax on canvas, 30 x 40 cm. 15 September–8 October Coalescence Judi Moss Recent landscapes in oil, wax and earth pigments. This current series of landscapes continues the exploration and refinement of Moss’s search for light, suggestion of form, and at times - severe reduction in her paintings.

Michael is an internationally renowned Aboriginal Artist from the Ngardi language group in the Roper River region of East Arnhem land. Michael’s art is based on the Dreamtime stories associated with his country. Dennis is exhibiting recent work that responds to extinct and endangered fauna and flora. 2 September—21 October Magpies and More Maria O’Donahoo This exhibition is a collection of paintings that showcases O’Donahoo’s love of magpies and their unique and quirky mannerisms. The works are predominantly painted with acrylic in black and white with added subtleties of colour and gold.

Over the last several years, there has been a continued and dedicated aesthetic analysis in her work, mainly exploring the Blue Mountains region. Moss frequently draws en plein air. These studies provide a rich and descriptive base for her oil and wax works, allowing the essential components of the drawings to morph into evocative, often minimal paintings.

Tom Polo, soft statues (detail), 2023, acrylic and Flashe on canvas, 182 x 71 cm.

12 October–29 October 4 New Gallery Artists j.b. Moran-Dias, Leslie Quick, Catherine Garrod and David J. Moore

Until 23 September Tom Polo Until 23 September Sarah Contos

Rusten House Art Centre qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. 2 September—23 September Hudddlestone & Mortimer Michael Huddlestone (Garmarroongoo) and Dennis Mortimer On a chance meeting, Michael Huddlestone (Garmarroongoo) and Dennis Mortimer decided to collaborate artistically.

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.

29 September–28 October Tracey Moffatt Ann Widdup, from the Four Rivers series, 2023, woodcut. 30 September—21 October Cartography of Now Claire Young, Ann Widdup, Nicole Henry and Giancarlos Savaris Cartography of Now is an exhibition of prints that invites viewers to explore the ever-changing landscapes of our present moment. Through a range of artistic techniques and styles, these prints capture the diverse and complex experiences of contemporary life and offer a visual map of our collective journey through time and space.

S.H. Ervin Gallery shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. Until 10 September Art in Conflict 203

4 AUGUST–29 OCTOBER

A Flaw in the Dance Rick Ball Collateral Veins Alexandra Rosenblum Creations of the Night: Inspired by Dreams and Fantasy Willyama Arts Society Inwards Annika Romeyn

Broken Hill City Art Gallery 404–408 Argent Street Broken Hill, NSW 2880

Tuesday to Sunday, 10am–4pm bhartgallery.com.au

Annika Romyn, Old Mutawintji Gorge, (detail), 2023, watercolour monotype, 168 x 228 cm. Photo: Brenton McGeachie.

bhartgallery.com.au

Ngarraanga ngaanya junaaygirr Hear me speak Ngarraanga ngaanya junaaygirr Hear me speak presents compelling artistic voices, showcasing the rich cultural heritage and contemporary practices of Gumbaynggirr artists.

16 September – 26 November 2023

OPEN Tues to Fri 10am – 4pm Sat and Sun10am – 2pm

Yarrila Place, 27 Gordon Street, Coffs Harbour NSW 2450

P: 02 6648 4700 E: yam@chcc.nsw.gov.au @yam.coffs

CLOSED ON MONDAYS AND ALL NSW PUBLIC HOLIDAYS

yarrilaartsandmuseum.com.au

Image: Brentyn Lugnan, Untitled, 2023. Image credit: Tallawudjah Studio

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NEW S OUTH WALES S.H. Ervin Gallery continued...

Featuring the work of artists such as Mantua Nangala, NoŊgirrŊa Marawili, Makinti Napanangka and Naata Nungurrayi the exhibition comprehensively captures this artistic zeitgeist. The work in this exhibition is on loan from the Hassall Milson Collection Warrang/Sydney with curatorial assistance from Robert Hirschmann.

Shoalhaven Regional Gallery, Nowra shoalhavenregionalgallery.com.au

Megan Cope, Flight or Fight #1, Old Rivers, Deep Water (Lake Qadisiya & Lake Assad), 2018-2019, used engine oil, ink and acrylic on paper and linen, mounted in North Stradbroke Island blue gum, 121 x 103 cm. AWM2019.58.1. Art in Conflict is a touring exhibition of contemporary art from the collection of the Australian War Memorial. Three major bodies of work debut in this exhibition: two recent official war art commissions – Susan Norrie (Iraq, 2016) and Megan Cope (Middle East, 2017) – and a landmark commemorative work by Angelica Mesiti. A showcase of diverse responses to war, the exhibition includes more than 70 paintings, drawings, films, prints, photography and sculptures. Leading Australian artists are represented such as Khadim Ali, Rushdi Anwar, eX de Medici, Denise Green, Richard Lewer, Mike Parr and Ben Quilty. Aboriginal and Torres Strait Islander art, a collection priority for the Memorial in recent years, is featured, with works by Tony Albert, Paddy Bedford, Robert Campbell Jr, Michael Cook, Shirley Macnamara and Betty Muffler.

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

Dean Cross, gunalgunal (A Contracted Field), installation 2021-22, Sydney and Adelaide. Photograph: Saul Steed. Opening Soon Perforated Sovereignty Katherine Boland, Eric Bridgeman, Susan Chancellor, Lissy Cole and Rudi Robinson, Dean Cross, Cheryl Davison, Timo Hogan, Jumaadi, Sang Hyun Lee, Maharani Mancanagara, Noŋgirrŋa Marawili, Emily Phyo, Dias Prabu, Citra Samistra, Greg Semu and Mr Wanambi.

STATION stationgallery. com

Robert Hollingworth, Sydney Hawk, 2023, acrylic on canvas.

91 Campbell Street, Surry Hills, NSW 2010 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm. Established in Melbourne in 2011, with a second space opened in Sydney in 2019, STATION is dedicated to presenting an engaging, conceptually-driven exhibition program, with the aim of fostering rigorous, critically-engaged contemporary art practices. 19 August—23 September Dry Bones, Crying Stones Adam Lee 30 September—21 October Zac Langdon-Pole

Straitjacket Carla Jackett, Dispersal, mid-fired ceramic. Until 16 September Realms of Possibilities Robert Hollingworth Emily Kngwarreye, State of My Country, 1990, synthetic polymer paint on canvas, 121.6 x 210.8 cm. 16 September–29 October Fearless: Contemporary Indigenous Women Artists Indigenous women artists have come into their own, starting with the groundbreaking work of the late, great Emily Kame Kngwarraye in the early 1990s. This stunning exhibition presents the innovation in art practice by artists not constrained by the conventionalities of the Western tradition of painting. They have created their own dynamic visual language informed by their connection to country and culture, and have forged a powerful and distinctive voice.

Diptera Anne-France Fulgence

straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450 Thu to Fri, 11am–7pm. Sat & Sun, 11am–5pm.

Wings Carla Jackett Reciprocation Simon Maberley

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

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ar t g ui d e .c o m . au Straitjacket continued... 19 August—10 September Daniela Cristallo, Lezlie Tilley, Kara Wood, Ron Royes

28 September–14 October Isobel Kennedy Juniper Maffescioni April Widdup 19 October–11 November Kim Mahood Andrew Moynihan

Sullivan+Strumpf Sydney sullivanstrumpf.com

Brett Piva. 16 September—8 October Anthony Cahill, Brett Piva 14 October—5 November Gillian Adamson, Malcolm Sands, Rachel Milne

Studio Altenburg Fine Art Gallery

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. Until September 16 Drifting Moon Lynda Draper 21 September–14 October Regression Paintings Michael Lindeman

Sophie Honess, Rest, 2023, pre-owned vintage wool and latch hook mat, 150 x120 cm. Photograph: Miranda Heckenberg. 9 September–11 February 2024 Residue + Response: Tamworth Textile Triennial Curated by Carol McGregor

studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thur to Sun 10am–3pm. Closed Mon to Wed. Jacquie Manning, silk dyed by artists in Australia, Bangladesh, India, Indonesia, Malaysia, New Zealand, Pakistan, Sri Lanka and South Africa with locally sourced eucalyptus leaves, bark or twigs, dyed silk handwoven as weft into a linen and cotton warp. Until 15 October Liz Williamson: Weaving Eucalypts Project UNSW Gallery Touring Exhibition. Joanna Lamb, Backyard with Brick Wall, 2022, acrylic on superfine polyester, 122 x 91 cm. Isobel Kennedy, The Siblings, 2023, solid clear glass, ceramic enamel, dimensions variable.

21 September–14 October One Day Like This Joanna Lamb 19 October–11 November Polly Borland 26 October–11 November Marion Abraham

Tin Sheds Gallery sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 11am–5pm, Sat 12pm–5pm.

Tamworth Regional Gallery tamworthregionalgallery.com.au

April Widdup, Unseen, 2023, borosilicate lampwork glass, 30 x 2.5 cm. 206

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

Transformation of 530 Dwellings, Bordeaux, France, photo by Philippe Ruault, 2015. 27 July—23 September Lacaton & Vassal: Living in the City

NEW S OUTH WALES This exhibition presents three years of teaching and research framed by inaugural Rothwell co-chairs Anne Lacaton & Jean-Philippe Vassal at the University of Sydney School of Architecture, Design, and Planning. Connecting Lacaton & Vassal’s architectural projects, documentary films, research, and studio investigations focused on the Sirius Building and the Waterloo Housing Estate, Lacaton & Vassal: Living in the City illuminates a method based on close attention, transformation rather than demolition, and provision of the highest quality of living space. It foregrounds a critical priority for the Pritzker Prize-winning French architects: Urbanism begins inside each apartment, with quality housing for everyone. Curators: Anne Lacaton, Jean-Philippe Vassal, Hannes Frykholm and Catherine Lassen. Collaborators: Matthew Asimakis, Liat Busqila, Mackenzie Nix, Caitlin Roseby.

artist Michael Philp that explore personal history and a strong connection to family and friends. Each painting has been inspired by a memory or an old photograph. This exhibition is the outcome of Tweed Regional Gallery’s inaugural Bundjalung award, awarded to Michael Philp as part of the 2022 Wollumbin Art Award.

Richard Lewer, What did the farmer say to the cow on the roof?, 2022, acrylic on linen, 75 x 75cm. Purchased through the Tweed Regional Gallery Donations Fund, 2022. The Tweed Regional Gallery and Margaret Olley Art Centre houses a significant collection of regional and national significance. The Gallery’s objective is to develop and preserve its collection, with a primary focus on Australian portraits, Artworks of regional relevance, Australian artists’ prints and the life and work of Margaret Olley. Diana Miller, Analogue Kid, 2023, mixed media from books and boardgame box from 1970s, 22 x 16.5 cm.

Radio Skid Row, circa 1985-88, The University of Sydney Archives. 5 October—18 November Amplify: Story, Resistance, Radio Amplify: Story, Resistance, Radio is part live ‘Pirate Radio’ performance and part sound exhibition about the importance of amplification and listening in urban politics. Amplify is a living, breathing example of how stories occupy urban space and generate solidarity. It responds to long-standing calls-to-action from First Nations leaders to end policy violence and Black deaths in custody, and to fight for land and climate justice. This exhibition invites people to share stories about sound and activism in the city through live radio broadcasts from the gallery and visual conversations covering key moments of amplification. Show up. Listen up. Get involved.

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. See our website for latest information. 1 September–26 November Silhouette of Memories Michael Philp Silhouette of Memories presents a collection of paintings by Bundjalung

1 September–26 November Analogue Kid Diana Miller “Man is most nearly himself when he achieves the seriousness of a child at play” – Heraclitus, Greek Philosopher “We’re at a pivotal time in humanity. AI is changing life as we know it, financial pressures are real and our lives are busier than ever with exposure to more information than ever before in history. NFTs, the digital age, it all seems to be on the increase at an alarming rate. A feeling of digital overwhelm was the instigator for this show. I wanted a break from the constant trajectory of more, bigger, faster and to revisit a time when life was a whole lot simpler, tactile and fun – my childhood of the 70s. I wanted to play again. Life was becoming all too serious. Using play-based material sourced from the 70s as a starting point, my intention was to create wall assemblages and paintings that have their genesis in that era but are unique in their own right.” – Diana Miller. 8 September–26 November BS’A 10 Years BS’A 10 Years celebrates the significant contribution Byron School of Art (BS’A) has made to contemporary visual arts in Australia over the past ten years. With its rigorous studio-based model, BS’A has played a seminal role in developing and fostering the experimental visual arts practices of regional artists since its inception in 2013. Curated by BS’A Directors Michael Cusack and Christine Willcocks. 6 October–25 February 2024 Recent Acquisitions Tweed Regional Gallery collection.

The collection has benefited significantly from the Gallery’s biennial acquisitive award, the Olive Cotton Award for Photographic Portraiture, and through the generous contributions from the Friends of Tweed Regional Gallery and Margaret Olley Art Centre Inc., and the Tweed Regional Gallery Foundation Ltd. Recent Acquisitions includes a selection of works which have been acquired by the Gallery, or generously donated over the past three years. 18 October–28 April 2024 Light & Life: Margaret Olley, Laura Jones, India Mark and Mirra Whale Light & Life brings together superb still life paintings by Margaret Olley from public and private collections alongside new work by three contemporary Australian painters – Laura Jones, India Mark and Mirra Whale. By special invitation, Jones, Mark and Whale have created new work in response to objects from the re-creation of Olley’s home studio and to a selection of paintings by Olley from various decades in her enduring career. Light & Life offers a rich opportunity to explore Olley’s artwork in quiet conversation with the work of three contemporary still life painters further extending Olley’s legacy and her standing as Australia’s most celebrated painter of still life. Until 24 September Olive Cotton Award for Photographic Portraiture Until 8 October Margaret Olley: Far from a Still Life Until 29 October The Offering Jacqui Stockdale Until 26 November In the Glow of Green Clare Belfrage

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UNSW Galleries unsw.to/galleries

Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12pm–5pm. Closed public holidays.

2 September—26 November Hand Me Down, Style Me Up

Elizabeth Kelly, Arc. Image courtesy of Josie Mortimer. 15 July–14 January 2024 Glasshouse/Greenhouse - Maison de Verre Verte: Arc Elizabeth Kelly Maison de Verre Verte is the Gallery’s major art glass commission for 2023. Precious Sarah Goffman and select artists from the National Art Glass Collection.

Renee So, Opium by Yves Saint Laurent, 2022. Image courtesy of the artist and Kate MacGarry, London. Photograph: Angus Mill. Until 19 November Renee So: Provenance Provenance is the first major exhibition for Renee So in Australia, bringing together over a decade of work inspired by art history, museum collections and popular forms of gendered symbolism.

David Sequeria, History & Infinity (detail), Installation view, 2022, with painting inset, Charles Wheeler, Barges on the Thames, with Vauxhall Bridge in the distance, c 1914, © The Estate of Charles Wheeler. Courtesy Charles Nodrum Gallery, Melbourne. Featured in David Sequeira, All the things I should have said that I never said, Bunjil Place Gallery, 2022. © David Sequeira. Photograph: Christian Capurro.

An eco-art floating island ‘Turtle Island’ installed in Wagga Wagga’s sacred Wollundry Lagoon, created by respected environmental artist Hayden Fowler. The work will be a focal point for conversations on how the environment can be supported to rewild. The eco-island will be in place for 6 months.

In Precious artist Sarah Goffman creates a series of new works responsive to select artworks from the National Art Glass Collection. In a climate emergency audiences are asked to rethink and revalue plastic ‘just as glass is deemed precious, so too is plastic – sourced from fossil fuels it is also finite and malignant to the planet’s health.’ Precious is a recipient of the 2022 Dobell Exhibition Grant. 15 July–12 December Said Hanrahan: Land Management Practice, Choices, Crisis Lorraine Connelly Northey, Wendy Teakel Inspired by the poem Said Hanrahan, this exhibition considers the relationship between land management and global climate change. Partnered by Wagga Wagga Art Gallery and the Museum of the Riverina it includes historic photos from the Museum collection alongside commission by Wiradjuri artist Lorraine Connelly Northey, Canberra artist Wendy Teakel and photographer Tayla Martin.

An exhibition which began as series of community workshops led by style-icon, Wiradjuri Elder Aunty Cheryl Penrith. The message encourages us to rethink our relationship to clothes through care, mending, upcycling, sharing and the tradition of handing down treasured garments. 2 September—26 November Australian Museum Tour Capturing Nature In Capturing Nature, we travel back to a time when photography was revolutionising science, art and society. These never-before-seen images dating from 1857 to 1893 have been printed from the Australian Museum’s collection of glass plate negatives and are some of Australia’s earliest natural history photographs. 2 September—19 November On Message – Environmental Prints and Posters 1978-2023 On Message traces 45 years of Australian artists dedicated to print and postermaking and environmental activism. It includes significant early posters from the collection of the National Gallery of Australia, Wagga Wagga Art Gallery’s extensive print collection, street posters and new works from the current year.

Wentworth Galleries wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm.

Until 19 November David Sequeira: History & Infinity This exhibition features major works by celebrated Australian artist David Sequeira, who uses languages of colour, space, and geometry to intervene and rethink the narratives of art.

Wagga Wagga Art Gallery waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 208

Yandell Walton, Computer generated still, 2023. Image courtesy of the artist. 19 August—26 November Dissonant Terrain Yandell Walton In the exhibition Dissonant Terrain, Yandell explores a post-natural discourse and its effects in the world where human activity continues to transform the natural environment. Dissonant Terrain is the result of Yandell’s participation in the Labverde residency program, which took place in the Amazon Rainforest in September 2022. 2 September—31 January 2024 Turtle Island Hayden Fowler

Jacqueline Fowler, Peony Roses II, oil on canvas, 90 x 90 cm. 6 September– 16 September Martin Place:

NEW S OUTH WALES Spring Florals Group Show featuring Anotinette Ferwerda, Jacqueline Fowler, Dianne Ogg, Debra Hutton

Embark on a journey of emotions at our captivating group art exhibition, Of Greetings and Goodbyes, where the vibrant artistic voices of Australia’s east coast converge. This unique showcase brings together a diverse collective of talented artists hailing from the coastal stretches of this beautiful region. Through a rich tapestry of mediums and styles, each artist interprets the theme, offering their personal reflections on the poignant moments of meeting and parting. From the sun-kissed shores of Queensland to the cultural hubs of New South Wales, these artworks reflect the kaleidoscope of experiences that characterize the East Coast.

Pliable Planes draws together twelve Australian practitioners who reimagine practices in textiles and fibre art. The project takes its title from a 1957 essay by Bauhaus artist Anni Albers that sought to rethink the use of weaving through an architectural lens, interpreting textiles as fundamentally structural and endlessly mutable. Curators: Karen Hall & Catherine Woolley Pliable Planes: Expanded Textiles & Fibre Practices is a UNSW Galleries touring exhibition presented with the support of the Australian Government’s Visions of Australia touring initiative, the Australia Council for the Arts, and Museums & Galleries NSW on behalf of the NSW Government.

Of Greetings and Goodbyes encapsulates the intricate web of human connections, shared stories, and individual journeys that span our coastal communities. Join us in celebrating the shared narratives and diverse perspectives that weave together in this remarkable showcase, reminding us that within each greeting and goodbye lies a profound story waiting to be told. Opening Friday 8 September 6pm–8pm. Bessie Nakamarra Sims,Warlukurlangu artist, Janganpa Jukurrpa (Native Possum Dreaming), acrylic on linen, 183 x 122 cm. 19 October–29 October Phillip Street: Warlu Artists Group Show featuring artists from the Warlukurlangu Art Centre in NT.

Wester Gallery wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

Western Plains Cultural Centre, Dubbo 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. 8 July—5 November 1X4 Each object in this exhibition tells four distinct stories. You can listen to or read each of the four stories … or some … or none and just enjoy the beauty of the objects. Every story is the truth about the object and is a valid way to view the object, but they are all different. Developed by Newcastle Museum, rather than labels on a wall, the secrets of 1X4 are revealed via your mobile phone or tablet by visiting 1X4.com.au. If you would like to delve deeper, pack your headphone for an audio tour. A touring exhibition developed by Newcastle Museum.

Joan Ross, Touching other people’s butterflies, (still), 2013, single channel digital animation, 2mins 45secs. Collection Western Plains Cultural Centre, purchased with funds provided by Friends of the Western Plains Cultural Centre. 5 August—22 October BOLD BOLD examines the ways artists express themselves using colour, and the ways we as viewers are influenced by it. Curated By Kent Buchanan. Until 22 October Fifty Fine Photographs: Bob Montgomery Bob Montgomery is well known to many as the proprietor of Montgomery’s Photographic Studio which operated in Dubbo for many years. But they may not know that Montgomery produced photographs in his spare time. Inspired by the great American landscape photographer, Ansel Adams (1902 – 1984), Montgomery produced hundreds of photographs of the Australian landscape during family holidays around the country. Curated by Kent Buchanan.

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Image courtesy of the gallery. 8 September–23 September Of Greetings and Goodbyes Curated by Brittney Ferns. Featuring Brittney Ferns, Lucy Anderson, Emma Rushton, Holly Terry & Jordana Henry.

Anne-Marie May, Unforeseen Constellations, (detail), 2022. Hessian backed wool carpet, wool thread. Courtesy of the artist. Photograph: Jacquie Manning. 5 August–15 October Pliable Planes: Expanded Textiles & Fibre Practices

Until 12 November I Am the People Group exhibition 28 Artists including, Chen Wei 陈维, Hailun Ma 马海伦 and Ge Hui 葛辉 What is the future of class in China? At a time when the nation is rapidly 209

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16 September–26 November Hypnagogia With Mirrors: Old And New Work, 1977-2023 Jacky Redgate Hypnagogia with Mirrors refers to a new photographic series made for the exhibition using her sculptures Unfolding Solids, as props in Mylar mirrors. Supported by the NSW Government through Create NSW.

Ge Hui 葛辉, Never Prepare a Story, 2021-22, oil on canvas, 255 x 345 cm. Photography: Hamish McIntosh. transforming into a global economic and political powerhouse, issues of class stratification and social mobility become increasingly urgent.

Until 17 September Round Andrew Christofides, Richard Dunn, Lynne Eastaway, Daniel Hollier, Pollyxenia Joannou, Lisa Jones, Tom Loveday, Hilarie Mais, Dani Marti, Al Munro, Eugenia Raskopoulos, Jacky Redgate and Nuha Saad. Coordinated by Lisa Jones and Tom Loveday. 21 October–7 April 2024 Kôgábinô Mai Nguyen-Long Curated by Adam Porter.

Wollongong Art Gallery wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm. 2 September–17 March 2024 Flow: Contemporary Watercolour Prize A biennial acquisitive competition that encourages innovation and experimentation in watercolour painting, The judge is Beatrice Gralton, Senior Curator of the Brett Whiteley Studio, AGNSW. Until 10 September Are You There? Daniel Mudie Cunningham Curated by James Gatt. The first career survey of Australian artist, curator and writer Daniel Mudie Cunningham. Focusing on Cunningham’s artistic output, the exhibition maps thirty years of practice bringing together videos, photographs and previously unexhibited archival material produced between 1993 and 2023. Assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Jacky Redgate, Hypnagogia with Mirrors #1 (detail), 2023, silver halide chromogenic photograph. 80 x 100 cm. 210

Kôgábinô is a double mistranslation of Vietnamese English for ‘vomit girl’. This recurring motif and adopted character in Nguyen-Long’s practice becomes a visceral metaphor for diasporic trauma and the artist’s inquisitive and ongoing negotiation with the messy edges of histories, cultural identity and family values. Until 12 November An Unbroken Voice: First Nations Works From The Collection Including artists David Nolan, Dorothy Napangardi, Eubena Nampitjin, Glory Ngarla, Judy Napangardi Watson, Kevin Butler, Leonie Dennis, Mabel Dungay, Mitjili Napurrula, Peggy Napangardi Jones, Ronnie Tjampitjinpa, and Warwick Keen.

showcasing the rich cultural heritage and contemporary practices of Gumbaynggirr artists. This major exhibition features new work across diverse mediums by Gumbaynggirr artists, showcasing the ongoing resilience of Gumbaynggirr people - from first contact and forced dispossession through to today, where the reclamation and revitalization of language and cultural practices claims a strong presence, now and for future generations. This project is supported by the NSW Government through Create NSW. 16 September—24 September Harbour, Headlands, Hinterland This exhibition explores coastal and country life through Yarrila Arts and Museum’s diverse collection of contemporary art. 16 September—22 October Please walk on the Grass Peggy Zepher Please Walk on the Grass invites you to enter a world of play with local artist Peggy Zephyr’s hyper-coloured paintings and tactile textiles. 16 September—1 October Speaking Water Artists Jasmine Cederqvist, Anna Glynn, Simone Hooymans, Emily Jay and Anastasia Savinova contemplate the journey of water through time, from ancient ice and glaciers, through rivers, waves and seas, to the clouds and rains, and to living things composed mostly of water.

Diverse and nuanced stories that speak to the ongoing resilience of First Nations people withstanding Australia’s colonial history of violence, oppression and forced assimilation.

Yarrila Arts and Museum yarrilaartsandmuseum.com.au Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm.

Tamara Dean, The Suspended Moment, 2022, photography, 81 x 106 cm.

Permanent Yaamanga Around here

7 October—3 December STILL: National Still Life Award

A permanent exhibition exploring the history and identity of the Coffs Coast through themes of place, community and belonging, with Gumbaynggirr culture at its heart. It features Daalga Nginundi Wajaarr Sing Your Country, created by ZAKPAGE, award-winning storytellers who work at the convergence of film, sculpture, design and architecture.

Now in its fourth iteration, STILL: National Still Life Award is a biennial, acquisitive award for still life artworks across all mediums. STILL 2023 has a prize pool of $35,000 and is the first National Still Life Award presented at Yarrila Arts and Museum (YAM).

16 September—26 November Ngarraanga ngaanya junaaygirr Hear me speak

When in Rome presents Gareth Budge’s photography series capturing the ever changing form of urban wildposting that produces untraceable layers and chance formations.

Ngarraanga ngaanya junaaygirr Hear me speak presents compelling artistic voices,

26 October—10 December When in Rome

A–Z Exhibitions

Queensland

SEPTEMBER/OCTOBER 2023

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19 Karen Contemporary Artspace 19karen.com.au 19 Karen Avenue, Mermaid Beach, Gold Coast, QLD 4218 [Map 13] 07 5554 5019 Tues to Thurs 9am–4pm, Fri and Sat 10am–2pm.

you in awe of nature and its wonderous colours and spaces. Brooke’s goal is to capture the moment and slow down time, one photo at a time.

Artspace Mackay artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

Katherine Dunne, Last Light Mimosa Creek, 2012, pastel on paper. Banana Shire Council Collection. Collection, traversing time and medium. The exhibition presents a range of perspectives from the Collection to give a glimpse of the region, through the eyes of local creators.

Zanny Begg, Stories of Kannagi, (still), 2019. Image courtesy of the artist. Caitlyn Taylor, Down the Line, oil on canvas, 96 x 96 cm.

18 August—12 November These Stories will be Different Zanny Begg

14 October–25 November Happy Place Solo Show Joaquin Valdez Macher (USA)

13 October–8 December Brigalow Arts Festival

Mini solo shows Amber Kingi (AUS)

The Brigalow Arts Festival showcases youth, emerging and established artists from Central Queensland and beyond. This annual art award highlights to variety of practice in the region, with the theme award centering around ‘Landscape’. Entries close 15 September. Visit the Banana Shire Regional Art Gallery website for more information.

Caitlyn Taylor (AUS) Nector (CO) Sean Edward Whelan (AUS) Silas (NL)

Above and Below Gallery

Caloundra Regional Gallery

aboveandbelowgallery.com.au Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach QLD 4802 [Map 14] 0419 941 162 Weds to Sat 9am–4pm, Sun 9am–1pm.

Gail Thomas, Outback Budgies, 2021, pastel on paper. Banana Shire Council Collection.

Kara Day, Glorious, 2022, plaster, mirror, pins and gold leaf, 22 x 17 x 7 cm. Photograph: Jim Cullen. 12 August—5 November Ladylike Kara Day 12 August—5 November Turbulence Stephen Homewood

gallery.sunshinecoast.qld.gov.au 22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Banana Shire Regional Art Gallery banana.qld.gov.au Above and Below Gallery is the home of Whitsunday photographer, Brooke Miles. The gallery hosts a rolling exhibition year round featuring natures precious landscape and its creatures. Brooke Miles, Coral Veins. Focusing on the ocean as a canvas, from both above in the aerial sphere and below the waters surface, this collection will have 212

62 Valentine Plains Road, Biloela, QLD 4715 [Map 14] 07 4992 9500 Mon to Fri 8.30am–4.30pm. Until 29 September From Where I Stand Banana Shire Council Collection From Where I Stand amplifies the unifying themes of the Banana Shire Council

Amaya Iturri, The Hub, 2022, acrylic on canvas, 150 x 150 cm. Image courtesy of the artist.

QUEENSLAND Until 15 October Sunshine Coast Art Prize 2023 Various artists

Gallery 48

HOTA

gallery48thestrandtownsville.com

hota.com.au

2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12pm–5pm, and Fridays by appointment.

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Joe Furlonger, Roma to Injune in the month of May, 2023, pigment with acrylic binder on paper, 40 x 60 cm. Photo: Carl Warner. 20 October–3 December Land Holds Memory Kev Carmody, Joanne Currie Nalingu, Joe Furlonger, Pat Hoffie, Peter Hudson and Euan Macleod.

Tempe Manning Self-portrait, (detail), 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW 2021. © Estate of Tempe Manning. 15 July—2 October Archie 100: A Century of the Archibald Prize

Caboolture Regional Art Gallery

Hervey Bay Regional Gallery

moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 See our website for latest information. 23 September—12 November Girra: Fraser Coast National Art Prize

Ryan Presley, The Dunes (How Good is Australia), 2019, oil, lapis lazuli and 23k gold leaf on board. Winner 15 Artists 2019, Moreton Bay Regional Council Art Collection. Until 21 October Get me out! Merinda Davies, 110% Collective, Michaela Gleave & Vicki Hallett, Katie Rasch, Erin Coates, Robert Nugent, The Huxleys, Helena Papageorgiou, Spencer Harvie, Ryan Presley, Michael Cook.

Kathy Cornwall, Collector, (detail) 2023, mixed media and oil on wood, 119.5 x 34.5 cm.

The outlook for the future can seem bleak, the doomsday clock is currently set at 90 seconds to midnight and there does not seem to be a solution on the table. With this depressing forecast how do we find hope? In Get me out!, artists share ways of escape from our current reality - be that through protest, imagining a new future or completely checking out. Across diverse practices proposals for new worlds, futurist inspired thinking and science fiction inspired realities will be presented. What possibilities are on the table if we can escape from the current state? Who would benefit and who gets left behind? Exhibition developed by Moreton Bay Regional Council.

Girra: Fraser Coast National Art Prize is an initiative of the Hervey Bay Regional Gallery and Fraser Coast Regional Council that seeks to explore our reciprocal, inextricable relationship with the environment through contemporary art. The Major Prize winner will be awarded a $25,000 acquisitive prize and their work will become a significant early acquisition for the newly focused art collection of the Fraser Coast. The finalists’ exhibition forms a compelling story of our nation’s relationship to the environment told through diverse perspectives and aesthetic approaches.

Alan Peebles, Eastern Curlews bus shelter painting, 2009. Laurna Love, Mangroves Shelley Bay, 2023, acrylic on canvas, 30 x 40 cm. 1 September—30 October Environmental Influences Kathy Cornwall and Laurna Love

9 September—12 November Alan Peebles: Bird Man Between 2003 and 2009, Hervey Bay wildlife enthusiast Alan Peebles painted 103 murals of local bird species on bus shelters throughout the Fraser Coast 213

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Logan Art Gallery

region. Twenty years on from the first of these murals, Hervey Bay Regional Gallery presents a celebration of the generosity, vision and community spirit of Peebles’ bus shelter project. Presenting a selection of murals alongside his self-published wildlife documentaries, Alan Peebles: Bird Man draws on Peebles’ passion for the region’s wildlife, forming a charming and idiosyncratic portrait of Hervey Bay through the eyes of one of its prominent advocates.

loganarts.com.au/artgallery

Institute of Modern Art ima.org.au Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tues to Sat 10am– 5pm. Free Admission.

Daniel Boyd, Rainbow Serpent (Version), installation view, Gropius Bau, Berlin, 2023. Photo: Luca Girardini. 9 September–16 December Rainbow Serpent (Version) Daniel Boyd Rainbow Serpent (Version) is Daniel Boyd’s first major presentation in Meanjin/ Brisbane, a place of cultural and ancestral significance for the artist. Through fifteen new paintings, a major site-specific floor installation and series of live activations, this new commission continues Boyd’s interrogation of Western scientific, artistic, and philosophical thought, and their role in the colonisation of Australia. Arranged in spatial and conceptual groupings that transcend time and place, Rainbow Serpent (Version) contends with the multitude of ways that colonisation has disrupted cultural tradition and infiltrated civic imagination. Spanning classical antiquity, archival images, Roman mythology, and the artist’s own family history, these paintings articulate the visual language of imperial placemaking, particularly as it has materialised in the state of Queensland. 214

Logan Art Gallery 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. Our award-winning gallery showcases artworks from many different cultures including works by Aboriginal and Torres Strait Islander artists. It also features touring exhibitions on loan from major galleries and national touring bodies. Until 2 September Conflated Toured by the National Exhibitions Touring Support (NETS) Victoria The Pride of Logan Pamela See In space Imman Grashuis

18 October–25 November Landscape paintings Mei Mei Liu Whakawhanaungatanga Walter and Evangeline Archer Ripple effect – out of Artwaves Laura Pittman Bespoke: made in Logan

Jan Manton Gallery janmantonart.com 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tues to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information. We are a leading art gallery located in the wool store precinct of Teneriffe. Director Jan Manton established the gallery in 2004 with the vision of supporting artists who contribute to the vibrant and dynamic discourse on contemporary art in Australia. The gallery’s exhibition program encourages collectors to connect through artist talks, exhibition openings and panel discussions.

Jade Egglesfield, year 11, John Paul College, Dalisay at Matapang, 2022, acrylic on canvas. 6 September–14 October Artwaves 2023 Logan and adjacent areas secondary schools art exhibition.

Simon Degroot, Abbreviated Gestures Shell Ginger, 2023, oil on linen, 168 x 122 cm. 5 September—23 September Abbreviated Gestures Simon Degroot

Jan Murphy Gallery janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. See our website for latest information. Mei Mei Liu, Shadow, 2022, ink and acrylic on paper.

Until 16 September Claudia Greathead and Louise Tate

QUEENSLAND

Iluwanti Ken & Betty Muffler, Mara Ala – Open Hands (139-22), 2022, acrylic and ink on linen, 198 x 152 cm. 7 September–10 September Sydney Contemporary (F15 & F17) Iluwanti Ken and Betty Muffler 19 September–7 October Amber Wallis and Charlotte Ghaie 10 October–28 October Martin Smith and Leith Maguire

Metro Arts

Dave Groom, Eagles And Deep Gorge. Jody Rallah, Undercurrents, 2023. Photograph: Joe Ruckli. 30 September–28 October Undercurrents Jody Rallah Jody Rallah explores the undercurrents of life on Yuggera Djara, the experience of Country and reflective narratives between sky, land and our role as custodians on Country. Presented by Metro Arts.

metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm. See our website for up-to-date gallery opening times and special events in conjunction with these exhibitions.

Montville Art Gallery montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 07 5442 9211 Daily 10am–5pm. See our website for latest information.

Rae Haynes, Patterns for Future Living, 2023, ink on watercolour paper, 30 x 40 cm. Image courtesy of artist. 1 September–23 September Patterns for Future Living Rae Haynes Engage, contemplate and discover an expansive interconnected future with Patterns for Future Living, a dynamic DIY exhibition that stirs collective action for environmental and ecological justice. Free workshops: the artist will be holding x 2 free public workshops on 9 & 16 September as part of the exhibition. See website for details. Presented by Metro Arts & Brisbane Festival 2023.

Ian Mastin, An Inside Job. 1 September–30 September Featured Artist for September Ian Mastin Our featured artist for September is Ian Mastin. Ian believes that if crafted well, the simplest of subjects have the potential to arrest and delight. He’s particularly attracted to the old, worn and often imperfect. Ian’s incredibly detailed still-life works are available to view in the gallery and on our website.

1October–31 October Featured Artist for October Dave Groom Few south-east Queensland artists live and work in the landscape they portray as Dave Groom does. His work primarily centres on Lamington National Park and the rural landscape of Beechmont on the Gold Coast. Dave’s studio is surrounded by the National Park and he is able to constantly immerse himself directly in the landscape. New works are arriving for his featured artist month, and can be found on our website as well as on display in the gallery.

Museum of Brisbane museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

Gordon Bennett, Home Décor (De Stijl + Preston) No 3, 1996, acrylic on paper. City of Brisbane Collection, Museum of Brisbane. Until 21 January 2024 From the Collection: Gordon Bennett Gordon Bennett (1955–2014) remains one of Australia’s most significant postmodern artists. Throughout his practice, he worked in a wide range of media including painting, drawing, printmaking, video, performance and installation. His bold and challenging art continues to engage with questions of cultural and personal identity, particularly 215

ar t g ui d e .c o m . au Museum of Brisbane continued...

Noosa Regional Gallery

within the context of Australia’s colonial past and postcolonial present. Museum of Brisbane invites you to come and explore an intimate display of Gordon’s works from the Museum of Brisbane Collections, including two recent acquisitions generously donated by Leanne Bennett.

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. Claudine Marzik, from the Undara Paintings series, 2023, acrylic on paper, 30 x 42 cm. Photograph: Michael Marzik.

Clay: Collected Ceramics at Museum of Brisbane. Photograph: Katie Bennett. Until 22 October Clay: Collected Ceramics Carl McConnell, Gwyn Hanssen Pigott, Milton Moor, Kevin Grealy, Bonnie Hislop, Nicolette Johnson, Jane du Rand, Kenji Uranishi, Steph Woods and more From ancient vessels to figurines revealing the daily lives of people from antiquity, ceramics have been integral to cultures worldwide for millennia. Ceramics have stored our most precious resources, have been vehicles for knowledge and traditions, and passed between generations as heirlooms. Clay: Collected Ceramics is a celebration of ceramics from two collections: Museum of Brisbane’s and Kylie Johnson’s. It is accompanied by Commune, a display of single pieces contributed by more than 300 makers responding to MoB’s largest community callout to date. With pieces spanning 60 years of creativity, including fresh works never before displayed, Clay sparks a conversation about the relationship between potters and their visions. The many highlights of Clay include a bold grouping selected from the MoB Collection to represent the many shades of brown, featuring works by ten renowned makers including Carl McConnell, Gwyn Hanssen Pigott, Milton Moon, Lyndal Moor and Kevin Grealy. In stunning contrast are newly commissioned and acquired pieces by diverse contemporary makers Bonnie Hislop, Nicolette Johnson, Jane du Rand, Kenji Uranishi and Steph Woods. Flowing throughout is an evolving performative installation by Artist in Residence Jody Rallah. A generous array of objects gleaned from years of collecting speaks of the life of Kylie Johnson, author, poet, traveller and founder of Brisbane treasure-trove, paper boat press. A film commissioned for the exhibition insinuates the viewer into intimate spaces of ceramics themselves. Woven throughout are many makers’ ruminations on how they lost their hearts to this most elementary, seductive material.

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Experimenta Life Forms, 2021. Plimsoll Gallery, UTAS, Hobart (TAS). Justine Emard, ‘Soul Shift’ (rear); Laura Woodward, ‘Planet’ (foreground). Photograph: Rémi Chauvin. 6 August–1 October Experimenta Life Forms : International Triennial of Media Art Experimenta Life Forms : International Triennial of Media Art explores the idea of sentience in 21st-century society, showcasing 26 leading Australian and International artists whose work makes a significant contribution to current dialogues about the changing landscape of life as we know it.

NorthSite Contemporary Arts northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm. 1 September–14 October Future Nostalgia Charlotte Haywood

Marzik’s research on Ewamin Country has fostered deep investigation of the ancient lava tubes and cavernous rock formations within Undara Volcanic National Park, located in the centre of lower Cape York, between Cairns and Normanton. The name Undara in local Aboriginal dialects means ‘Long Way’ referencing to a long way from Cairns and the elongated rivers of lava that meandered through the valley over 190,000 years ago. Marzik’s Undara Paintings, respond to the awe and wonder of this landscape, referencing the voids shaped by volcanic eruption, the pattern, deposition, graffiti and textures, appearing on the ceiling and the walls and speleothem continually accumulating. The layers of the canvas surface reworked and layered like strata. Marzik has been making and exhibiting work inspired by the unique environment of Far North Queensland for more than three decades. Undara Paintings represents an important exhibition in the artist’s career. 2 October–11 November It’s your FNQ Jamie Cole Inspired by pop art and the Far North, Jamie Coles’ exhibition of paintings reflects the artist’s experience of relocating from the South Coast of New South Wales to Cairns. His choice of imagery reflects the region’s colourful characters and sometimes dangerous landscape, including crocodile warning signs and the XXXX beer logo; as well as quirky details of daily life in the tropics.

Through residencies at the Tropical Indigenous Ethnobotany Centre (JCU) Cairns, GoctaLab- Amazonas, Peru, various locations in Mexico and working with invited guests, Charlotte Haywood brings together multi-layered stories of plant knowledge, practices, materials and collaborations, honoured through shared processes, relationships and forms. The works explore multi-modal mnemonics, or memory devices, through our relationships to story, mythologies, melodies, dance, landscapes, the plant kingdom, ecologies and ourselves. In this way, the artists create a shared space for reverence and remembrance of our connection to the plant world, the living planet and each other.

Claire Grant, Domestic Travel Restrictions May Be in Place (nothing’s as precious as a hole in the ground), (detail), 2021-2022, cyanotype and pen on paper, (57 sheets), 90 x 400 cm.

1 September–28 October Undara Paintings Claudine Marzik

Until 7 October Milkrun in the Sky Claire Grant

Swiss-born, Cairns-based artist Claudine

Claire Grant’s multi-panelled, panoramic

QUEENSLAND cyanotype and encaustic on Japanese washi paper explores the Far North Queensland coastline from the aerial viewpoint and restricted vignettes observed from plane travel.

Outback Regional Gallery, Winton matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

Takahiko Iimura, Japan/United States, b.1937, performance: AIUEONN Six Features, 1994, videotape: 8 minutes, colour, stereo. Acc. 1999.035, The James C. Sourris AM Collection. Purchased 1999 with funds from James C. Sourris through the Queensland Art Gallery Foundation. Until 29 October Asia Pacific Video Asia Pacific Video brings together some of the leading artists of the Asia Pacific region, through video works spanning two decades from the QAGOMA Collection.

Onespace onespace.com.au 4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 11am–5pm or by appointment.

8 September–7 October Ross Booker: Hydrosphere Water is the genesis for Ross Booker’s latest body of work which utilises digital images, painting, drawing and video. Booker is compelled to contemplate the hydrosphere, focusing on the ephemeral and mercurial qualities of water embodied in our river systems, estuaries, and oceans. As Booker enthuses, “I want to transport water from the background noise of our daily existence and uphold it as something precious and extraordinary”. Waterways and the sea have become his focus. “I’m fascinated by the mutable nature of water, the interplay of light on its surface, the topographical nature of wave forms, and the many nuanced impressions that are left in its wake on my memory”. The undulating surface of water becomes the ultimate symbol for the ungraspable nature of existence. It is both phenomenological and eternal – never still, always evolving through constant change. Booker remains preoccupied by notions of change evident in the physical world, and the equilibrium that underpins its stability and its impermanence, giving rise to the transitory nature of our own existence. 13 October–11 November Matilda Nona: Buwalwoeydhay Onespace is excited to present Matilda Nona’s first solo show in Brisbane Buwalwoeydhay (Island Lifestyle). Her work comprises recent prints and exceptional works from the last five years of her practice. Matilda Nona (born 1974, Badhulgal/Maluyligal people) lives and works on Badu Island in the Torres Strait. Her work is vested in maternal ceremonies and imagery drawn from the land and sea, in this case through lino prints. Nona’s work depicts the cultural life and traditions of Badu Island and Torres Strait Islander culture. Her intimate and ambitious scale linocuts, explore and engage with both recent history and tradition from new and innovative perspectives. Many of these works are based on women’s business, alluding to the rites of passage from girl to woman. They often reference the earth and the sea, the source of all sustenance in her place. Her prints frequently evoke the power of the sea as a backdrop to imagery of precious marine creatures and the ghost nets in the Torres Strait and Cape York that so often entraps these animals.

Perc Tucker Regional Gallery townsville.qld.gov.au Ground Floor, (First floor at PTRG remains closed), Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. Ross Booker, Meditation 05, 2023. Photograph: Louis Lim. Courtesy of the artist and Onespace.

Until 25 September Lost In Palm Springs

Kate Ballis, 2350 (detail), 2018, archival pigment print on cotton rag, 78 x 119 cm. Image courtesy of the artist. Curated by Dr Greer Honeywill, this exhibition examines the connection between Palm Springs and Australia, and how contemporary artists engage with and respond to modernism’s aesthetic and influence. Place and home, landscapes (real and imagined), and Bauhaus sensibilities inform the exceptional works in this exhibition. Lost in Palm Springs is the result of three artist-residencies Greer undertook in Palm Springs, California, USA, between 2017-2019 researching the world’s largest collection of domestic midcentury modern architecture and connecting with artists who share her passion. In doing so, she discovered architectural and aesthetic sensibilities with surprisingly strong connections to Australia, particularly the Gold Coast. Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland and proudly sponsored by IAS Fine Art Logistics and o2 Architecture. Museums & Galleries Queensland is supported by the Tim Fairfax Family Foundation and receives funds through the Australian Cultural Fund.

Andrew Rankin, Cairns Performing Arts Centre (detail), 2019, cotton rag print, 123 x 95 cm. Building byCox Architecture + CA Architects. Image courtesy of the artist. Until 25 September Chasing Light: Architecture of the North Andrew Rankin This exhibition by Andrew Rankin documents recent developments of new contemporary buildings and the changing landscape of urban centres in North Queensland. Many of the structures form part of the master plan for James Cook University in Townsville and Cairns. Chasing Light refers to the tool kit of 217

ar t g ui d e .c o m . au Perc Tucker Regional Gallery continued... a working photographer by searching and waiting for moments of illumination - be it dawn, dusk or bright midday sun. The images also showcase architects responding to the environmental challenges of designing buildings suitable for life in the tropics and dealing with extreme weather events such as cyclones and flooding rains. Chasing Light is an inspiring celebration of the beauty and diversity of North Queensland’s architecture. The images capture the unique charm and character of the buildings and structures that make up this diverse and beautiful region.

20 years experience as a visual artist and arts worker. Harward is the Director of Munimba-Ja, an Aboriginal-run gallery, shop front and yarning place on Jinibara Country in Maleny. Exhibition developed by Moreton Bay Regional Council with guest curator Libby Harward.

Pinnacles Gallery townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871

industrial design, through to millinery, sculpture and traditional craft and weaving techniques. 6 October–22 October Creative Generation Excellence Awards In Visual Arts 2023 The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state and nonstate schools. Since 1990, the program has helped raise community awareness of the degree of sophistication in concepts, diversity of technical competence, and the high standard of visual art education in Queensland secondary schools.

29 September–29 October 68th Townsville Art Society Art Awards

Philip Bacon Galleries

The Townsville Art Society Inc proudly presents the 68th Townsville Art Society Art Awards. The Townsville Art Society has held an annual or biennial arts exhibition since its inception, and the Townsville Art Society Art Awards exhibition is now a major exhibition in the cultural life of the city. Held in Perc Tucker Regional Gallery, it provides an opportunity for North Queensland artists, who are affiliated with an Art Society, to display their work in a major gallery and compete for prizes.

philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

Emma Moore, She is Blossoming, 2023, buff raku clay, 35 x 45 cm. Image courtesy of the artist. 1 September–1 October Embolden The Courage To Be The annual exhibition of TAFE North Queensland visual art student’s works boasts an array of approaches and media. This year’s exhibition once again promises to be an exciting glimpse into the future of Townsville’s emerging artists.

Libby Harward is a descendant of the Ngugi people of Mulgumpin (Moreton Island) in the Quandamooka. She has over 218

Peter Boggs 10 October–4 November Rick Amor

artmuseum.qut.edu.au wrgallery.qut.edu.au

Until 2 December Fresh Eyes Kieron Anderson, Shannon Michaels, Lexie Abel, Gabe Parker

In 2023, guest curator Libby Harward will guide artists to consider their own unique views on the Moreton Bay landscape, providing a snapshot of this region for generations to come.

12 September–7 October Michael McWilliams

QUT Galleries + Museums

Exhibition view of Fresh Eyes 2021, featuring artwork by Julie Thornton. Photo: Embellysh Photography.

Fresh Eyes is a biennial exhibition that documents the changing landscape of the Moreton Bay region. Four artists connected to this region are invited to reflect on their relationships to this place and the changes they have experienced.

Michael McWilliams, The time out tree, 2023, acrylic on linen, 180 x 170 cm.

Various Artists, Up Close exhibition by Wearable Art Creatives, 2021, mixed media, various dimensions. Image courtesy of Townsville City Galleries. 1 September–1 October Wearable Art Creatives Wearable art occupies an exciting and innovative space that fuses many art forms and techniques, from the use of recycled or high-tech materials and

QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays. 20 June—1 October Troy-Anthony Baylis: I wanna be adorned Through a powerful assemblage of objects entwined around notions of the body or adornment, this exhibition delves into the textile practice of Troy-Anthony Baylis. The artist traverses disparate sources, from high to low brow and the ground in

QUEENSLAND GOMA | Ticketed: Admission includes access to both eX de Medici: Beautiful Wickedness and Michael Zavros: The Favourite.

The Australian landscape can instil fear and inspire awe - it is an ecosystem that is entirely its own. The picture of Australia evoked by Dorothea Mackellar’s prose in ‘My Country’ still rings true more than 100 years later. She is a land that is beautiful and terrifying, she can be harsh just as she is nurturing. For Her beauty and her terror contemporary artists explore the Australian landscape in its extremities, subtleties and forms to consider our connection to it. Exhibition developed by Moreton Bay Regional Council.

Troy-Anthony Baylis, Two Hearts (Kylie Minogue), 2022, sliced and rewoven acrylic on linen, embroidery cotton, buttons. Courtesy of the artist. Photograph: Grant Hancock. between – spanning literature, pop music, op shops and haute couture – to imagine a new language and reality; a technicolor dreaming of his own making.

eX de Medici, Australia, b.1959, Blue (Bower/Bauer), 1998–2000, watercolour over pencil on paper, 114 x 152.8 cm. Purchased 2004, collection: National Gallery of Australia, Canberra. © eX de Medici. Until 2 October eX de Medici: Beautiful Wickedness GOMA | Ticketed – includes admission to Michael Zavros: The Favourite. More information: https://www.qagoma. qld.gov.au/exhibition/ex-de-medici

Alice Lang, Slutz Vote, 2020, marbled paper and acrylic on paper. Courtesy of the artist. 20 June—1 October Flowah Powah: Alice Lang This exhibition borrows from a vibrant counterculture aesthetic that rose out of LA in the 1960s, while playing on a uniquely Australian vernacular, through goading and sometimes humorous painting, text and sculpture. Lang taps into the current political and cultural climate to deliver a high impact visual journey full of kitsch, vulgarism and the absurd, challenging the audience to consider biases and assumptions surrounding heteronormativity, gender roles and body politics in her first major institutional show.

Queensland Art Gallery | Gallery of Modern Art qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Michael Zavros, Australia, b.1974, V12 Narcissus, 2009, oil on board, 20 x 29.5 x 2 cm. Collection: Art Gallery of New South Wales, Gift of the artist 2013. Donated through the Australian Government’s Cultural Gifts Program. Image courtesy: Michael Zavros. © Michael Zavros.

Jamie Congdon, Nothing to do, 2022. Courtesy of the artist. Until 30 September No thrills Jamie Congdon No thrills is a solo exhibition of recent works by Redcliffe-based painter, Jamie Congdon. Through this exhibition, Congdon provides an intimate portrait of his life, focusing on the locations and scenes from his everyday experiences. Imbued with his personality, No thrills shares irreverent yet honest interpretations of Congdon’s experience living alone, and its associated feelings of idleness, boredom and loneliness. You will be brought into Congdon’s living room, taxi cab and the neighbourhood streets tucked away from Redcliffe’s tourist hotspots. Exhibition developed by Moreton Bay Regional Council.

Until 2 October Michael Zavros: The Favourite GOMA | Ticketed – includes admission to eX de Medici: Beautiful Wickedness. More information: https://www.qagoma. qld.gov.au/exhibition/michael-zavros

Redcliffe Art Gallery moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. Until 2 September Her beauty and her terror Jane Burton, Nici Cumpston, Libby Harward, Katarina Vesterberg, Anna Litwinowicz, Mandy Quadrio, Merri Randall, Samantha Lang, Polly Stanton, Jarrod Van Der Ryken.

Catherine O’Donnell, Glenbrook Window #1 (detail), 2021, charcoal on paper, Grafton Regional Gallery collection, Acquisition of the 2022 Jacaranda Acquisitive Art Award. 219

ar t g ui d e .c o m . au Redcliffe Art Gallery continued... 7 October–11 November Redcliffe Art Society Exhibition of Excellence In its 66th year Redcliffe Art Society’s annual Exhibition of Excellence is a calendar favourite and brings together the best works by society members from the past year. Prizes are awarded across a number of categories including landscape, still life, portraiture, and abstract/contemporary.

Redland Art Gallery, Cleveland artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

9 September–11 November JADA: Jacaranda Acquisitive Drawing Award The biennial Jacaranda Acquisitive Drawing Award (JADA), organised by Grafton Regional Gallery, celebrates Australian contemporary drawing at its finest. Established in 1988, the JADA is one of Australia’s most prestigious art awards, with a $35,000 major prize. The 2023 iteration captures the extraordinary spectrum of current drawing practice, from the expressive and abstract, to the hyper-realistic. Many of the works question and push the understanding of traditional drawing practice, whilst others provide a contemporary perspective and reinvigorate drawing traditions. The Jacaranda Acquisitive Drawing Award is a Grafton Regional Touring Exhibition, and is supported by major sponsors, the Friends of Grafton Gallery and the Yugilbar Foundation.

Robyn Bauer, The Trees Smoulder into Gold (Enoggera Terrace Red Hill), oil on canvas, 51 x 61 cm. Tomoko Kashiki, I am a rock, 2012, synthetic polymer paint, masking tape on linen on plywood, 162 x 227.5 cm. The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation. Photograph: Natasha Harth, QAGOMA. © Tomoko Kashiki. Until 8 October Asia Pacific Contemporary: Three Decades of APT

Redland Art Gallery, Capalaba

The gallery features continually changing exhibitions of original paintings, drawings, prints and books by mother and daughter Robyn Bauer and Sarah Matsuda. There is a particular focus on Australian subject matter including flora and fauna. See our Instagram @robynbauerstudio2 @sarah.matsuda

artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Robyn Bauer is well known for her urban landscapes and large charcoal works. Sarah Matsuda is a children’s book illustrator and her original paintings celebrate Australia’s unique landscapes, wildlife and ecology. Gordon Shepherdson, Swimmers in a sea of eyes, 1996, oil and enamel on paper. Courtesy of the Gordon Shepherdson Estate and Philip Bacon Galleries. Photograph: Carl Warner. 15 October–3 December Gordon Shepherdson: Ocean of Eyes

Robyn Bauer Studio Gallery robynbauerstudio.com sarahmatsuda.com Yanni Van Zijl, Leached (detail), 2022, porcelain and synthetic polymer paint. Courtesy of the artist. 9 September–7 November ONE.5C Yanni Van Zijl 220

Robyn Bauer, Now that the Summer Evenings Approach, oil on canvas, 61 x 61 cm.

54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat 9.30am–4.30pm, other days by appointment.

Rockhampton Museum of Art rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. 28 July–22 October Piinpi: Contemporary Indigenous Fashion Created by Bendigo Art Gallery, Piinpi: Contemporary Indigenous Fashion shines a light on Australia’s leading First Nations creatives, and a design movement that is fast becoming a national fashion phenomenon. Featuring the work of Indigenous artists and designers from the inner city to remote desert art centres,

QUEENSLAND Piinpi highlights the strength and diversity of the rapidly expanding Indigenous fashion and textile industry. 1 July–15 October Red Rag Press: Women’s Work Utilising North Queensland’s decommissioned letterpress printing equipment, Red Rag Press is for writers, poets, and printmakers. Lead by Townsville artist Sheree Kinlyside, the press facilitates connections with collaborators near and far. Women’s Work showcases the press’s finest editions from over two decades, many now found in major institutions in Australia and the world. 10 June–17 September COLLECTION FOCUS: Paper Planes Paper Planes brings together a selection of works on paper from the Rockhampton Museum of Art Collection to explore several different but related themes. With multiple approaches to form, mark making, abstraction and representation, the 36 artists of Paper Planes explore the graphic sensibility as an expanded response to the world, visually shaping, analysing and commentating through the contained, world-in-miniature of the picture plane. Curated by Jonathan McBurnie. 5 August—2 October I, Object I, Object considers the many complex relationships Indigenous artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition features contemporary painting, sculpture, and installation by leading Queensland artists Vernon Ah Kee, Tony Albert, Michael Boiyool Anning, Fiona Foley, Danie Mellor, Christian Thompson, Warraba Weatherall and others alongside historical shields, boomerangs, and clubs.

A studio glass artist for over twenty years, Jessica Loughlin creates ethereal kiln formed glass works that explore her fascination with the beauty of emptiness and her extensive research into light and space. Known for her understated aesthetic, Loughlin takes her artistic cues from the vastness of the Australian landscape and is particularly drawn to the inherent quietness and stillness of the land. This display features a curated selection of works from the major touring exhibition. JamFactory ICON Jessica Loughlin: of light is a JamFactory touring exhibition assisted by the Australian Government through the Australia Council, its arts funding and advisory board.

Toowoomba Regional Art Gallery tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tues & Public Hols. Free Admission. See our website for latest information.

30 September—10 February 2024 COLLECTION FOCUS: William Yaxley Central Queensland artist William Yaxley paints and sculpts Mount Morgan and Capricornian landscapes in his signature mix of naivety and humour. Rockhampton Museum of Art has invited the artist to select artworks from the RMOA Collection, by friends and colleagues he admires, to display alongside pieces by Yaxley himself, to tell the story of his artistic life.

19 August–5 November JamFactory ICON Jessica Loughlin: of light (selected works)

The Bayton Award 2019 winner Easton Dunne, December 2022. Photograph: Obscura. 14 October—26 November The Bayton Award 2023 Finalist Exhibition

William Yaxley (b. 1943), Living Dangerously, 2013, wood and acrylic paint. Rockhampton Museum of Art Collection. Purchased with funds provided by Rockhampton Regional Council 2015.

The Bayton Award is a biennial art prize and exhibition open to all forms of art media created by Central Queensland artists. This year’s entrants have been shortlisted by a panel of visual arts experts living outside of Central Queensland, Freja Carmichael, Naomi Evans, Stephen Bird; and the winners selected by a guest judge, Hamish Sawyer. The Bayton Award is the region’s biggest art prize, with cash prizes of $18,000 in total.

2021 Award Winners, Sophie Carnell and Sarah Rayner, Florilegium… traversing the poetry of plants (detail), 2020, from a series of 42 brooches, hand carved porcelain with terra sigillata, sterling and fine silver, 26 x 375 x 8cm. Toowoomba Regional Art Gallery, Toowoomba City Collection 2387. © Sophie Carnell and Sarah Rainer. 26 August—19 November Contemporary Wearables ’23 Showcasing some of Australia’s most prominent and emerging contemporary makers, this exhibition is the focus of Toowoomba Regional Art Gallery’s contribution to promoting excellence in contemporary adornment. The award is a forum for innovative contemporary jewellery and object practice. Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council. Until 19 November Skin Show: The Art and Rite of Tattoo Books based on Captain James Cook’s 221

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

UMI Arts Gallery

Toowoomba Regional Art Gallery continued...

umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information.

Lisa Ashcroft, Neon Coral Cluster, 2021, oil on canvas, 100 x 100 cm. Photograph courtesy of the artist. 18 August—24 September Electric Coral Lisa Ashcroft T. Chambers after S. Parkinson, The head of a chief of New Zealand, 1773, engraving, from Sydney Parkinson, A Journal of a Voyage to the South Seas, in His Majesty’s Ship, the Endeavour, London, 1773. Lionel Lindsay Gallery and Library Collection. Pacific voyages profoundly affected the spread of tattooing across the world. This exhibition displays rare voyage journals held in the Lionel Lindsay Gallery and Library Collection to explore the art and rite of tattoo. 2 September–15 October Creative Generation Excellence Awards in Visual Art 2023

Lisa Ashcroft has been drawn to the sublime but fragile beauty of the Great Barrier Reef since relocating to Australia. For this latest body of work, the artist explores the 2,300km-long ecosystem, attempting to capture the ethereal and ephemeral atmosphere of the reef while noting its disintegration. Ashcroft employs multiple layers, alchemy and textural techniques to nurture and develop the paintings in her signature style and colour palette. It is Ashcroft’s hope that the work triggers debate to question plastic pollution, and why we have neglected the national treasure and contributed to its decline. She bittersweetly represents and records The Reef as it disappears from existence.

The Creative Generation Excellence Awards in Visual Art recognise and promote excellence in senior visual art education throughout Queensland state and non-state schools.

The Creative Generation Excellence Awards in Visual Art would like to thank QAGOMA for their ongoing support. 16 September–24 September Ikebana Display 2023 Toowoomba Ikebana Group

Umbrella Studio Contemporary Arts umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. 222

UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander peoples to participate in the maintenance, preservation, and protection of culture. The UMI Arts Gallery and Gift Shop in Cairns showcases the fine art and crafts created by our member artists, assisting them to continue preserving and protecting the culture and stories of the region. UMI is a Creole word that means You and Me – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

This regional exhibition displays the creative talents of students from the Darling Downs and South-West Queensland region for 2023.

Ikebana, the traditional art of Japanese flower arrangement, draws attention to the beauty in nature. This exhibition showcases modern arrangements by the members from Toowoomba Sogetsu School who combine new methods and materials to push the boundaries of the artform.

UMI Arts Gallery & Gift Shop, Cairns. Courtesy Lovegreen Photography.

Alison Mooney, Dopamine on Tap (in situ), 2022, mixed media on canvas, 180 x 180 cm. Photograph: Warwick Gow. 18 August—24 September In Colour Alison Mooney Visual artist, creative strategist and former journalist, Alison Mooney is passionate about connecting people to experiences and information that adds value. She loves disruption and curiosity as a tool towards cultural development and champions the role artists have in evolving the human experience. This disruptive, sensorial installation by the Sunshine Coast based artist draws viewers into the physical experience of being inside an expanded painting.

Chyler Kohler, Love Rocks #1, acrylic on canvas, 2023. Culture Through Our Eyes exhibition, UMI Arts Gallery. Courtesy Lovegreen Photography. 8 September–31 October ‘Exhibition-Ready’ Solo Exhibition: Michelle Weare

QUEENSLAND

University of the Sunshine Coast Art Gallery

We aim to connect each visitor with new ideas in creative practice, and with learning in its many forms. We offer free exhibitions and public programs, study space, and a range of teaching and learning facilities and resources. We are also the home of The University of Queensland Art Collection, one of Queensland’s most significant public art collections.

usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the Art Gallery was redeveloped in 2020 establishing itself as the leading public gallery in the region. The Art Gallery presents a program of exhibitions by leading local, national and international artists that are research-led, enquiry based and shaped by the university’s commitment to enabling opportunities for our communities to participate meaningfully with UniSC. 26 August–28 October Sam Cranstoun: You Are Neither Here Nor There This exhibition brings together four projects made during the first decade of Queensland artist Sam Cranstoun’s research-driven practice exploring the complicated legacy of modernism and the

Sam Cranstoun, Utopia, 2019, aluminium, galvanised steel, vinyl. Installation view at Carriageworks, Sydney. Courtesy the artist and Milani Gallery, Brisbane. Photo: Zan Wimberley. way its utopian goals of political and social change have not eventuated as intended. Curated by Hamish Sawyer and presented in partnership with Horizon Festival 2023.

UQ Art Museum art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays.

Mariquita ‘Micki’ Davis, Magellan doesn’t live here, 2017, still from single-channel video with sound. Courtesy of the artist, Yaangar/Los Angeles. Until 20 January 2024 Mare Amoris | Sea of Love Abdul-Rahman Abdullah, Christopher Bassi, Drew Kahuʻāina Broderick, Seba Calfuqueo, Elisa Jane Carmichael, Sonja Carmichael, Chun Yin Rainbow Chan, Mariquita ‘Micki’ Davis, Djambawa Marawili, New Mineral Collective, Santiago Mostyn, Leyla Stevens, Shannon Te Ao, Unbound Collective, Judy Watson.

King & Wood Mallesons First Nations Art Award Griffith University Art Museum 14 September – 14 October 2023 226 Grey Street South Bank Brisbane Q 4101 Ph: 07 37357414 artmuseum@griffith.edu.au www.griffith.edu.au/art-museum Image: Michelle Woody, Ngiya Murrakupupuni (My Country) (2020), locally sourced earth pigments on linen, 120 x 90cm. Courtesy of the artist and Jilamara Arts and Craft Association, Milikapiti CRICOS No. 00233E

griffith.edu.au/art-museum

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A–Z Exhibitions

Australian Capital Territory

SEPTEMBER/OCTOBER 2023

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information. 16 September–8 October National Capital Art Prize Public Exhibition of Finalist

professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice. Until 10 September Out of the Shadows Megan Munro Out of the Shadows is an exhibition of digital drawings, crochet sculptures and video works. The works reflect Megan Munro’s life as a queer, disabled artist. The exhibition itself will be as accessible as possible for viewers as this is integral to the artist’s work.

The annual National Capital Art Prize is the first Australia-wide competition for artworks of any subject.

a group exhibition of works by emerging, mid-career and established artists who have a studio-based practice at ANCA studios. The exhibition showcases the gamut of artistic expression from internationally renowned practitioners to those just beginning. Not to be missed.

Beaver Galleries beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Artists Shed artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

Fiona Bowring, Christine Appleby Draped, 2022, photograph. 13 September–1 October Networks Australia: Artists at work An exhibition featuring 2 and 3-dimensional artworks by 25 artists in various media, exhibited alongside photographs of the artists by award-winning photographer Fiona Bowring. Margaret Hadfield, Paper Daisy, oil.

19 October—4 November Off track ... Holly Grace

An Exhibition from Artists Shed artist Margaret Hadfield and the mentored groups. The works will be in a variety of mediums and after the long cold winter in Canberra will celebrate Spring in the way they know best. The Artists Shed is a artist owned gallery,art store and art school. Margaret Hadfield is a Gallipoli Art Prize winner and finalist in many major art awards.

anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm. See our website for latest information. ANCA Gallery is a not-for-profit artistrun initiative. The Gallery presents a

31 August—23 September Backdrop Lucy Culliton / Graeme Drendel Paintings.

5 September—8 October Spring Flower Show @ Artists Shed

Australian National Capital Artists (ANCA) Gallery

Lucy Culliton, Kitchen looking into the dog room, oil on canvas, 81.5 x 81.5 cm.

Studio glass.

Kat Barter, Memoryscapes, installation view. Pictured: A walk, 2023, and After the fire, 2023. 4 October–22 October Memoryscapes Kat Barter Memoryscapes is a series of grid-based paintings exploring the abstraction of memory and blurring the distinction between individual and universal human experiences.

Waratah Lahy, Zig Zag Shadow, watercolour on paper, 15 x 14 cm.

25 October–12 November 2023 ANCA Tenants Group Show

19 October—4 November Neighbourhood Watch Waratah Lahy

The 2023 ANCA Tenants Group Show is

Paintings. 225

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Belco Arts belcoarts.com.au 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tues-Sun, 10am–4pm.

purpose/life span to become something possessing value and meaning, provoking responses and creating a space for dialogue about single-use plastic and waste.”- Shani Nottingham. 13 October–26 November Shiver Michelle Day Shiver is an immersive, illuminated environment, a culmination of abstract, foreign organisms. We are reminded of the microscopic and hidden living worlds that surround us and, in many cases, live inside us. 13 October–26 November The Future Unfolds Faith Kerehona This exhibition showcases co-created artworks by Faith Kerehona and other artists/participants from all ages and stages of life. 13 October–26 November Remnants Isobel Kennedy

Sally Blake, Socotra Scops Owl. Photograph: Brenton McGeachie. Until 8 October Wise Parliament Sally Blake “Wise Parliament is an exhibition of the world’s owl species in drawings. It continues my exploration of peoples’ relationship with nature, and the impacts of human-induced environmental damage.” - Sally Blake. Until 8 October End Point of the Silk Road Dr. Tanaka The artwork in the End Point of the Silk Road exhibition is painted following the historic tradition of copying sutras by hand on Japanese paper dyed navy blue with gold paint. It represents the southern staircase of the Nigatsu-do Hall in the Tōdaiji temple complex in Nara. Until 8 October We Need to Talk Faculty of Arts and Design at the University of Canberra We Need to Talk showcases the work of staff and affiliates from the Faculty of Arts and Design at the University of Canberra.

2022 Belco Arts Emerging Artist Support Scheme Award Winner “Remnants is a body of work that stems from my curiosity with family photos and heirlooms. These items tie us to the people who came before and in turn connect our ancestors to the present.” - Isobel Kennedy. 13 October–26 November KALEIDOSCOPE II: Celebrating LGBTIQA+ pride Following the success of the inaugural Kaleidoscope exhibition in 2022, we are continuing to celebrate the LGBTIQA+ community and all the richness found in the multi-layering and diversity in ideas of what it means to be part of the LGBTIQA+ community.

Lisa Sammut, a circular logic (detail), 2023. Image courtesy of the artist. Until 8 October a circular logic Lisa Sammut Created during her 2023 residency at Canberra Glassworks, a circular logic is a playful and complex arrangement of light and objects, used to reveal the magical relationships between matter and space. Sammut invites audiences to reflect on the universe and its interconnectedness. As a conduit for contemplation, the exhibition simultaneously showcases the beauty in the minutiae and the vastness of existence. Curated by Aimee Frodsham.

13 October–26 November Zero Waste: Doing It Imperfectly Nancy Lane “Since finding my first drawer on the street a few years ago, I have been contemplating different ‘drawer’ projects. In this exhibition, I use drawers conceptually in relation to sustainability and climate change.” - Nancy Lane.

Canberra Glassworks canberraglassworks.com 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Shani Nottingham, PLASTICUS ORGANICUS (detail). Until 8 October PLASTICUS ORGANICUS Shani Nottingham “Bread-tags are an abundant waste material, a polluting product that I reclaim and transform, moving past their initial 226

Situated in the historic Kingston Power House, Canberra Glassworks combines spacious industrial cathedral interiors with the drama and thrill of glass blowing for a truly unforgettable experience. Canberra Glassworks provides artists with state-of-the-art equipment; intensive workshops taught by leading glass artists; studios and residency programs; and a unique context to explore, develop and realise new work. We also provide diverse opportunities for visitors to interact with and learn about glass making.

Zoe Brand, TRY AGAIN (detail), 2023. Image courtesy of Canberra Glassworks. Until 8 October WHAT GAVE YOU THAT IDEA Zoe Brand Zoe Brand is a jeweller and artist who explores the performative nature of jewellery through ready-made and text. In this exhibition, Brand’s interest in conversation and moments of connection find new opportunities through traditional gilding techniques applying proclamations on discarded glass items. Pairing select materials with succinct phrases, her work vacillates between the comic and tragic. Curated by Aimee Frodsham.

AUSTRALIAN CAPITAL TERRITORY

Canberra Potters, Watson Arts Centre canberrapotters.com.au 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 Tues to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information.

28 September—22 October Ceramics and Botanics Curated by Eve Sawa and Narelle Phillips.

1 September—24 September Desert, Sea, Moon Rosalie Urosevic

This exhibition explores the symbiotic relationship between botanical and ceramic artists and aims to challenge the perception of floristry. Ceramics and Botanics showcases the emerging trend of floral design as visual art and expands on the connection between the ceramic host and its botanical occupant, highlighting their shared origins.

29 September—22 October Care Structures Matthew Allen, Kirsten Biven, Boni Cairncross, Sanne Carroll, Emma Fielden, Rubaba Haider, Annelies Jahn, James Lieutenant, Britt Salt, Kate Vassallo, Constanze Vogt, Nina Walton & Belinda Yee.

M16 Artspace

Opening Thursday 28 September, 6pm–8pm.

m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information.

1 September—24 September Night and Day Penny Mason

27 October—19 November TESTAMUR 5 Canberra Art Workshop The eddy and the flow Heidi Lefevre Semi-Rural Lucy Stackpool Opening Thursday 26 October, 6pm–8pm.

National Gallery of Australia nga.gov.au

Sandra McMahon (painting) and Christine Murphy (ceramic), 2023. Photograph courtesy of the artists. 24 August–24 September Synergy: Pattern and Patina Sandra McMahon and Christine Murphy Sharing an appreciation for a minimalist philosophy, Synergy: Pattern and Patina presents the ceramic pieces created by Christine Murphy alongside the paintings by Sandra McMahon. This exhibition explores the relationships between 3-dimensional forms and 2-dimensional works on board.

Melody Spangaro, A Burning Sense of Urgency-36.188-147.776, 2023. Image courtesy of the artist. 1 September—24 September [De]Constructed Landscapes Melody Spangaro Überlastung Freya Jobbins and Shani Nottingham

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information. Art gives us meaning. It tells the stories of where we have come from and imagines possible futures. Art matters. Welcome to the National Gallery, Australia’s national visual arts institution dedicated to collecting, sharing and celebrating art from Australia and the world. Until 24 September Changing From From To From Haegue Yang Until 28 January 2024 The Ballad Of Sexual Dependency Nan Goldin

Janet Fieldhouse, installation view, The National 2019: New Australian Art, Museum of Contemporary Art Australia, image courtesy the artist and Museum of Contemporary Art Australia. © the artist, photograph: Jacquie Manning. Eve Sawa, 2022. Photograph courtesy of the artist.

Heidi Lefevre, Make a plan, 2023. Image courtesy of the artist.

September–September 2024 Art Makers X National Gallery Janet Fieldhouse

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National Portrait Gallery portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Grace Cossington Smith, Four panels for a screen: loquat tree, gum and wattle trees, waterfall, picnic in a gully, 1929, National Gallery of Australia, Kamberri/ Canberra, purchased 1976. Until 8 October Know My Name: Making It Modern

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

Ongoing Aboriginal And Torres Strait Islander Art Ongoing Worldwide

20 October–28 January 2024 Archie 100: A Century of the Archibald Prize

Ongoing Australian Art Programs: 15 September, 11am Scientific views: Professor Joan Leach on Haegue Yang Free, bookings essential. 13 October, 6pm Art IRL: Lucky Charm! Free, bookings essential.

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Heidi Margocsy, Brave New World, 2022. Until 2 October National Photographic Portrait Prize Group exhibition of finalists.

This major touring exhibition from the Art Gallery of New South Wales celebrates 100 years of Australia’s oldest and most loved portrait prize and reflects upon the changing face of our nation. Catch it at its last destination at the home of portraiture.

nationalcapitalartprize.com.au/shop

A–Z Exhibitions

Tasmania

SEPTEMBER/OCTOBER 2023

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

Bett Gallery bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Contemporary Art Tasmania

26 September—13 October Quiet Moments Isabell Chouinard

contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

Josh Simpson, Sunnyside, 2023, oil on canvas, 76 x 61 cm. 17 October—3 November Storytime Josh Simpson

Michael Schlitz, Take care beloved, 2023, Woodcut on Kozo paper, 138 x 101 cm. Edition of 10 plus 2 APs. 1 September—23 September The well in the water hole Michael Schlitz Michael Schlitz’s large format, relief woodblock prints not only require physical strength, manual dexterity and mental determination but relic traits such as artistic skill, knowledge, patience and time. 1 September—23 September stone tides weeping trees Troy Ruffles Troy Ruffels’ work is characterised by its subtly intertwined layers, where observations of the natural landscape are overlain in a richly textured palimpsest.

Georgia Lucy, courtesy of the artist. 21 October—18 November Shotgun 10 Georgia Lucy New work, industry access and critical engagement.

Colville Gallery colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. 5 September—22 September New Works Glen Preece

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. 18 March–20 January 2024 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2023 Selected Artists: Chloe Bonney, 18 March 2023 – 29 April 2023; Xiyue (CiCi) Zhang, 6 May 2023 – 10 June 2023; Sevé de Angelis, 17 June 2023 – 29 July 2023; Rodney Gardener, 4 November 2023 9 December 2023; Joseph Collings-Hall, 16 December 2023 – 20 January 2024.

Stephanie Tabram , Marys Island, 2022, acrylic on linen, 137 x 183 cm.

12 August–16 September ArtRage 2022 Selection

29 September—21 October Lessons from the Land Stephanie Tabram Tabram has been painting for more than thirty years, having completed her studies in Sydney in 1989. Her exquisite paintings speak of the Tasmanian landscape like no others. Isabell Chouinard, Butter and Hammershoi, 2023, oil on linen, 80 x 60 cm. 230

Devonport Regional Gallery

ArtRage is QVMAG’s annual exhibition showcasing the work of Tasmanian secondary students. The selected works are produced by year eleven and twelve students studying Art Production or Art Studio Practice as part of their Tasmanian Certificate of Education. The students’ work explores themes that have inspired them throughout the year and are an

TASMANIA 30 August—6 September Pop Up Scott Cunningham and Sonja Brough

invitation to reflect on how it feels to be a young person living in the world today. There is a vast array of subjects, media and artistic styles on display. ArtRage is a celebration of the art makers of the future, and an acknowledgement of the schools and teaching community who have helped shape and guide them. The Queen Victoria Museum and Art Gallery recognises the enormous support and cooperation that ArtRage receives from the college art teachers of Tasmania. We acknowledge the work of these dedicated art educators along with the talented students attending schools and colleges across Tasmania.

Daria Andrews, Consumption. 4 September—30 September Disconnections Daria Andrews

Jamie Rix, North West Support School, Mask, 2023, recycled materials. make positive changes. The exhibition gives us an opportunity to reflect on who we are and who we can be, as seen by our youngest artists. 30 September—11 November Surface: Emerging Tasmanian Artists

Nikita Hockey, Untitled. Photography: Scott Cunningham. 23 September—28 October Object Design: University Connections Program (UCP) This exhibition showcases selected works from senior secondary students across Tasmania studying Object Design as part of the University Connections Program (UCP). Object design is about affording students a space to test ideas, stepping outside the known and exploring the many contributions design makes in improving the way we live. In 2023 students have been asked to respond to the theme Place. The exhibition features selected projects that explore the notion of Place from a range of perspectives, including sustainability, cultural heritage, community, built and natural environments, the body and more. The University Connections Program provides Year 11 & 12 a unique opportunity to undertake introductory university units. The program is offered in partnership between the University of Tasmania, Tasmanian Schools and the Office of Tasmanian Assessment Standards and Certification (TASC).

In an era where visual communication reigns supreme, the artists featured in the exhibition Surface are going beyond superficial allure. Their works aim to challenge what may seem deceptively straightforward by exploring the underlying depths and complexities beneath the surface. Curated by Ellina Evans.

30 September—28 October Alleyway Susan Quinn

Museum of Old and New Art (Mona) mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm. See our website for latest information.

Gallery Pejean gallerypejean.com.au 57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment. Gallery Pejean represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator alike in celebrating contemporary art in all forms.

23 September—28 October This Is Us: The Future Primary school students from around the Devonport area answer the question, ‘Who are we and what are our dreams for the future?’ This is the first time primary school students have been invited to share their thoughts and creativity in the annual This is Us exhibition. The young artists have used a range of media to delve into concepts including sustainability, identity, place, and using art as way to

30 September—28 October Small Works Group Exhibition

Jean-Luc Moulène, Axe (Axis), 2016. Photo: Francisco Kochen. Image courtesy of the artist and Galerie Pietro Spartà, Chagny. 30 September—1 April 2024 Jean-Luc Moulène and Teams Jean-Luc Moulène

Sonja Brough, Smugs.

Curated by Michel Blancsubé with Trudi Brinckman of Mona, commissioned by Olivier Varenne. 231

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

22 September–9 October My Lovely One Jonathan Partridge

Jeff Raglus, Formation. Emily Blom, Silken Threads and Woven Thoughts, 2022, acrylic on canvas with offset stencil print, 137 x 102 cm.

14 September–26 September Mesozoic: New Works Jeff Raglus

13 October–30 October Between Being and Becoming Emily Blom Saint George and the Youth of Mytilene, Greece, 17th century. Private collection, Melbourne. 30 September—1 April 2024 Heavenly Beings: Icons of the Christian Orthodox World Curated by Jane Clark, Senior Research Curator, Mona, and Dr Sophie Matthiesson, Senior Curator of International Art, Auckland Art Gallery Toi o Tāmaki, Aotearoa New Zealand. 30 September—1 April 2024 Hrafntinna (Obsidian) Jónsi Curated by Sarah Wallace, Mona.

Handmark handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm.

Plimsoll Gallery, University of Tasmania utas.edu.au/creative-arts-media/ events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and public holidays. See our website for latest information. The Plimsoll Gallery is located on Hobart’s historic waterfront, a short walk from the Tasmanian Museum and Art Gallery (TMAG), Salamanca Place and the city centre. The Plimsoll showcases touring and curated exhibitions of innovative local, national and international contemporary art and design, in addition to the work of the School of Creative Arts and Media, Research Higher Degree and Honours examinations. students.

Chelsea Gustaffson, Still Life with Fontana, 30 x 40 cm, oil on board. 29 September–20 October Sit with it Chelsea Gustafsson

Queen Victoria Museum & Art Gallery qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Free Admission.

23 September–21 October MOTION SENSOR What-if Ideas Workshop | Metabolic Maquettes | Process Presentations An invitation to the creative laboratory, exploring how artists navigate the complexities of domains. Curators: Jane Barlow and Caine Chennatt.

Penny Contemporary pennycontemporary.com.au

Heidi Woodhead, Dutch Colonial, 2023, 61 x 76 cm, oil on canvas. 1 September–18 September Tulip Fever Heidi Woodhead 232

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. We represent, local, national and international artists each with a distinctive approach to creating art, be they emerging or established.

Sean O’Connell, Holy deadly brooches, (detail) 2021. Photo: Courtesy of the artist. Art Gallery at Royal Park: Until 1 October Precious: excellence in contemporary jewellery Discover the rich diversity of talent, skill, and creativity of artists exploring the intersection between art and body adornment. Precious celebrates the best of contemporary jewellery practice, with Tasmania at its heart.

TASMANIA

Queen Victoria Museum & Art Gallery → Joshua Smith. Imnage courtesy of the artist. Traditional materials together with the less expected transform emotions, ideas and narratives to accompany the wearer long after they leave the studio. This is QVMAG’s first exhibition in more than 20 years dedicated to artists who explore, delight in, and expand the possibilities of contemporary jewellery. Free entry. Until 15 October RISE

Tasmanian Museum and Art Gallery tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm. Free entry. Effie Pryer, Purgatory, 2023, oil on myrtle panel, 40 x 60 cm, Commissioned with the support of the TMAG Foundation, 2021.

The need for fresh visual arts practitioners to provide a unique, beautiful and challenging voice is more important than ever. New art makers emerge each year in Tasmania to provoke and inspire their audiences with creative thinking, and making that is transcendent in its beauty and honest in its intention to impress. Our inaugural exhibition RISE continues QVMAG’s commitment to the support and growth of all phases of artists’ creative practice. RISE 2023 features the work of ten of Tasmania’s most collectable and significant emerging artists, spanning a diverse and engaging range of mediums. Free entry. 14 October–2 February 2024 Miniature Worlds Miniature Worlds showcases the magic of small-scale making. This first exhibition in a series will explore the miniaturist art movement that has captured the imagination of generations. Local, national and international artists will be showcased, sharing an intricate and tiny look at our world made small. The dioramas and miniature buildings on display are so detailed in scale that you could be tricked into thinking that they are the real thing. Free entry.

Lucienne Rickard (b. 1981), Extinction Studies, 2023, graphite on paper. From 18 February 2022 Extinction Studies Tasmanian artist Lucienne Rickard continues her long-term durational performance Extinction Studies, which seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG. 9 June—22 October Twist Charles Dickens (1812-1870) enchanted readers with irrepressible characters while exploring issues such as crime and

punishment, the dire impact of poverty on women and children, and the grim conditions in public institutions such as orphanages, prisons and workhouses. He was as fascinated by the people and social interactions in the far-flung colonies as he was in those of the dirty streets of London. Many of his characters were transported or immigrated to Australia. Twist brings together artwork by exceptional Australian and Irish artists to engage with Dickensian themes – with a contemporary and quirky twist. The contemporary artists featured are Raymond Arnold and Rodney Croome; Christl Berg; Pat Brassington; Michelle Browne; Nicholas Folland; Keith Giles; Julie Gough; Fiona Hall; Ursula Halpin; Sandra Johnston; Sue Kneebone; Ricky Maynard; Mish Meijers and Tricky Walsh; Milan Milojevic; Brigita Ozolins; Effie Pryer; Yhonnie Scarce; Mary Scott; Tom Sloane; Heather B. Swann; Dominic Thorpe; and Paul Zika. Major presenting partners: TMAG and Dark Mofo. Major funding partner: Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative. 233

A–Z Exhibitions

South Australia

SEPTEMBER/OCTOBER 2023

S OUTH AUSTRALIA

Adelaide Contemporary Experimental ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Don’t miss the chance to see iconic works by two of the most influential and loved artists of the twentieth century – Frida Kahlo and Diego Rivera – in this Australian exclusive exhibition, alongside works by key Mexican contemporaries. Tickets available online.

Sum Woon Chow, Ominous Nature, 2023, oil & acrylic on canvas, 92 x 122 cm. 6 October—28 October Group exhibition Sum Woon Chow-Colin PennockMadeleine Collopy-Nate Finch

Peter Waples-Crowe, Ngaya (I Am), 2022, single-channel video installation, 5 minutes. With Rhian Hinkley and composer Harry Covill. Commissioned by ACMI. Courtesy the artist. © Peter Waples-Crowe and ACMI. 1 September–28 October PRIDE Peter Waples-Crowe

Art Gallery of South Australia agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Tiger Yaltangki, Yankunyjatjara people, South Australia, born 1973, Ernabella (Pukatja), Aṉangu Pitjantjatjara Yankunytjatjara, South Australia, AC/ DC, 2022, Indulkana, South Australia, synthetic polymer paint on paper, 76.0 x 112.0 cm. Courtesy the Artist and Iwantja Arts. © Tiger Yaltangki/Iwantja Arts. 20 October–21 January 2024 Tarnanthi 2023 The Tarnanthi Festival returns in 2023, with exhibitions at AGSA and at dozens of partner venues across Adelaide and around South Australia. Acclaimed across Australia, the Tarnanthi Festival showcases the latest contemporary works by hundreds of Aboriginal and Torres Strait Islander artists from across the continent. As part of the Tarnanthi Festival, AGSA presents the first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira. In addition, the popular Tarnanthi Art Fair returns as a physical event – providing a unique opportunity to meet First Nations artists, learn about their world and ideas, and buy works of art.

Jeff Mincham Ceramics.

Carrick Hill House Museum and Garden carrickhill.sa.gov.au 46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm. Set in a 100-acre estate in the Adelaide foothills, with spectacular views stretching to the ocean, Carrick Hill is Australia’s most intact period mansion, lovingly preserved for all to enjoy today.

BMG Art bmgart.com.au 444 South Road, Marleston, SA 5033 08 8297 2440 or 0421 311 680 Wed to Fri 12pm–5pm, Sat 2pm–5pm.

Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Diego on my Mind, 1943, oil on Masonite, 76 x 61 cm. The Jacques and Natasha Gelman Collection of Mexican Modernism. © Banco de México Rivera Kahlo Museums Trust/ ARS. Copyright Agency, 2022.

Mark Judd, Tank, bronze and mix, 24 x 30 x 8 cm. 8 September—30 September Mark Judd Bronze sculpture.

Until 17 September Frida & Diego: Love & Revolution

Felicia Aroney Paintings.

Wladyslaw Dutkiewicz b. Stara Sol, Poland 1918; d. Adelaide, 1999, Calligraphy, c.1952, Adelaide, oil on canvas, 68 x 87 cm. Gift of the Dutkiewicz family, 2000.Art Gallery of South Australia © Estate of the artist.

Ludwik Dutkiewicz b. Stara Sol, Poland 1921; d. Adelaide 2008, Green Village, c.1953, Adelaide, oil on canvas, 64.5 x 78.7 cm. Elder Bequest Fund 1954. Art Gallery of South Australia © Art Gallery of South Australia. 235

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

2 August–15 October Adelaide Mid-Century Moderns: émigrés, mavericks and progressives Guest curator: Dr Margot Osborne. Celebrating the vitality and innovation of the modern movement in Adelaide.

GAGPROJECTS gagprojects.com 39 Rundle Street, Kent Town, SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway

This will be the first survey of Adelaide modernism during the 1950s and 1960s, extending from the influx of European émigré artists who arrived in Adelaide around 1950, through the heyday of mid-century modernism, to the arrival of Pop and post-painterly abstraction in the late sixties and early seventies. Artists represented are John Baily, Syd Ball, Charles Bannon, Robert Boynes, Geoff Brown, James Cant, Ian Chandler, Dora Chapman, Lynn Collins, David Dallwitz, John Dallwitz, Lawrence Daws, Ludwik Dutkiwicz, Wladyslaw Dutkiewicz, Barrie Goddard, Barbara Hanrahan, Jacqueline Hick, Franz Kempf, Stan Ostoja-Kotkowski, Charles Reddington, William Salmon, Udo Sellbach, Brian Seidel, Francis Roy Thompson and Geoff Wilson. The exhibition draws on Dr Margot Osborne’s forthcoming landmark book, The Adelaide Art Scene: Becoming contemporary 1939-2000. Published by Wakefield Press in partnership with Guildhouse and Carrick Hill, with financial support from the Department of Premier and Cabinet, through Arts South Australia.

The David Roche Foundation rochefoundation.com.au 241 Melbourne Street, North Adelaide, SA 5006 08 8267 3677 Tue to Sat 10am–4pm.

23 September—27 January 2024 Wedgwood: Master Potter to the Universe Experimentation and innovation brought Josiah Wedgwood’s name and product into homes worldwide and continue to define this internationally celebrated ceramics manufacturer. Only in Adelaide, this exhibition features nearly 200 works and is the first Australian survey of Wedgwood in almost 30 years. Explore 265 years of history, experience iconic works of art, and expect the unexpected.

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Raberaba, Sandra Saunders, Siena Milkila Stubbs, Christian Thompson, Whiskey Tjukangku, James Tylor and Laura Wills, Dhukumul Wanambi, Elaine Woods and Venita Woods, Nyapanyapa Yunupingu New Acquisitions / New Perspectives brings together selected artworks acquired by Flinders University Museum of Art (FUMA) 2018–2023.

JamFactory jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Angela Valamanesh, Morticia’s Garden Construct no 1, 2023, ceramic, 42 x 72 x 5 cm. Photo: M. Kluvanek. 2 August–10 September Angela Valamanesh

730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

7 September–10 September Sydney Contemporary 20 September–22 October David Griggs

Flinders University Museum of Art flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

Michael Cook, born 1968, Bidjara people, Livin’ the dream (BBQ), 2020, inkjet pigment print, 120 x 180 cm (sheet), edition 7/8, gift of the artist donated through the Australian Government’s Cultural Gift Program, Collection of Flinders University Museum of Art 5974. © the artist / courtesy Jan Murphy Gallery, Brisbane and This Is No Fantasy, Melbourne 2023. 10 July—15 September New Acquisitions / New Perspectives Ali Gumillya Baker, Michael Cook, Djäti Garrawurra, Vanessa Inkamala, Noŋgirrŋa Marawili, Arone Raymond Meeks, Hayley Millar Baker, Wanharrawurr Munuggur 2, Marrnyula Munuŋgurr, r e a, Brenton

Honor Freeman, Absorb, 2021, porcelain, gold lustre. Photograph: Grant Hancock. Adelaide: Until 17 September GOLD: 50 Years 50 JamFactory Alumni Peter Andersson, Danielle Barrie, Clare Belfrage, Gabriella Bisetto, Annette Blair, Kristel Britcher, Gareth Brown, Andrew Carvolth, Rhys Cooper, Amanda Dziedzic, Caren Elliss, Lesa Farrant, Gretal Ferguson, Liam Fleming, Honor Freeman, Susan Frost, Sam Gold, Eileen Gordon, Zoe Grigoris, Philip Hart, Katie-Ann Houghton, Kath Inglis, Takeshi Iue, Courtney Jackson, Stephanie James-Manttan, Michelle Kelly, Bronwyn Kemp, Erin Keys, Kerryn Levy,

Melvin Josy, Bahre, 2023, American Walnut, seagrass, 1600 x 550 x 660 mm. Photograph courtesy of the artist.

S OUTH AUSTRALIA Danielle Lo, Tom Moore, Jason Moss, Liam Mugavin, Belinda Newick, Anne-Claire Petre, Adrian Potter, Madeline Prowd, Sarah Rothe, Brenden Scott French, Lauren Simeoni, Alison Smiles, Drew Spangenberg, Ivana Taylor, Sarra Tzijan, Dean Toepfer, Ulrica Trulsson, Janice Vitkovsky, Hannah Vorrath-Pajak and Leonie Westbrook. Seppeltsfield: Until 2 October Barossa Biedermeier Ashlee Hopkins, James Howe, Melvin Josy, Jordan Leeflang, Holly Phillipson, Hannah Vorrath-Pajak, Duncan Young.

Murray Bridge Regional Gallery murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

2 September–12 November Island Welcome Liv Boyle, Michelle Cangiano, Jess Dare, Anna Davern, Nicky Hepburn, Kath Inglis, Sim Luttin, Vicki Mason, Belinda Newick, Lauren Simeoni, Manon Van Kouswijk, Mel Young Curated by Belinda Newick, Island Welcome explores contemporary jewellery as a gesture of greeting, in response to current Australian immigration and refugee policies. A Country Arts SA touring exhibition.

Newmarch Gallery newmarchgallery.com.au

29 September–28 October Ghost Print Aleksandra Antic, Suzie Lockery, Lorelei Medcalf, Victoria Paterson, Olga Sankey, Sandra Starkey-Simon, Georgina Willoughby.

praxis ARTSPACE praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm. See our website for latest information.

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed.

Dan Withey, Three Thieves, acrylic on canvas, 100 x 120 cm. 7 September–7 October Finite Bounty Dan Withey Makeda Duong, Shit customers say (detail), 2021, intarsia knitted merino wool, felt, floristry wire, 207 x 46 cm. Photo: Rosina Possingham, courtesy of Post Office Projects.

Jacob Logos, Beacon 1, (detail), digital image. Until 23 September Beacon 4: Rudimentary Recording Device Jacob Logos

2 September–12 November I Am Uncomfortable Makeda Duong

Dan Withey’s exhibition Finite Bounty, explores New Animism through art, emphasizing interconnectedness, questioning human – nature relationships, and addressing climate change for a more sustainable future.

Makeda’s practice explores aspects of her lived experience with perceptions of race, gender, sexuality and mental health, through textile-based artworks like you’ve never seen before!

Yinimala Gumana. Photograph: John Montesi. 20 October–30 October Goyurr- Journey (Tarnanthi) Artists from Buku-Larrŋgay Mulka Centre This exhibition celebrates the journey of an art centre, a multi-generational group of artists and a community over the last three decades. Kath Inglis, A lei from the welcome mat, 2017, faceted segments hand cut from used thongs, silk thread, sterling silver and patina, 45 x 13 x 2.5 cm. Photo: Kath Inglis.

Sandra Starkey-Simon, Rubble, Conversation, Echidna, (detail), 2017, monotype on paper, 30 x 36 cm.

Buku-Larrŋgay Mulka Centre is based in Yirrkala , a main town in North-East Arnhem Land of the NorthernTerritory. It is a major capital of the Yolŋu nation which extends across to Maningrida and 237

ar t g ui d e .c o m . au Praxis Artsppace continued... down to Numbulwar and a stronghold of ceremonial culture. It is a history-making centre of political leadership around land and sea rights and a dynamic hotspot of artistic expression in dance, music, film and visual art.

Riddoch Arts & Cultural Centre theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information.

Margaret Worth: Earth & Ether is a significant exhibition celebrating the career of prominent South Australian artist Margaret Worth. Showcasing a career path dedicated to the pursuit of creativity as multi-faceted, collaborative, and cross-disciplinary, Worth balanced this and the requirements of making a living and raising a family, with the drive to make better public places by involving communities in establishing their priorities. Covering over five decades of Worth’s artistic output, with loans from institutions and personal collections around Australia, it marks the first time these works have been shown together, evidencing the breadth of Worth’s practice, her mastery of creating a feeling, her special tie to regional and remote South Australia, and her continuous search for the best means available to carry an idea.

Samstag Museum of Art unisa.edu.au/connect/ samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm. Samstag Museum of Art is one of the University of South Australia’s leading creative centres; its establishment, in 2007, reflects the University’s determination to make a dynamic contribution to the intellectual and cultural life of South Australia and to the Australian tertiary education sector.

Barbara Hanrahan, Dog of darkness, 1978, hand-coloured etching with plate-tone, colour inks on paper. Private collection, Adelaide. © the Estate of the artist, courtesy Susan Sideris 2020. 9 September—19 November Bee-stung Lips: Barbara Hanrahan works on paper 1960 – 1991 Featuring 74 works Bee-stung Lips exemplifies Hanrahan’s mastery and innovation across the print medium including woodcuts, linocuts, screenprints, lithographs, etchings and drypoint, and celebrates her singular and uncompromising practice. A Flinders University Museum of Art touring exhibition presented in collaboration with Country Arts SA.

Joel Bray, Wiradjuri people, Giraaru Galing Gaanhagirri (still), 2022, commissioned by the National Gallery of Australia, Kamberri/Canberra for the 4th National Indigenous Art Triennial: Ceremony, image courtesy and © the artist.

Sauerbier House Culture Exchange onkaparingacity.com/ sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information. Sauerbier House is a City of Onkaparinga arts initiative which operates as both a creative space and a cultural destination. Situated close to the banks of the Onkaparinga River/Ngangkiparinga (Women’s River – Kaurna), the colonial villa (c.1898) is a state heritage community asset. Opening to the public in 2015, Sauerbier House is now an established arts centre which supports artistic and cultural exchange through contemporary visual arts whilst retaining connection to the rich history of the coastal location. Until 16 September [GRAFTd] Exhibition: Desire Lines Jingwei Bu, Gus Clutterbuck, Sam Howie, Heidi Kenyon, Georgina Willoughby Curated by Sarah Northcott Desire Lines brings together artists making connections between locations, ideas, and their environments; and giving form to their desired ways of arriving at a destination. 23 September–28 October Artist in Residence Exhibitions: Won’t Somebody Get Me Off Of This Reef… Josh Trenwith Wont somebody get me off of this reef … explores the relationship between the Mid Coast / Route 31 and its historical importance to Surf, Skate and Music culture in South Australia. Trenwith aims to uncover the history, storytelling and DIY creativity of the locale, instigated by the local social and socio-economic situation, which culminated in some of the most important shifts across these sub-cultural practices and their enduring legacy both country wide and globally.

18 October–11 November 4th National Indigenous Art Triennial: Ceremony Joel Bray, Gutiŋarra Yunupiŋu, Hayley Millar Baker The 4th National Indigenous Art Triennial: Ceremony is the National Gallery of Australia’s flagship exhibition of contemporary Aboriginal and Torres Strait Islander art.

Margaret Worth, Fragment 9, 1966, synthetic polymer on canvas. Courtesy of NGV. Photograph: Grant Hancock. 9 September—19 November Margaret Worth: Earth & Ether 238

For the Tarnanthi Festival, Samstag Museum presents a selection of moving image works of art by Joel Bray, Gutiŋarra Yunupiŋu and Hayley Millar Baker, revealing how ceremony is at the nexus of Country, of culture and of community.

Meng Zhang, Surface, 2023, digital image. Image courtesy of the artist. 23 September–28 October Surface Meng Zhang Surface is about appearance and the things you can see; light and shadows, objects, the view from the window, people walking along the river.

S OUTH AUSTRALIA

See our website for latest information.

Jennifer Eadie, the water here doesn’t hold mallee box, so we carry it, 2023, digital photograph. Image courtesy of the artist. 23 September–28 October Opening Jennifer Eadie and Adrianne Semmens Before Kaurna Country was invaded, eucalyptus forests covered what is now called the City of Onkaparinga. Opening traces and responds to this ghost forest.

South Australian Museum samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

The South Australian Museum has five floors and endless wonders to discover. From the first signs of early complex life to the most comprehensive collection of Australian Aboriginal cultural material in the world, there is something for everyone at the museum. The museum is open daily 10am-5pm. General admission is free, although costs apply for some exhibitions and events. A $5 donation on arrival helps us to deliver world-class exhibitions and programs. 5 May—10 September A Little Bit of Justice Charlie Flannigan A Little Bit of Justice features the drawings of Charlie Flannigan, a nineteenth-century Aboriginal stockman who was incarcerated at Fannie Bay Gaol while awaiting trial for murder. The first person to be hanged in the Northern Territory, Flannigan became the centre of intense debate when George Page, a white man also sentenced to death for murder, had his sentence commuted to life in prison. The drawings, which are held in the South Australian Museum’s Archives, were made by Flannigan while in solitary confinement and are unique observations of his personal history and culture. Flannigan was denied justice, but his story lives on through his drawings.

Alun Powell, Mellow Gecko (detail), finalist in the Macro category. Until 29 October Australian Geographic Nature Photographer of the Year Exhibition 2023 Now in its landmark 20th year of competition, the annual search for the best wildlife and landscape photographs taken across Australia, New Zealand, Antarctica and New Guinea regions invites photographers of all ages, nationalities and experience levels to submit their best shots. Presenting the complete field of winners and finalists, this exhibition captures the scale and artistry of the natural world, with ten categories including Animals in Nature, Astrophotography, Landscape, Junior and Threatened Species, and the newly-added Macro, all inviting audiences to look closer at the world around us.

mane djang karirra the place where the dreaming changed shape 9 October – 16 December 2023 Flinders University Museum of Art

Ground Floor | Social Sciences North | Bedford Park

image: Sandra Richards, Rembarrnga, born 1977, Banaka (digging stick) (detail), 2023, natural pigments on bark, 96 x 46 cm (irreg), © the artist / Copyright Agency

flinders.edu.au/museum-of-art

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A–Z Exhibitions

Western Australia

SEPTEMBER/OCTOBER 2023

Art Collective WA

affective dimension of contemporary life with particular interest to sensations of emotional and perceptual ambivalence.

artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment. 7 September—10 September Sydney Contemporary Eveline Kotai and Giles Hohnen Art Collective WA presents new works by renowned Western Australian artists Giles Hohnen and Eveline Kotai. Known for his bold, spontaneous approach to composition and form, Giles has developed a series of paintings featuring vibrant, overlaid shapes on handmade canvas covered boards. Eveline exhibits a series of her distinctive stitched paintings, where she deconstructs her artworks into slender strips and skilfully reassembles them with a sewing machine and invisible thread, resulting in unexpected colour, pattern and textural combinations.

Brad Rimmer, Corrigin Town Hall, Spring, 2020, 2022, archival pigment print, 100 x 134 cm, ed. 3. 16 September—14 October Nowhere Near Brad Rimmer Continuing his exploration of rural Australia and the emotional impact of the natural landscape, photographer Brad Rimmer’s Nowhere Near reflects on a fleeting, bygone era in the Wheatbelt of Western Australia, and the remnants of the region’s languishing town halls. 16 September—14 October Hope Patrick Brown Renowned documentary photographer Patrick Brown examines the vulnerabilty of human existence on the planet and the duality of hope and despair that underscores the modern world. An Emmy award-winning photographer and filmmaker, Patrick is represented by the prestigious photo agency Panos, and his work has been featured in TIME, The New Yorker and Vanity Fair, among others. 24 September—22 January 2024 TEN Group exhibition Holmes à Court Gallery at Vasse Felix In celebration of Art Collective WA’s first decade of operation, TEN showcases the achievements and virtuosity of its 36 member artists, with a group show comprised of entirely new works. Featuring

Giles Hohnen, 2022 #3, 2022, oil on canvas, 120 x 90 cm.

John (Cecil) Brack, British Modern, 1969, oil on canvas, 96.5 x 129.5 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased 1984.

painting, sculpture and photography, the exhibition offers a snapshot of the richness and diversity of art practice in Western Australia, including Giles Hohnen’s colour-saturated abstract paintings, Brad Rimmer’s evocative landscape photographs and Olga Cironis’ socially-charged sculptures made from found materials, among many others.

26 August—18 February 2024 The Antipodean Manifesto

21 October—18 November In Search of Painting George Haynes

22 September—26 November The Lester Prize 2023

Tracing his influential, 60-year career, In Search of Painting is a survey exhibition of new and existing works by George Haynes, one of Western Australia’s most significant and prolific living painters. The 84-year-old artist is known as a master of light, creating paintings that are characteristically drenched in colour, demonstrating a keen observation of everyday Australian life and landscape. Alongside the exhibition, Art Collective WA launches its fifth monograph, the first published about George Haynes’ career as a painter, featuring over 150 photographs and essays by art critic John McDonald and curator Sally Quin.

This exhibition features a selection of paintings, drawings, prints and ceramics by the seven artists who formed the Antipodean group in Melbourne in 1959 – Charles Blackman, Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Clifton Pugh.

The Lester Prize is one of the country’s most recognised and prestigious fine art prizes – an award that places artists and the community proudly front and centre. The prize pool available to professional, emerging and young artists is worth over $115,000, which includes the main prize – The Richard Lester Prize for Portraiture of $50,000. Opens 21 October State of Abstraction State of Abstraction brings together abstract works by some of Western Australia’s most historically important artists alongside newcomers and lesser-known makers. Spanning the second half of the twentieth century to the present day.

The Art Gallery of Western Australia artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Until 10 September Against The Odds Prompted by the recent purchase of a significant early painting by the Melbourne-based Artist Helen Maudsley, Against The Odds celebrates the work of women artists held in the State Art Collection. Until 17 September Spacingout Drawing from the State Art Collection, Spacingout considers aspects of the

Özgür Kar, Good Night, 2021. Installation view, The Art Gallery of Western Australia, 2023. Photograph: Dan McCabe. Until 22 October GOOD NIGHT Özgür Kar Based in Amsterdam, Özgür Kar works across video, sound, performance, and installation. This exhibition presents the video work GOOD NIGHT 2021, in which an almost 8-metre-long black and white 241

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... skeleton character lays confined within the edges of television screens, singing a sorrowful, melancholic lullaby out towards an obscured city skyline.

A youth based exhibition including works from high school students across the South West region.

Until 4 December Exquisite Bodies Bruno Booth Exquisite Bodies is a participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Interrogating and expanding on ideas of beauty, mobility, and ability Exquisite Bodies draws on the surrealist game Exquisite Corpse, as an open-ended celebration of difference, inviting audiences of all ages to interact with playable figurative sculptures and drawing games.

Artitja Fine Art Gallery artitja.com.au South Fremantle, WA. 0418 900 954 Open by appointment outside exhibition dates.

Delphine Schwarze,Take me Back Home (detail), 2023, acrylic on canvas. Image courtesy of Bunbury Regional Art Gallery. Until 24 September Noongar Country: For Our Elders An exhibition celebrating the talent and diversity of Indigenous artists residing on Noongar Country.

DADAA Gallery dadaa.org.au 92 Adelaide Street, Fremantle, WA 6160 [Map 20] 08 9430 6616 Tues to Fri 10am–4pm, Sat 10am–2pm.

Selina Teece Pwerl, My Father’s Country, 120 x 70 cm. Image courtesy of the artist and Artitja Fine Art Gallery. 2 September–25 September Exhibiting at Gallery 152, 152 Avon Terrace, York, WA 6302. Spring Salon 2023 Group Exhibition

brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.

Convergence: Impressions of Memory and Sensation features works by abstract artist Sherylle Dovaston as she explores the connection between her inner and outer worlds, and investigates the profound interplay between introspection and experience. The artist reflects on our connection with external spaces and the impact they have on shaping our perceptions, and delves into the nuances of identity, emotion, and memory that form the foundation of our unique inner worlds. This collection of works challenges the notion that memory and sensation are distinct entities, but rather intertwined threads of our lived experiences that converge to shape our understanding of self as a mosaic of recollections and sensory experiences. The exhibition becomes an introspective quest, prompting visitors to reflect on how the sensations of the present resonate with the imprints of the past to construct our unique selves.

Fremantle Arts Centre

For the sixth year running this popular exhibition returns to York, WA through the month of September.

Bunbury Regional Art Gallery

Sherylle Dovaston, When the West Wind Moves, acrylic on canvas, 91.5 x 76 cm.

fac.org.au

Indi Middleton, mending, 2023, size variable. Image courtesy of the artist.

1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

23 September–2 December New work by Indi Middleton

DOVA Collective dovacollective.com.au Plaza Arcade, 650 Hay Street Mall, Perth, WA 6000 0419 614 004 Tue to Sat 10am–4pm. See website for latest information.

Image courtesy of Bunbury Regional Gallery. 16 September–5 November Iluka Visions 242

1 September–31 October CONVERGENCE: Impressions of Memory and Sensation Sherylle Dovaston

Rob Kettels, Time Machine No. 2, 2023. Until 22 October 46th Fremantle Arts Centre Print Award Featuring 50 finalists.

WESTERN AUSTRALIA

Gallery 152

John Curtin Gallery

gallery152.com.au

jcg.curtin.edu.au

152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission. See website for latest information. Luke Kolbusz, Enchanted Urn, 2023, oil on canvas, 100 x 100 cm. 20 October–22 October New Works (Sign) Luke Kolbusz In his new show Luke Kolbusz continues an obsession with fantasy. These paintings hint at a range of mythic objects: sorcerers, crests, runes and prophecies. Either the artist or the viewer must act as the hero; they, too, are trying to find a way through this world.

Tineke Van Der Eecken, Arborea Lungs, 2023, Methylmethacrylate corrosion cast of sheep airways. Courtesy of Dr Christophe Casteleyn, University of Ghent Animal Morphology Museum. 30 September–29 October Arborea Tineke van der Eecken Arborea explores the world’s forests through precious jewellery and sculptures. Considering a ‘deep time’ perspective, the anthropocene is evoked through the two movements: a first by use of fossils and rocks and other formations developed over millions of years incorporating the shape of trees; a second movement by presenting life forms of today rendered vulnerable by human settlement. From the magnificent forests of South Western Australia to the expansive and increasingly barren grazing and agricultural fields of the Wheatbelt, we are struck by climate anxiety and grief over loss of habitat. Weather turns into storm. Fire turns to devastation. The introduction of sculptures created through corrosion casting brings an innovative visual element and point of reflection: a sheep’s head’s vasculature and airways raise questions about how we connect with the natural world we claim to know. The exhibition situates our precious Western Australian fauna and flora amidst other parts of the world, where forest dwelling species lose their habitats. We meet primates, as forest dwellers or medical research facilitators, and imagine us humans as agents of change or extinction as we threaten to halt this vibrant pulse of life that makes our planet a living marvel. Tineke Van der Eecken works across disciplines, creating works inspired by the natural world and expressing the ecofragility of Western Australian habitats in fine metals, biological art and poetry. Her solo exhibition Tributaries is currently touring WA with ART ON THE MOVE, and this new show Arborea features in Northcliffe and later this year in York (WA).

Lyndall Watson, Soft Edges, 2022, woven tapestry, digitally printed yarn, embroidery cotton, 50 cm x 42 cm. Photo by Sharon Baker. Until 8 October Open Borders Open Borders is the culmination of the second Regional Arts Triennial project, showcasing 40 contemporary artists from regional Western Australia. Like its predecessor, The Alternative Archive, Open Borders emerged from The Creative Grid network led by Southern Forest Arts. Under the banner of The Mycelium Project it was designed to support regional artists and curators throughout the challenges and opportunities of the COVID-19 pandemic, just as the mycelium network in the natural world cultivates soil health and fertility, and a flourishing ecosystem. Open Borders is made possible through the support of the Department of Local Government, Sport, and Cultural Industries and the Regional Exhibitions Touring Boost, supported by Art On The Move.

Kartika Laili Ahmad, Big Boy Lady Love Lamp, 2023, argon, perspex, 316 SS, 220 x 50 cm. 20 October–22 October New Works (Sign) Kartika Laili Ahmad Expanded sculptural forms sit at the intersect of art and industrial lighting design in this exhibition of new works by Kartika Laili Ahmad. While often imbued with a sense of nostalgia, Ahmad’s most recent works offer an aesthetic investigation into our present and future; this exhibition demonstrating Ahmad’s exploration of ideas surrounding anthropomorphism and personification through gradients and opacity.

KolbuszSpace

Lawrence Wilson Art Gallery & Berndt Museum

kolbuszspace.com

uwa.edu.au/lwag

2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm.

1 September–30 September Stockroom Spotlight New works by selected KolbuszSpace represented artists. By appointment only.

9 September–9 December Wildflower Season Wildflower Season brings together a collection of artworks exploring the many ways meaning is made through images of plants and flowers. 243

ar t g ui d e .c o m . au Lawrence Wilson Art Gallery continued...

Linton & Kay Galleries lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.

Emily Pelloe, Eucalyptus Macrocarpa, Hooker, 1929, watercolour, 39 x 28.2 cm, The University of Western Australia Art Collection, Gift of St Catherine’s College, 1970. We celebrate the conclusion of a significant conservation project with the exhibition of forty botanical watercolour studies by Emily Pelloe, made between 1920 and 1934. This exhibition will place her paintings in the context of her life and work, bringing together a substantial folio gifted to the University of Western Australia after her death in 1941, to be held in trust for a women’s college. In dialogue with Emily Pelloe’s watercolours will be a diverse group of artworks – including painting, etching, sculpture, photography and moving image – which complicate rules of botanical and scientific classification.

30 August—16 September West Perth: Syanthropes and Other Animals Mikaela Castledine “This exhibition is both a salute to those animals which thrive despite us - who live in our houses and feed off our scraps, who evade our traps and seem to laugh at our attempts to quell their numbers - and a close look at some of the more curious human/animal relationships.” Mikaela Castledine.

inative landscape or still life setting. The arrangement of stylized edible fruits and organic forms found in Vineyards aim to recall a memory or just pure enjoyment from the viewer. Mataro looks at social media obsession with curated images of food and recommendations for best nature places for outdoor dining, picnics etc. The works tap into some of the interconnectedness of human consumption of food and nature. 2 October—21 October West Perth: Dodge City Johnny Romeo Prepare to embark on an electrifying trip through the Technicolour wonderland of Johnny Romeo’s youth in his latest series of paintings, Dodge City. The collection showcases Romeo’s largest and most impressive works to date as it captures the joy and innocence of youthful curiousity. Filled with classic superheroes and adventurous animals plucked straight from the early memories of Australia’s King of Pop, Dodge City is a playful celebration of childlike wonderment and the limitless possibilities of our imagination.

14 September—1 October Subiaco: Seasons Julie Davidson “The exhibition is all about different ways of seeing, using still life as a vehicle to express different moods, different times and different seasons. My painting journey takes me on an investigation into light and the layering of connected ideas and imagery. For this show, I’ve also enjoyed incorporating some abstracted elements to create an ambiguous and ethereal backdrop as a counterpoint to the highly representational rendering of objects.” ‘To see a world in a grain of sand, And heaven in a wildflower Hold infinity in the palm of your hand And eternity in an hour’. William Blake.

Dorothy Braund, Barbara Brash, 1967, oil on Masonite board, 91.5 x 122 cm. Cruthers Collection of Women’s Art, The University of Western Australia. © courtesy of the artist’s estate.

Works in progress in Samantha Dennison studio, Albany. 13 October—29 October Subiaco: And Still. Samantha Dennison “A collection of still life oil paintings drawing on my background as an art teacher, potter and parent living in regional Albany/Kinjarling, and my interest in objects as containers of meaning and conveyors of narrative.” Samantha Dennison.

Midland Junction Arts Centre

9 September–9 December BLAZE: people made known

midlandjunctionartscentre.com.au

BLAZE: people made known, features portraits drawn from the Cruthers Collection of Women’s Art. The exhibition highlights the recent acquisitions of renowned artists Virginia Ward, Rhonda Sharpe, Angela Brennan, Virginia Fraser, and Elvis Richardson. It also pays special tribute to Susan Cooper Wyatt, a Maduwonnga and Wongatha leader and artist, whose practice celebrates the significant impact of Aboriginal leaders.

276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

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Magda Joubert, Bonfire of Toast, 2023, acrylic on canvas, 60 x 65 cm. 8 September—16 November Cherubino Wines Margaret River: Mataro Magda Joubert Vibrant, bold, abstract paintings invoke a visual feast for the senses, in an imag-

2 September–29 October Beyond Interpretations Beyond Interpretations brings together artworks from the City of Swan Collection that respond to the diverse City

WESTERN AUSTRALIA Jahangir, Persie Toindepi and Scott Price. Hand in Hand showcases recent visual art graduates from WA, focusing on the relationship between artists and mentors and how educators shape their skills and narratives, while also highlighting contemporary arts practices. The public program explores materiality, circular artistic processes, and the immersive connection between artists and different mediums.

MOORE CONTEMPORARY moorecontemporary.com Gregory Pryor, Success Hill 2, 2017, watercolour on paper, 53.7 x 35.7 cm. Photograph courtesy of the artist. environments, animating the textured stories of this unique area through people who call Swan home. Supported with contemporary works by artists Gemma Ben-Ary, Peter Dailey, Sherylle Dovaston, Beverley Iles and Gregory Pryor.

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

Dan McCabe, Art as Asset, (detail), 2023, printed aluminium. cultural goods, museum activism and commodification. This continues McCabe’s curiosity in contemporary social and cultural issues and a practice that always produces a refined technical outcome from his research.

Perth Institute of Contemporary Arts (PICA)

Mundaring Arts Centre mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Tove Kjellmark, Blanca, 2022, mixed media, 120 x 130 x 30 cm. 7 September—11 September Augmented at Sydney Contemporary 2023 Ian Williams, Tove Kjellmark, Joshua Webb

Khashayar Salmanzadeh, Self and nurture (detail), 2022, oil on canvas, 160 x 120 cm. Photograph: Bo Wong. Bryce Olsen, Finger Bones (detail), 2023, lathed broomsticks, various dimensions. Photograph courtesy of artist. Aileen Hoath, Permutations #2, (detail), 20222023, dragon palm leaves and other plant fibre, recycled electronic parts and construction materials, thread, wire and Copic ink, various dimensions Photograph: Jack Ball. Erin Kilbane, In The Trees (detail), 2023, 5 layer watercolour screenprint and acrylic duotone screenprint on Fabriano Tiepolo paper, 105 x 135cm. Photograph: Laura Ward. Until 24 September Hand in Hand Aileen Hoath, Ana del Sousa Rosa, Annie Zhuang, Bruce Olsen, Daniel Kristjansson, Donna Black, Dung-Chuan Wen, Emily Crawford, Erin Kilbane, Heather Bosch, Holly Nabbs, Khashayar Salman Zadeh, Nazila

The exhibition’s title, Augmented, alludes to varied digital or augmented processes undertaken by each artist in the concept and production of their selected works. Painter Ian Williams references found objects and substructures within video games, employing the conventions of still life painting to explore the properties of the virtual everyday object. Tove Kjellmark’s pioneering art, described as a ‘glitch’ between the digital and organic, searches for ‘another nature’ where humanity and technology are unified. Joshua Webb’s sculptural objects often visually stem from ecosystems and he employs digital technologies with traditional building techniques in the realisation of works.

Wu Tsang, Duilian, 2016, single-channel colour video with sound, 26:16 minutes. Image courtesy of the artist, Galerie Isabella Bortolozzi/Berlin and M+, Hong Kong. © Wu Tsang. Until 22 October Duilian Wu Tsang

4 October—28 October Dan McCabe: Art as Asset In his second solo exhibition with the Gallery, Dan McCabe takes visual cues from packaging to create a suite of works in printed aluminium. In unique works he visually explores topics of currency in the art world and art market related to value, distribution, repatriation of

Sancintya Mohini Simpson, The Plantation (detail), 2022, watercolour and gouache on handmade washi paper, 6 panels each approx 95 x 125 cm, 190 x 375 cm overall. Image courtesy of the artist and Milani Gallery, Meanjin/ Brisbane. Photo: Carl Warner. 245

ar t g ui d e .c o m . au PICA continued... Until 22 October ām / ammā / mā maram Sancintya Mohini Simpson This Creature Sriwhana Spong

Stala Contemporary stalacontemporary.com.au 11 Southport St, West Leederville WA 6007 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment. 9 September– 30 September Holes in the wind Rose Moxham Queensland-based artist Rose Moxham presents a solo exhibition of new paintings. Moxham’s work is based in nature, specifically the mangroves of Moreton Bay. It’s a huge subject, her only subject, although the content changes. This series Holes in the wind, is a progression, a propulsion and a paring back – nature floating in space. The wind pushes around, impels, pushes back, blows things into some version of what it was before. And the holes in that wind can provide space, respite, or fragmentation. Though she pours herself into the works, she can never say exactly what they are

Rose Moxham, Mangroves, they talk in code, 2023, triptych, oil & mixed media on marine ply, 3 x 110 x 35 cm (approx.). about. That is left open for the viewer. With this in mind she has begun, as she often does, with a large painting, loose, relatively colourful. This gives her scope to investigate not only the physicality and emotional content of the subject, but also that of the materials she uses. From that initial painting come the other works. The shapes are abstracted, reductive, and the focus is on rhythm and the relationships between limited colour, surface and form shape. The work is built by repetition, laying down the paint, undoing it, leaving evidence of the hand, until the core content distils and is revealed. 14 October–4 November DIRT Group exhibition Featuring works by artists: Lindsay Harris

Jenny Gilbertson, Arizona dreaming, 2023, porcelain and underglaze, 16.5 x 12.5cm. (WA), Kathryn Haug (WA), Eric Hynynen (WA), Lauren Kennedy (WA), Jenny Gilbertson (WA), Jarrad Martyn (VIC), Johnny K (NSW), Patrizia Biondi (NSW), James Lai (NSW), Oliver Watts (NSW), David Usher (QLD), Nicholas Imms (DNK). For this exhibition DIRT serves as ametaphorical canvas; a blank slate upon which invited artists explore and respond to individual ideas of country/landscape/ ground/place within their artistic practice. This exhibition aims to delve into the profound connection between artists and the earth; the surface that inspires and unites them.

Svetlana Shevelyova, Moonlight, acrylic on canvas , 76 x 101 cm.

Johanna Larkin, Blue winged Kookaburra, acrylic on canvas, 45 x 45 cm.

David Giles Art Galleries

Representing more than 50 WA artists including David Giles, Ingrid Holm, Penny Rulyancich, Jackie Peach, Angelina Naglazas, Amanda Dean, Ross Calnan, Susan Williams, Suzy Sparkel, Jane van der Westhuizen, Carey Marwick, Liz Cooper, Danielle Campbell and Linda Mackenzie. David Giles Art Gallery 49B High Street, Fremantle WA Open Tuesday to Sunday 11am-4pm 246

Studio 11 Art Gallery 11 Captains Lane, Fremantle WA Open Thursday to Sunday 11am-4pm davidgilesartgallery.com

davidgilesartgallery.com 0416 079 204

A–Z Exhibitions

Northern Territory

SEPTEMBER/OCTOBER 2023

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Araluen Arts Centre, Mparntwe araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm. See our website for latest information. 12 July–8 October Ngurrika ∙ Lyatinya ∙ Ingunth’aka Town Camps Story The important history of Mparntwe Town Camps and the residents of Town Camps is not a well-known story to non-Indigenous people. The Town Camp movement was catalysed by the displacement of people from their traditional lands and steadily built momentum from early 1974 with the incorporation of the first Town Camp Housing Associations. The Associations and Tangentyere Council Aboriginal Corporation (TCAC) were formed by Town Campers to support their efforts to gain access to land, housing, water, electricity, municipal services, community services and to address the shared experience of disadvantage. This exhibition highlights the long, proud history of Alice Springs Town Camps and their residents through artworks, archival and filmed material that illustrates the strength and tenacity of the Town Camp movement.

we will fearlessly explore and question, and imaginatively present and document, identity and placemaking initiatives that support learning and appreciation of how the world is experienced and imagined through the art and eyes of artists who live in or have a connection with our unique place in Australia and the world. Please visit our Art Gallery and find exhibition room brochures from past internally-curated exhibitions.

Coconut Studios coconutstudios.com.au 8/18 Caryota Court, Coconut Grove, NT 0810 0475 381 170 Thurs to Sat 10am– 5pm or by appointment. Coconut Studios (est. 2020) hosts multidisciplinary art shows, talks and workshops with a focus on diversity, experimentation and change. Coconut Studios works collaboratively with individual artists, collectives and organisations with shared values to create a platform for the exchange of ideas, bringing new and challenging work to the public in a bid to disrupt the status quo and reveal new ways of being and relating in the now.

Justin Allen, Walpa kurrunpa, 2003, synthetic polymer on linen, 122 x 183 cm. Until 9 September Kuntarringanyi wankatjaku Coconut Studios presents a selection of new works by the men of Papunya Tjupi Arts. Kuntarringanyi wankatjaku (Luritja: Too shy to speak) captures the collective creativity and expression born out of recent experimentation and exploration taking place at the men’s studio, which was completed in 2020. Kuntarringanyi wankatjaku celebrates the success of the men’s studio and the burgeoning creativity of emerging and established male artists working at Papunya Tjupi Arts.

Museum and Art Gallery of the Northern Territory magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information.

8 September—22 October Desert Mob Presented by Desart, Desert Mob is an exhibition, symposium, market, public programs, satellite events and activations across Mparntwe. One of the nation’s most anticipated annual events, Desert Mob brings desert communities and families together to celebrate their enduring culture. All works will be available to purchase. Join us for the official opening of the Desert Mob 2023 exhibition at 5pm, Thursday 7 September, of if you cannot make it to Mparntwe, the exhibition will go live online from 9am, Friday 8 September.

Charles Darwin University Art Gallery cdu.edu.au/art-collectiongallery/cdu-art-gallery Casuarina campus, Building Orange, Ground floor, Chancellery NT 08 8946 6621 Wed to Fri 10am–4pm, Sat 10am–2pm. Through our exhibitions, public programs and permanent art collection, we celebrate, embrace and share with Australia the extraordinary art and culture of the Northern Territory, which is home to the world’s oldest living culture, and connected to the rich and diverse cultures of our Asia Pacific neighbours. With the support of CDU, and with our home and heart in the Northern Territory, 248

Gary Lee, Self-portrait with Manish, from the Skin series, 2002-23, type-c print, 30 x 42 cm. Until 9 September Gary Lee: midling Coconut Studios presents midling (Larrakia: together), a selection of new and remade works by Gary Lee. Drawing on the artist’s personal archive of historic family photographs and artworks (photobased and illustration), the exhibition brings together key strands of a practice which redefines notions of cultural identity, masculinity and beauty from a Larrakia perspective. Midling coincides with launch of the publication Heat: Gary Lee, selected texts, art & anthropology.

Anne Nginyangka Thompson, Anangu History, 2023, stoneware, 38 x 18 x 18 cm (each). Courtesy of the artists and Ernabella Arts. Image MAGNT / Mark Sherwood. 12 August—18 February 2024 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA) The longest running and most prestigious Aboriginal and Torres Strait Islander art awards and one of the richest art awards in the country. This exhibition, held on Larrakia Country and online, celebrates exemplary artistic practice and reflects contemporary Aboriginal and Torres Strait Islander art from across this continent.

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“. . . Many galleries do work with artists who are engaged in talking about the environment, to question and critique, or just to remind us of how extraordinary the natural world is —and what we are absolutely losing minute by minute.” — L E E -A N N E H A L L , G A L L E R Y D I R E C T O R A N D C U R AT O R , P. 10 4

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 © 2023 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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Agneta Ekholm, Brendan Huntley, Charlotte Haywood, Chunxiao Qu, Dapeng Liu, Elisa Crossing, Hiromi Tango, Isadora Vaughan, Jean-Luc Moulène, Jónsi, Justine Youssef, Nick Modrzewski, Peter Waples-Crowe, Shaun Hayes, Vincent Namatjira, Virginia Cuppaidge, and much more. I NSI DE

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