Art Guide Australia — September/October 2022 by Art Guide Australia

C ON T E N T S

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

Julie Rrap

Roslyn Oxley 9 Gallery 21 October–12 November 2022

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

ArtGuide_Issue_2022_Rrap.indd 1

roslynoxley9.com.au

29/7/2022 4:30 pm

annaschwartzgallery.com

mca.com.au

sydney.edu.au/museum

acca.melbourne

BUSH DIWAN Developed by 4A Centre for Contemporary Asian Art Curators Amrit Gill Reina Takeuchi

Artists Manisha Anjali Anindita Banerjee Monisha Chippada Sukhjit Kaur Khalsa Amardeep Shergill

VISIT Botanical Gardens Bridge Street Benalla VIC 3672

FREE ENTRY Mar—Aug, 10AM—4.30PM Sep—Feb, 10AM—5PM Closed Tuesdays

Benalla Art Gallery | 5 Aug—16 Oct 2022 Bush Diwan centres on the story of Siva Singh, an early 20th century Benalla 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.

CONTACT T 03 5760 2619 E gallery@benalla.vic.gov.au W benallaartgallery.com.au

benallaartgallery.com.au

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

acmi.net.au

Archives of Feeling: Sensation, Connection, Community RMIT Design Hub Gallery 19 AUG — 8 OCT 2022 designhub.rmit.edu.au

Trauma, Knowledge, Empathy RMIT Gallery 21 SEP — 10 DEC 2022 rmitgallery.com rmitgallery.com ARC_Artguide_2.indd 1

9/8/2022 9:46 pm

MELBOURNE MUSEUM

museumsvictoria.com.au/melbournemuseum

Bunjil Place, Narre Warren 3 Sep – 16 Oct 2022

ARCHIBALD PRIZE

2022

BOOK AT BUNJILPLACE.COM.AU Archibald Prize 2022 finalist, Claus Stangl Taika Waititi (detail) © the artist

bunjilplace.com.au

Fremantle Arts Centre is supported by the State Government through the Department of Local Government, Sport and Cultural Industries. Image: Mariaan Pugh & Desmond Taylor, Niminjarra, 2022, assorted yarn, monks cloth. Image courtesy of the artists.

fac.org.au

Fauvette Loureiro Memorial Scholarship 2022

Finalists

Emerging

Kasane Low Sara Morawetz Audrey Newton Elwira Skowronska

Mid-career/ established

Julia Davis & Lisa Jones Helga Groves Fassih Keiso Jess MacNeil Jelena Telecki Amanda Williams

LESLEY DUMBRELL

SCA Gallery Finalist Exhibition

29 September – 29 October 2022

Fauvette Loureiro Memorial 17 September - 8 The October Scholarship supports SCA graduates

who are practising, professional artists working in any discipline through support for professional development facilitated by travel. emerging scholarship is valued at www.charlesnodrumgallery.com.auThe (03) 9427 0140 $10,000. The mid-career/established is valued3121 at $30,000. 267 Church Street Richmondscholarship Victoria

CHARLES NODRUM GALLERY

sydney.edu.au/sca/

Akakia, 1987, Liquitex on canvas, 198 x 198cm

sydney.edu.au/sca AGdumbrell22.indd 1

10/08/2022 3:41:27 PM

museum.wa.gov.au

10 September—30 October Toowoomba Regional Art Gallery

Wen Lee, Singapore b.1957, Journey of a yellow man no. 13: Fragmented bodies/shifting ground (still), 1999, videotape: 10:30 minutes, colour, stereo. Purchased 2000. Queensland Art Gallery Foundation. © Lee Wen

Open Wednesday to Sunday 10:30am—3:30pm Free Entry tr.qld.gov.au/trag @trartgalleries

tr.qld.gov.au/trag

Gordon Hookey: A MURRIALITY

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

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

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

ima.org.au

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

Now Open

PUNCHING UP: 21ST CENTURY INDIGENOUS PHOTOGRAPHY Drawn from the HOTA Gallery collection, alongside selected loans, Punching Up opens the aperture wide with works by six of today’s leading Indigenous photographic practitioners.

hota.com.au

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

Artists Masahiro Hasunuma Yuichi Higashionna Tomoko Kōnoike Maki Ohkojima Fuyuhiko Takata

Curators Mayuko Murai Emily Wakeling

Presented By

Supported By

jpf.org.au

BRETT MCMAHON UN EARTH 17 SEPTEMBER - 2 NOVEMBER ANNANDALE GALLERIES annandalegalleries.com.au

info@annandalegalleries.com.au annandalegalleries.com.au

(02) 9552 1699

sydneycontemporary.com.au

Australasia’s Premier Art Fair

sydneycontemporary.com.au

2 July – 6 November 2022

bundanon.com.au

australiandesigncentre.com

artsinmaroondah.com.au

OPEN SAUCE

TUES 18 OCTOBER

SODA JERK

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

— FRI 16 DEC 2022

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

unisa.edu.au/samstagmuseum

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

WHERE LAKES ONCE HAD WATER Showing together with Rhythms of the Earth: Selected Works from the TarraWarra Museum of Art Collection

CURATED BY VICTORIA LYNN IMAGE: Sonia Leber and David Chesworth, Where Lakes Once Had Water (video still), 2020. 2-channel 4K UHD video, stereo audio, 28:24 minutes. University of Wollongong Art Collection. CABAH Art Series Commission in partnership with Bundanon. Filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, Australia, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country

SUPPORTED BY

MAJOR PARTNER

SONIA LEBER AND DAVID CHESWORTH, WHERE LAKES ONCE HAD WATER HAS BEEN SUPPORTED BY

twma.com.au

30 JULY - 13 NOV 2022 twma.com.au PUBLICATION PARTNER

sheppartonartmuseum.com.au

NICOLA SCOTT Impossible Depth

2 - 24 September 2022 onespacegallery.com.au @onespacegallery

onespacegallery.com.au

LESLEY DUMBRELL 17 September - 8 October

CHARLES NODRUM GALLERY

www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria 3121 Akakia, 1987, Liquitex on canvas, 198 x 198cm

charlesnodrumgallery.com.au

leonardjoel.com.au

24 August to 25 September 2022

Canberra Glassworks JamFactory touring exhibition

11 Wentworth Ave Kingston ACT open Wed to Sun 10am to 4pm canberraglassworks.com contactus@canberraglassworks.com 02 6260 7005

2022 FUSE Glass Prize winner, Matthew Curtis, Margin, 2022. Photo by Rob Little for the artist. canberraglassworks.com

NATIONAL WORKS ON PAPER 2022

NWOP SUPPORTS AND PROMOTES CONTEMPORARY AUSTRALIAN ARTISTS WORKING ON OR WITH PAPER

13 AUGUST — 27 NOVEMBER 2022

2022

MORNINGTON PENINSULA REGIONAL GALLERY CIVIC RESERVE, DUNNS RD, MORNINGTON VIC 3931 WWW.MPRG.MORNPEN.VIC.GOV.AU Justine Varga, Verdant 2021, chromogenic photograph. Courtesy of the artist, Hugo Michell Gallery, Adelaide and Tolarno Galleries, Melbourne

mprg.mornpen.vic.gov.au

portrait.gov.au

3 September — 29 October www.ace.gallery

Fresh Hell

Ryan Presley

Lion Arts Centre North Terrace (West End) Kaurna Yarta Adelaide SA 5000

Ryan Presley, The Dunes (How good is Australia) (2021), oil, synthetic gold and 23k gold leaf on poly-cotton, 364 x 152 cm (Diptych). Courtesy the artist and Milani Gallery, Brisbane.

ace.gallery

Agneta Ekholm Continuum

1 - 17 September 2022

beavergalleries.com.au

Hendrik Kolenberg Urban / Industrial

30 July to 25 September 2022 www.orange.nsw.gov.au/gallery

orange.nsw.gov.au/gallery

JUN CHEN Bush Idyll 3 – 17 SEPTEMBER, 2022 Image: Gum Trees Bush, 2022, Oil on canvas, 123 x 136.5cm

nandahobbs.com

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

Bayside Gallery 3 September to 23 October

Eyes that see Works from the collection of Norman Rosenblatt 3 September to 23 October Revealing a collecting philosophy centred on a genuine engagement with art and artists that spans over 60 years, Eyes that see presents selected works by Australian artists in a celebration of the delight and curiosity of art and collecting art.

Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton VIC 3186

Wed–Fri 11am–5pm, Sat–Sun 1–5pm 03 9261 7111 bayside.vic.gov.au/gallery @baysidegallery @baysidegallery bayside.vic.gov.au/gallery

Rosenblatt home, installation view, 2022 Photo: Mark Ashkanasy

Riverside, 9 Pelican Street, Tewantin, Q, 4565 07 5329 6145 noosaregionalgallery.com.au

THE BIG PICTURE The art of Bill Young 30 JUL - 23 OCT

138 Commercial Road Morwell www.latroberegionalgallery.com Open Daily: 10 am to 4 pm IMAGE: DETAIL William (Bill) Young, The Big Picture, 1991, Acrylic on paper, 2.6 x 20 metres, Gift the Estate of William Young, 2022

latroberegionalgallery.com

A NETS Victoria touring exhibition, curated by Zoë Bastin and Claire Watson. Artists Zoë Bastin, Andy Butler, David Cross, Bronwyn Hack, Amrita Hepi with Honey Long and Prue Stent, Christopher Langton, Eugenia Lim, James Nguyen, Steven Rhall.

School of Art & Design Gallery — 29 September to 4 November 2022

Eugenia Lim Shelters for Kyneton (tradic transfer), 2022 HD video, colour, sound: 7 minutes 40 seconds Courtesy the artist and STATION, Melbourne

Exhibition Partners

Exhibition Supporters

Visions of Australia

netsvictoria.org.au

This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria.

T: 61 2 9360 9727

E: art@kingstreetgallery.com

Elisabeth Cummings 4 - 29 October 2022

kingstreetgallery.com.au kingstreetgallery.com.au

On the Artunga Road 2020-21 oil on canvas 101 x 120 cm. Roller Photography.

Sandra Selig, ‘Old yellow knowledge from Content in a void’ 2019. Image courtesy: the artist; Milani Gallery, Brisbane; and Sarah Cottier Gallery, Sydney

Sandra Selig exploring giant molecules 27 August – 20 November 2022 Curator: Hamish Sawyer UNSW Galleries

Cnr Oxford St & Greens Rd Paddington NSW 2021

unsw.to/galleries unsw.to/galleries

Jennifer Herd Tr u t h Ta r g e t s & other works 9 September — 15 October

Urban Warriors (Shadow Shifters) 2022 archival ink & pinholes on 320gsm Sihl paper 60x60cm

www.fireworksgallery.com.au | 9/31 thompson st bowen hills brisbane | 07 3216 1250 | tues - sat fireworksgallery.com.au

HARRY MCALPINE EPOCH SEPT 1 - SEPT 24

CHALK HORSE Harry McAlpine, Monkey Brain, 2022, charcoal on paper, 36 x 50 cm

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

chalkhorse.com.au

Fiona Foley: Veiled Paradise 25 June–9 October 2022 McClelland 390 McClelland Drive, Langwarrin Open Wednesday–Sunday 10am to 4pm mcclelland.org.au

Image Fiona Foley, The Magna Carta Tree #2 (detail) 2021, inkjet print. Courtesy the artist and Andrew Baker Art Dealer, Brisbane. Photo Mick Richards.

This exhibition is supported by the Australian Government’s Restart Investment to Sustain and Expand (RISE) Fund, and by the Victorian Government through Creative Victoria. Fiona Foley: Veiled Paradise is a QUT Galleries & Museums travelling exhibition.

mcclelland.org.au

LAUNCH / SATURDAY

AUGUST/ 4:30 PM 13 AUG / 18 SEPT

PIP RYAN Tongue-Tied

STOCKROOM

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

Mind’s Eye, 2022, watercolour, gouache, pencil on paper 29 x 19cm

stockroom.space

NORTH QUEENSLAND ceramic awards PERC TUCKER REGIONAL GALLERY Townsville, North Queensland

Scan to learn more or visit: townsville.qld.gov.au/nqca

Maricelle Olivier The Gang-gang Gent and Dame 2022 Red-raku with slip and underglaze 31 x 60 x 29 cm Finalist 2022 biennial North Queensland Ceramic Awards Image courtesy of the Artist

SPONSORS

townsville.qld.gov.au/nqca

lintonandkay.com.au

Kate Elsey Magic Carpet 26 August - 16 September Subiaco

Kate Elsey, ’Secrets of the Night’ 2022, Oil on linen, 122 x 153 cm

Dean Home Search For The Pearl 17 September - 10 October Subiaco

Dean Home, ‘At Play in the Garden’ 2022, Oil on board, 122 x 145 cm

Leigh Hewson-Bower Rottnest Revisited 14 - 30 October Subiaco

Leigh Hewson-Bower, ‘Osprey Nest Rottnest South Coast’ 2022 [detail], Acrylic on canvas, 110 x 190 cm

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

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

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

lintonandkay.com.au

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

September/October

2022

EDITOR AND PODCAST PRODUCER

Tiarney Miekus ASSISTANT EDITOR

Autumn Royal WEBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan GRAPHIC DESIGNER

Jack Loel DESIGN ASSISTANT

Girivarshan Balasubramanian CONTRIBUTORS ISSUE #139

Steve Dow, Briony Downes, Tristen Harwood, Lauren Carroll Harris, Neha Kale, Zali Matthews, Louise Martin-Chew, Tiarney Miekus, Giselle Au-Nhien Nguyen, Autumn Royal, Joe Ruckli, Barnaby Smith, Andrew Stephens.

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Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066 Art Guide Australia is an independent bimonthly publication produced by Print Ideas P/L. PUBLISHERS

Graham Meadowcroft Kim Butterworth Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. artguide.com.au

Cover artist: Cressida Campbell

front Cressida Campbell, Margaret Olley interior, 1992.

private collection. © cressida campbell. back Cressida Campbell, Japanese Hydrangeas, 2005. private collection. © cressida campbell.

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2021 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

A Note From the Editor PR E V I E W

Sandra Selig: Exploring Giant Molecules Anna Carey: Madame Mystery Attempted Portraits Mark Valenzuela: Still tied to a tree When Skirts Become Artworks: Sihoti’e Nioge John Young: None Living Knows Lucy Turnbull: Riverside Maddie Grammatopoulos: Which Made This Place Home Nicola Scott: Impossible Depth Michael Staniak F E AT U R E

Sally Scales: Into Painting Natalya Hughes: Fraught Relationships INTERV IEW

Judy Watson and Helen Johnson F E AT U R E

Cressida Campbell: View Through a Window S T U DIO

Tony Albert F E AT U R E

Damiano Bertoli: Always Already 20 Questions: Paul Yore Bruno Booth: Rethinking Access C OM M E N T

Lauren Carroll Harris: The ‘A’ Word F E AT U R E

Yuriyal Eric Bridgeman: Language of the Shield Hannah Brontë: A World to Live In

Issue 139 Contributors STEV E DOW is a Melbourne-born, Sydney-based

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

BR ION Y DOW NES is an arts writer based in Hobart.

She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. is a writer who has been published in Los Angeles Review of Books, Literary Hub and Sydney Review of Books. She curates the Prototype moving image platform.

LAUR EN CA R ROLL H A R R IS

TR ISTEN H A RWOOD is an Indigenous writer, editor

and researcher based in Naarm. His work is published in The Saturday Paper, The New York Times Magazine, un Magazine, ArtReview, Artlink, Art + Australia, and The Monthly.

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

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

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

most recent book is a biography of Fiona Foley, titled Fiona Foley Provocateur: An Art Life, published by QUT Art Museum in 2021, and she has a forthcoming book, Margot McKinney: World of Wonder, to be published by Museum of Brisbane in 2022.

ZA LI M ATTHEWS is a curator, arts writer and arts

worker based in Meanjin (Brisbane). She is interested in Australian contemporary art, and in art which blurs boundaries between digital and physical experiences in a postInternet age. Zali completed a Bachelor of Advanced Humanities (Honours Class I) with an extended major in Art History at the University of Queensland.

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

TI A R NEY MIEKUS

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

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

AUTUMN ROYA L

is a Brisbane-based photographer, researcher and educator. His documentary practice explores stories from the margins, and his commercial work focuses on arts and culture.

JOE RUCK LI

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

BA R NA BY SMITH

A NDR EW STEPHENS is an independent visual arts

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

A Note From the Editor Cressida Campbell captures something special about the everyday: the moment when the familiar suddenly appears meaningful and weighted. Her art graces our cover, where the intricateness of the world is made vast. As with every artist in this issue, Campbell simultaneously creates an aesthetic world, while reflecting and suggesting something about our shared world. This mixture of interiority and social life appears, albeit in a very different way, in Natalya Hughes’s art. Her most recent work interrogates the male-dominated fields of painting and psychoanalysis, where she reveals not only real occurrences of women’s oppression, but also reclaims feminine space in a masculine art world. With a practice as both an artist and DJ, our profile of Hannah Brontë captures her fostering a future based on true collectivity. She asks, “What is the dream in terms of what I can create?” Glancing into the future often involves an understanding of the past. Two great artists, Judy Watson and Helen Johnson—a Waanyi woman and a woman of Anglo-descent respectively—talk generously together about women, colonialism and revealing history in our long-form interview. While Bruno Booth creates art challenging the ableist world (often in humourous yet pointed ways), another artist who’s had a direct influence on the world is Sally Scales. A respected cultural and arts leader, she’s creating brilliantly vivid and intricate paintings—and it’s incredible to read that the Pitjantjatjara artist only began painting a few years ago. And finally, we step inside Tony Albert’s world, heading to his Brisbane home studio. While it’s his own creative refuge, it’s also a space he’s sharing with family and others. Read about the world in this September/October issue. Tiarney Miekus Editor, Art Guide Australia

“. . . the intricateness of the world is made vast.” 55

Previews W R ITERS

Briony Downes, Louise Martin-Chew, Zali Matthews, Giselle Au-Nhien Nguyen, Autumn Royal, Barnaby Smith, Andrew Stephens.

Sydney Exploring Giant Molecules Sandra Selig

University of New South Wales Galleries 27 August—20 November

Sandra Selig has always worked with humble materials— thread, light, paper, salt, steel and wood—arranged in highly diverse forms. The Brisbane-based artist unearths the hidden forces of our universe, examining everything from the arrangement of spiderwebs to celestial forms. The expansiveness of Selig’s practice is tackled in the largest exhibition of her work to date, Exploring Giant Molecules. Spanning two decades of work, it includes thread installations tracing architectural space, neon-sprayed spiderwebs mounted on paper, and performative salt drawings captured on sheets of steel. Selig’s considered use of organic and inorganic materials, which interact with each other as miniature examples of macrocosmic systems, lies at the core Sandra Selig, Air and light in sound, 2020, altered of her practice. “Her work has a certain sensibility and contents page from unused book. courtesy of the refinement to it,” says curator Hamish Sawyer, “which she artist, milani gallery, brisbane and sar ah cottier disrupts by using natural materials and processes.” gallery, sydney. Selig’s work has a similarly important relationship with space, requiring a new site-specific approach from the exhibition’s previous installation at the University of Sunshine Coast (USC) Art Gallery. “Much of Sandra’s work is contingent on the architecture of the gallery,” explains Sawyer. Such attention to space also links to Selig’s highly iterative practice, with Selig having multiple ongoing works. Sound, as a vehicle for mapping space and form, also features prominently in the new installation, as well as a live performance by Selig and Leighton Craig, who are collaborators in the experimental music duo Primitive Motion. Across these multiple forms, Selig is showing viewers things which are often intangible. As Sawyer says, “I want to acknowledge Sandra’s significance as an established practitioner who works with humble materials in an interdisciplinary and singular way.” —ZA LI M ATTHEWS

Sandra Selig, Returning Eye, 2022, hot rolled steel, salt. Installation view: USC Art Gallery. courtesy of the artist, milani gallery, brisbane and sar ah cottier gallery, sydney. photogr aph: carl warner.

Brisbane Madame Mystery Anna Carey

Artereal Gallery 16 September—15 October

Madame Mystery is not a real person, but you can text her to learn your fortune. The mystical figure’s phone number emblazons magical shop fronts: she’s your psychic advisor, tarot reader, truth revealer. While these Anna Carey, Déjà vu Psychic, 2022, giclee print, shop fronts may only appear in staged photographs, 124 x 90 cm, edition of 7 + 2AP. there is an actual human at the end of the line: Anna Carey. The artist, who spent much of the last decade living in Los Angeles, is known for lifelike photographs of miniature architectural models, made from foamcore and perspex at a 1:50 scale. Carey is fascinated by vernacular architecture (modest designs that are region-specific) and its echoes around the world—her hometown of the Gold Coast takes inspiration from the likes of Miami and Palm Springs. Her photographs play on memory, nostalgia and imagination, blurring the line between reality and construction. “I’m interested in disorientation and illusion, and that really stemmed from my experiences living on the Gold Coast and things changing so rapidly,” she says. “Places that held a lot of memories that were deeply familiar to me were disappearing really fast. In this architecture of memory, the photograph is a way to capture that moment in time.” Madame Mystery continues the artist’s long-held interest with the supernatural, inspired by the otherworldly films and television Carey consumed to escape the pandemic. The exhibition is also a continuation of a 2020 work of the same name. While the imagined psychic shop fronts bring a fantastical element into the artist’s models and photographs, the inclusion of Carey’s actual phone number lends a real-life grounding. “That was a way for people to contact me—an element of communication when we’re separated, to go into another world,” she says. Embodying the character of Madame Mystery, Carey responds to these messages to add yet another dimension to the work. —GISELLE AU-NHIEN NGU Y EN

Devonport Attempted Portraits

Devonport Regional Gallery 3 September–12 November

Robert Vaudry (Bert) Robinson, Wattle Day, 1931, digital scan from nitrate negative, variable sizes. dcc permanent collection.

In every photograph there is a story, and in each captured face, a history. What drives our desire to be immortalised in photographs, and how do we hope to be remembered? Devonport Regional Gallery asks these questions in Attempted Portraits, which showcases the historical Robinson Collection alongside work by contemporary artists. From their commercial photography studio in Devonport, Bert Robinson and his son Albert produced over 100,000 photographic negatives between 1927 to 1975, including portraits, landscapes, and notable local events.

While developing the exhibition, curator Ellina Evans initially focused on the costumes worn by the Robinsons’ subjects, and began searching the collection. She found women in wedding dresses, men in military uniforms, children in crowns with tridents—even a man dressed as Santa Claus. But the more she searched, the more puzzled she became by the photographs. “It got to the stage where I couldn’t quite tell who was in a costume and who wasn’t, because they were all so contrived, carefully conceived of, and taken.” Looking past the costumes to the subjects behind them, Evans wondered what their stories might be, now rendered unknowable with the passage of time. “These portraits are attempts to tell a story, but are also failures in a way.” Also included in the exhibition are portraits by contemporary Tasmanian artists Ilona Schneider, Lisa Garland, and Patrick Hall. While Garland’s photographs are intimate and story-driven, Schneider’s portraits candidly capture people invited off the street, and Hall prints his subjects onto bottles fitted with speakers from which they can be heard talking. Through their works, these artists shed light on the active role the Robinson photographers had in helping tell their subjects’ stories—now lost to time. —ZA LI M ATTHEWS

Adelaide Still tied to a tree Mark Valenzuela

Adelaide Central School of Arts (SALA Festival) 26 July—16 September Art Gallery of South Australia (SALA festival) From 1 August

For over a decade, Mark Valenzuela has interrogated colonisation, oppression and territory via a highly Installation view: 2020 Adelaide Biennial of personal lens, especially through his Filipino-Australian Australian Art: Monster Theatres featuring Once identity. His new exhibition, as part of South Australian bitten, twice shy by Mark Valenzuela, Art Gallery of South Australia, Adelaide. photogr aph: saul steed. Living Artists (SALA) Festival, explores how personal identity is entwined with the legacies of geopolitical history. Still tied to a tree at Adelaide Central School of Arts (ACSA) features large-scale installations that combine ceramics, painting and drawing. The exhibition is one of two the artist will present during SALA, with the Art Gallery of South Australia showing a selection of recent Valenzuela acquisitions. The ACSA show, however, exhibits new works. “Still tied to a tree compresses and compares the two worlds that I inhabit— Australia and the Philippines—to extend my explorations of territory and space,” says Valenzuela. “On a personal level, this exhibition explores the limbo-like state of being caught between two worlds, and my tendency to constantly compare these contexts. “This exhibition explores the tensions that come from existing in this transient state while experiencing a strong pull from both locations towards a more fixed position.” Alongside this personal exploration, the show explicitly foregrounds historical conflict and violence in both Australia and the Philippines. The medium of ceramics, says Valenzuela, is particularly appropriate due to its “paradoxical quality of being hard and durable yet also incredibly fragile and breakable”. From this stems Valenzuela’s striking link of the two countries’ shared colonial violence with his own cultural identity. As he says, “The political context in the Philippines is inherently tied to our complex and violent history of colonisation, and these explorations continually remind me of my own position in Australia, where I now live and work on the unceded territory of First Nations peoples.” — BA R NA BY SMITH

Cleveland When Skirts Become Artworks: Sihoti’e Nioge Omie Tapa Artists Redland Art Gallery 21 August—9 October

Since 2017, curator Joan Winter has been spending time with the Omie, an isolated community living in the remote rainforest mountains of Papua New Guinea’s Oro Ilma Ugibari, Gome Orchids, 2018. Province. Getting to know the approximately 1800 people living there, Winter has been learning about the cultural significance of tapa, a type of bark cloth made from trees like the paper mulberry and fig. Created by removing the inner bark and beating it until soft and supple, this process forms a material akin to cloth, which is decorated and worn as a skirt for marriages, rites of passage and ceremonies. When Skirts Become Artworks: Sihoti’e Nioge is a result of a joint project between Winter and Court House Gallery in Cairns, exhibiting works by emerging and senior Omie tapa artists. A tradition spanning multiple cultures across the Pacific, tapa is primarily created by young women, and has only recently been extended to male practitioners. As an artform, the Omie’s tapa designs continue to evolve: “The Omie’s use of grid lines and repetitive patterning gives their tapa a contemporary aesthetic, making their beaten bark cloth remarkable among the Pacific nations,” says Winter. In the exhibition are two forms of tapa distinct to the Omie. Nioge, a painted bark cloth and Sihoti’e, an appliqued cloth that remains unpainted or minimally soaked with mud. On the Nioge cloth’s surface are intricate designs depicting hornbill bird beaks, eggs from the dwarf cassowary and fern fronds. The artists use natural pigments extracted from leaves, sap, fruit and ash. Depictions of ancient tattoo designs and tobacco pipe carvings also illustrate the surface of several tapas. “This is the first tour of their work to public institutions in Australia,” says Winter. “The Omie deserve this attention given their innovative, diverse and most colourful tapa art.” —BR ION Y DOW NES

Perth None Living Knows John Young

Moore Contemporary 5 October—12 November

With various streams of work underway at any one time, John Young remains a nimble investigator of the intersection between traditional art making and the complexities of digital output. In his latest show, John Young, Shiva XXIV, 2022, oil on linen, he has refined his enduring interests: his distinctive 71.5 x 89.5 cm. approach to colour and form probes the nature of memory, resonance and effect. For at least 15 years Young has been exploring these ideas through what he describes as his ‘History Projects’, which focus on the history of violence and benevolence (and include a history of Chinese people in Australia since 1840). Young has also produced his ‘Abstract Paintings’, a long-term project exploring the effect of technology on bodily skills.

For None Living Knows, he is presenting new works, including his recent Shiva paintings, which refer to the practice in Judaism of “sitting shiva” with a recently deceased person. This practice, he says, also relates to the big events in life—famine, flood, plague—after which we “sit in silence” and heal, so that one day “beauty and presence” might return. The second group of new paintings are a meditation on the long walks made by Chinese immigrants on arrival in Australia in the late 19th century—walks made in order to avoid poll taxes and other restrictions. The walks were barely documented and Young wonders what went through the minds of the people on these perilous journeys without maps, insufficient water or food, and the threat of arrest as illegal migrants. In the resulting paintings, Young ponders the wretchedness, death and suffering—but also the steely determination of these travellers. — A NDR EW STEPHENS

Port Noarlunga Riverside Lucy Turnbull

Sauerbier House 24 September—29 October

Lucy Turnbull has been artist in residence at Sauerbier House in South Australia’s beachside suburb of Port Noarlunga for only a few days when we discuss her plans for the exhibition which will follow. She suggests, “We’ll see Lucy Turnbull, Rain On Tin, 2020, oil on canvas, where the conversation takes us and work it out—like a 91 x 122 cm. photogr aph: sam roberts. courtesy of drawing.” It’s akin to her very process of creating. the artist. For Riverside, Turnbull is producing works from her residency that “engage with the community and explore my interaction with Port Noarlunga, which is a place of recreation or adventure; with holiday makers, their fishing rods and beach equipment, camper vans and kayaks. I am interested in pursuing this idea of activity and movement.” Her process develops through drawing, “which is the fastest way to pull an idea out or to communicate. Hopefully people come to Sauerbier House during my residency and talk about their experiences . . . I’ll start noticing things I can build a storyline [and exhibition] from.” It is a departure from Turnbull’s training as a figurative painter, with a masters from New York Studio School of Drawing, Painting and Sculpture. Her recent work has drawn upon structures and architectures, with an interest in broken boundaries and fallen fences that allow for unlikely connections. For Riverside, Turnbull envisages a different type of imagery, related to the “wonderful, gentle things that can happen with space and time”. Turnbull’s exhibition will be based on foundational forms, shapes and spaces. There is, she says, “the age-old challenge of portraying depth within the flat rectangle, the scale and shape of the canvas, which might take the shape of a windscreen or the size of a kayak, window frames or beach towels”. Integral to these observations will be her thought patterns shaped in this place and “the gift of time”. —LOUISE M A RTIN- CHEW

Adelaide Which Made This Place Home Maddie Grammatopoulos Praxis Art Space 22 September—14 October

When South Australian filmmaker Maddie Grammatopoulos began work on the multi-awardwinning short film Which Made This Place Home, she set out to answer one question: what makes a house Maddie Grammatopoulos, Which Made This Place a home? As the filmmaking process progressed, the role Home, 2021, film still. courtesy of the artist. household objects played became increasingly clear. “Objects are just things we can touch, smell and see,” she explains. “But ultimately it’s the moments we share in their presence and the memories we attach to them that make them so significant.” Which Made This Place Home takes on the viewpoint of household objects, quietly observing family interactions taking place around them. While the film is projected into the gallery, to provide a physically immersive experience items from the film set are also arranged within the space. These include a velvet orange couch, bed sheets and a round table. All the objects feature in the final scenes of the film, which is partly inspired by the artist’s own family experiences. “Which Made This Place Home is a poetic, experimental short film, built from a series of moments within the life of a fictional family over a 30-year period,” Grammatopoulos says. “Each scene of the film is written around a repeated item, scent or sound within the family home. Experimental in its structure, in the film we see how the memories connected to different objects and senses change as our experiences differ and evolve.” Originally exhibited in Refractions, the 2021 Carclew Sharehouse SALA exhibition, the film features actor Luca Sardelis and includes an original score by Adelaide-based international musician Motez. “It really lays the foundation for this thoughtful piece,” says Grammatopoulos. “We built this film to make audiences feel nostalgic, connected and reflective.” —BR ION Y DOW NES

Brisbane Impossible Depth Nicola Scott Onespace 2—24 September

Nicola Scott, Speculative structure #4, 2022, oil on linen, 61 x 61 cm. photogr aph: louis lim. courtesy of the artist and onespace gallery.

“A painted surface is a real, living form,” wrote Kazimir Malevich, the Polish-Ukrainian Russian avant-garde artist. Malevich’s work has been influential for Nicola Scott and her exhibition Impossible Depth. While working towards the show, Scott repeated one of Malevich’s expressions over in her mind: that the visual should induce “pure feeling”. The Brisbane-based artist’s work is heavily informed by tensions between the materiality and history of abstract painting, alongside contemporary digital and virtual spaces. “My practice centres around visual perception and how painting can draw attention to the unreliable or the ambiguous aspects of seeing,” says Scott.

The artist’s play with visual perception interrogates the impact of holography—a method of creating three-dimensional illusions—within her twodimensional paintings. Behind Scott’s ocular subversions is her engagement with language as a starting point for painting. “For this show, I was thinking about holographic images and . . . then I started to repeat the phrase ‘hollow graphic’ in my head.” Impossible Depth includes a series of brightly coloured paintings densely layered with neon and monochromatic transitions and textures. There are also several paintings created in homage to Malevich’s Black Square series. Scott’s abstracted images urge viewers to question which layers were created first, and to highlight the collision between organic and synthetic matter. “I want to tap into the viewer’s desire to make sense of an image as we’re unconsciously always trying to make sense of what we’re seeing.” Scott’s paintings reference bodily formations such as organs and molecular cells while simultaneously capturing geometric and digital aesthetics. These visual forms have a spatial ambiguity: “I’m always trying to create a sense where the viewer is slightly mesmerised or confounded.” —AUTUMN ROYA L

Sydney Michael Staniak

STATION Gallery 6 September—1 October

“I believe that every artist is now strongly linked with the screen and digital media,” says Michael Staniak, touching on a conceptual departure point for both his wider body of work, and his new show at STATION. “By displaying work online,” continues Staniak, “whether conscious or not, the artist is making work that will have some optimisation for the media on which it is displayed. This may occur within the work or in documentation and post-production. I simply tune in closely to the phenomena and make work that responds accordingly.” Staniak is exploring these ideas with a series of bronze sculptures displayed amid an installation of mirrored panels and plinths. The works, he says, allow Michael Staniak, OBJ_287, 2021, bronze, acrylic him to interrogate how digital media has influenced mounted on stainless steel plate, 70 x 50 x 32 cm. the traditional and accepted ways of creating physical photogr aph: arturo sanchez. courtesy of the artist and station. works of art. Mirrors, also employed in an exhibition Staniak recently had in Mallorca, Spain, play a key role. “These mirrored surfaces act as a metaphor for our use of screens in virtual, networked environments, where preferences and information are tailored via algorithms and AI [artificial intelligence]. In this way, a screen is no longer a window in which we view the outside world but a mirror exposing our behaviours, interests and emotions.” Importantly, Staniak’s work seeks to explore and understand the impact of technology, rather than offer any critique—the exhibition has no political intent. His preoccupation is with technology’s impact on craft, citing as an influence Edgar Degas’s experiments with photography, as well as contemporary American artist Wade Guyton, who uses scanners and inkjet printers (among other things) to create abstract paintings. “I’m pretty neutral on new technology,” Staniak says. “The intentions of its adopters render it either ‘good’ or ‘bad’, in a moral sense.” — BA R NA BY SMITH

Into Painting A respected cultural and arts leader, Pitjantjatjara woman Sally Scales has recently explored her own artistic practice—and the results are beguiling. W R ITER

Giselle Au-Nhien Nguyen

Sally Scales grew up surrounded by art and artists. Raised in the Anangu Pitjantjatjara Yankunytjatjara (APY) lands in remote South Australia, her mother and grandmother were both painters; her father was a leather maker, community leader and a founder of the not-for-profit Maruku Arts and Crafts. Country and culture were integral to Scales’s upbringing—and art and cultural leadership were all around her. In adulthood, Scales became a respected cultural leader herself, working in consultancy, sitting on arts and culture boards, and being heavily involved in the Uluru Statement from the Heart since its inception in 2017. A portrait of Scales, painted by Tsering Hannaford, was a finalist in the Archibald Prize this year. But it wasn’t until Covid lockdowns hit in 2020 that, with more time on her hands, she started to explore painting, continuing the legacy of her Elders while carving out her own style. “For me, it was really about looking at my own lineage, my grandmother and my mother’s style, and weaving that into it,” the artist says. “But I also realised that I’m very much a contemporary artist—there’s so much that I like in the world of seeing artists who are so different in their own styles. I like not being very similar to others.” In just a couple of years, Scales has become a celebrated artist in her own right, winning various awards and being named as a finalist for this year’s National Aboriginal and Torres Strait Islander Art Awards (NATSIAA). In 2021, she had her first show— a collaboration with her mother, Josephine Mick,

highlighting the generational nature of her work. Scales’s artworks are bold and striking, with a playful and inventive use of colour, space and size; she disregards convention to make her work her own. The relationship to art in Indigenous communities is unique with the form being a “crucial element” in preserving culture across generations—there’s an important social role. Scales’s work tells her family’s Tjukurpa—ancestral creation story (she prefers this to the term Dreamtime)—of Wati Tjakura, an edible skink lizard who was killed by an army of water snakes on sacred Aralya Country. Each piece gives a different interpretation of the tale, but the artist is not interested in verbally retelling the myth. “There’s too much focus on Indigenous artists having to tell their story—it becomes anthropological,” she says. “I hope artists don’t feel that they have to. I’m painting a piece of me already, and I feel like that should be enough.” Instead, she wants viewers to form their own meanings through spending time with the artwork, as they would with any other piece of contemporary art. “I want people to see my paintings and really have their own time with it, sitting in the moment and feeling it or going, ‘Oh, I really like how these colours do this, or these colours shouldn’t go together in the art books, but I like how they’ve done that.’” Recently, Scales collaborated with online clothing retailer The Iconic on an Uluru Statement T-shirt for NAIDOC Week. The design highlights the two core elements of the Uluru Statement: Voice and

Sally Scales, Wati Tjakura, 197 x 150 cm, acrylic on linen.

“Painting is such an important part of our lives and our family . . .” — S A LLY S C A LE S

Sally Scales, Wati Tjakura, 198 x 157cm, acrylic on linen.

Sally Scales, Wati Tjakura, 167 x 200 cm, acrylic on linen.

Makarrata, a Yolngu word meaning coming together after struggle. “That was my two worlds colliding— the Uluru Statement is such a core bit of my world,” she says. “What’s interesting is seeing so much more wearable art out there, and Indigenous artists being explored.” Having been involved with the APY Art Centre Collective in leadership and cultural liaison roles since 2013, Scales was instrumental in opening an Adelaide APY gallery and studio in 2019, and relocated to the city herself. The studio provides space for Elders to practise their art in a culturally safe and supportive environment, despite being away from Country. When Scales began her painting practice, she was able to create in this special space. “It’s like a little APY embassy where we can all be together . . . it’s the best thing we’ve ever done,” she says.

Aside from art and activism, Scales is also a mother to six-year-old Walter. When I ask whether her son has any interest in art—whether this might continue for a fourth generation—she calls him over to ask him herself. “Can Mummy ask you a question? Do you want to do painting?” she questions gently. “No,” he says, then a moment later, “Yeah.” “He’s wearing his Uluru Statement T-shirt,” she laughs when she returns to the phone. “Walter does enjoy painting, but I want him to do whatever he wants to do. Painting is such an important part of our lives and our family, but I’ve also got beautiful nephews and nieces, and it can be carried on by all of them or one of them. That’s the great thing about all of it.”

National Aboriginal and Torres Strait Islander Art Awards (NATSIAA)

Museum and Art Gallery of the Northern Territory (Darwin NT) Until 15 January 2023

Fraught Relationships Natalya Hughes’s art holds a piercing gaze on the historically male-dominated fields of art and psychoanalysis, claiming the necessary space for women’s representation. W R ITER

Autumn Royal

“I have unfinished business with expressionism,” explains Natalya Hughes when speaking about her artistic examination of the 20th-century German painter Ernst Ludwig Kirchner. The Brisbane-based artist has been studying Kirchner, particularly his paintings depicting two models known as Fränzi and Marzella. “Kirchner is an incredible artist,” says Hughes, “but it’s difficult for me to just gloss over all his work and so, I’ve focused on the most difficult parts.” I’m struck by the name of Hughes’s latest exhibition, These Girls of the Studio, and I query her about the title: “Are these girls trapped? Why aren’t they considered ‘women’?” Hughes’s answer, despite my awareness of the history of the male gaze, still startles me. “They are quite literally girls . . . I think the youngest was 13 years old.” Hughes has become known for her feminist art practice influenced by textiles, costume, and fashion illustration, as well as decorative and ornamental traditions. The artist also deals with how the modernist movement privileged masculine authenticity and authority over femininity and female agency. She creates space for the unnamed to talk back. Through imagining and then dissembling Kirchner’s artistic process, Hughes can “break it into pieces” and highlight the consequential dismissal of women within art history. “I want to recognise Fränzi and Marzella as actual human beings, two girls who found themselves in an adult studio environment and were being painted over and over.”

Hughes’s work underscores the power imbalance between Fränzi and Marzella and the male artist who portrayed them in highly eroticised ways. It was Hughes’s “push-pull” fascination with Kirchner’s work that prompted her to investigate. “I remember being attracted to Kirchner’s palette and then being really fascinated by his particular representation of men and women and masculinity and femininity . . . There are pictures of Kirchner in his studio where he’s completely committed to his art and he surrounded himself in this incredible bohemian life. And just as I’m enjoying, I’m like, wait a second—how old are those girls?” Hughes’s scrutiny into the “stronghold” that male artistic expression has historically occupied is bold and demanding. She credits her resilience in confronting such matters to her experience and research of psychoanalysis—which is apparent in her other current solo exhibition, The Interior. Showing at the Institute of Modern Art, The Interior relates to our internal thoughts and private spaces. Hughes also explains that “in psychoanalysis, ‘interiority’ holds dark secrets, particularly when it comes to the feminine mind and feminine desire”. The exhibition complicates the way women have been both represented and repressed within the history of psychoanalysis. r ight Natalya Hughes, The Interior, 2022, Installation view, Institute of Modern Art. photogr aph: charlie hillhouse.

Natalya Hughes, Franzi in front of Carved Chair/Stool, 2021, acrylic on poly, 153 x 117 cm. image courtesy the artist and sullivan+strumpf. photogr aph: mark pokorny.

Natalya Hughes, Franzi with Cat, 2021-2022, acrylic on poly, 117 x 153 cm. image courtesy the artist and sullivan+strumpf. photogr aph: mark pokorny.

This has been a massive project, with Hughes creating her own interpretation of Sigmund Freud’s— the founder of psychoanalysis—treatment room. Freud, along with his family, escaped the Nazi regime by fleeing Vienna to London. Now, this consulting room, located in Freud’s apartment up until his death, is known as the Freud Museum London. Hughes became intrigued by this setting and how its furnishings blur private and public spaces. She also thought of the women who may have contributed to creating the textiles and antiquities Freud collected—especially the rug draped over Freud’s iconic couch. This couch was in fact gifted to Freud by a female patient (or analysand) Madame Benvenisti, as she found his previous version too uncomfortable. In exaggerated and playful ways, Hughes has created colourful rugs embellished with images including rats, snakes and wolves—each work referencing Freud’s famous case studies. Hughes’s uncanny ceramics, mimicking rounded stomachs and breasts, tease out the fraught relationship between Freud’s views on women and the historical relationship between psychoanalysis and feminism. “When I was imagining more dynamic, complicated and possibly provocative spaces for treatment I registered women’s bodies more clearly

and not in a negative way, but to be quite fertile, fecund, rich and particularly nourishing.” Like Hughes’s previous work, this exhibition bares the multifaceted nature of her thinking. “I have faith in the talking cure. That’s also why I wanted to attend to it in this work.” Audiences are invited to recline into Hughes’s sculptural couches, and she hopes for people to be “acutely aware of their own bodies” when doing so. These Girls of the Studio and The Interior reverberate alongside each other as Hughes invokes and acknowledges the invisibility and anonymity of the girls and women behind the practices of two canonised men. “The representation of women is something that I’ve worked on for as long as I’ve been making art.”

The Interior

Institute of Modern Art (Brisbane QLD) Until 1 October

These Girls of the Studio

Sullivan+Strumpf (Sydney NSW) 22 September—15 October

Interview

Judy Watson & Helen Johnson

W R ITER

Tiarney Miekus

Judy Watson and Helen Johnson are an ideal combination. Two of this country’s leading artists—a Waanyi woman and a woman of Anglo-descent respectively—their art centres on women, colonialism, and revealing history, albeit in differing ways. Earlier this year, they came together for the National Gallery of Australia (NGA) exhibition, the red thread of history, loose ends. An expanded iteration is now showing at Monash University Museum of Art (MUMA). The artists talk generously about working together, motherhood and colonialism. image: Artists Helen Johnson and Judy Watson, Waanyi people in Judy Watson & Helen Johnson: the red thread of history, loose ends at the National Gallery.

Judy Watson & Helen Johnson: the red thread of history, loose ends, installation view, National Gallery of Australia, Kamberri/ Canberra, 2022.

TI A R NEY MIEKUS

Considering the areas of overlap but also great differences in your works, what made you feel your art would work well in dialogue together? HELEN JOHNSON

When I was in very early conversation about doing a show with the NGA, I initiated asking Judy to show alongside. There are a number of reasons for that. Firstly, she’s someone whose practice I’ve admired for many years. And I also was really intrigued to bring together my work and Judy’s because materially there are similarities of working on unstretched surfaces, often working at quite large scale, and building up layers in the work. But the outcomes and the trajectories of our works are really different. Also, the first time I really connected with Judy was when we crossed paths at a dinner in Sydney and I was six months pregnant. I remember having this beautiful conversation about motherhood and the ways it changes your sense of self and your body, and processing that relationship. I think that’s really come to the fore in this show. It started out dealing with colonialism, from our very different subject positions, and thinking about the roles and perspectives of women in relation to colonial processes and continuities. But it’s become about a transmission that happens on a familial and broader social level. There are points at which our works unite and then points at which they’re incommensurable.

Judy?

JUDY WATSON

Having seen Helen’s work and then thinking about one of the works she had at the Queensland Art Gallery, which was in relation to Vida Lahey’s Monday Morning [1912] depicting the weekly washing day— and back in 1981, I’d made the works monday is washing day and a suburban wash, and made them in relation to women. I was a student living in Tasmania and reading a lot of feminist books, and also having to save up to go down there, working in factories or whatever. So, I was thinking about the labour of women in contemporary times. And thinking back to my grandmother, particularly my Aboriginal grandmother—my matrilineal Aboriginal heritage side—whose first job was ironing when she was five or six years old and then doing washing and domestic work on stations. I was thinking how this transmits. I was reading a lot of Simone de Beauvoir and had studied women’s literature—whether it’s labour divisions or how women are seen in history. I recognised that state of consciousness and the layering within Helen’s work and the way that she was referencing history and imagery, and making work which is like partial depth, enabling curiosity of the viewer to peel back the canvas and see what’s lying underneath. That’s what I’m always interested in: concealed histories.

Judy Watson & Helen Johnson: the red thread of history, loose ends, installation view, National Gallery of Australia, Kamberri/ Canberra, 2022.

How much were you in conversation throughout the making process? I understand it was a year-long period? HJ

It started with conversation, but because we were working on this project during Covid [lockdowns] it was pretty restrictive. If we happened to be in the same city—our studios are in different places— we would connect and spend time together in person when we could, but we didn’t go to each other’s studios. JW

We did send photos back and forth. HJ

There was a lot of image swapping and Zoom studio visits. JW

And we did go and see some shows together as well. That was interesting to walk and talk and see things together. I think that’s always a good approach with other artists or colleagues or friends, just to share how you’re responding to something, and to challenge and talk about things because a lot comes out of that. HJ

I really agree. Exploring visual languages I find—and this also comes from doing art therapy work—that people become legible in a different way through those processes. TM

The first time that you saw your works together was the final install at NGA. What was your immediate, instinctual reaction? JW

I thought they looked really good. It’s like a forest of works that you negotiate and walk through,

seeking glimpses of my work through Helen’s or vice versa. But it was a tricky space to show in. What about you, Helen? HJ

I was ambivalent to be honest. There were certain things I really liked, like seeing the works in relation and the connections and differences that emerged. I think because I did that install over Zoom, which is something I’ve never done before, coming into the space physically I was like, “Oh, I have made these really monolithic works that are like slabs through the middle of the space.” Depending where you come to the space from, in that iteration of the show, they were really in your face. That relation is going to shift at MUMA. Those connections through motherhood and family, a lot of that is being drawn out in the MUMA iteration by bringing in earlier works of ours, and complexifying the readings of those connections. TM

The way that you both portray women—I know for you Judy there is your matrilineal history, and Helen I believe for this show you researched historical imagery of women as symbols of new Federation. Can you talk through how women appear in your works? JW

With the maps that I was looking at, a lot of my family, both women and men, had worked on stations. The map was like the bones of where people had worked, often indentured. Not necessarily being paid and certainly not having the freedom to move in those places. The maps are both centering certain people’s employment and lives, but also containing them.

It was interesting looking at these places, there were a lot of station names and things that I’d heard about through my family when they get together. They sort of talk about the past—certainly when my grandmother was alive and other family members—and the stories of these people working on the stations and their memories from those times. I haven’t been to some of those places, but I feel like I know them within my body memory, like a blood memory of them. And then placing the images of some of my family, the women in my family, as shadows across those works. I wouldn’t say the works came together easily. It was wringing them out. HJ

I feel like there’s a stratification in the way I deal with that question in my work, particularly in relation to colonialism. My parents came out here in the mid 70s from the UK, and even though both in the UK and here they were immersed in colonial realities and beneficiaries of them, those realities were not legible to them on a conscious level and were not legible to me as a child either. But it’s something that in my adult life, I feel like you can’t live as a member of a colonial society without doing the work of understanding that as an ongoing thing. JW

But some people never question it. It’s interesting as to what made you start to question? HJ

When I think about that, I think of my sister making me a mix tape when I was 12 that had Archie Roach and Tiddas . And listening to their lyrics and stories was having a realisation of, “Oh, they’re talking about here.” But in my practice, for a long time I’ve had this process of moving between these broader social constructs and ways in which identity—like colonial attempts at constructing identity—how those things are maintained. And I think that’s really present in the painting with the Federation women, how these images of young white women were used to characterise the newly federated Australia as this “Oh, where do I go now?” Like feigning weakness, but also embedded is this idea of women being weak and unknowing, which is not true to reality. Then, on another level, I circle back to making works that are subjective and personal. Particularly in recent years, thinking about becoming a mother and the transmission from mother to daughter and what that means, and how that changes the relationship I have to my own mother and so on. And I think those two things, not really on a conscious level, have ended up being quite separate elements of my practice. And the show that we are doing at MUMA brings it all into one space. TM

On that subject of motherhood—is there a juggling act between a domestic life and an artistic one?

Always, but I think whether you’re a mother, father or carer, the juggle is always between family and sustaining the people around you, caring for them, and your artistic practice or your job. There’s always what you have to do and what you want to do. It would be nice to just be in the studio, making work and having time to really think. But there are so many demands on your time, bills to be paid and various things. It’s like a web that you’ve got to hang different things on and just work out: what can you do and what do you want to do? But to me family is always most important. HJ

Yeah, I’m having a ‘bring your child to work day’ today. This year my life is divided into work in the studio, my family, and then training as an art therapist on a psychiatric ward two days a week. And it’s interesting—doing groups in the psych ward has become like a bridge between the two, because it’s the site where creativity and care are fused. And working in that way where it’s like, we’re all going to sit around the table and make together. I started doing this in my studio with my assistants, starting the day with mini-art therapy sessions, just self-regulating and sensory. They’ve all been through art school and they were like, “Oh, wow, I’ve never made like this.” TM

For how politically and culturally motivated both of your works are, often my immediate, intuitive reaction is to find your works very beautiful and beguiling. Is it a balancing act creating an image with political resonance but that’s aesthetically strong in its own right? JW

Always [laughs]. HJ

The aesthetic aspect is the invitation to engage. I wrote a quite dry PhD thesis about this, but that experience is happening on a metacognitive level. It’s not happening on the level of language and it’s like it’s opening you to something, to have that critical engagement. It’s complex, because on one level what does it mean to aestheticise an ugly piece of history? But on another level, what does it mean to leave those ugly histories tucked away in the archives? When I’m dealing with that, I’m also very conscious of what is and isn’t appropriate for me to reference in my work as a white woman. In making these works I was reading records of the first sitting of parliament, and these documents are startling and disturbing. Why aren’t we taught these? They’re the fundamental foundations of this colonial society that we’re a part of. That becomes a driver for me to bring images of these women or men and their racist principles up to large-scale, back into colour, and put them in an institution. My hope is that it starts a conversation for people.

Judy Watson & Helen Johnson: the red thread of history, loose ends, installation view, National Gallery of Australia, Kamberri/ Canberra, 2022.

And you see that echoed across cultures all over the world that have a colonial history. But in terms of your question of dealing with this content, I think about the films that I’ve seen, or the books that I’ve read that have been powerful to me. Whether it’s seduction or something about them, they pull me in. And that’s what I want to do with my works. TM

Something interesting that has been brought to the fore from your exhibition is the role of non-Indigenous artists making art that comments on colonialism. What are each of your thoughts? JW

Well, as I said to Helen, it’s a shared history and we’re all in it together. I think you have to acknowledge that wherever we are in Australia, what’s called Australia now, there are levels of Indigenous histories, and then other overlaid histories. That’s just part of it. You can’t get away from it. HJ

When I make work that talks about colonial questions and identities, it’s like you are assuming responsibility for a shared history, for referencing a shared history. You are guaranteed to provoke responses in that regard. To me it’s interesting. Over the years, the people who have critiqued me [for making art that references colonialism] have all been non-Indigenous, the ones I’m aware of. And when I’m navigating that space, I look to Indigenous attitudes, and I try and inform myself with different Indigenous people’s points of view. One common thing I hear is: “Oh, that’s an Indigenous issue.” And it’s like, why should

Indigenous people have to do the work of processing colonial constructs for us when we’re the ones who created them and perpetuate them and benefit from them? JW

It’s a heavy burden. HJ

The sense I get is that a lot of Indigenous people find that exhausting. And in my work, I’m really quite pointed about what I will and will not address. I don’t tell Indigenous stories. That’s not my place, that would be inappropriate. But in turn, I don’t expect Indigenous people to be doing all the work of trying to get more non-Indigenous people to see their own role, particularly white people, to understand their position in the whole thing. JW

I think it’s important that there are advocates for Indigenous people where they don’t have to do all the work. They don’t have to be asked all the time, “What do you think about this? What do you think about that?” Well, why don’t you do some homework and advocacy. And if you hear something that doesn’t sound right, question it and say something. Try and change the trajectory of where the misinformation came from.

the red thread of history, loose ends Judy Watson and Helen Johnson

Monash University Museum of Art (Melbourne VIC) 10 September—12 November

View Through a Window Using both painting and printmaking techniques, since the 1970s esteemed artist Cressida Campbell has drawn our attention to the beauty of what is often overlooked: the everyday. W R ITER

Andrew Stephens

In her final years of high school, and during her time at the East Sydney Technical College in the late 1970s, Cressida Campbell found herself resisting constraints. At the Tech, they wanted students to paint like Cézanne, using big paint brushes. “I was completely not suited to the way they were trying to make me work,” she recalls. “I got self-conscious and was doing these dreadful paintings. They certainly didn’t look like Cézanne’s; it was quite depressing.” She tried printmaking. Her work today, as she observes, fits neither category, given the uncompromising way it deploys both painting and printmaking skills, with extraordinary effects. Her work is described by the National Gallery of Australia (NGA) as capturing the “overlooked beauty of the everyday”, depicting everything from an unmade bed or a view through a car window, to a cluttered studio setting. All have an intriguing sense of intimacy—evident across more than 40 years, which will be represented in her solo show at NGA. These days, Campbell remains true to her own methods, even if some people think she is taking the long route via her laborious work with paint, woodblocks, rollers and paper to achieve her idiosyncratic results. “People say, ‘Why why on earth don’t you just paint a picture?’” But the visual design—what she describes as a combination of flat colour and painterly form— relies on techniques from both painting and print. Without this process, the carefully coloured and intricate works would be something else. Little wonder she says her work “never really fitted in anywhere”. At her Sydney home, she spends much time in the studio and rarely works plein air, as she once did.

It’s not a lack of appetite for the outdoors, but rather a sense of honing in on what surrounds her and the beauty to be found there. She has recently been creating round pictures of interiors rather than what you’d expect of rooms: oblongs and squares. “It is fascinating. I got into them because I was interested in them compositionally. I love the way straight lines dissect—how straight lines cut the circle. It is often, even though it is naturalistic, very abstract in that it is all about composition and the eye going around and not getting bored. I have found that it gives a strange voyeuristic feel, as if you are looking through a keyhole.” Campbell owes much to her first explorations with print at the Tech when she became enamoured of the ukiyo-e style of Japanese printmaking. “I love how [ukiyo-e prints] aren’t symmetrical and they are very cropped. It is funny: I have always had that sense of design anyway.” It was fortuitous, then, that in her first printmaking studies, she enjoyed the way she was introduced to techniques rather than subject or style. “In those days, everyone was doing conceptual art and minimalism and I was wanting to paint and draw whatever I wanted. I did a few etchings and drypoints, but I am not really a black-and-white artist.” She loves colour—although nothing too bright. It is an essential element of what makes her work so distinctly her own. Her bespoke technique seems complicated, developed when a teacher suggested she draw her designs on plywood and then carve into them, paint them and put them through a press.

Cressida Campbell, Margaret Olley interior, 1992, private collection. © cressida campbell.

“Even now, after doing it for 40 years, it’s an adventure and it’s terrifying.” — CR E S SI DA C A M PBE LL

Cressida Campbell, Francis Street, East Sydney, 2000, National Gallery of Australia, Kamberri/Canberra, purchased 2000. © cressida campbell.

Cressida Campbell, Studio, 1989, Mosman Art Collection. image courtesy the artist and mosman art gallery © cressida campbell.

This evolved over the years: now, she carves into a woodblock matrix, applies layers of watercolour, and lets it dry. She then sprays it with water and handprints a single impression, using a roller, onto dampened paper. The print is touched up with more paint. The woodblocks can be displayed alongside the print. The drying of the paint on the block can sometimes take weeks or months, but when it comes time to spray the surface and lay the sponged paper on top, ready for the roller, it is anxiety-inducing, Campbell says. “And, as you can imagine, it is more nerve-wracking the larger the piece. Even now, after doing it for 40 years, it’s an adventure and it’s terrifying. You’d think I would have perfected it by now, but I haven’t.” The main problem is that different coloured paints are absorbed over varying amounts of time. “You can’t stop mid-print and rest at all.” She has been using the same hand-roller for decades, and she gets just the right amount of

pressure as she leans over. “It’s an exhausting process, being constantly worried it’s not going to work.” When the work is printed and dried, she deploys the paint once more, strategically. “I find it satisfying touching them up, it’s like making up someone’s face, gradually this picture appears,” she says. Preceding the main rooms of the NGA show is a salon hang of juvenilia, reaching back to the zebras she drew as a six-year-old. “My mother kept my childhood drawings and paintings . . . some are comical and might amuse people. You can tell the strengths and weaknesses from early on, which I always find interesting.”

Cressida Campbell

National Gallery of Australia (Canberra ACT) 24 September—19 February 2023

Studio

Tony Albert

“Collaboration is really the heart and soul of my practice.” — T ON Y A LBER T

PHOTOGR A PH Y BY

AS TOLD TO

Joe Ruckli

Louise Martin-Chew

Tony Albert’s profile has risen vertiginously since he was granted, at age 37, a major survey exhibition at the Queensland Art Gallery titled Visible. His practice spans painting, collage, installation, public art and sculpture, notably drawing on an enormous archive of ‘Aboriginalia’ collected since childhood (souvenirs produced by nonAboriginal artisans, usually decorative domestic objects featuring Aboriginal motifs). In recent years he has traded his Carriageworks studio in Sydney for a spacious house in Brisbane’s city fringe, within a bushy acreage suburb where there is air, space and schools for his young family. Here, for the first time, Albert’s archive of Aboriginalia has been accommodated in its entirety, along with his books and a residency possibility for other artists. In the home studio are works in progress toward Remark, the second iteration of Albert’s Conversations with Margaret Preston series—not to mention his upcoming public artworks and pieces in group exhibitions.

PLACE

My move back to Brisbane was premature. I thought I had another 10 years in Sydney but, with the pandemic, I was caught in Queensland with the lockdown for long enough to ground me. My mum and an uncle ended up living with us, and I looked after a little boy in that time period as well. Ultimately it just made much more sense to come back here. I needed the biggest space I could get, with the idea that I’m going to be here for a very long time. There are other considerations with living here now as well, including children and schooling. I always knew I’d come back home to Brisbane, and it is a place where I can start to give back the kind of opportunities I was given when I was starting out as part of proppaNow [a Queensland Indigenous art collective]. I’m in a position now to do that of my own accord. It is really important to me, and in this place I have space to make it happen. This is the first time my storage units from all over Australia have been able to come ‘home’ and I have access to everything that I’ve accumulated for the first time ever. That’s really exciting. The children, my family and the dog, Archie, wander in all the time. I really want the studio and what I’m doing to be very ingrained in their life. And make sure that the opportunity to create and make is there for everyone. TON Y A LBERT:

PROCESS

Collaboration is really the heart and soul of my practice. It’s not just driven through Indigenous philosophy. Having had the opportunity to travel, there is so much kinship in Queensland and collaboration becomes just working with friends. There’s this opportunity to get together, to explore ideas. It’s very organic, part of a lifestyle, rather than a way of working collaboratively. I take any opportunity to be able to work with other artists. That’s branched out to people like authors and other creatives, so you can do really interesting things. When an opportunity arises, it’s a bit like the conceptual basis of my work and selecting the best medium. My work spans so many different media: photography, fabric, Aboriginalia, public sculpture. But when there’s an idea or something that stems from it, you search for who’s going to be the best person to facilitate that. These days, given other commitments, I really try to have work hours. There are school drop offs and a finite amount of time in a day for the utilisation of my practice, which has never happened for me before. So, it’s been a learning curve. And then, outside of that, there are a lot of other responsibilities. TON Y A LBERT:

PROJECTS

I have many public art commissions underway, including one for the new Sydney Football Stadium, and another for Brisbane Botanic Gardens. Some of these reflect the studio work which is influenced by Margaret Preston. What I am making in the studio at the moment is for my exhibition in October. When the first Margaret Preston show Conversations went up at Sullivan+Strumpf in 2021, there were elements still coming through. I decided that the next show would be a second iteration and kept working towards those themes with a lot of the source imagery. I followed my heart and my instinct. There’s something incredibly joyful as an artist when you are looking at the fabric and trying to match up different things. It’s a wonderful medium. There’s something playful and almost kindergarten or school-like, a very fun zone with the colour blocking and images. In this studio I’ve been able to work on a much grander scale than I have before, so these works are larger. The fabrics I am using are from the archive. They have never been utilised before, like the paper and playing cards that were never part of the bigger installations, given their fragility. In lockdown, and having finite materials to work with, I really started to pick up on the nuances of the fabric and the trajectory where Preston was so influential in home décor, the inner design of the house, but reflecting the TON Y A LBERT:

Australian identity of a ‘smart’ home. When I began looking more heavily at that iconography, it took me back to the source of Aboriginalia, which was about bringing the outside in, and decorating mid-19th century homes. The international presence of Indigenous people in the art world now is incredible. People are really starting to stand up and take notice. It surpasses anything I’ve witnessed in my career and I’m really happy to be part of it.

Remark Tony Albert

Sullivan+Strumpf (New Melbourne gallery) 20 October—12 November Sydney Contemporary (Sullivan+Strumpf) 8—11 September

20th anniversary exhibition: JUWSPA award HOTA (Home of the Arts) (Gold Coast QLD) From 17 September

Faceless: Transforming identity Cairns Art Gallery (Cairns QLD) Until 2 October

Always Already

In late 2021 Melbourne artist Damiano Bertoli died unexpectedly. He was 52. An artist and writer who worked across drawing, theatre, video, prints, installation and sculpture, Bertoli was deeply embedded in the Melbourne arts community. With works of great humour and intelligence, Bertoli was best known for his ongoing series Continuous Moment, which sprawled a range of mediums across multiple works, ultimately circulating on time itself. His practice gravitated toward aesthetic and cultural moments, particularly related to his birth year of 1969. Ahead of Bertoli’s retrospective at Neon Parc, we asked those who knew the artist to each write on one of his works. Read the words of artists Darcey Bella Arnold and Yanni Florence, writer Amelia Winata, and Neon Parc director Geoff Newton.

Amelia Winata, Darcey Bella Arnold, Yanni Florence, and Geoff Newton. 88

Damiano Bertoli, Continuous Moment: Do it in the road, 2003, photograph and pencil on board, 47.5 x 41.5 cm. courtesy of the estate of damiano bertoli and neon parc.

Damiano Bertoli, Continuous Moment: Sadie and Caballero, 2011, collage and ink on album cover. courtesy of the estate of damiano bertoli and neon parc.

Amelia Winata

Born in 1969, Damiano used his birth year as a starting point for much of his work. The year spawned plenty of cultural touchstones, including the Tate-LaBianca murders by the Manson Family on 9 August 1969. Here, Bertoli has superimposed an image of Vincent Bugliosi—the attorney responsible for the Manson Family murder convictions—next to Susan Atkins, one of the convicted murderers. The two have been collaged over a grid made famous by the Italian architecture firm Superstudio, best known for its antiarchitectural concept Continuous Monument. Damiano riffed off this title for his own career-long project, Continuous Moment. The interconnected visual language of the grid befits the past/present/future logic that underpinned Damiano’s practice. Meanwhile the Beatles ‘White Album’ cover is the work’s base, a reference to Charles Manson’s supposed belief that the song ‘Helter Skelter’—which appears on the album—contained subliminal messages said to have prompted the murders. In 2015, Damiano exhibited a collection of his Manson Family works at TCB artist-run gallery, titled Come to Now. He painted each of the gallery’s walls in an opulent red or blue, creating cohesion throughout. It resembled a large-scale installation, epitomising Damiano’s pursuit of a complete artwork. This was my (shockingly late) introduction to Damiano’s work and I was blown away by how perfectly executed it was. Since then, I have used Come to Now as a benchmark for what a good exhibition might look like.

Damiano Bertoli, Does My Brain Look Big in This?, 2007, oil on canvas. courtesy of the estate of damiano bertoli and neon parc.

Darcey Bella Arnold

I first met Damiano around 2004 as a drawing student at the Victorian College of the Arts. Seeing his work in the group exhibition New07 at the Australian Centre for Contemporary Art—a presentation of collage, sculpture and painting—had a great impact on me. Sophisticated in high and low media, humour and intensity, the installation can be summed up in Damiano’s hyperrealist self-portrait as the American artist Chuck Close, Does my brain look big in this? The original Chuck Close portrait was presented in Damiano’s birth year of 1969. For New07 Damiano added a comic title—a layer of satire that speaks to the posturing of art. I am struck by its technical delivery, and by the subject’s intense gaze; Damiano stares down at the audience in Chuck Close glasses and a cigarette. Very cool. Very Damiano. I see this portrait in some ways reflecting how Damiano approached teaching. He was very comfortable to talk to—not excessively academic. He would ask what parties or gigs you’d gone to, then get to questions around art making and culture, and then he would bring these conversations back to the work you were creating. Before he passed, Damiano spoke to me of how much he was enjoying teaching TAFE. He explained the students weren’t “uptight reading Derrida”— that he was enjoying their unaffected nature, unconcerned with their perceived level of knowledge.

Yanni Florence, Damiano Bertoli’s Le Désir / Dejeuner, 2018, performance rehearsal. image courtesy of yanni florence.

Yanni Florence

On Sunday 24 June 2018, Damiano rehearsed Le Désir / Dejeuner—his version of Pablo Picasso’s 1941 play Le Désir attrapé par la queue. It was for a performance on the next night for the Melbourne Art Theatre curated by John Nixon. Damiano had staged the play once before, planning for three times in total. He emphasised the ‘three only’ performances. The rehearsals and performances had the romance of theatre that you hope for. Damiano and John sitting on stage quietly talking. The performers made up of Damiano’s students and artist friends, all chatting and joking in the eclectic costumes Damiano designed. The roles, costumes and set design were full of the art history references that permeated his work. Damiano was himself in a wig, looking like David Hockney, and a necklace of round balls—a ridiculously large caricature of one worn by Simone de Beauvoir. You could decipher some references—and what you couldn’t was amusing or unsettlingly absurd. It was a full house, set in an old theatrette in Melbourne that’s original purpose was for models to parade lingerie to department store buyers. At the end, Damiano and his performers stood at the edge of the stage and bowed. The audience clapped, having been transported to the halcyon days of avant-garde theatre. We became part of Damiano’s ongoing artwork series, Continuous Moment.

Damiano Bertoli, Continuous Moment, 2003, PVC, wood, urethane, found objects, 500 x 400 x 250 cm. exhibition image: adventures with form in space at art gallery of new south wales, 2006. photogr aph: jenni carter. courtesy of the estate of damiano bertoli and neon parc.

Geoff Newton

Continuous Moment, the title of the above work and Damiano’s series, is at once clever, arresting and monumental. For me, this artwork is when Damiano becomes Damiano. With an ambitious scale, it’s made of jagged, white, plastic edges and protruding fluorescent tubes, which are piled on top of a sprawling, knee-deep jigsaw of white-grey icebergs. It was something to behold: a giant, stoic, cool island. Frozen, and great from every angle. Like a lot of good work, it didn’t need any explanation. You felt it came into existence and just had to be there. The perfect monument. In the painting that Continuous Moment references—Das Eismeer (The Sea of Ice), 1823-4, by German Romantic painter Caspar David Friedrich— the artist imagines what an iceberg looks like, capturing a colossal shipwreck in the Arctic, a place he’d never seen in person. The work was unsold when Friedrich died in 1840, yet is considered one of his masterpieces. Following the exhibition of Continuous Moment at Gertrude Contemporary, then at National Gallery of Victoria, National Gallery of Australia and Art Gallery of New South Wales, Damiano used the same title to reference his concept of the artists’ studio as a place where multiple histories could exist at once— or come together in the act of creation. Time travel, via the hand of the artist.

Damiano Bertoli

Neon Parc (Melbourne VIC) 14 September—1 October

20 Questions

with Paul Yore Paul Yore’s installations and textiles are like nothing else. In blazes of colours, images and fonts, Yore blends images of pop and internet culture with political phrases and points, alongside his interests in decorative Flemish and French tapestries, trashy pop culture, psychedelia, cartoons and an aesthetic of total excess. For all the outward play and fun, when looked at slowly the work belies something much deeper. Ahead of his solo show at the Australian Centre for Contemporary Art (ACCA), we asked Yore 20 quick questions.

W R ITER

Tiarney Miekus

Your first art crush? Hieronymus Bosch.

A favourite image or phrase you’ve placed in one of your tapestries?

“SEE YOU IN HELL!” is always a crowd-pleaser.

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

Someone once told me my work ‘changed their life’. I hope they meant for the better . . .

Best time of day to create?

I still think the middle of the night is the most creative time, the witching hour . . . but I’m getting too old for that!

Beauty or politics?

Politics is, in some ways, the pursuit of beauty. The dismantling of destructive systems of exploitation and the creation of classless and caring modes of social engagement is, in some ways, nothing more than the re-beautification of the world.

Order or chaos?

I think order may be merely an illusionistic imposition. Perhaps everything is chaos, and we should embrace that.

You’ve talked about being age 13 and realising you were gay, coupled with the 9/11 attacks and understanding the world is a “hostile and troubled place”. Do you feel this way now, too?

Possibly every culture at every time in history has felt some immense, impending cataclysm was upon them. It’s a feeling that seems to hover close to the surface in the art and culture of ancient civilisations. Why do we feel our current global civilisation is immune from the same fate? For example, the Trump regime in America had all the same markers of cultural decline evident during the collapse of Roman imperialism: toxic masculinity, despotism, decadence, social division, plague, the subjugation of minorities, corruption, and economic mismanagement. I do think we are ultimately doomed as a species, but nature will manage just fine without us.

Do you think your archaeology and anthropology background comes out in the artwork?

From a very young age I was interested in ancient cultures, hieroglyphics, symbols—in signification itself. I still would say considerations of language and meaning-making is inherent to why and how I make art. The methodologies of anthropology and archaeology have certainly influenced my interest in collecting and examining waste products, but as fields of scientific inquiry, I do also think these disciplines are inherently problematic owing to their many biases and assumptions.

For all the brightness of your work, to me it’s also deeply troubling and sad—it’s like the feeling of great pop songs. Do you see it this way?

Great pop songs channel personal experience into universal symbols, but there is always a tragicomic element in this translation. My work tries to capture an emotional intensity, oscillating between delight and desolation, in many ways a reflection of how one experiences the world, which is complicated and bewildering. As a queer person, I think this space in between ecstasy and agony is particularly generative.

What do you like about the theatricality of the Rococo style?

The fantastical superfluity and rich ornamentation of Rococo style has long fascinated me. The style is giddy and sensorial, an all-encompassing indulgence in texture, materiality, and illusionistic space. In many ways it is campness taken to its logical extreme. But I also have a paradoxical relationship with this period of art, as it obviously represents the worst excesses of monarchical indifference to human misery, with all its gold and silk. On some level, I think I am attracted to it because it seems to contain the seeds of its own destruction, an art movement ultimately swept away by revolution.

Favourite moment in pop culture history?

I really love the outlandish, androgenous, genderqueer styles and attitudes of the subcultures of the 80s in New York and London, particularly the New Romantic movement and the Club Kids scene.

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

I would like to work with Madonna. I would love to design a set or costume for one of her music videos.

Best colour to create with? Pink—obviously . . .

Classic ‘Paul Yore’ drink order at the bar?

I have been sober for over 10 years now—so I will usually go for a cranberry juice.

Are you a good cook? Any signature dishes?

My cooking is a bit like my work—I like to chuck everything into the pot and pray. Luckily, my partner is an excellent cook. I am, however, a keen veggie gardener, and so I provide the produce.

Where do you find the objects that go into your art?

The primary source of my work is society’s trash, which includes my own. I have used my own clothing and rubbish in my work. Even as I child, I was an avid collector, and I would find things on the side of the road and loved hard rubbish collection time. Beyond that, people give me old things, and I scour op-shops and junk yards. I also like collecting things

Paul Yore, SEEING IS BELIEVING BUT FEELING IS THE TRUTH, 2022, installation view: Rising Melbourne Golden Square.

Paul Yore, It’s all wrong but it’s alright, 2020. courtesy of the artist and hugo michell, adelaide.

Paul Yore, Never be enough, 2021. courtesy of the artist and station, melbourne and sydney.

off the beach, be it bottle tops, sea-glass, fishing lures or small fragments of coloured plastic.

Most memorable art experience?

In 2015, I was fortunate enough to visit Le Palais Idéal (The Ideal Palace), in Hauterives, a small village in south-eastern France. Le Palais Idéal is an astonishing work of visionary, vernacular architectural art by a postman-turned-artist named Ferdinand Cheval. Built from concrete and stones, it is widely celebrated as one of the most famous examples of so-called ‘outsider art’, and it is completely fantastical, the product of an obsessive virtuoso who worked on it for over 30 years.

You’ve experienced the terrible effects of censorship on your work firsthand. What would you say about the censoring of art?

There is a long and ongoing history of censoring art, literature and film in Australia, a kind of state-sanctioned moralising that can only be understood in relation to the prevailing system of colonialism. Deciding that citizens should not intellectually engage with a particular text or work of art is a very grave matter, and I believe must be limited to exceptional circumstances, when there is clear, demonstrable harm.

I love the title of your installation “‘IT’S ALL WRONG, BUT IT’S ALRIGHT”. But is it all wrong? And is it alright?

I borrowed the title from the inimitable Dolly Parton. One of the things I most like about Dolly is her irrepressible optimism. I have often said I am philosophically a pessimist, and I do indeed think there are certain limitations in the human animal that exclude us from the realms of true rationality, justice,

good, etc. Having said all that, I don’t think I could be an artist if I didn’t believe there was some higher aspiration for people than the miserable drudgery that seems to characterise everyday life within techno-industrial capitalist societies.

What will we see at your ACCA show? And what does the title WORD MADE FLESH refer to?

My ACCA show is structured as an early-career survey, bringing together work from a roughly 15-year period of production and featuring over 100 textile pieces including appliquéd quilts, needlepoint embroidery and soft sculpture. These works will be shown alongside a major new immersive installation work, commissioned especially for the exhibition, occupying the main gallery space. The installation will take the form of a labyrinthine complex of grottos, shrines and makeshift structures comprising a vast array of found and waste materials, mixed media sculpture, collage and assemblage, painting, video, sound, mechanical sculptures, light, water fountains, plants, and many other disparate elements. The title of the show WORD MADE FLESH, which is also the title of the new installation, is taken from the Gospel of John in the Bible. Growing up queer in a staunchly Catholic household, the images, symbols and traditions of Christianity have influenced my work greatly. I have reinterpreted this text queerly, in an open-ended way, to evoke the central role language plays in the determination of social becoming.

WORD MADE FLESH Paul Yore

Australian Centre for Contemporary Art (Melbourne VIC) 24 September—20 November

Rethinking Access Bruno Booth makes art that challenges the ableist world—but he’d rather you call him a ‘con artist’ than a contemporary artist. W R ITER

Steve Dow

Bruno Booth challenges the ableist art world—and the wider world. He has been known to make tunnels that complicate an exhibition goer’s sense of perspective. He has created a colourful clowder of sculptural cats, preening and prowling in leisure wear, circling the Art Gallery of Western Australia (AGWA), acting as ambassadors for the humans who are overlooked in art spaces. In one solo show in Fremantle, where the UKborn 40-year-old artist now lives, he turned a gallery into an oversized disabled toilet constructed from paper mâché. The toilet itself was plagued by its own fragile temporality, just as real-life rest room facilities for people with disabilities can be thoughtlessly repurposed as storage cupboards. “That disabled toilet was made in this crappy old studio that I had that was rat infested,” Booth recalls. “Some of the rats had started to eat the paper mâché, so I’d have to rework it and make things again.” For the Fremantle Biennale in 2021, Booth’s work Tightness Times Toughness invited participants to navigate purpose-built corridors that confounded their spatial judgements, so that they might come off second best when bumping into walls. It inspired The West Australian to call Booth the “artful dodger of the WA modern art scene”. Booth, who has primarily been using a wheelchair since his teenage years after being born with congenital malformation of the lower limbs, is not so enamoured with that Dickensian appellation, though

he does like to call himself a “con artist” rather than a contemporary artist. “All art is like pulling the wool over people’s eyes just a little bit,” he says. “I’m trying to get messages through to people without being too didactic and too overt with it. I want people to find their own way into a work.” Humour thus becomes a Trojan horse for deeper meaning. For the AGWA, Booth made the 34 cats for Feline good, HBU? to draw attention to how the height of gallery hangs is not always ideal for people with mobility issues. The piece also broke Booth’s run of works that he says had become “bogged down” in seriousness in the preceding years. Booth would prefer people excise one well-worn word, however. “The word ‘disability’—I don’t like to use that much. I prefer ‘disenabling’,” he says. “If you think of someone that’s ‘disenabled’, they’re basically not given the same access to opportunities as [other groups such as] people of colour, LGBTQI+ people. That’s a massive group.” As one of six invited finalists for the 2022 John Stringer Prize, an annual merit for contemporary Western Australian artists named after the late, influential curator, Booth is now broadening his artistic r ight Bruno Booth, Hostile Infrastructure. 2019, timber, paint, led lights, Ltech decoder, cables, wheelchair, participant, 23 x 3 x 3 m. photogr aph: keelan o’hehir.

“People are interested in what I want to say, and how I want to say it.” — BRU NO B O O T H

Bruno Booth, Battlecat, 2021, powder coated aluminium, fleece, silk, zips, steel, 65 x 30 x 30 cm.

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Bruno Booth, Body Shots, 2022, 4K, 9 channel, 9 minute video with sound, timber frame, HD panels, Raspberry Pis’, coding, cabling.

concerns beyond his own experiences as a disenabled person to the increasing number of people with disabilities—or disenabilities—as they age. The three-part work includes a sculpture called Always Room for One More on a Sinking Ship, and it consists of a wheelchair cut in half and stretched from a single seat to a bench seat. Designed for many to use, it’s also angled in a way that it appears to be sinking into the floor. The seat will be embroidered with subversive messaging. Booth used prosthetic legs from the age of 18 months until adolescence but stopped using them when he started high school because they were so uncomfortable. “I just didn’t gel with them,” he says. “It was like wearing really uncomfortable clothing all the time. I found that using a chair, I was a lot more mobile. “I don’t have any spinal injuries; it’s just basically my legs are formed differently to other people’s, so it felt a bit strange having to wear something to fit in. I didn’t really feel like I needed to do that.” Earlier in his career, Booth would make “nice, pretty paintings”, but would baulk when people would ask what his art was about: “I just had nothing to say, because I was just making them for the joy of painting.”

Booth had spent many years thinking of himself as “not disabled” and was not part of any disability community. It was only three years ago that Booth could finally call himself an artist “without cringing”, coinciding with the time he began to “engage critically with what it meant to be categorised as disabled”. Booth came to a critical juncture when the West Australian artist Abdul-Rahman Abdullah, an informal mentor, said to him: “Great artists tell stories in the work, and you’ve got an inbuilt story to tell that people want to hear.” Abdullah’s words were a lightbulb moment for Booth. “I started to make work about my experience with disability. Since I’ve done that, it’s really resonated with people. People are interested in what I want to say, and how I want to say it.”

John Stringer Prize 2022

John Curtin Gallery (Perth WA) 7 October—4 December

Out of Order

Granville Centre Art Gallery (Sydney NSW) 6 September—10 December

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The ‘A’ Word Whether it’s perpetuating or complicating ideas of ‘Australia’, much contemporary art relates to national identity. But what if conversations on art went beyond the nation-state? W R ITER

Lauren Carroll Harris

At first I saw only spidery, matte black forms: these were not the banksia I knew from bushwalks and suburban gardens. Studded with ruby, the familiar conical flower heads grew into new, bony wings, spreading and sprouting across the white walls of the National Gallery of Australia (NGA). Created by K/Gamilaroi artist Penny Evans, gudhuwali BURN, 2022, stood totemically at the entrance of the recent 4th National Indigenous Triennial. Threatened by clearing, disease and bushfires, 170 fire-germinated banksia species are essential fodder for all kinds of nectarivorous creatures around the coastline. By sculpting in terracotta and kiln-firing the wildflower’s spiky shapes, Evans’s work directly refers to the 2015 and 2019 bushfires. It also seems to me a powerful rejection of the haunted history of imperial botany—Sir Joseph Banks’s narcissistic naming and taxonomising of the wildflowers during the Endeavour voyage in 1770. Banksias are often positioned, critiqued even, as icons of Australiana, harking back to May Gibbs’s children’s illustrations (a jokey homage to the banksia by local fashion label Romance Was Born also featured in Know My Name at NGA, a few rooms away from Evans’s work). Evan’s art is a tonic to view the banksia through the tenacity and evolution of Country, and the consequences of neglecting traditional ways of caring for it. Absent in the wall text was any mention of Australia. In fact, the word was almost completely absent from most of the show’s texts. Colonialism was mentioned often. Assimilation and relocation. Evangelical enterprise and pastoralism. The exhibition spoke of collective forms of being—but rarely the concept of the modern nation that we now call Australia. It wasn’t just a cleansing experience in a taxing year of #auspol and #democracysausage. Beyond notions of nationhood, there remains a lot of space

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to explore ideas in art, especially when it comes to Country, landscape, history, identity, internationalism, collectivity and the future. And yet it often seems as though artists must relate to national identity to catch the attention of institutions, gatekeepers and prizes. Notice how the sponsor message on the country’s biggest art prizes, the Archibald, Wynne and Sulman, primarily refers not to form or artistry but “Australian life”. This landmass has a timeline that long predates the idea of the nation-state. “Australia is a continent, not a country,” writes Ambelin Kwaymullina in Indigenous Peoples as Subjects of International Law. First Nations art connects us to tens of thousands of years of living history and continuous culture here. Anywhere and everywhere, art predates national borders. The concept of the nation-state first appeared in 1648 and was entrenched as the dominant form in Europe by the 19th century. On this continent, British imperialism and settlement triggered Indigenous displacement long before desires for a new nation began. The idea of being Australian became popular by the 1830s. Calls to unify the colonies surfaced in the next decade, becoming a serious and coherent movement in the 1880s. Federation arrived in 1901, bringing a common border, currency and system of parliamentary democracy to the edge of the British empire. Cultural policy has been an extension of Australian nationhood since the 1950s. Arts funding is often justified by public agencies as a contribution to the national project of working out who we are and telling our collective stories; Australia Council for the Arts describes its mission as “investing in arts and creativity that reflects and connects the many communities that make up contemporary Australia”. Exhibitions traffic in national iconography and

Penny Evans, K/Gamilaroi people, gudhuwali BURN, 2022, installation view, 4th National Indigenous Art Triennial: Ceremony, National Gallery of Australia, Kamberri/Canberra. © the artist.

symbols, such as the group show Just Not Australian at Artspace in 2019, a self-described “unwriting of Australian national mythologies”. A repetition of flags and maps—in a graphic, designerly manner—aimed to complicate the notion of one singular national identity. There’s value in this. But even projects promising to complicate national identity can end up subtly reinforcing it, by positioning it as the sharpest lens through which to view life and land on this continent. Expanding national identity through diverse representation is worthy, but nationalised mythologies have always relied on outsiders and absurdities—why perpetuate them, rather than reject them altogether? Commentators often write that art is a way for the nation to examine its own soul. In that sense, the ongoing obsession with national identity in the arts isn’t just conceptually limiting. It’s also an unconscious guzzling of governmental ideas about the value of art: that art reflects, or should reflect, ‘Australia’. After all, the rise of the nation-state as the modern form of political organisation also brought with it the rumblings of nationalism, which can occur subtly across political thought from left to right. Many artists have built a practice from Australianising the landscape, by which I mean associating places with modern Australia (Brett Whiteley and Ken Done’s vibrant visions of Sydney Harbour in Eora Country), or diving into colonial history

(contemporary practitioners like Liam Benson and Peter Drew). What flows is the tendency to read a commentary on Australianness into almost every work of art made here, even when such a commentary may be absent. This all-Australian enveloping is arguably most apparent in the local collections of various national, state and regional galleries. Colonial myth-making abounds in many collections, where Captain Cook often emerges as central to Australian history, rather than, say, an emblem of the British empire. His polished steel visage— rendered by none other than Maori artist, Michael Parekōwhai—looms over the Art Gallery of New South Wales’s Australian collection, but the man did not initiate an Australian national project, nor did he indicate an interest in one. Australia as we know it was far from the minds of those who arrived on the Endeavour and the First Fleet. It wasn’t even a word; Cook was claiming a piece of New Holland for the British Crown. This approach to national identity stifles thinking about how things could be different. It can obscure hidden histories of Indigeneity, and the specificity of Country—it’s far too easy to conflate “place” or “ecology” with “nation”. It both thwarts an examination of other forces and diverts our imagination from what is really in front of us.

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Language of the Shield The Kuman shield is intrinsic to Yuriyal Eric Bridgeman’s practice, with the artist’s vibrantly painted shields speaking to heritage, ritual and sport. W R ITER

Tristen Harwood

A shield, most generally, provides symbolic and material protection—think of the highly decorative shields used in combat across numerous cultures throughout history. Shields have a broad resonance but are also specific cultural and historical records— determined by who has made, decorated and used them. Multidisciplinary artist Yuriyal Eric Bridgeman incorporates references and representations of Kuman, traditional Papua New Guinean shields, in his work. He combines these painted allusions to shields alongside photography, installation, and other painting, conjuring suggestions to abstract art and rugby league. Bridgeman, who works and lives in Brisbane and in Wahgi Valley, Jiwaka Province, Papua New Guinea, started out as a photographer. Speaking of his practice he says, “Painting is not my first language. I began as a photographer. Portraiture was my thing. I only learned to paint through time with my family and brothers in the village. Our language being that of the Kuman or shield,” explains Bridgemen, referring to the Kuman shields, made by his people, the Yuri tribe of the Gumine District Simbu Province. Kuman are handcrafted shields—which use bold, optically striking motifs—following a tradition that has been passed on for countless generations. Tradition here can be better understood as something that is historically rich, storied, and lively—rather than something that’s of the past. Bridgeman tells

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me, “We simply refer to our contemporary work as ‘Shield Paintings’.” The craft of shield making is not only a part of contemporary practice—to a degree, it defines contemporary practice. For the 2019 iteration of The National, Bridgeman presented a collection of paintings bustling with colour and striking marks, alluding to the geometric patterns of shields. The work, titled Sikiram / Büng / Scrum, 2019, is a series of painted panels, some on board, some on canvas, some made with enamel and others with acrylic paint. Huddled together on the wall, the collection of energetically coloured, bold paintings evokes the stalled intensity of the rugby scrum. In rugby league, the scrum is a means of restarting the game after the ball has gone out of play. In this moment of spectacle, players from each team pack closely together in three rows and interlock their heads and arms with those of the opposing team. There’s sweat from the clashing bodies, dirt from the field, moans and grunts from the players, shouts from the referee and the fans. Rugby league is not only referenced in the title and subtly in the lines and the colours of Bridgeman’s paintings, but in that it is a sublimation—or staged— form of warfare. Speaking of his artistic influences, Bridgeman adds, “I would also place rugby league in the column of artistic influences. Visually and methodically, through movement, formation and design, it is a source of artistic and human nourishment,” he explains. “There is a strong parallel that exists between rugby league, tribal warfare and

Yuriyal Eric Bridgeman, Shields. photogr aph: carl warner.

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Yuriyal Eric Bridgeman, Boi Boi the Labourer, 2008.

“The shields I have created belong to me, as they come from my heart and body.” — Y U R I YA L ER IC BR I D GE M A N

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Yuriyal Eric Bridgeman, Haus Yuriyal, Shield Paintings, 2017. photogr aph: yuriyal eric bridgeman

peace building, particularly in artistic design, choreography and patterning, which is of great interest to me.” In Sikiram / Büng / Scrum the paintings are neither literal representations of shields or rugby league players, but they are charged with a choreographed energy to symbolically suggest combat, tradition, spectacle, and sport. One might recall the work of French sociologist Pierre Bourdieu who developed his interest in sport, combat, and ‘the field’ into theories of class and cultural capital. Bourdieu, like Bridgeman, understood the interconnected cultural, social, physical, and artistic values of sport. Bridgeman’s art may be considered among the work of contemporary Indigenous artists such as Brook Andrew, Reko Rennie, Jonathan Jones, and Kent Morris, who also reference shields in their artwork. Yet Bridgeman’s shields are highly specific and derive directly from his lived experience as a member of the Yuri tribe. “Continuing to make shield paintings is my connection to my brothers and my tribe. Just like how supporting the Parramatta Eels and wearing the jersey connects me to them. I wear it on my skin, as a reminder . . . Some have commented that the shields I make are portraits of myself . . . and I can’t

disagree, because I am aware of the emotion and energy I have projected onto it,” says Bridgeman. It makes sense then that Bridgeman’s exhibition for the forthcoming Liveworks Festival of Experimental Art, presented by Performance Space on Gadigal Country and Home of the Arts (HOTA) on Yugambeh Country, continues with his multi-modal approach to drawing the energy of varied allusions. For this work, Bridgeman tells me, “The shields I have created belong to me, as they come from my heart and body. The designs reference core principles of traditional shields. The shapes and colours form stories, if not individually, then collectively.” Perhaps Bridgeman’s paintings do become shields in the end—for how they both protect and maintain his connection to family and culture, and, as he mentions, his own emotional nourishment. Art like rugby, may well be a sanitised—if only partially—mode of warfare.

A barrow, a singsing, Liveworks Festival of Experimental Art Carriageworks (Sydney NSW) 20 October—30 October

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A World to Live In Artist and DJ Hannah Brontë is using art to imagine a freer society with the spirit of true collectivity. W R ITER

Neha Kale

Hannah Brontë greets monoculture with a whiff of suspicion. She’s most at home, she says, among people on the fringes. Those for who difference isn’t a liability but a source of strength. The Queenslandborn artist and DJ recalls her childhood in Brisbane’s pre-gentrified West End in the early 1990s. Her mother was queer and single. A spirit of collectivity pervaded the neighbourhood. She’s been trying to recreate it ever since. “It was so diverse culturally, it was so diverse economically, it had a totally different energy,” she says. “A slogan that a minister said was, ‘The West End is full of ratbags.’” She gives a wry laugh. “But I have these memories of being at halls, being at rallies. It was a signifier of outcasts, of communities that had been forgotten. That’s what made it quite magic.” In Brontë’s speech, as in her art, she conjures the ineffable. She imagines all the worlds that could exist in the cracks of this one. Studying sculpture at the Queensland College of Art, she was struck by the way expression was tethered to conservative instincts. “I noticed that there was a lot of judgement,” she says. “I had a deep interest in this very free idea of art. I didn’t have this narrow view of what artists can and can’t do.” When she was a girl, she was in thrall to her grandad’s floor-to-ceiling record collection. “He would put on Etta James, Ella Fitzgerald,” she says. “I was inspired by old reggae. Songs with messages. Musical textures.” Fittingly, the dancefloor, not the gallery, was her first artistic outlet. She came to the art world’s attention via Fempress, a series of all-femme

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parties that fused hip-hop, performance and installation. “It began from my irritation about growing up in the hip-hop scene where there was a circle jerk of men,” she grins. “It was very transphobic, very xenophobic. Fempress ended up being a performance art and hip-hop night featuring all women of colour.” She pauses. “[I thought] what is the dream in terms of what I can create?” Brontë, who wears highlighter-green and takes rhythmic drags from a vape, exudes a lack of inhibition. How does an artist conceive freedom? Her first major video work, Still I Rise, presented at Melbourne’s Blak Dot Gallery in 2016, used technicolour visuals to imagine an Australia overseen by an Indigenous female prime minister. It also riffed on a poem by the civil rights activist Maya Angelou. In Heala, commissioned in 2018 for The National, Brontë wanted to be less tough, more tender. The work, soundtracked with spoken word performed by Aurora Liddle-Christie, imagines utopia as a body of water, where women of colour—one of them heavily pregnant—can surrender defensive exteriors and embrace their entire selves. “Heala was deeply personal, about processing [the loss] of a friend who had passed, who took her own life,” says Brontë, who collaborated on the sound elements with her partner, the Fijian-Australian rapper Jesswar. “I wanted it to be womb-centred, but I don’t necessarily see the womb as anatomical. It was talking about the experience of grief and the idea of being buoyant within it.” The last few years have sparked many occasions

Hannah Brontë, baby look up #1, 2022, A3 giclée print, edition of 10. image courtesy of the artist.

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“What is the dream in terms of what I can create?” — H A N N A H BRON T Ë

Hannah Brontë, Powa Wave, 2022, film still. videogr aphy stills: nicholas stevens and steph teixeir a.

for grief. For Brontë, they’ve also warranted collective healing. In 2020, a series of banners, emblazoned with phrases like “This is the sign you were looking for darling” appeared across Brisbane sites such as the Story Bridge, part of a series called Affirmations During the Apocalypse. “I thought, ‘What would your day-to-day commute feel like if it was filled with affirmations?’ Two months later, affirmations were everywhere.” Capitalism co-opts everything. At the end of 2020, Brontë and Jesswar relocated near the sea on Yugambeh Country. She’s learning, inspired by the artist Tricia Hersey, that rest is a form of resistance. “When I was living in Brisbane, I pushed so hard to make these communities seen and valid,” she says. “But I was quite broken. I was constantly in survival mode. I wasn’t my full best self.” For Neon Oracle, her upcoming exhibition at Sydney’s UTS Gallery, she returns to the banner, a medium that sits in the uneasy space between protest and promotion. The works, rendered in a psychedelic palette, champion bodily intuition. “Body as altar”, one declares. Another: “My love and me are safe in the waves.” The centrepiece of the show

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is a video work called Powa Wave, an ode to queerness and surfing in which two women are held by the ocean and can freely express their love for each other. “An element as monumental as the ocean is colonised by this heteropatriarchy,” she says. “It should be for everyone but it’s not. I started working with queer surfing groups and communities, who are not able to be out because what that would do to their careers was too dangerous.” Brontë, as always, started by envisioning the world she wanted to live in. “I was raised by a queer woman but in terms of my own queerness, I needed time,” she says. “I pushed down a lot of my own experiences. [I asked] how do you make this dreamscape that is so beautiful that it doesn’t matter that it is two women. It is just a love story.”

Neon Oracle Hannah Brontë

UTS Gallery (Sydney NSW) 20 September—11 November

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

DU-SSA_ArtGuide_FP.indd 1

deakin.edu.au/art-collection

9/8/22 12:05 pm

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ACMI → James Turrell. Raemar, Blue, (1969), installation view. Courtesy of the Tate. Photo credit: Phoebe Powell.

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–6pm. See our website for latest information. 16 June—13 November Light: Works from Tate’s Collection See art in a new light at ACMI’s blockbuster exhibition, curated by Tate in the UK and drawn from their prestigious collection. Surround yourself with striking classical works from J. M. W. Turner, gaze into Yayoi Kusama’s creative mind and immerse yourself in the light installation by James Turrell. Enrich your exhibition experience with a scintillating events program, featuring film and talks with Ari Wegner, curator tours, late night access, fantastical magic lantern shows and hands-on workshops.

16 June—23 October Light Music Lis Rhodes Light Music, presented in ACMI’s free Gallery 3 as part of Light: Works from Tate’s Collection, is Lis Rhode’s response to what she perceived as the lack of attention paid to women composers in European music. Rhode’s film set out to counter not only the enduring hegemony of narrative cinema, but also male domination within the avant-garde at the time. It was a call for a feminist filmmaking aesthetics embracing both the abstraction, and collective sociality, of light, shadow and smoke. 11 July—3 October The Long Now Xanthe Dobbie Online exhibition. Technocapitalism, climate grief and ancient history collide in Xanthe Dobbie’s single-take desktop performance exploring the human urge to seek immortality. Watch now on ACMI’s online Gallery 5.

Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment. See our website for latest information. Lis Rhodes, Light Music, 1975, installation view. Courtesy Tate. Photograph credit: Phoebe Powell.

28 September—21 October Yaritji Young

Tuppy Ngintja Goodwin, Antara, 2022, (AK22664) Synthetic polymer paint on linen, 152 x 122 cm. © The Artist, Mimili Maku and Alcaston Gallery, Melbourne 2022. 31 August—23 September Malpa Kutjara (Two Friends) Tuppy Ngintja Goodwin and Kunmanara Martin

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. 30 July—8 October Future Perfect Continuous Angelica Mesiti 113

galleryelysium.com.au

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Andrea Barker, Collected silences, 2019, carbonised burnished porcelain. Gift of the Clunes Ceramic Award, 2019. Collection of the Art Gallery of Ballarat. © Andrea Barker.

John Nixon, Untitled (white monochrome), 2011, enamel on canvas and wood, 60 x 60 x 7 cm. © John Nixon. Courtesy the Estate of John Nixon and Anna Schwartz Gallery.

the use of colour, we interpret things differently and are more likely to focus on emotional state, causing us to pause and look closer and longer.

13 August—17 September White Paintings John Nixon

Julie Rrap, Siren from the series Persona and Shadow, 1984, cibachrome print, edition of 9, 194 x 105 cm.

Clarice Beckett, Misty evening, Beaumaris, circa 1930, oil on board. Maud Rowe Bequest, 1937. Collection of the Art Gallery of Ballarat. 21 May—16 October Light + Shade: Max Meldrum and his followers A celebration of the Tonalist movement of the 1920s and 1930s, including works by Max Meldrum, Clarice Beckett and Justus Jorgenson.

Daniel von Sturmer, Projections (work in progress), 2022. 120 x 80 cm, acrylic enamel on aluminium. © Daniel von Sturmer. Courtesy of the artist and Anna Schwartz Gallery. 15 October—17 December Projections Daniel Von Sturmer

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

Art Gallery of Ballarat www.artgalleryofballarat.com.au

8 September—11 September Sydney Contemporary Art Fair Pat Brassington, Lyndell Brown / Charles Green, Peter Daverington, Murray Fredericks, Janet Laurence, Desmond Lazaro, Honey Long & Prue Stent, Julie Rrap, Imants Tillers, Guan Wei, Catherine Woo, John Young. 12 October—19 November Amathous Nike Savvas

Ararat Gallery TAMA www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. Established in 1968, Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. A curatorial and collection focus that began in the early 1970s. The TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today.

40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. The Art Gallery of Ballarat is the heart of the creative city of Ballarat. A place for Ballarat to look beyond everyday life; to be inspired and engaged by art. 7 May—18 September Monochrome

Dani Marti, Dot (soft pink), 2022, corner cube reflectors and glass beads on galvanised steel frame, 60 x 60 x 15 cm.

Black, white and grey ceramic works and paintings from the Collection. Colour, or its absence, plays a significant role in how we see and perceive things. Without

30 August—8 October The Edge: Of The Sphere Janet Laurence, Desmond Lazaro, Dani Marti

Ludwig Hirschfeld Mack, Untitled, 1960, gouache on paper, 19 x 29 cm. © The artist's estate, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography and Video. 115

ar t g ui d e .c o m . au Ararat Gallery continued... Until 2 October Prints & Drawings: Works from the TAMA Collection

identity, language and culture. Auslan storytellers affirm Deaf experiences and diverse, complex identities, in an immersive exhibition of large-scale video projections, which bring visitors into a Deaf world. In this collaboration of over seventy Deaf and hearing allies, empowered Deaf storytellers draw on decolonising strategies of truth-telling, provocation, and self-representation, to challenge audist colonisation of Deaf lives, bodies, language, and knowledges. Shared with humour, wit, courage, and care, What I Wish I’d Told You transforms the Art Space into a Deaf space and Deaf Cultural experience. What I Wish I’d Told You is supported by the Victorian College of the Arts, Faculty of Fine Arts and Music at the University of Melbourne, Australia Council, Creative Victoria, Regional Arts Victoria, City of Melbourne, West Space/ Footscray Community Arts Commission, Hyphen Wodonga Commission and the Maroondah Arts and Culture Grant. Opening event Thursday 6 October, 6pm–7.30pm.

Art Lovers Melbourne Gallery www.artloversaustralia.com.au 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–4pm or by appointment.

Stephanie Laine, Tourner, 183 x 61 cm. 17 September—22 October Less is More: Minimalism in Contemporary art Minimalist art offers a highly purified form of beauty and represents qualities such as order, harmony and clarity. Less is More presents a contemporary survey of minimalist art across the Art Lovers’ platform.

TU, Melbourne, Evening ensemble, n.d. © The artist, Ararat Gallery TAMA and Ararat Rural City Council. 3 September—19 March 2023 The Lady Barbara Grimwade Collection

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

Artur Lyczba, Scorched Earth, 2022, soft pastels and ink on paper mounted on canvas. 19 September—18 November ArtSpace at Realm: Training the Eye Artur Lyczba For the last six years Artur Lyczba has been experimenting with soft pastel and ink on different types of paper in a process of self-exploration. Technique plays a secondary role and this allows the artist to express himself through the changing images as they reveal themselves on paper. Works in the exhibition Training the Eye are joined by this common theme. Lyczba’s mental state plays an important role in how works are developed with an aim of achieving flow, where his self dissolves in unity with the moment. 19 September—18 November Maroondah Federation Estate Gallery: Habitat Ringwood Art Society

Claire Bridge and Chelle Destefano, I’m Deaf and Visible, with Catherine Lillian in What I Wish I’d Told You, 2022, video still. 1 October—20 November ArtSpace at Realm: What I Wish I’d Told You Claire Bridge and Chelle Destefano with Deaf community, centres Deaf voices, 116

Ringwood Art Society, a group of local artists painting in the City of Maroondah for the last 56 years, is proud to present their latest exhibition: Habitat. The exhibition features a diverse range of paintings, depicting the physical and psychological worlds we inhabit and touching upon themes of nature, family, friendship, happiness, loss and sorrow.

FRANKO, Candy Cadet, 134 x 164 cm. 29 October—17 December BOLD Striking, vivid and flagrantly loud; BOLD presents an exhibition of eye-catching statement pieces that dare to be different.

Arts Project Australia www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–5pm, Sat & Sun 12noon–4pm 1 October—30 October Variations Curated by Arts Project Australia artist Michael Camakaris as part of the inaugural Blindside 2021 Artist

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Australian Centre for Contemporary Art (ACCA) www.acca.melbourne

Jordan Dymke, Vitruvian Man II, 2021, digital print, 29.7 x 42 cm. © The artist. Represented by Arts Project Australia, Melbourne. Mentorship Initiative. This program engaged an early-career artist or curator with a disability to work on a self-devised project with advice from Blindside personnel. In Michael’s own words, “the focus of Variations touches on the relationship between the disabled artist, their lived experience and their choice of artistic expression. I chose this particular theme to advocate for disabled artists, as they are generally under-represented, and often lack a say in how they are presented. Their work is rarely placed front and centre. Often their inclusion is a token gesture toward equality”. The exhibition features works by Darcey Bella Arnold, Jordan Dymke, Kieren Seymour and Mark Smith.

ArtSpace Ballarat www.sites.google.com/view/ patsy-taylor-artist/home 14 Lydiard Street North, Ballarat, VIC 3350 Fri to Tue 11am–3pm. See our website for latest information.

Patsy Taylor, Citrus Blush. 2 September—2 October Liberated Abstraction Patsy Taylor Gestural references to natural forms follow personal instinct and inherited permission to interpret the sublime. The warm sunset colour palette inspired a renewal of my approach. I hope the paintings provoke the same feelings of optimism and possibility that they give me. Opening Friday 2 September, 3pm–6pm. Sound Ideas Workshop Saturday 24 September, 3pm–6pm.

111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm. See our website for latest information. The Australian Centre for Contemporary Art (ACCA) plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural conversation and setting the agenda for contemporary art.

Australian Galleries www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am–6pm. 25 August—17 September The barrier Graham Fransella 25 August—17 September Order, Chaos, Colour and Space Margie Sheppard 25 August—17 September Leaf and Feather Fleur Rendell 25 August—17 September New Work Lewis Miller 27 September—15 October Dale Cox 27 September—15 October Peter Powditch 27 September—15 October Raymond Arnold

Paul Yore, The darkest secret of your heart, 2016. Si Shang Art Museum, Beijing.

27 September—15 October Ian Westacott

24 September—20 November Paul Yore: WORD MADE FLESH Curated by Max Delany. Part of ACCA’s Contemporary Australian Solo Series, Paul Yore: WORD MADE FLESH is a comprehensive survey encompassing the full scope of Yore’s work—appliqués, quilts, tapestry and needlework, banners and pendants, collage and assemblance, and largescale narrative and history paintings, as well as a major monographic publication. The exhibition will be constructed maximally as a gesamtkunstwerk, presenting work over the past fifteen years, alongside a major new room-scaled sculptural installation to be developed for the exhibition. Paul Yore is one of Australia’s most interesting and consequential multidisciplinary contemporary artists. Born in Naarm/Melbourne in 1987, he lives and works on Gunaikurnai Country in Gippsland Victoria, and competed his studies in painting, archaeology and anthropology at Monash University in 2010. Yore has developed an ambitious art practice which draws on the traditions of classical Greek art, decorative Flemish and French tapestries, trashy popculture, gay porn, cartoons, psychedelia and the decorative semantic excesses of rococo style. Yore’s work engages with the histories of religious art and ritual, queer identity, pop-culture and neoliberal capitalism, recasting a vast array of found images, materials and texts into sexually and politically loaded tableaux and assemblages, suggesting hybridity, contradictory meanings, or the overturinng of stable categories altogether.

George Baldessin, Untitled (woman with hair across face), c.1972, pen, ink and gouache, 50 x 40.5 cm. 25 October—12 November George Baldessin 25 October—12 November Late Bloom Sai-Wai Foo

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tues to Fri 1pm–5pm. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our 117

The Stan Gallery is a newly introduced creative space centred around community values and the championing of local artists. Continuing to enhance the cultural fabric of the South-Eastern suburbs, The Stan is a small independent gallery that provides visitors with new exhibition openings every 3-4 weeks and a rotation of additional curated sometime overseas pieces for sale. The dynamic roster of art that The Stan oversees, takes on a curatorial aesthetic that proves to be both engaging and diverse in its range of disciplines. The Stan Gallery supports not only established artists, but also mid-career artists and those just emerging. Currently in its very first year, The Stan Gallery is thrilled to welcome you into a community-centred setting where artists, enthusiasts and admirers can experience the thought provoking and creative talent of art by local artists. For information on past, present and future exhibitions see our website. 49 Stanley Avenue, Mount Waverley, VIC 3149 PH: 1300 49 STAN Email: info@thestangallery.com www.thestangallery.com Opening Hours: Thurs and Fri 10am – 5pm, Sat and Sun 10am – 4pm. thestangallery.com

FINE PAPER SALE Up to

50% Off normal price

Printmaking, Watercolour, Drawing, Japanese, Pastel and Multi Media papers all at greatly reduced prices. To download Paper Sale catalogue & order form, visit: www.arthousedirect.com.au and click the banner or email: richmond@arthousedirect.com.au to request a copy. Offer ends 30/9/22. Orders must be placed using the official order form. Richmond 43 Bridge Road, Richmond VIC 3121 Ph: (03) 9428 1511

Stores located: Victoria - Richmond, Essendon, Bendigo & Sunbury. NSW - Nowra & Thornleigh arthousedirect

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arthousedirect.com.au

VICTORIA Australian Tapestry Workshop continued... mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis.

Past lives will highlight significant events and characters that have shaped Bayside’s past. Drawing from Bayside City Council’s collection and from the local historical societies, the exhibition will explore topics such as Brighton’s 19th century land boom and important wellknown identities such as Thomas Bent, as well as fascinating untold stories from our community.

Bendigo Art Gallery www.bendigoartgallery.com.au

Mu Naw Poe, Night sky, 2018, cotton, acrylic, 105 x 80 cm and Faces, 2016, cotton, acrylic, 104 x 80 cm. 1 September—18 November Full Circle: Karen Tapestry Weavers Mu Naw Poe, Paw Gay Poe, Shuklay Tahpo, Cha Mai Oo Full Circle: Karen Tapestry Weavers will showcase the brightly coloured geometric tapestries woven by the Karen Tapestry Weavers, who are refugees from Myanmar. The Karen have a strong tradition in weaving. Mu Naw Poe, Paw Gay Poe, Shuklay Tahpo and Cha Mai Oo create joyous woven works using vibrant colours that demonstrate a highly intuitive use of colour and pattern. These tapestries draw on the rich textile traditions of Karen culture as well as lived experiences of displacement and diaspora.

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

Clarice Beckett, Reflected lights, Beaumaris Bay c. 1930-31, oil on composition board, 18.2 x 24 cm. Bayside City Council Art and Heritage Collection. Purchased 2014. 3 September—23 October Past lives

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. See our website for latest information.

BLINDSIDE www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] Tue to Sat 12noon–6pm (during exhibition program). Closed on public holidays. 31 August—17 September Ekho Roslyn Orlando makankeluarga Indra Liusuari

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

Zoe Amor, Architecture of a dream Biome and Ionosphere, 2022, graphite, charcoal, liquid charcoal collage on paper. 2022 Paul Guest Finalist. Courtesy of the artist. 6 August—30 October Paul Guest Prize 2022 20 August—19 February 2023 In Our Time: Four Decades of Art from China and Beyond: the Geoff Raby Collection

Gabriella D’Costa, Fig. 3, 2022. Courtesy of the artist. 21 September–8 October now THIS BODY Luigi Vescio Magnetic Current Gabriella D’Costa

Tripod shaped censer, Qing dynasty, 19th century, enamel, brass; with gilt metal handles and feet. Golden Dragon Museum. 20 August—19 February 2023 Treasures of Dai Gum San: Chinese artistry from the Golden Dragon Museum

Kalu Oji, SLO. Courtesy of the artist. 119

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VICTORIA 29 September—29 October My Mother’s Tongue Tiyan Baker

Blindside continued... 12 October–29 October On the Myopic Gaze of a Surrogate Eye Katie Paine

Group exhibition Gabi Briggs, Dtarneen Onus-Williams and Nayuka Gorrie.

Firsts and Lasts Kalu Oji

Bundoora Homestead Art Centre

1 July—30 September Online: Mobile Australia as the face of still water

www.bundoorahomestead.com

Cristea Nian Zhao, Luyuan Zhang, Lĭ Xīng Yŭ- Echo Li, Youjia Lu, Yundi Wang. Curators Siying Zhou and Ashley Perry.

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

Paula Payne, Architecture for Unknown Worlds, 2021, acrylic on canvas, 135 x 137 cm.

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

Koongotema, Keith Wikmunea, Leigh Namponan, Lex Namponan and Roderick Yunkaporta of WIk and Kugu Arts Centre. Ocean Pools Louise Knowles Land and Light Emma Pattenden Shadowlands Paula Payne Delirium in a Paradise Avan Robins 6 October—23 October Opening Friday 7 October, 6pm–9pm.

Pia Johnson, A view of the pool, from Mooramong Green series, 2020, archival inkjet print. Courtesy of the artist.

Biophilia Edwina Edwards To the sea, once more Chantel de Latour Reclaim Emily Brookfield, Te’ Claire, Claire Ellis, Ellisa Foster, Georgina Lee, Kevin Li, Britt Neech, Lauren Reynolds, Lucia Rucabado, Madeleine Thornton-Smith, Richard Tomaino Bukmak’kuŋ Djäma Malaynha (Everyone’s Works), selected works, Judy Manany, Margaret Ganambarr Gudumurrkuwuy, Megan Yunupingu, Mavis Ganambarr Warrŋgilŋa, dimensions variable. 25 August—11 September Bukmak’kuŋ Djäma Malaynha (Everyone’s Works) Dorothy Dhamarrandji Wirritjwirritj, Judy Manany, Margaret Ganambarr Gudumurrkuwuy, Mavis Ganambarr Warrŋgilŋa, Megan Yunupingu, Pam Ganambarr Gawura, Paul Buwang Buwang Gurruwiwi and Sandy Pasco of Elcho Island Arts. Belonging Rohan Light New York Rambling Miriam Innes

False Idols and Real Tears William Christensen You held fragments of our time in your cupped hands Dana Falcini Line is a Language Philippa Taylor

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

BIG MOOD Cat Parker

9 July—17 September Alone, but so at home Lotte Frances Faint Echoes Pia Johnson Tiny Wonders Narelle White Mapping the curious heart Darebin Art Collection.

Fish Killers Rose Wilfred, Joy Wilfred, Megan Wilfred, Virginia Wilfred, Jangu Nundhirribala, May Wilfred, Jocelyn Wilfred, Nicola Wilfred of Numbulwar Numburindi Arts. 15 September—2 October Opening Friday 16 September, 6pm–9pm. Yalkan Ke’an Bruce Bell, Bevan Namponan, David Marpoondin, Devena Wikmunea, Janet

Deanne Gilson, Post Preston, After the Bushfires, Our Country, Plants and Animals Need Healing, 2021, white ceremonial ochre, acrylic on linen, 90 x 110 cm. Darebin Art Collection.

Tiyan Baker, juruh (the thorn in durian), 2020, installation view. Photograph: Document.

Bundoora Homestead Art Centre is delighted to present four stirring exhibitions this season. Upstairs, three solo exhibitions by artists Lotte Frances, Pia Johnson and Narelle White explore gender, politics, the body and the self. Our fourth exhibition celebrates new acquisitions to the Darebin Art Collection alongside key works in our archive. Mapping the curious heart presents the 121

2022 John Leslie Art Prize. 10 September–27 November

$20,000 Acquisitive Prize for Landscape Painting FINALISTS Raymond Arnold • Min-Woo Bang • Peter Baylor • Jo Bertini • Peter Cameron • Donovan Christie • Ash Coates • Geoff Coleman • Peter Daverington • Kate Douglas • Jeremy Elkington • Brett Ferry • Sara Freeman • Jennifer Goodman • Alizon Gray • Ross Halfacree • Andrea Hopgood • Sue Jarvis • Dylan Jones • Klara Jones • Melissa Kenihan • Claire Kirkup • Elizabeth Kunoth Kngwarray • Robert Maclaurin • Harley Manifold • Jennifer Marshall • Jarrad Martyn • Kerry McInnis • Frank Mesaric • Gary Miles • Saffron Newey • Eleanor Noir • David O’Brien • Margaret Parker • Annika Romeyn • Maree T Thomson • J Valenzuela Didi • Judith Van Heeren • Nina Volk • Julie Ward • Darren Wardle • Brett Weir • Naomi White • Vyvian Wilson • Greg Wood • Richard Young • Lucila Zentner

EXHIBITION PARTNER

GOVERNMENT PARTNERS

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

Gippsland Art Gallery Port of Sale, 70 Foster Street, Sale, VIC Phone (03) 5142 3500 galleryenquiries@wellington.vic.gov.au

Open Monday–Friday 9am–5.30pm Weekends & Public Holidays 10am–4pm Free Entry

gippslandartgallery.com.au gippslandartgallery.com.au

VICTORIA Bundoora Homestead continued...

Buxton Contemporary

work of eight First Nations women with strong culturally led practices, and traces the way we gather, map and pin down our ideas through art.

www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339

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

Gabriel Maralngurra, Rock Art Style Gabriel Maralngurra, acrylic on arches paper, 76 x 102 cm. by rocky escarpments, waterfalls and monsoonal forests. Stories from the land have been told by paintings on the rocks for at least 20,000 years. This exhibition is the most recent moment in the deep time story of Kunwinjku culture, showing that paintings from the rock art and from the Burrinja Collection are still inspiring and being made by contemporary Kunwinjku artists today. Supported by Australia Council for the Arts.

Archibald Prize 2022 winner, Blak Douglas, Moby Dickens, synthetic polymer paint on linen, 300 x 200 cm. © The artist, image © AGNSW, Mim Stirling. Sitter: Karla Dickens. 3 September—16 October Archibald Prize 2022 An Art Gallery of New South Wales touring exhibition. Presenting partner ANZ.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. 3 September—8 October Bim kunwarddewardde (Stone Country Paintings) Injalak Arts. Artists include: Allan Nadjamerrek, Bobby Nganjmirra, Freddie Nadjamerrek, Gabriel Maralngurra, Gary Djorlom, Gavin Namarnyilk, Gershom Garlngarr, Glen Namundja, Graham Badari, Isaiah Nagurrgurrba, Joey Nganjmirra, Joshua Bangarr, Lawrence Nganjmirra, Maath Maralngurra, Roland Burrunali, Thompson Ulitjirri, William Djawirda Manakgu.Injalak Arts is in the stone country, a landscape crossed

Susan Jacobs, Cope, 2018-2022, bronze. Courtesy of the artist and Sarah Scout Presents, Melbourne. 3 June—6 November Susan Jacobs: The ants are in the idiom The ants are in the idiom is a presentation of newly commissioned work by Australian-born, London-based artist Susan Jacobs. A meditation on the relationship between language and matter, the exhibition is an expansive sculptural environment that draws the viewer into a web of visual riddles. Jacobs’ poetic approach to materials is underpinned by research into systems of thought that have shaped—and mis-

Rod Moss, CUSTODIANS, graphite on Stonehenge paper. 3 September—8 October All My Fat Country Rod Moss From a body of more than 200 works made during the artist’s four decades of life in Alice Springs, four paintings have been selected. Their themes reflect his enduring friendships with the traditional owners of the town, the Arrernte. Recently, Moss has returned to redescribing the local environment in graphite, the medium he favoured in his first exhibition at Hawthorn City Gallery in 1978. Then it was the suburban backyard. In the present show, its the rugged hill country at his backdoor. 15 October—19 November Malange Anthony Breslin Burrinja Gallery will host an extravagant exhibition of new works. This highly vibrant show will include mixed media paintings, sculpture, animation and installations. These new works will sit alongside an intimate series of 25-year-old works, amongst Anthony’s first. The finely detailed hypnagogic drawings have never been exhibited as a series before.

Angelica Mesiti, Over the Air and Underground, 2020, 5-channel video, 10-channel mono audio, 9 min. Commissioned by the Busan Biennale 2020. Courtesy of the artist, Galerie Allen, Paris and Anna Schwartz Gallery, Melbourne. 123

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CLIMARTE Gallery

Buxton Contemporary continued... shaped—human knowledge. Playful allusions to science, psychology and mythology jostle with visual puns and word games. Enlivened by the imaginative potential of misinterpretation, the exhibition is a rhizomatic sculptural network that stimulates a process of associative looking in the viewer. Curated by Jacqueline Doughty. 3 June—6 November Still Life Mikala Dwyer, Nicholas Mangan, Angelica Mesiti, Clare Milledge, Vera Möller, James Morrison, Jahnne Pasco-White, Isadora Vaughan, Adele Wilkes, Mulkun Wirrpanda and John Wolseley. In Still Life, imagination and empirical observation unite in contemplation of life’s interconnectedness. Exquisite drawings and models from the University of Melbourne’s Herbarium collection represent artistic and scientific traditions in which natural organisms are depicted in isolation from their environment. These teaching tools contrast with contemporary artworks by eleven artists that celebrate the complexities of nature, emphasising interdependence and shifting states of being.

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

Courtesy of the artists. 19 August—10 September Dummkopf Matthew Ware with Tony Garifalakis. 16 September—8 August Honed Group show

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www.climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon– 5pm. See our website for latest information. Iona Mackenzie, Pallid, found objects, jelly wax, fur, metal, 2022 Image credit: Aaron Christopher Rees. 14 October—5 November Zombie - Craft Contemporary 2022 Madeleine Minack and Arthur Dimitriou, Jemi Gale, Freda Drakopoulas, Iona Mackenzie, Rachel Button, Julien Comer-Kleine, Emma Berry and Liv Moriarty.

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm. See our website for latest information. Through exhibitions, education and publishing, Centre for Contemporary Photography (CCP) places contemporary Australian photography and video in conversation with significant historical and international practice, expanding the context for current Australian lens-based arts.

Bridget Nicolson, from Touch This Earth Lightly, ceramics, audio. 12 September—2 October SOLASTALIGIA & TOMORROW Bridgie Nicholson, Karena Goldfinch, Carol Hudson, Belinda Broughton, Gaye Shields How lament and loss can carry us forward, an exhibition. 5 October—16 October REGENEROSITY An exhibition that portrays the exuberance of the Gippsland sustainability landscape and its people. This show is a celebration of the sustainability potential of Gippsland’s people-led response to climate change.

Anouk Kruithof, Aquatronic, pigment print, 80x60cm, from the series, Trans Human Nature, 2019-2021. 13 August—9 October States of Disruption Mishka Henner, Kensuke Koike, Krerkburin Kerngburi, Anouk Kruithof, Danny Lyons, Ali McCann, Kent Morris, Rebecca Najdowski, Tommaso Nervegna-Reed, Izabela Pluta, Aaron Christopher Rees, and Danae Valenza.

Sera Osman, from Hands All Over.

VICTORIA 10 October—29 October COST Jacqui Henshaw, Serap Osman, Kit Willow From Source to Street. How green is your fashion?

Charles Nodrum Gallery

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

www.charlesnodrumgallery.com.au Destiny Deacon, Look out!, 2009. Inkjet print from digital image on archival paper. 60 x 80 cm. Edition of 5. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm. See our website for latest information.

Paola Balla, Daniel Boyd, Destiny Deacon, Lisa Hilli, Kim Kruger, Savanna Kruger, Mandy Nicholson, Sofii Belling-Harding and Stacie Piper. Curated by Kim Kruger, Savanna Kruger and Lisa Hilli.

Anna Varendorff, Concentric Chair, 2022. Image courtesy of the artist. 10 September—19 November The Chair This exhibition is the first in a series presented by Craft Victoria honouring iconic objects of functional craft and design with a material driven approach. John Vickery, (Homage), c. 1967, oil on canvas, 141 x 94 cm. Until 10 September John Vickery

1 October—31 October Craft Contemporary Craft Contemporary is Craft Victoria’s annual festival amplifying craft and design. Throughout the month of October, discover craft across all aspects of contemporary life in a dynamic gathering of talks, live demonstrations, exhibitions and more throughout Victoria. The 2022 program features a Satellite Program, Makers in Residence and Virtual Open Studios. 1 October—31 October Unearthed Burnt, fired, melted down and re-imagined. Eight artists transform discarded archaeological fragments uncovered from the Metro Tunnel Project’s dig sites in a new exhibition at Craft this October.

Counihan Gallery www.moreland.vic.gov.au Lesley Dumbrell, Indochine 2, 2003, oil on linen, 183 x 137 cm. 17 September—8 October Lesley Dumbrell 15 October—5 November David Aspden

233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. See our website for latest information. 10 September—30 October Sydney Road Blaks

Jenna Lee, A Plant in the Wrong Place, 2016. Loose leaf type specimen book. Image courtesy of the artist. Artspace Mackay Collection. 17 September—3 October A Plant in the Wrong Place Anna Dunnill, Jenna Lee, Rebecca Mayo, Lisa Myeong-Joo, Caroline Rothwell, Tai Snaith and Katie West. Curated by Anna Dunnill.

D’Lan Contemporary www.dlancontemporary.com.au 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. 8 September—11 September Balgo Visions / Eubena D’Lan Contemporary is delighted to present Balgo: Visions / Eubena, a compelling exhibition of foundational works celebrating the thirty-fifth anniversary of Warlayirti Artists, Balgo. Divided into two distinct collections, but intended to flow as a complementary representation of one of Australia’s leading artistic movements, this exhibition will feature across our two gallery spaces at 40 Exhibition Street, Melbourne. Eubena: Select works from 125

ar t g ui d e .c o m . au 9 August—18 September re/order Kathy Landvogt, Sienna Barton, Daisy Watt, Ruby Hoppen and Helen Philipp.

D’Lan Contemporary continued...

Five artists bring textiles into new territory for re/order. Using traditional approaches, the quilts, baskets, sculptures and weavings in ‘re/order’ demonstrate technique whilst pushing the boundaries of textiles.

Rafiqun Nabi, At Noon in the Field, 2014, acrylic on canvas. From the Atiq and Nira Rahman Collection. © and courtesy of the artist. 26 August–30 September Deakin University, Burwood Library Gallery: From the Heart of Bangladesh

Eubena Nampitjin, circa 1924–2013, Millagudoo—in the Great Sandy Desert, 1995 synthetic polymer paint on canvas 180 x 120 cm. Courtesy Eubena Nampitjin/The Estate of Eubena Nampitjin 2022. the estate of Eubena Nampitjin will open in Melbourne on 26 August. BALGO: VISIONS will open at Sydney Contemporary (8-11 September), and then in Melbourne on 15 September.

Deakin University Art Gallery at Burwood

From the Heart of Bangladesh showcases the carefully curated works of Bangladeshi master artists from the personal collection of Nira and Atiq Rahman, a Bangladeshi-Australian couple. These artworks uniquely capture the heart and soul of Bangladesh, its people and its rich culture that has spanned centuries. With the hope to foster a deeper conversation on how we can enhance our cultural understanding and empathy to connect better with others, this exhibition is more than just a showcase of art from Bangladesh. It is a celebration of the 50 years of bilateral diplomatic relationship between Bangladesh and Australia, as well as the beauty of a culturally diverse community.

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

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

Who are the people that we hold dearest? What is our relationship to them? Circling around ideas of intimacy, connection and closeness, Familial looks at the ways that our relationships—with others and ourselves—make us who we are. 28 October—4 December Separate & Silent Pentridge Resident Artists: Kenny Pittock, Joe Whyte, Varuni Kanagasundaram, Lana Daubermann, Tegan Iversen, Lucy Maddox, Ted McKinlay, and Simon Leah Resident artists in Pentridge Studios are invited to respond to the historical site in which we work. Named after the policy that contributed to Pentridge’s notoriety, Separate & Silent brings together different perspectives on Pentridge’s past and future, alongside artefacts found on the premises.

www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Tue 11am–4pm.

6 September—21 October Deakin University Art Gallery, Melbourne, Burwood Campus: Deakin University Contemporary Small Sculpture Award

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23 September—23 October Familial Snehargho Ghosh, Janelle Low, Lily Mae Martin, and Jo Lane.

Everywhen Artspace

Michael Le Grand, Transit, 2020, painted steel. Deakin University Art Collection Winner of 2021 Deakin University Contemporary Small Sculpture Award. © and courtesy of the artist.

In its twelfth year, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. A fascinating snapshot of Australian contemporary sculpture.

Jo Lane, 30 Days, 2020, coloured pencil and watercolour on paper, 252 x 147.5 cm.

Helen Philipp, Copper and Black Tintinnids (3), 2019, copper wire, paper twine, raffia, repurposed metal stands. 60 x 60 x20 cm.

Everywhen Artspace specialises in contemporary Aboriginal art from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a program

VICTORIA of specialised and themed exhibitions. Directors Susan McCulloch OAM and Emily McCulloch Childs.

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

Michelle Lewis, Michelle’s Tjala Dreaming (Honey Ant), 2022, acrylic on canvas, 107 x 164 cm. Courtesy of the artist and Ernabella Arts.

Rashid Rana, Beauty Lies, Video still, 2019–2020.

9 September—27 September Ernabella-Ku Tjukurpa - Stories From Ernabella In partnership with Ernaballa Arts. New paintings and ceramics by senior and rising star artists of Ernabella Arts. Exhibiting painters: Alison Munti Riley, Atipalku Intjalki, Carlene Thompson, Daisybelle Kulyuru, Elizabeth Dunn, Janice Stanley, Langaliki Lewis, Michelle Lewis, Mukayi Baker, Tjunkaya Tapaya, Yanyi Dunn, Yurpiya Lionel. Exhibiting ceramacists include Fiona Wells, Langaliki Lewis, Vivian Thompson and Yaritji Jack.

Anita Pumani, Antara - Maku Dreaming, 2022, acrylic on linen, 200 x 200 cm. Courtesy of the artist and Mimili Maku. 7 October—25 October MINYMA MAKU Betty Campbell and Anita Pumani In partnership with Mimili Maku Arts. Two different interpretations of the Minyma Maku (women of the witchetty grub) song line by talented younger generation artist Anita Pumani and cultural elder Betty Campbell in her first exhibition works. Anita Pumani’s paintings depict the country and maku trees while Campbell’s works focus on the dance and women’s ceremony associated with the song line.

relationship between the micro and the macro, Rana’s work powerfully calls into question the values associated with contemporary art, ritual, aesthetics, social history, and political structure. AYURIKA, Lost #2, 2020, oil on canvas 200 x 300 cm. Courtesy of the artist. 7 September—21 October EM I BODY Showcasing select work by seven contemporary Indonesian women artists, EM I BODY uncovers personal stories and unspoken truths while revealing common states of pride, tenacity and personal endurance. Here, an oversized canvas and stilled imposing woman’s gaze, contrasts with the blurred silhouette and video of a woman behind glass painting herself in and out of the picture. Conversely, depictions of naively painted distorted figures act to reclaim the artist’s body and sexuality, while works created from carbon copies, and from human hair, symbolise the act of protection and nurturing between mother and child. Featuring Audya Amalia, Ayurika, Dita Gambiro, Erika Ernawan, I Gusti Ayu Kadek Murniasih (Murni), Theresia Agustina Sitompul (Tere) and Restu Ratnaningtyas, artists present visually compelling work in diverse media that examine women’s familial and personal relationships, sexuality, identity, nostalgia and memory.

Fiona and Sidney Myer Gallery

8 September—1 October 2022 Majlis Travelling Scholarship Exhibition Rashid Rana The Majlis Travelling Scholarship is open to third (final) year undergraduate students at the Faculty of Fine Arts and Music, School of Art. A travelling scholarship of $10,000 is awarded to a third year student that will allow them to travel overseas at the conclusion of their undergraduate studies. This exhibition presents the works of all shortlisted students, and is keenly anticipated, and provides a snapshot of student activity within the VCA School of Art.

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

www.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12noon–5pm. Free entry. 28 July—9 September Beauty Lies Rashid Rana Pakistan based Rashid Rana is best known for his photographic works comprised of thousands of mini-images that he digitally assembles to create a larger image. Deeply grounded in the

Hannah Quinlivan, Smokescreen, 2022, acrylic and ink on linen, 150 x 150 cm. 127

ar t g ui d e .c o m . au Flinders Lane Gallery continued... 30 August—24 September Smokescreen Hannah Quinlivan

Ming Chung, Drift, (still), 2022, animation. 13 September—24 September Gyungju Chyon Collaborative exhibition including John Sadar. Mycelium, textiles, paper, string and charcoal. 27 September—8 October fortyfivedownstairs Emerging Art Award Mixed medium

Steven Tran, Prowl, 2021. Photograph: Andrew Curtis.

Annika Romeyn, Endurance 10 (rockfall), 2021, watercolour monotype on paper, 228 x 168 cm. 8 September—11 September FLG at Sydney Contemporary Presenting the new artworks by Kim Anderson, Richard Blackwell and Annika Romeyn. 27 September—15 October In the Smile of a Tree Kendal Murray 27 September—15 October Fish Out of Water Chelsea Gustafsson 15 October—5 November Memories and Dust Michael Simms 15 October—5 November The Sensual World Lucy Roleff, Ely Smithwick , Jesse Dayan

Augmented Reality (AR) and expanded sensory experience. Using his abstract style, Steven encourages his audiences to be distinct, daring and different. This exhibition was developed with support from Australia Council for the Arts and is part of The Big Anxiety, Melbourne Naarm, co-presented by RMIT University and UNSW.

11 October—22 October CLIMARTE Group exhibition Mixed media 11 October—22 October Solo exhibition Naomi Bishop Paintings

Frankston Arts Centre www.thefac.com.au

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

Lucy Roleff was the 2021 Winner of the Exploration Emerging Artist Award.

Footscray Community Arts

27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. 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, most notably

www.footscrayarts.com 45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 15 September—30 October BOLDER Steven Tran BOLDER is an interdimensional art exhibition that celebrates visibility and individuality, by artist Steven Tran. Building on his first solo exhibition, BOLD in 2021, BOLDER takes Steven’s drawings and paintings to new realms with 128

Richard Besley, Crawling Through the Dust of Life #8, 2022, mixed media on paper, 56 x 76 cm. 30 August—10 September Crawling Through the Dust of Life Richard Besley Mixed media 30 August—10 September Drift Ming Chung Animations and digital prints. 13 September—24 September Perspective Rory Fink Mixed media

Alison Tedesco, Untitled, watercolour.

VICTORIA from the Mornington Peninsula and Western Port regions, as well as Melbourne’s Bayside suburbs. 11 August—5 November Nothings into Somethings Alison Tedesco Alison Tedesco is a Frankston based artist. In this exhibition, Nothings to Somethings she explores Frankston, bringing the overlooked corners of the city to the foreground, challenging the viewer to see beauty in the perceived ordinariness of suburbia.

Fox Galleries www.foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon and Wed to Sat 10am–6pm, Sun 11am–4pm. Open by appointment Tuesday. The gallery has two spaces. 63 Wellington Street is for curated exhibitions of its represented artists on a monthly basis. It is open to the public during its weekly opening hours and exhibition openings. 67 Wellington Street is for the display of artworks being offered for private sale and serves as a showroom for paintings and sculptures that are being valued for insurance, probate and other purposes. This space is open by appointment only.

1 October—29 October Just Visiting Odelle Morshuis Stockroom Gallery: 1 October—29 October Dreamscapes Joanna Gambotto

FUTURES www.futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12noon–5pm. See our website for latest information.

Emma Ikin, Pockets of Permanence, video still. 1 September—1 October Pockets of Permanence Emma Ikin Pockets of Permanence is a project about finding, recording and mapping the memories held in small urban spaces that have remained unchanged throughout the history of Frankston. The project was proudly supported by an Artist Grant as part of Frankston City Council’s Relief and Recovery package. 6 October—5 November Wonnarua - Winner FAC Open Exhibition 2021 Ryan Lee

Jason Moad, Tangle, 2022, oil on linen, 153 x 121 cm. 1 September—28 September Subject > Object Jason Moad

Sylvan Lionni, Subway, Ricola, GQ, Interview, 2022, Gauche on paper, 76.2 x 55.9 cm. 1 September—1 October Sports & Leisure Sylvan Lionni

A contemplative moving image work that aims to provoke discussion around themes of Indigenous ways of living in juxtaposition with western settler-state system’s unsustainable, damaging ways of using stolen lands. 6 October—2 November Poetic Portraits Poetry for Community Wellbeing in Frankston Poetic Portraits promotes poetry as a way to connect with and convey the experiences of women who are impacted by mental health struggles or other challenges to wellbeing. Part of the Big Anxiety Festival 2022, the exhibition will present a series of poems accompanied by sketch portraits of the participants by local artist Caroline Graley. Eddie Botha, So Fun, 2022, Chinese and Indian ink on mixed media canvas, 68 x 55 cm. Stockroom Gallery: 1 September—28 September So Fun Eddie Botha

Ella Sutherland, Index, 2022, acrylic on linen, 91.4 x 71.1 cm. Photo courtesy of Sumer, New Zealand. 5 October—5 November Speaker of the House Ella Sutherland 129

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VICTORIA expressive and experimental approach to the printed medium. A Geelong Gallery exhibition. Free entry.

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

Katherine Marmaras, It’s always a floral and patterned kind of day..., (detail). Courtesy of the artist and Geelong Art Space.

Future Memory - Storm Girl, oil on canvas, 172 x 156 cm. 3 September—25 September Gallery Stockroom Show Featuring the works of various gallery artists.

6 October—31 December thread[laid]bare Clara Batton Smith, Mary-Ellen Belleville, Miranda Brett, Amelia Dowling, Di Ellis, Fiona Gavens, Tara Glastonbury, Jess Hall, Katherine Marmaras, Deborah McHugh, Grace Pundyk, Tamara Russell, and Caroline Wright.

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

1 October—30 October Sublime Hani Isac

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

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

The 2022 Geelong Contemporary Art Prize is a signature event that showcases the diversity and excellence of Australian contemporary painting practice. Through these prizes, staged since 1938, the Gallery has amassed an exceptional representation of Australian paintings whilst supporting contemporary practitioners. A Geelong Gallery exhibition. Free entry. Until 16 October Spowers & Syme Ethel Spowers

This exhibition offers a rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia – where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ‘40s. A National Gallery of Australia Touring Exhibition. Free entry.

Gallerysmith

www.geelongartspace.com

Until 11 September 2022 Geelong Contemporary Art Prize

Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme presents the changing face of interwar Australia through the perspective of two pioneering modern women artists.

Hani Isac, Heatwave, oil on canvas, 61 x 91 cm.

Geelong Art Space

Fiona McMonagle, for most of history anonymous was a woman, 2021 watercolour, ink and gouache on paper. Courtesy of the artist and Sophie Gannon Gallery, Melbourne.

Barbara Brash, Sea fringe, 1963, colour screenprint on Japanese paper, Geelong Gallery, Gift of Moira Eckel through the Australian Government’s Cultural Gifts Program, 2017. © the estate of the artist. Until 9 October Holding Form Barbara Brash Works by Australian printmaker Barbara Brash (1925–1998) whose colourful and dynamic prints demonstrate an

Until 23 October Hope, Peace, and Paradise Brook Andrew Exhibited for the first time since their acquisition in 2020 through a generous gift of the artist, this selection of printed works by Brook Andrew reflects his longstanding practice of combining diverse images and text to reclaim Indigenous language as a counter to, and examination of, dominant cultural narratives that often relate to colonialism, modern-ist histories, and post-colonial cultural activism. A Geelong Gallery exhibition, Free entry. 131

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VICTORIA

Gertrude www.gertrude.org.au

Gippsland Art Gallery

Ongoing and Evolving The Art of Annemieke Mein

www.gippslandartgallery.com

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

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

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

10 September—27 November 2022 John Leslie Art Prize

Gertrude Contemporary:

Come Together: The Art of Juli Haas

10 September—20 November Artworks Gallery Revisited

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

3 September—20 November Kevin Chin: Un-Regional

Archie Moore, HouseShow, 2020 (Installation view), presented at The Cottage, 272 Montague Road, West End, Brisbane. Courtesy of the artist and The Commercial, Sydney. Photograph: Marc Pricop. 27 August—23 October Dwelling (Victorian Issue) Archie Moore Gertrude Glasshouse: 5 August—3 September Sieve See Ann Debono 16 September—8 October Thousand Year Plan for Gertrude Glasshouse Mia Salsjö 14 October—12 November Jason Phu

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

John Orval, Pegasus and Bellerophon, (detail) 1971. glass, stained. Bequest of Mrs P. E. Connell. Adrian Mauriks, Blue No.3, 2019, ultra-saturate blue painted steel, height 80 cm. Private collection. © The estate of the artist. Until 23 October Adrian Mauriks: Small Sculpture

1 September—23 October Glen Eira Youth Art Exhibition

27 October—20 November Moments in Time Tim Blashki

27 October—20 November The Live Music Scene 2017-2022 – Before, during, after COVID-19 lockdown Mark Moray

A major retrospective exhibition of the stained glass of Modernist émigré artist John Orval on the 60th anniversary of his first exhibition at Hamilton Gallery. Distinguished stained glass art historian, Dr Bronwyn Hughes OAM, and Dr Alison Inglis AM, Honorary Fellow, Art History Program, University of Melbourne have co-curated this exhibition, working with Orval’s family to recreate his professional achievements and place him within the broader context of Australian Modernism. This is the first time in 60 years these works have been brought together, with stained glass windows, cartoons, designs and a short documentary alongside the free exhibition opening, an immersive bus tour and free public forum on Modernism.

1 September—23 October Glen Eira Historical Society – 50 years 1972-2022

27 October—20 November There is a place for everyone Phil Kreveld

20 August—30 October Luminous: John Orval, Stained Glass Artist

17 September—6 November Trust: A Generous Legacy Annemieke Mein, The Morass—Sale, (detail), 1979, textile wall work, four panels, overall 103 x 400 cm. Collection Gippsland Art Gallery. Purchased with the assistance of the John Leslie Foundation, 2019. © The artist.

This exhibition celebrates the Hamilton Gallery Trust as one of Australia’s most important and longstanding. The Trust has acquired 633 works, ranging from contemporary sculpture and video works to historical paintings and ceramics. This exhibition is a commemoration of 133

jacqui stockdale the outlaws’ inn Benalla Art Gallery | 28 Oct 2022—29 Jan 2023 Contemporary Benalla remains coloured by Ned Kelly history and mythology in equal parts. Jacqui Stockdale’s recent work has been “propelled by a question I asked myself as a young girl riding through the hills of ‘Kelly country’… what really happened here?” The Outlaws’ Inn invites viewers to “feel privy to a siege, a wake, or a bushranger’s family reunion.”

VISIT Botanical Gardens Bridge Street Benalla VIC 3672

FREE ENTRY Mar—Aug, 10AM—4.30PM Sep—Feb, 10AM—5PM Closed Tuesdays

CONTACT T 03 5760 2619 E gallery@benalla.vic.gov.au W benallaartgallery.com.au

IMAGE Jacqui Stockdale Our Sunshine [installation view] 2020 metal and wool knitted by Melinda Christensen, 35 x 31 x 23cm. Image courtesy of the artist. Photograph: Theresa Harrison Photography

benallaartgallery.com.au

Sofi’s Lounge, Level One, 8am—8pm

1 July—26 October 2022 An Old Landscape Through New Eyes: Indigenous works from the Wesley College Collection Collected over 15 years nearly all of these pictures in this exhibition have been donated to Wesley College through the generosity of former students. The exhibition is a visual description of one of the oldest landscapes, as seen and described by our First Nations artists, a people who have lived here for over 60,000 years. Surveying the exhibition, you might consider works through the lens of different styles including Abstract, Post-Colonial, Ethnographic, Contemporary or even Naif style. There are elements of these styles in all the works but what they have in common is a desire to tell the story of their connection to the sometimes harsh country that has sustained them, a connection to ancestors and a need to keep passing on traditions. The artists include; George Ward Tjungurrayi, Paddy Fordham Wainburranga, Freddie Timms, Boxer Milner, Paddy Fordham plus others.

Sofitel Melbourne On Collins

25 Collins Street Melbourne 3000

(03) 9653 0000 sofitel-melbourne.com.au

Alan Griffiths (b. 1933), Walking Goongoolooloo Country, c. 2008, natural ochres on canvas, 130 x 125 cm.

The exhibition programme at Sofitel Melbourne On Collins is managed by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

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VICTORIA Hamilton Gallery continued...

4 June—20 November Things that will not sit still

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

11 June—30 October Double Moon Jaedon Shin

Hearth Galleries

11 June—23 October The Modern Metaphysical Albert Tucker 25 June—16 October From Sunrise Road Bruce Munro

www.christinejoycuration.com.au Ethical contemporary Aboriginal art. 208 Maroondah Highway, Healesville, VIC 3777 [Map 1] 0423 902 934 Wed to Sun 10am–4pm.

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

3 October—31 December Placescapes: Bindal and Wulgurukaba Country Jenine Godwin-Thompson Hearth proudly presents an exhibition of works by Healesville-based, Yaggerah artist, Jenine Godwin-Thompson. Jenine explores a range of inspirations including birth, bush flowers, landscape and song spirals, always seeking the narrative and emotional layers of Country.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. 6 August—6 November David Thomas: Love Poem to Life

3 September—6 November Picture this: Portraits from the collection Inspired by Blondie’s iconic 1978 song, this exhibition looks at portraiture within the Horsham Regional Art Gallery collection, from our earliest collecting activities in the 1970s through to our most recent acquisitions. Picture this features paintings, works on paper and photography including works by Carol Jerrems, Bill Henson, Polly Borland, Christian Thompson, Richard Beck, Dagmar Cyrulla, Dacchi Dang, Charles Bush, Max Meldrum, and A.M.E Bale. .

Landscape of Townsville.

Jenine is a Yaggerah Aboriginal woman from the South East Queensland area known as Meeanjin (Brisbane)—which means ‘place shaped like a spike’. She grew up around the inner and outer suburbs of the Maiwar (Brisbane River). The Yaggerah/Jagera and Turrbal people were the principal clans, with the Yaggerah/ Jagera to the south of the Brisbane River and Turrbal north. Now Healesville-based since 2014, her work is from the heart. Jenine loves creating works with the earth tones of our Country, depicting the colours of our flora and fauna. Inspiration is from her cultural background, as well as her passion for architecture—both natural and man-made.

Richard Beck, Untitled (Portrait of Sandra Leveson), 1973-74, silver gelatin photograph, 30.3 x 25.2 cm. Accession no. 1995.11 Horsham Regional Art Gallery Collection.

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

Troy Emery, Nugget, 2022, on Kate Rohde’s Golden grains table #2, 2022 with Kate Rohde’s Nature wallpaper, 2022. Courtesy of the artists. Photo by A.K. Media.

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

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

Xavier Pinard, Ancestral Gaze. 12 August—12 October Ancestral Gaze Xavier Pinard

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Orchestra of Extinction- works in development Conﬂuence- Simon Dow, Amanda King & Forest Keegel Opens Sunday 2nd October 2pm and continues until 6 November EDGE GALLERIES on Djaara Country www.edgegalleries.com

35-37 Main Street, Maldon, Central Victoria Open weekends 11 - 3pm www.forestkeegel.com/work#/orchestra-of-extinction

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Malleefowl Image Amanda King

dlancontemporary.com.au

VICTORIA

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. Incinerator Gallery is your community gallery located by the scenic Maribyrnong River. We have a diverse offering of solo and group exhibitions, which will delight and challenge our audiences as we explore new and fresh perspectives on contemporary art and life.

8 September—9 September Performance Nights @ ILCH As part of the program for the 2022 Banyule Art Salon, we will be holding two Performance Nights to showcase nonvisual artforms. Thursday 8 September Spoken Word/Poetry/Comedy, Friday 9 September Music/ Dance. Bookings required: www.banyule. vic.gov.au/BanyuleArtSalon

Fran Lee, Night Painting, 2022. Loft 275: 26 August—18 September Night Paintings - Darebin Creek Fran Lee “These works are mostly of trees on the Darebin Creek where I live and paint. I love these trees—and these twilight paintings explore qualities of the creek and trees at night where the air is powerfully full”.

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

David Palliser, Break Broke, 2015 - 2020, oil on canvas, 61 x 77 cm. 25 August—17 September Endless Conditions David Palliser

Loft 275: 26 September—23 October Banyule Open Studios Exhibition

Ara Dolatian, Artefacts, 2021, earthenware and glaze.

Banyule Open Studios (BOS) is an incorporated association of artists living and working in Banyule. BOS had their first ever Open Studios Weekend in April 2022, which was a great success, inviting the public to step into these artists’ worlds.

16 September—30 October Incinerator Art Award 2022 Rebecca Agnew, Infinite West, 2022, video still, high definition video, 17 minutes and 2 seconds. Ltd Edition 5 + AP.

The Incinerator Art Award is our annual award and exhibition. Established in 2015, the award celebrates contemporary arts practices that are socially engaged, environmentally aware, and seek to enrich community through dynamic, creative practice. This year, we present 31 projects exploring a myriad of social justice issues, demonstrating that art, design and architecture can bring about positive social change.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 Art Gallery 275: 5 August—29 September 2022 Banyule Art Salon – Outside these four walls… Banyule’s biggest community art exhibition. An exhibition of art by Banyule’s creative community, celebrating community life post-pandemic. The theme this year is: Outside these four walls…

8 September—11 September Sydney Contemporary 2022 Rebecca Agnew 22 September—15 October Perspectives Sean Hogan 20 October—12 November New Paintings Petra Kleinherne Anna Farago, Return to the Patch, 2015, detail. Photograph: Adrian Miles. Mungga Artist Studio 1: 15 August—29 September Return to the patch Anna Farago In September Anna Farago will undertake a residency in the Mungga artist studio at the Ivanhoe Library and Cultural Hub. During this time she will make a large and colourful octagonal textile using scraps of fabric and leftovers from recent community and personal projects. The textile patchwork and subsequent photographic work will be exhibited in a solo show at Gippsland Art Gallery later this year and Loft 275 in 2023.

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am— 5pm, Sun 10am— 5pm. (Closed on Jewish holidays). 29 April—29 January 2023 Helmut Newton: In Focus A definitive exploration of the work and life of visionary German-born photographer, 137

Aaron Christopher Rees— Firmament 17.09-29.10

NAP Contemporary 90 Deakin Avenue Mildura, Victoria napcontemporary.com.au

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VICTORIA G1 + G2, Kingston Arts Centre:

Jewish Museum of Australia continued...

9 September—24 September Kingston Youth Art Expo

A Rainbow of Tomorrows. 9 October—20 November A Rainbow of Tomorrows Led by Stone Motherless Cold and various artists.

Kelly & Gemelli Gallery www.kellyandgemelli.com

Helmut Newton, Elsa Peretti, New York, 1975. © Helmut Newton Estate. Courtesy Helmut Newton Foundation. Helmut Newton. This exhibition delves into Newton’s early life and career, shining a light on his Jewish roots and life in Berlin, his flight from Germany at the outbreak of WWII and his eventual internment at Tatura in regional Victoria as an enemy alien. It also explores his post-war life and work in Melbourne and shares details of his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs.

57 Phillip Island Road, San Remo, VIC 3925 [Map 1] 03 5678 5101 Sat and Sun 9.30am–4pm. See our website for latest information.

Presented in collaboration with Kingston Youth Services. Young members of the Kingston community were invited to submit artworks for exhibition with a focus on creating opportunities and experience for our young people in the arts. Submissions span across painting, drawing, sculpture and digital work, reflecting on the theme of Hope. Kingston Arts Centre & Kingston City Hall: 1 October—31 October Craft Contemporary at Kingston Arts Presented in collaboration with Narelle White and Christina Darras. For Craft Contemporary 2022 Kingston Arts presents installations and accompanying workshops by two of our resident artists. In Alchemies by Narelle White and Arachni by Christina Darras see contemporary ceramic and textile practices responding to the heritage and civic environments of the Kingston Arts Centre and City Hall foyer. G1 + G2, Kingston Arts Centre: 7 October—12 November Zai Kuang: Portaits Zai Kuang’s painted portraits reflect a nuanced, harmonious and delicate representation of his subject. Opening Thursday 6 October, 6pm–8pm.

Karen Preston, Storm at Silverleaves and Nadine Lineham, The Sea Responded.

Koorie Heritage Trust Arthur Taylor, Mentone under cliffs, c. 1990, oil on canvas, 54 x 89 cm. Kingston Civic Art Collection.

www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300

G3 Artspace : 5 August—8 October Changing Landscapes: Kingston Civic Art Collection Ann Parry, Natures Architecture. 13 August—30 October Contemporary Gippsland Artists Nadine Lineham, Ann Parry and Karen Preston.

Kingston Arts Blak Design, RMIT workshop July 2022. Photograph: Christian Capurro. 24 September—26 March 2023 Layers of Blak Thelma Austin (Gunditjmara), Mandi Barton (Yorta Yorta/Barapa Barapa/ Wemba Wemba), Lorraine Brigdale (Yorta Yorta), Nikki Brown (Bidjara), Deanne Gilson (Wadawurrung), Tammy Gilson (Wadawurrung), Elijah Money (Wiradjuri), Yasmin Silveira (Palawa), Sammy Trist (Taungurung), Dominic White (Palawa) and Tracy Wise (Barkindji/Ngiyampaa).

www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12noon–5pm.

Presented by Kingston Arts. Bringing together treasured highlights from the Kingston Civic Art Collection, Changing Landscapes encourages the community to reflect on the future of Kingston’s public art and civic art collections. Changing Landscapes includes valued pieces from the past, as well as recent acquisitions. These works include Petrie’s revered Mordialloc Creek dating from 1865, to Lisa Waup’s much loved Echidna. Share your vision for the future of Kingston’s Civic Art Collection by adding your voice to our interactive sticker wall that will grow and evolve throughout the exhibition. G3 Artspace : 14 October—19 November It’s All Been Said Before Presented by Jamie Daddo. Jamie Daddo opens up his intimate world through a collection of paintings, drawings, etchings and ceramics – both recent and distant. 139

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

6 August—30 October Attending An exhibition about inward reflection, space for oneself, beauty, quietude, consideration, looking and looking again. Sari Anderson: Artist in Residence Local artist Sari Anderson will be working in Gallery 3 creating a new artwork, building on her interest in tesseract structures from which the artist compounds and triangulates into drawings to create geometric proposals.

Jamie Daddo, Paddle Pops, 1994, oil on canvas. Image courtesy of the artist. Featuring people close to the artist or figures created as vehicles to delve into the human psyche, Daddo draws from personal relationships and emotional experiences within and around himself.

Latrobe Regional Gallery

LON Gallery www.longallery.com 136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. See our website for latest information. LON is an artist led contemporary art gallery that supports critically engaged art practices.

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

www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. See our website for latest information.

Sydney Long (1871-1955), The River Bank, c.1895-98, oil on cedar panel, 25 x 51.5 cm. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Art and sourcing European masterworks upon request.

Will Cooke, Two Steps Forward 2021, primer, acrylic on aluminium panel, powdercoated aluminium frame, 141.6 x 121.6 cm. 24 August—17 September Group Show Hannah Maskell, Ham Darroch, Will Cooke

15 September—18 September AAADA Fair Sydney White Bay Cruise Terminal William (Bill) Young, The Big Picture, 1991, detail, acrylic on paper, 20 x 2.5m. Courtesy the estate of William Young. 30 July—23 October The Big Picture: The art of Bill Young This exhibition celebrates Bill’s life and creative achievements. Showcasing both works in the collection and borrowed works, the exhibition includes a 20-metre work on paper, appropriately titled The Big Picture.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun 11am–4pm. See our website for latest information. Dord Burrough, Waves, 2022. Oil on canvas, 148 x 163 cm. 21 September—15 October Dord Burrough

McClelland Sculpture Park + Gallery

Susan Purdy, The Lost Forest, 2009, detail, Rayogram photographs, 15 panels totalling 20.04 m. Latrobe Regional Gallery Collection, 2014, purchased with the assistance of the Gallery Friends Trust. 140

Kaspian Kan, What’s the Takeaway?, 2021, takeaway containers, paper, steel, paint, broken lamps, 65 x 80 x 60 cm. Image courtesy of the artist. 16 September—27 November DESIGN FRINGE 2022 Design The Future: Don’t Waste Time

www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information.

VICTORIA 11 October—10 November Josh Foley An exhibition of recent paintings.

Mildura Arts Centre www.milduraartscentre.com.au

Fiona Foley, The Magna Carta Tree #2 2021, inkjet print. Courtesy of the artist and Andrew Baker Art Dealer, Brisbane. Photograph: Mick Richards. 24 June—9 October Veiled Paradise Fiona Foley

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

199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. 17 September—20 November Suspended Moment Frances Barrett, Giselle Stanborough, Sally Rees, and Katthy Cavaliere. Suspended Moment brings together new works by artists Frances Barrett, Giselle Stanborough and Sally Rees—the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Curated by Daniel Mudie Cunningham, Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy. A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (Mona), Hobart. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program.

Specifically curated to demonstrate the diversity of applications of ‘line’ in visual language, this exhibition brings together works as seemingly disparate as a Degas nude with a Lee Ufan installation typical of the Mono-ha movement. Then again are works by First Nations artists whose use of line is embedded within ancient continuing culture. Line Work will take the viewer on a journey of ‘line’ through the Mildura Arts Centre Collection.

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

Bree Cribbin, Dancing Shadow, ceramic sculpture, 2022. 15 September—27 September Desire Bree Cribbin, Clementine Maconachie and Kasper Raglus Opening 15 September, 6pm–8pm. 6 October—14 October Deeply Considered Design Dean Norton Designer talk 8 October, 10am.

Matthew Quick, Pure Resilience, oil on Italian linen, 130 x 130 cm. 16 August—10 September Matthew Quick An exhibition of recent paintings by Matthew Quick from the Confetti in a Storm series.

Filomena Coppola, The Tangled Web, 2007 (detail). Pastel on paper; triptych. Mildura Arts Centre Collection. Gift of the Artist, 2009. 24 June—11 September Line Work Mildura Arts Centre Collection

Richard Young, Triple Portion, 2022, acrylic on canvas, 198 x 198 cm. 13 September—8 October Richard Young An exhibition of recent paintings.

‘Line’ is one of the fundamental elements of art and design (visual language). In its endless uses and permutations ‘line’ can communicate shape, form, direction; it can evoke texture; it can generate emotion or relate something from our own experience. ‘Line’ can say little or much in ways that are culturally universal or unique.

Shelley Horan, Composition #20, digital inkjet print on Canson Rag Photographique, 2021. 27 October—8 November Compositions Shelley Horan Opening 27 October, 6pm–8pm. 141

Shelley Horan

Compositions

27 October – 8 November 2022 311 Smith Street Fitzroy

Opening event 6 – 8pm Thursday 27 October

Phone +61 3 9913 8598 moderntimes.com.au

Composition #20, digital inkjet print on Canson Rag Photographique, 2021

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Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tues to Fri 10am–5pm, Sat and Sun 10am–4pm.

Petrina Hicks, Hercules, 2021, pigment ink-jet print, 100 x 123 cm. Courtesy of the artist and Michael Reid Gallery (Sydney). 29 September—13 November Bowness Photography Prize Over the last 16 years, the Bowness Photography Prize has emerged as an important annual survey of contemporary photographic practice in Australia and one of the most prestigious prizes in the country. In 2005 the MGA Foundation was established with the aim of supporting MGA and its significant collection, as well as its unique commitment to photographic art and in 2006 initiated the inaugural William and Winifred Bowness Photography Prize to promote excellence in photography and support contemporary artists working in the medium. Award announcement Thursday 6 October.

Marian Drew, John Bertram Eaton, Peter Elliston, Stanley W Eutrope, Joyce Evans, Anne Ferran, Robert Fielding, Murray Fredericks, Viva Gibb, Tom Goldner, John Gollings, Peter Jarver, John Kauffmann, Charles Kerry, Henry King, Katrin Koenning, Ruth Maddison, Danie Mellor, David Moore, Jack Morrison, Rebecca Najdowski and Vivian Cooper Smith, Terry Naughton, Trent Parke, Jon Rhodes, Jo Scicluna, Wesley Stacey, Samuel Sweet, David Tatnall, Brian Thompson, James Tylor, Ingeborg Tyssen, Gordon Undy, Amanda Williams, and Laurie Wilson. Landscape as a subject has persisted through art history, but perspectives on it have shifted through time, just as attitudes towards Australia’s landscape have varied considerably throughout recent history. Seeing through the lenses of over 40 photographers, including colonialists of the 1870s and contemporary artists working today, Return to nature considers the Australian landscape in its many forms. From nature as something to conquer, to something to protect, this exhibition encompasses a range of approaches to landscape, including an enduring sentiment held by First Nations people that there is no separation between humans and the natural world, rather there is interconnection and interdependence.

www.artdes.monash.edu/gallery Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Wed to Fri 10am–5pm, Sat 12noon— 5pm during exhibitions. Free entry. 6 October—22 October One Vast Library (Part 3) Curated by Tim Riley Walsh, the inaugural curator in residence at Monash Art, Design & Architecture (MADA).

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

Return to nature includes key works from MGA’s significant collection of Australian photographs, as well as a new iteration of ‘Interference pattern’ (2018– ) by Rebecca Nadjowski and Vivian Cooper Smith, a vast and vibrant exploration of what it means to make photographs with the landscape rather than of it. Curators: Stella Loftus-Hills and Pippa Milne.

Monash University Museum of Art – MUMA www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] muma@monash.edu 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission.

Great-grandmother Barka, 2021, pigment ink-jet print, crayon, pencil 80.0 x 80.0 cm. Monash Gallery of Art, City of Monash Collection acquired 2022. Courtesy of the artist and Michael Reid Gallery (Sydney). 8 July—18 September Return to nature Micky Allan, Bruce Attwell, Narelle Autio, Charles Bayliss, Mervyn Bishop, Edward Burtynsky, Nicholas Caire, John Cato, Harold Cazneaux, Peta Clancy, Nici Cumpston, Norman Cathcart Deck, Peter Dombrovskis,

Monash University MADA Gallery

Tiger Yaltangki, AC/DC, 2021, (detail), acrylic paint on paper and found poster. Courtesy of the artist and Alcaston Gallery, Melbourne. 13 August—27 November 2022 National Works on Paper National Works on Paper supports and promotes contemporary Australian artists working on or with paper. This diverse exhibition provides a survey of what’s happening in contemporary art across Australia today. Traditional approaches to working with paper are explored alongside works that incorporate new technologies, pushing the boundaries of the medium and expanding our appreciation of what working with and on paper can be. Visit the website to see the list of finalists.

National Gallery of Victoria—The Ian Potter Centre NGV Australia Judy Watson and Helen Johnson, The red of history: loose ends. Installation view, National Gallery of Australia, Kamberri/Canberra. 10 September—12 November The red thread of history, loose ends Judy Watson and Helen Johnson

www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. 143

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Thurs - Sat . 10 - 4pm . 76 Main Rd Hepburn Vic 3461 . radiusart.com.au 144

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VICTORIA 24 August—17 September Two places at once Angela Brennan

National Gallery of Victoria continued... 17 March—23 October Top Arts 2022

Tiger Palpatja, Wanampi Tjukurpa, 2007, synthetic polymer paint on canvas, 152 x 101.5 cm. National Gallery of Victoria, Melbourne Purchased, NGV Supporters and Patrons of Indigenous Art, 2007. © Tiger Palpatja, courtesy of Tjala Arts. 15 April—29 January 2023 Indigenous Art from the NGV Collection

Yvonne Kendall, Light Form - Coral Reef, 2015, glass light fixture and textiles, 27 x 41 x 31 cm. Pablo Picasso, Woman in an armchair ( Femme dans un fauteuil ) summer, 1927, oil on canvas, 130 x 97 cm. Musée national Picass – Paris Donated in lieu of tax, 1979 © Succession Picasso/Copyright Agency, 2022. Photograph: © RMN – Grand Palais (Musée national Picasso – Paris) / Adrien Didierjean.

24 August—17 September Yvonne Kendall

10 June—9 October The Picasso Century

Rick Amor, Self Portrait with Red Canvas, 2021, oil on canvas, 126 x 148 cm. Photograph: Mark Ashkanasy, Melbourne.

Tim Maguire, CMY Dice Abstract 1, 2021, from the CMY Dice Abstracts 1-10 series 2021, colour photopolymer intaglio, ed. 1/10 47.8 x 47.8 cm (image and plate), 58.5 x 57.5 cm (sheet), printed by Martin King and Simon White at Australian Print Workshop, Melbourne, co-commissioned by the National Gallery of Victoria and the Australian Print Workshop. Victorian Foundation for Living Australian Artists, 2021. © Tim Maguire. 13 May—11 September New Australian Printmaking 7 October—29 January 2023 The Global Life of Design October—29 January 2023 The Rigg Design Prize 2022 21 October—29 January2023 The London Drawings Fred Williams

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

Pablo Picasso , The bay of Cannes (La Baie de Cannes), 1958 , oil on canvas, 130 x 195 cm. Musée national PicassoParisDonated in lieu of tax, 1979. © Succession Picasso/Copyright Agency, 2022. Photograph: © RMNGrand Palais (Musée national Picasso-Paris)/Mathieu Rabeau. 10 June—9 October Making Art: Imagine Everything is Real 27 August—12 June 2023 Jewellery and Body Adornment from the NGV Collection 30 September—23 April 2023 Broken Spectre Richard Mosse 6 October—January 2023 MECCA x NGV Women in Design Commission: Tatiana Bilbao

21 September—15 October Rick Amor

Old Quad www.about.unimelb.edu.au/oldquad/exhibitions Building 150 (Parkville Campus) The University of Melbourne, Parkville, VIC 3053 [Map 5] 03 9035 5511 Tue to Fri 10am–4pm, Sat 11am– 4pm. See our website for latest information.

15 October—20 February 2023 China – The past is present

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

James Nguyen, An Australian national song, 2022, production still. 27 September—30 June 2023 Collective Unease Andy Butler, Lisa Hilli and James Nguyen. 145

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PG Gallery → Jim Pavlidis, Lake Road, oil on linen, 30 x 60 cm. researchers and communities actively engaging with contemporary art.

PG Gallery www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

Karina Utomo at Dark Mofo 2022 (KILAT performance still). Photograph: Nathan Goldsworthy.

30 August—13 September Bin Night Jim Pavlidis Every week our rubbish bins go out. A snapshot of life during the past seven days, the debris is sorted into bins with red lids and yellow lids. Once they’re emptied, the week begins afresh. Questions regarding ethical matters such as consumption and waste are best left for another day. Opening 1 September, 5.30pm–7.30pm. 20 September—3 October Drawings: Big and Small Phil Day Phil Day invited Cassandra Atherton & Paul Hetherington to edit an international collection of contemporary prose poems. Upon completion the editors invited Phil to make some drawings for the final book. Instead, he made a drawing for every poem—resulting in over 100 hundred drawings. This exhibition will also feature the launch of the international anthology—Alcatraz (published by Life Before Man)—which will be made available at PG gallery before it’s official release date. Opening 22 September, 5.30pm–7.30pm. 4 October—24 October Michael Leunig - Paintings and Prints Celebrated cartoonist, painter and philosopher Michael Leunig brings to life joyous

Michael Leunig, Saturday Afternoon, acrylic on canvas, 60.5 x 46 cm. and relatable stories that comment on the fragile ecosystem of human nature and its relationship to the natural world. This exhibition showcases recent paintings and etchings by Michael Leunig.

Project8 Gallery www.project8.gallery Level 2, 417 Collins Street, Melbourne VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. See our website for latest information A new contemporary art space dedicated to promoting speculative poetic and material innovation through exhibitions and related events. Project8 is committed to the promotion and development of discursive exchange, collaboration and partnerships between Australian, Chinese and international artists,

9 September—22 October Music as Image Lewis Gittus, Lucreccia Quintanilla, Ilmar Taimre, Masato Takasaka, Karina Utomo and Justene Williams.

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

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery COVIDSafe policies and restrictions. 147

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Jude Worters, Malajusted (Hiding), 2021, Digital photograph. Photography by Gary Moore. 21 September—10 December Archives of Feeling: Trauma, Knowledge, Empathy Spanning RMIT Gallery and RMIT Design Hub Gallery, this exhibition imagines new ways of sharing the felt dimensions of trauma. Artists include Rushdi Anwar, Peta Clancy, Maree Clarke, UNSW fEEL Lab, Julie Gough, Jenny Hickinbotham, Brian McKinnon, Dominic Redfern, Mariela Sancari, T Collective (Simon Crosbie, Mig Dann, Yi-Won Park, and Jude Worters), Julie Watkins and more. Collectively produced by Kelly Hussey-Smith, Grace McQuilten, Helen Rayment and Andrew Tetzlaff, with the support of Jill Bennett, Renata Kokanovic and a community advisory.

RMIT Design Hub Gallery www.designhub.rmit.edu.au RMIT Building 100 (lv 2), Corner Victoria and Swanston Streets, Carlton, 3053 [Map 2] 03 9925 1717

Spanning RMIT Gallery and RMIT Design Hub Gallery, this exhibition imagines new ways of sharing the felt dimensions of trauma. Artists include Che-Wei Chen, the Children’s Sensorium (Fiona Hillary, Heather Hesterman, Philip Samartzis, Anna Schwann, and Hiromi Tango, with artistic direction from Boonwurrung elder N’Arweet Carloyn Briggs, with public programming by Tamara Borovica, Angela Clarke, Aunty Vicki Couzens, Larissa Hjorth and Camilla Maling, and with designer Anthony Clarke), Ngaanyatjarra Pitjantjatjara Yankunytjatjara Women’s Council Aboriginal Corporation, the Nurses and Midwives Art Exchange (works by nurses and midwives who have worked through the pandemic accompanied by works created by local artists, with public programming by Ruth De Souza) and Thembi Soddell. Collectively produced by Kelly Hussey-Smith, Grace McQuilten, Helen Rayment and Andrew Tetzlaff, with the support of Jill Bennett, Renata Kokanovic and a community advisory.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm. Until 20 October Liquidarium: Vera Moller Until 19 February 2023 Social Ceramics: A SAM Collection Show

Alan Griffiths (b. 1933), Walking Goongoolooloo Country, c. 2008, natural ochres on canvas, 130 x 125 cm. An Old Landscape Through New Eyes: Indigenous works from the Wesley College Collection Collected over 15 years nearly all of these pictures in this exhibition have been donated to Wesley College through the generosity of former students. The exhibition is a visual description of one of the oldest landscapes, as seen and described by our First Nations artists, a people who have lived here for over 60,000 years. Surveying the exhibition, you might consider works through the lens of different styles including Abstract, Post-Colonial, Ethnographic, Contemporary or even Naif style. There are elements of these styles in all the works but what they have in common is a desire to tell the story of their connection to the sometimes harsh country that has sustained them. The artists include; George Ward Tjungurrayi, Paddy Fordham Wainburranga, Freddie Timms, Boxer Milner, Paddy Fordham plus others.

Kaleidoscope, SAM collection exhibition image, 2022, Shepparton Art Museum. Photograph: © Shepparton Art Museum. 23 July—29 January 2023 Kaleidoscope: Ceramics from SAM Collection 13 August—4 December 2022 Indigenous Ceramic Art Award 17 September—27 November 500 Strong Ponch Hawkes

Sofitel Melbourne on Collins Hiromi Tango, Art Magic Remnant, 2015, Lismore Regional Gallery. Photograph: Dean Beletich. Image courtesy of the artist and Sullivan+Strumpf. 19 August—8 October Archives of Feeling: Sensation, Connection, Community

www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 1 July—26 October Sofi’s Lounge, Level 1, 8am–8pm:

Gosia Wlodarczak, Situations Sofitel Melbourne, Seamstress, 2012, 30-minute performance drawing intervention at the workings of the seamstress department, ink on paper, 29.7 x 21 cm. Photograph: Longin Sarnecki. 1 August—1 December Level 35, Atrium Gallery, open 24 hours: Situations Sofitel Gosia Wlodarczak This exhibition by Melbourne artist Gosia Wlodacrzak is a series of intimate drawings—30 minute each—on paper which document a journey of the artist when she was resident in the hotel for an arts project in 2012. The drawings document the back of house, the reality of life which guest do not see in an international five-star hotel. 149

Myth Making Kate Rohde & Troy Emery 16 July – 20 November 2022

Horsham Regional Art Gallery open daily 10am - 4pm horshamtownhall.com.au

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Image: (Gallery view) Troy EMERY Nugget, 2022, on Kate ROHDE Golden grains table #2, 2022 with Kate ROHDE Nature wallpaper, 2022. Courtesy of the artists. Photo by A.K. Media.

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Stephen McLaughlan Gallery www.stephenmclaughlangallery. com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment. See our website for latest information. 24 August—10 September Craig Barrett

3 September—8 October what a shadow feels like Daniel Boyd, Heather B. Swann, Dean Cross, Nell and Brent Harris

13 August—18 September Room for Growth Kirsten Perry

Curated by Ellinor Pelz.

22 October—27 November Cecilia Fogelberg

15 October—12 November Paintings The Lord Taught Us Manuel Ocampo

22 October—27 November Laetitia Olivier-Gargano

15 October—12 November The Reunion of Broken Parts Yevgeniya Baras

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

Stephen McLaughlan, Cubic Desiccation, photo collage, 200 x 200 cm. 14 September—1 October Vacated Subject Curated by Robert Mangion and Aaron Martin 5 October—22 October The Present Negative Curated by Emidio Puglielli

STATION

Mark Rodda The Duo, 2022, synthetic polymer and oil on canvas 41 x 36 cm. 13 August—18 September Meander Glade Mark Rodda

www.stationgallery.com.au

Sean Payne, Boneland VIII, 2020, watercolour, charcoal and pastel 85 x 57 cm.

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

Dianne Fogwell, Dark Water, 2022, linocut and pigmented ink printed on Hanji paper, 146 x 150 cm.

Pip Ryan, Treading Water, 2022 watercolour, gouache, pencil on paper, framed 29 x 19 cm (paper size). Heather B. Swann, I will not remember your name, 2018, performance, Tokyo. Courtesy the artist and STATION.

13 August—18 September Tongue-Tied Pip Ryan

2 September—20 November Swan Hill Print & Drawing Acquisitive Awards See award-winning prints and drawings. More than 300 entries were received for this year’s National Print and Drawing Acquisitive Awards, from some of Australia’s finest contemporary artists. 151

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Through hyperreal images of verdant forests alongside detailed studies of insects, botany, birds and geology, Above the Canopy acknowledges the significance of Country and our need to care for it.

Our expert judges have chosen 53 finalists, which will be on display. Opening night, enjoy drinks and finger food with some of the artists, judges and local art enthusiasts, and hear the winners of the $16,000 announced. The Riverboat Quintet will be performing. Open to one and all, we look forward to seeing you there. Saturday, 3 September at 11am there will be coffee and walk through the exhibition with the judges—Vanessa Gerrans Chief Executive Officer of Ballarat International Foto Bienale (former Gallery Director of Warrnambool Art Gallery) and Dr. Thomas A. Middlemost Art Curator, Charles Sturt University Art Collection.

TarraWarra Museum of Art www.twma.com.au

Tolarno Galleries www.tolarnogalleries.com Sonia Leber and David Chesworth, Where Lakes Once Had Water, (video still), 2020. 2-channel 4K UHD video, stereo audio, 28:24 minutes. University of Wollongong Art Collection. CABAH Art Series Commission in partnership with Bundanon. Filmed on the lands and waters of the Mudburra, Marlinja, Jingili, Elliot, Jawoyn and Larrakia communities in Northern Territory, Australia, with additional filming and editing on Barkandji, Dharawal, Djabugay, Yidinji and Wurundjeri Country. 30 July—13 November Sonia Leber and David Chesworth: Where Lakes Once Had Water

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

Curated by Victoria Lynn.

TarraWarra Museum of Art is a public gallery situated in the Yarra Valley, Victoria. Through a program of adventurous and inventive Australian and international art exhibitions, the Museum actively engages with art, place and ideas, presenting unexpected links between contemporary art and modernism within global, national and Indigenous contexts.

360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information.

Town Hall Gallery www.boroondara.vic.gov.au/arts

Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information. 27 August—24 September Monkey Business Brent Harris 1 October—22 October Out of Interest Dan Moynihan

The Victorian Artists Society www.vasgallery.org.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 1pm–4pm, during exhibitions. 2 August—29 September Faces of VAS Portraiture Exhibition 2 September—29 September Favourites Old and New Walter Magilton 8 September—12 September Gregory R. Smith VAS FVAS

Mandy Martin, Romantic Coastal Landscape, 1986. TarraWarra Museum of Art collection. Gift of Eva Besen AO and Marc Besen AO.Donated through the Australian Government’s Cultural Gifts Program 2013.

Catherine Nelson, Gully, 2014, pigment print, edition of 3, 150 x 188 cm. Image courtesy of the artist and Gallerysmith, Melbourne.

30 July—13 November Rhythms of the Earth: Selected Works from the TarraWarra Museum of Art Collection Includes works by Emily Kame Kngwarreye, Clifford Possum Tjapaltjarri, Angelina Pwerle, Judy Watson, Fred Williams, John Olsen, Mandy Martin, Brett Whiteley, Arthur Boyd, Godfrey Miller, Russell Drysdale, Robert Juniper and Jeffrey Smart.

Above the Canopy is a major group exhibition at Town Hall Gallery celebrating the rich and diverse beauty of the Australian natural environment.

Curated by Victoria Lynn.

9 July—24 September Above the Canopy

Nature has inspired artists across millennia; they have captured its beauty, documented the impacts of changing weather patterns, and commented on unsustainable human practices. This exhibition conveys the grandeur of nature while exploring concerns for climate action and the need to protect the planet for future generations.

Jennifer Fyfe, Dance of the Bricole, oil, Winner 2019. 9 September—26 September VAS Spring Select Exhibition 2022 15 September—26 September VAS Country Members Exhibition 2022 29 September—10 October Melbourne Society of Women Painters & Sculptors—Changing Perspectives 2 October—24 October Jo Reitze VAS FVAS 13 October—24 October Mark Bagally 153

Aak Puul Aak Puul Art from the Wik & Kugu Region

15 Sep – 2 Oct 2022 15 Sep – 2 Oct 2022

Art from the Wik & Kugu Region

Bruce Bell, Bevan Namponan, David Marpoondin, Devena Wikmunea, Janet Koongotema, Bruce Bell, BevanLeigh Namponan, DavidLeo Marpoondin, Devena Wikmunea, Janet Koongotema, Keith Wikmunea, Namponan, Namponan, Lex Namponan and Roderick Yunkaporta Keith Wikmunea, Leigh Namponan, Leo Namponan, Lex Namponan and Roderick Yunkaporta Brunswick Street Gallery & Stockroom Brunswick Street Gallery & Stockroom Level 1 & 2, 322 Brunswick Street Wurundjeri Fitzroy VICStreet 3065 Level 1 &Country, 2, 322 Brunswick www.brunswickstreetgallery.com.au Wurundjeri Country, Fitzroy VIC 3065

www.brunswickstreetgallery.com.au Image: Ku’ Warpung Camp Dog, Leo Namponan, ochre on wood. Courtesy Wik & Kugu Arts Centre Image: Ku’ Warpung Camp Dog, Leo Namponan, ochre on wood. Courtesy Wik & Kugu Arts Centre

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machine made by students from the King Valley Cluster Schools.

14 October—24 October VAS Art School & Tutor Exhibition 2022

17 September—3 November Untitled 001 Ryan Andrew Lee

27 October—7 November Art Academica

Conceptual new media artist Ryan Andrew Lee explores alternative ontologies and epistemologies that are strongly informed by vFirst Nations people, and community.

27 October—7 November Polish Art Foundation—BORDERS 27 October—7 November VAS Drawing Exhibition 2022

21 September—14 December What Lies Beneath Sarah Maslankiewicz

VOID Melbourne www.voidmelbourne.org Level 2, 190 Bourke Street, Melbourne, VIC 3000 [Map 2] 0420 783 562 Thur to Sat 12noon–5pm or by appointment. Closed until 15 October. See our website for latest information.

James Little. Image courtesy of the artist. 22 October—19 November Reaching inside my insides inside my insides inside my insides inside my insides inside my insides inside my insides James Little

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. 20 August—30 October Heliocentric Cameron Robbins An exhibition of recent work by artist Cameron Robbins exploring the dynamics of natural landscape energies—solar, hydro, wind, geomagnetism—with sculptural drawing instruments and their outputs in drawing and long exposure photography. 6 August—11 September Spark Kids

22 September—15 October Offsite

An exhibition including solargraph prints, wind drawings, sculpture, a single channel video and a human powered drawing

A series of new works by Sarah Maslankiewicz continuing her experimentation with photographing the human form in water; the writhing bodies, refracted light and swirling fabrics suggest paintings by old masters.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov. au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm. See our website for latest information. Walker Street Gallery is the home of contemporary art in the City of Greater Dandenong and presents a series of exhibitions throughout the year, both curated exhibitions and hire ones. Exhibitions, installations and displays of art works are also held at cultural and community venues across the city, including the Walker Street Gallery and Arts Centre, Heritage Hill, Drum Theatre, Greater Dandenong Libraries and Paddy O’Donoghue Centre. Dandenong New Art (DNA) is due to be completed in early 2023. 16 August—29 September Captured

Wangaratta Art Gallery → Cameron Robbins, Solar Drawing Linear Day, February 2022, silver ink on hand painted watercolour paper. © Cameron Robbins. 155

Bree Cribbin, Clementine Maconachie and Kasper Raglus

Desire

15 – 27 September 2022 311 Smith Street Fitzroy Phone +61 3 9913 8598 moderntimes.com.au

Opening event 6 – 8pm Thursday 15 September

Left to right: Bree Cribbin Dancing Shadow, ceramic sculpture, 2022, Kasper Raglus Overcome, oil on marine ply, 2022, Clementine Maconachie Mulberry, hand painted aluminium, 2022

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along with the reactions of those who he encounters via his GoPro. While Giordano Biondi offers clay models of imagined cities expressed through the peculiarity of its architecture, whereas the bold palette of Amaya Iturri demonstrates the possibility of transforming perception of place through colour. Together, they provide a method of recording this place: City of Greater Dandenong.

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

Steven Cybulka, Tenebroso, 2021.

Curated to inspire, intrigue and challenge, the exhibitions at Artspace contain something for everyone. The gallery was established in 2007 and now holds an annual exhibition program, showcasing work from the Whitehorse Art Collection and artists who reside within Victoria. Located inside the Box Hill Town Hall, entry to the Artspace gallery is free.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information. 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 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.

In the exhibition Captured, three contemporary artists: Steven Cybulka, Emme Orbach and Noah Spivak explore the materiality of industry. As artists, they are all process driven and allow their respective mediums to determine the outcome. This exhibition records accurately industry in a moment of time.

Jeff Gardner, Kangaroos and Clouds. © The artist 1 September—15 October Kangaroo Clouds and Cotton Ducks Jeff Gardner

Amaya Iturri, Liquidnails, 2022. 11 October—18 November Surveyed We look, but we do not see. Ordinary streets are passed, change occurs without us registering or absorbing its impact. How we adapt and change to the ever changing environment is the underpinning premise behind the exhibition Surveyed. Artist Harley Manifold shall meander the streets of our municipality and record en plein air: ordinary scenes,

A talented printmaker, painter, poet and maker of artist books, Jeff Gardner’s artwork delivers a sprinkle of whimsy. Growing up in Melbourne’s eastern suburbs, soon out of 1980’s Art school, Jeff Gardner bought his first etching press and began making mono-prints. The process of drawing and printing evolved into a highly personal and poetic narrative which carries through to this day.

Regina Jose Galindo, Guatemala feminicida, Ciudad de Guatemala, Fotos Jose Oquendo, 2021. 24 August—16 October ISTHMUS Guest curated by Dr Tania Cañas. As a narrow landmass that connects two larger landmasses and bodies of water, isthmus is a term that has become synonymous with Centroamérica. Exhibiting artists include Sabino Esteban Francisco, Leonel Alvarado and Rómulo Castro García, Regina José Galindo, The Fire Theory, Shirley Campbell Bar, Luis Gonzalez Serrano, Lucreccia Quintanilla,

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A–Z Exhibitions

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New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

NEW S OUTH WALES

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment. 16albermarle is a gallery and project space that provides Australian audiences with the opportunity to see and learn about contemporary art from southeast Asia. It is directed by John Cruthers in partnership with Sam Cruthers and managed by Tommy Carman.

4A Centre for Contemporary Asian Art

which Boyd holds a lens to colonial history, explores multiplicity within narratives and interrogates blackness as a form of First Nations’ resistance.

www.4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 Reko Rennie, No sleep till Dreamtime, 2014, Art Gallery of New South Wales. © Reko Rennie, courtesy of the artist and Blackartprojects. Until January 2023 Local Rhythms and Actions Jointly curated by the Art Gallery of New South Wales and eleven residents from Woolloomooloo, Local Rhythms and Actions is the first exhibition in our Open Studio program, which offers new insights into the Gallery’s collection. Until January 2023 The Aquilizan Studio Making it Home

Ramesh Mario Nithiyendran, Multi Limbed Guardian, earthenware, 74 x 50 x 38 cm. Photograph: Simon Hewson. 13 August—2 October No False Idols Otis Hope Carey, Lu Yang, Jazz Money, Ramesh Mario Nithiyendran, Nabilah Nordin, Kusum Normoyle, Kawita Vatanajyankur. Wawi Navarroza, Self-portrait for my grandfather, the Photographer, 2007, archival digital C-print,61 x 45.7 cm. 20 August—15 October Our Grandfather Road: The (gendered) body and place in contemporary southeast Asian art Artists include IGAK Murniasih, Arahmaiani, Maria Indriasari, Restu Ratnaningtyas, Fitri DK, Maharani Mancanagara, Sekarputri Sidhiawati, Olga Rindang Amesti, Citra Sasmita and Ipeh Nur Beresyit (Indonesia); MM Yu and Wawi Navarroza (the Philippines); Bussaraporn Thongchai and Kasarin Himacharoen (Thailand); Soe Yu Nwe and Emily Phyo (Myanmar) and Sam Lo (Singapore). Drawn from a Sydney private collection of southeast Asian art, Our Grandfather Road focuses on the gendered dimension of art from the region. Bringing together the works of seventeen artists—sixteen women and one non-binary—the exhibition spotlights a diversity of artistic practices, each testing the very definitions and categories of gender and place which appear to bind them together. Yet, from this polyphony of voices, shared concerns emerge. Offering a platform for expression, Our Grandfather Road extends an invitation to reflect on questions of femininity, identity and the body in relation to its physical environment, while exploring the forms of activism and resistance taking root in contemporary Southeast Asian art.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

Alfredo and Isabel Aquilizan are creating one of their impressively scaled cardboard sculptures for the opening of the Art Gallery of New South Wales’ expanded building in late 2022. In a project titled Making it Home, selected school and community groups have been invited to create their own cardboard ‘dream homes’, which may become part of the Aquilizans’ sculpture and its new speculative neighbourhood.

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

Daniel Boyd, Untitled (PI3), 2013, private collection, Bowral. © Daniel Boyd. Photograph: Jessica Maurer, courtesy the artist and Roslyn Oxley9 Gallery, Sydney. Until January 2023 Daniel Boyd: Treasure Island Treasure Island is the artist’s first major exhibition to be held in an Australian public institution. Featuring more than 80 works from across his nearly two-decade career, the exhibition unpacks the ways in

Janet Parker Smith, Tend the Garden, 2022, digital print from collage . 159

ar t g ui d e .c o m . au Art Space on the Concourse continued... 1 September—2 October Cities Foretold Louise Allerton, Tracey Clement, Kalanjay Dhir, ek.1 (Emma Hicks and Katie Louise Williams), Zachariah Fenn, Sarah Fitzgerald, Karen Lee, and Janet Parker-Smith. Cities Foretold is a Willoughby City Council curated exhibition which reimagines the Chatswood CBD and the future of all cities in general. Cities are places where we converge, live, work and connect. As the world faces unprecedented rates of urban expansion, we need to create a new vision for the cityscape. Featuring installation, sculpture, printmaking, drawing, video, technology-based art and temporary public art, this group of artists re-think the role of cities in the future. The exhibition also includes a community-based program, the Emerge Willoughby Map Project. Join artist Janet Parker-Smith for weekend drop-in workshops to learn about printmaking and to contribute to a bas relief version of the Emerge Willoughby Map. 5 October—16 October Embellished Robyn Kennedy Embellished explores Robyn Kennedy’s enduring passion to embellish and beautify artworks, objects and wearable art. The exhibition includes artworks crafted from recycled contemporary textiles, aged cloths, papers from Asia and photographic images. Kennedy’s intention is to present a contemporary decorative art form which simultaneously acknowledges the past, embraces multi-cultural diversity and delights and inspires her viewers.

Australian Galleries

Entry by donation. See our website for latest information.

www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. See our website for latest information.

Naoko Takase, Touch, 2021. Photograph: courtesy of the artist. Until 28 September Profile: Contemporary Jewellery and Object Award

Graeme Drendel, Tube, 2022, oil on canvas, 56 x 46 cm. 16 August—4 September Graeme Drendel 16 August—4 September Something Old, Something New Michael Fitzjames

A diverse group of 73 contemporary jewellers and object designers consider concepts from the personal to topical with work crafted across a wide material range from precious gold to plastic waste. This exhibition is presented in partnership with the Jewellery and Metalsmiths Group of Australia, NSW. 14 September—24 September External Review Tom Fereday in collaboration with AHEC. External Review is an explorative exhibition by Australian designer Tom Fereday which follows and celebrates the entire design process from materials to product. Presented by the Australian Design Centre in collaboration with Evostyle, Swiss Design and the American Hardwood Export Council, as part of Sydney Design Week.

Michael Fitzjames, Towards the escarpment, Kanimbla, 2022, oil on linen, 61.5 x 76.5 cm. Marcus Reubenstein, Fleeting Glance (Henan Province), 2018, photograph.

15 September—2 October Michael Snape

19 October—30 October CHINA Moments in Time Marcus Reubenstein

15 September—2 October Cathy Weiszmann

Over a period of ten years, Marcus Reubenstein travelled to more than 30 cities across China, capturing candid images of ordinary Chinese people both in traditional and modern settings. The artist’s hope is to capture moments in such a way as to prompt the viewer to consider the individual subjects against the backdrop of an enormous country of 1.4 billion people.

11 October—30 October Rodney Pople 11 October—30 October Richard Tipping

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm.

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Tom Moore, Party Wizard, 2021. Photograph: Grant Hancock. 7 October—16 November FUSE Glass Prize FUSE Glass Prize is Australasia’s foremost

NEW S OUTH WALES prize for Australian and New Zealand glass artists. This exhibition is presented as part of Sydney Craft Week Festival in partnership with the JamFactory. 7 October—16 November Seed Stitch Contemporary Textile Award Seed Stitch Contemporary Textile Award highlights the ideas, materials and processes explored by textile and fibrecraft artists based in NSW and ACT. This exhibition is presented as part of the Sydney Craft Week Festival.

Bank Art Museum Moree (BAMM) www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm. See our website for latest information.

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 11am–2pm, Closed Mon. See our website for latest information.

Blue Mountains City Art Gallery www.bluemountainsculturalcentre.com. au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply.

The design of the gallery allows for the programming of three to four exhibitions at one time, with an exhibition changeover every six to ten weeks. There are eight exhibiting spaces totalling 395 square metres and 180 running metres.

Yvette Hamilton, Transit 2022 Production still from four channel video work. 13 August—2 October Space, Time, Light Yvette Hamilton

BAMM is a regional art institution with a difference. For thirty years we have worked to enhance the cultural life of Moree with a changing schedule of exhibitions that educate, challenge, and delight our local audience and visitors to the region. We care for and develop our permanent collection and currently hold the most significant collection of Aboriginal paintings in regional NSW.

Space, Time, Light is an exhibition of new works by Blue Mountains artist Yvette Hamilton, based around her recent artist residency where she researched the Transit of Venus observation at Woodford Academy that occurred in 1874. A Blue Mountains Cultural Centre Exposé Program exhibition. 10 September—16 October Work/Play Vicky Browne

Linda Jackson. Photograph: Hugh Stewart.

Franca Barraclough, Go Feral, 2019, audio visual, dimensions variable. 19 August—8 October The Visitors Franca Barraclough The Visitors is a powerfully evocative exhibition by long time Alice Springs based artist, Franca Barraclough, that grapples with the conundrum that living in the desert throws into high relief but that is also in play across the nation. Well known and much loved for her performance-based community engagement projects, here Barraclough turns her inimitable creative energy to the realisation of a series of monumental photographic images and immersive audio-visual experiences.The Visitors’ project enables the Australian audience to glimpse the majesty and beauty of Central Australia.

This exhibition explores our relationship to the actions of making and experiencing through the lens of being ‘at play’. A Blue Mountains City Art Gallery exhibition

Uluru, 1981. Photograph: Linda Jackson. 13 August—30 October Romance of the Swag Linda Jackson Romance of the Swag celebrates the creative life of iconic Australian artist Linda Jackson. An itinerant traveller, Jackson’s work has always drawn inspiration from place from the black opals of Lightning Ridge, to the billabongs and boabs of the Kimberley Coast, to the tropical flora and fauna of Far North Queensland, and the waratahs of the Blue Mountains region. Romance of the Swag explores four decades of the artist’s practice, charting her travels through painting, fabric, and fashion, all steeped in the symbolism, colours, and textures of the Australian landscape. A BRAG Exhibition, curated by Virginia Handmer.

Adrienne Richards, Bionarrative Shards (horizontal) 2022, glazed stoneware and porcelain, dimensions variable. Image courtesy of the artist. 8 October—27 November The Way We Live Now Adrienne Richard The Way We Live Now uses drawing and ceramics to explore the concept of ‘Bio history’—the study of human situations, past and present, against the backdrop of life on Earth. A Blue Mountains Cultural Centre Exposé Program exhibition. 22 October—4 December The Archibald Prize 2022 Regional Tour The Archibald Prize is an Art Gallery of New South Wales touring exhibition. Presenting partner ANZ. 161

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Broken Hill City Art Gallery www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444

Art Museum. Curated by Barry Pearce, with works drawn from the Bundanon Collection, the exhibition explores a lifetime of landscape paintings by Arthur Boyd.

1 September—24 September Epoch Harry McAlpine Mistints Tanya Linney

2 July—6 November The Hidden William Barton and Tim Georgeson The Hidden is an immersive work of sound and vision, created in residence at Bundanon by composer and musician William Barton and filmmaker and artist Tim Georgeson. This new commission, filled with striking images of shadows and light, didgeridoo and voice, resonates with spirits evoked from the natural world. Rodney Adams, 2022, texture on canvas, 61 x 91.5 cm. 29 September—22 October Jason Phu Rodney Adams

Dias Prabu, Give me your power, I give you the love, batik drawing with synthetic dyes and paint on fabric, 2021. 5 August—25 September Flowing Lifelines Dias Prabu 5 August—25 September 30 Years of Printmaking Rona Green 8 July—12 February 2023 returning to a subject through a lifetime - Part Two

Bundanon www.bundanon.com.au Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 See our website for latest information.

Chau Chak Wing Museum Ben Brown, Black Cockatoos, 1998, synthetic polymer paint on canvas, University of Wollongong Art Collection. 2 July—6 November The River and the Sea Uncle Ben Brown (Reuben Earnest Brown) The River and the Sea is a small survey of the paintings of artist Uncle Ben Brown (Reuben Earnest Brown 1928–2009), who was making work at a similar time to Boyd. A strong local advocate for Indigenous connection to culture, Brown depicts animals, birds, trees and the built environment with vibrant colour and joy.

www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Mon to Fri 10am–5pm, Weekends 12noon–4pm.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 11am–6pm. Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units. Power Collection. PW1967.22.a-b. Until 27 November Light & Darkness

Arthur Boyd, Peter’s fish and crucifixion, 1993, oil on canvas, Bundanon Collection. 2 July—6 November Landscape of the Soul Arthur Boyd This exhibition returns to Bundanon to complete its national tour at the new 162

Tanya Linney, Seen and Not Seen, 2022, synthetic polymer paint on poly-cotton, 137 x 167 cm.

This evocative theme unites 70 artworks from the Power Collection, exploring luminosity, colour, movement, race and politics across three decades of late modernism. Light & Darkness is a major exhibition drawing on the University of Sydney’s Power Collection. It spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and

NEW S OUTH WALES 24 September—15 October Joe Furlonger

accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum. Entry is free and no bookings are required.

Opening Saturday 24 September, 3–5pm. 24 October—6 November Paddington Art Prize Exhibition of National Finalists Defiance Award 2022.

Cowra Regional Art Gallery

Darren Knight Gallery

www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. See our website for latest information.

www.darrenknightgallery.com

Rachel Ellis, Claret Ash, Bathurst, 2021, oil on linen on plywood.

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

Recent winners include Rachel Ellis (2021 – NSW), Zoe Young (2020 - NSW), Wendy Sharpe (2019 - NSW), Brian Robinson (2018 - Torres Strait), and Zai Kuang (2017 - Victoria).

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann. Wed to Sat 10am–5pm.

Esme’s dressing table (group of multiple pieces), 2017 (detail). 21 August—2 October Living Treasures: Masters of Australian Craft Prue Venables The works in this exhibition explore the significance of everyday objects through multiple sequences of forms in porcelain, with additional elements in metal and wood. The forms are simple and elegant, with a minimal colour palette and create a distinctive visual language. Venables work has shifted over the course of her career from decorated surfaces and utilitarian function to forms that merely suggest use and are devoid of overt surface decoration. The stillness evoked by her work belies its richness and complexity. A touring exhibition by the Australian Design Centre.

Defiance Gallery represents a varied and innovative stable of established Australian and international artists in both painting and sculpture, as well as talented newcomers to these fields, with a particular emphasis on the abstract. The Gallery’s stalwart support for sculpture has marked it as a leading Australian exhibition space for this form. Defiance also represents the estates of several of Australia’s most influential artists including those of Ian McKay and Roy Jackson.

Louise Weaver, Nature study (Bluebottle kiss) 2022. Synthetic polymer emulsion, iridescent pigment, Japanese kozo natural paper, cotton thread on linen 61 x 46 cm. 8 September—11 September Darren Knight Gallery at Sydney Contemporary

9 October—20 November Calleen Art Award 2022 Open to artists across Australia the Calleen Art Award is an acquisitive painting prize in any subject and style. The award was founded in 1977 by Mrs Patricia Fagan OAM and is made possible by the generous support of the Calleen Trust. The winner of the Calleen Art Award 2022 will receive $25,000 and the winning artwork will join the Calleen Collection at the Cowra Regional Art Gallery. A non-acquisitive People’s Choice Award of $1,000 is awarded at the end of the exhibition.

Peter Godwin, Studio Interior with Tawny Frogmouth Nesting, 2022, oil on linen, 76 x 76 cm. 27 August—17 September Peter Godwin

Noel McKenna, Fork, jug, 2021, oil on plywood, 16.6 x 17.1 cm. 24 September—22 October Group Exhibition

24 September—15 October Anita Johnson Opening Saturday 24 September, 3–5pm. 163

Margaret Olley Art Centre | 9 September 2022 – 12 March 2023

Margaret Olley (1923 – 2011) Delphiniums and cherries (detail) 1976 Private collection, courtesy Philip Bacon Galleries © Margaret Olley Art Trust

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.

Open Wed – Sun, 10am – 5pm DST | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au

gallery.tweed.nsw.gov.au

NEW S OUTH WALES

Fairfield City Museum & Gallery → re-member exhibition. Image by Document Photography.

Fairfield City Museum & Gallery www.fairfieldcity.nsw.gov.au/fcmg 364 The Horsley Drive, Smithfield, NSW 2164 02 9725 0290 Tue to Fri 10am–4pm, Sat 10am–2pm. We are amulti-award winning exhibition space and Fairfield City Council’s largest cultural facility. Throughout the year we offer a changing program of contemporary art, social history and community based exhibitions. 23 April—8 October Who Are You Wearing? Bringing together ten western Sydney fashion designers and brands. With a focus on slow fashion and sustainable practice, the exhibition considers the impacts of the fashion industry and celebrates the people behind the product. This project is presented in partnership with Western Sydney Fashion Festival and The Social Outfit. Collaborating designers: Armando, CHAINMAIL, Frika Activewear, Ilham A Ismail, Jasmine Khayat, Lakshmi Bee, Marky Atelier, Nicole Oliveria, Niza Khan, Public Island Society.

Join Fairfield City Museum & Gallery for a FREE interactive family friendly event at the Vintage Village celebrating History Week 2022. Expect dress ups, workshops and demonstrations—as well as live music, games, a community run barbecue, and a whole lot of fun. 22 October—15 April 2023 Shopkeepers Shopkeepers tells the stories of Fairfield’s drapers and bakers, barbers and butchers. It outlines the changing retail landscape and developing commercial centres where general merchants make way for specialty stores and suburban shopping malls.

Flinders Street Gallery www.flindersstreetgallery.com 61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment.

3 September Vintage Village Family Fun Day: History Week 2022

28 September—15 October Michael Bell Opening Saturday 24 September, 4pm–6pm.

Fine Arts, Sydney www.finearts.sydney 23 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9361 6200 Wed to Sat 12noon—5pm and by appointment. 13 August—1 October Behind the door Fiona Connor

9 July—29 October re-member Annukina Warda, DJ Gemma, Joanna Kambourian, Maissa Alameddine, Nazanin Marashian, Olivia Nigro, Zeina Iaali, and Marian Abboud. An exhibition that gathers artists with ancestral threads stitched within the South West Asia and North Africa region. Eight artists share their practices of ancestral re-membrance and embodied knowledge in a collection of newly commissioned artworks, inviting audiences to re-member alongside them. Curated by Nicole Barakat. Community event Saturday 15 October.

Michael Bell, Rain on my pizza parade, oil on canvas, 100 x 110 cm.

Gallery76 www.embroiderersguildnsw.org. au/Gallery76

Marina Finlay, Pieris, oil on X-ray paper. 31 August—17 September Flowers Marina Finlay

76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat and Sun 10am–2pm. Closed public holidays. 3 September—2 October Topophilia: a sense of belonging Helen MacRitchie 165

Gitte Backhausen, Must Be Dreaming, acrylic on canvas, 183 x 213 cm.

Martine Emdur Verdant Pearl

Subconscious Landscapes Martine Emdur : New Works Adventurous fromto present Twenty Twenty Six travels Gallery is proud Martine Emdur's new exhibition. This exhibition will just below awareness focus on Emdur's ongoing study of light and water Gitte Backhausen and the way it can provide respite from the chaos of the outside world.

11 October - 30 October

17 O'Brien Street Bondi Beach NSW 2026

02 - 31st August 0415 152 026

hello@twentytwentysix.gallery twentytwentysix.gallery

NEW S OUTH WALES Gallery76 continued...

27 August—10 September Lane Cove Art Award The annual Lane Cove Art awards exhibition featuring 200 works across various mediums, administered by Lane Cove Art Society and supported by Lane Cove Council. A Lane Cove Council event.

This new body of work, which is an experimental practice of painting, has developed from the wish to create beauty from the difficulties of a painful childhood. The artist is seeking to transfer grief and past trauma into a warm, love-filled experience. She wishes to become part of the natural movement from dark to light.

Helen examines her life in Scotland, Australia and England, reflecting on her feeling of home for each of these particular places. ‘Topophilia,’ more than simply a liking of a place, suggests a cultural connection, a sense of belonging.

Lloyd Rees (1899-1988), Untitled, circa late 1940s, pencil and conte on paper. Donated through the Australian Government’s Cultural Gifts Program by Alan and Janice Rees. Macquarie University Art Collection. Photography Effy Alexakis, Photowrite. 14 September—22 October Uncovered: Northwood, Lloyd Rees and Beyond

Leonie Andrews, Radiant X. 3 September—2 October ABANDON Leonie Andrews Throwing caution to the wind; tossing something away; freedom from restraint; giving up on something completely—the exhibition ABANDON, embodies many of the concepts that this word encompasses. These works, made from found cloth, dropped on the street or discarded after a useful life, reflect the decision to make these pieces with ‘wild impulses’, without restraint and playing with expectations of what embroidery ‘should’ be. ABANDON is a body of work born from lockdown limitations and concepts of re-use and up-cycling.

The exhibition features an exciting and unexpected new discovery, a rare collection of life drawings by renowned Australian artist Lloyd Rees. Shown to the public for the first time, the drawings pertain to the celebrated Northwood sketch club Rees attended every Thursday evening at the Santry’s house that was situated nearby. Included in the exhibition are paintings held in private collections by Northwood group artist. Together the drawings and paintings reveal how the collective worked between studio and outdoor spaces providing windows into their modes of production within the context of local modernism. Presented in partnership with Macquarie University Art Gallery and proudly sponsored by Lane Cove Council.

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

Kiata Mason, 2022, Port Macquarie Study. 3 September—27 November Moments in Colour Kiata Mason, Justine Muller, Tim Allen, Charmaine Pike and Joanna Logue. Five artists brought together by their common interest in landscape painting, translated through their own highly individual lens. This exhibition highlights their unique understanding of mark making, colour and abstraction. A visual conversation that questions how we define a landscape, each artist drawing new ways to interpret and inform, whilst also seeing the landscape as a way to transcribe physiological space. An exhibition that celebrates the importance of the commitment to artistic practice with Australian landscape painting, that it is a core conceptual art form.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm.

This exhibition showcases an innovative print exchange between Open Bite Printmakers and the Southern Highland Printmakers. Each artist has created two unique prints: one reflecting their own practice and interests and a second responding to another artist’s work. Moving from dark to light Kirana Haag

Helen MacRitchie, Elder Intertwined.

As one moves around the exhibition from the Scottish hills to Sydney to the Oxfordshire countryside, as Helen did in reality, the colour and atmosphere changes, but feelings of personal connection remain. Recurring felting, wrapping and embroidery techniques with intertwining and nest motifs express this visually. Her thoughts and feelings during the very act of ‘slow making’ are infused in the pieces.

26 October—19 November I See: You See Open Bite Printmakers and Southern Highland Printmakers

Sue Hanckel, In Memoriam. Image courtesy of the artist.

Moments in Colour showcases the vibrancy and complexity that our landscapes provide and acknowledges how privileged we are to inhabit them. The Glasshouse Regional Gallery supporting Contemporary artists. 167

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Grace Cossington Smith Gallery → Ro Murray, Fallen sky. students from Pre-Kindergarten through Year 12, and adults.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm. See our website for latest information.

George Lo Grasso, The Curve is Constant, 2022, etching. Grace Cossington Smith, The Curve of the Bridge (from Milsons Point), c 1927-30, pastel and pencil on paper, Collection of Abbotsleigh. James Lieutenant, We Lack Gravity #6, 2021, monotype of relief ink on BFK paper. Photograph: Document Photography.

Rebecca Mayo, Bagged wetland, 2022, plant dye, stencil, wool, cotton, hemp, silk, linen, variable dimensions. Image courtesy the artist. Photograph: Brenton McGeachie. 1 July—8 October All light, all air, all space Megan Cope, Bonita Ely, Rosalie Gascoigne, D Harding, Rebecca Mayo, Cameron Robbins All light, all air, all space brings together works by leading artists from across the country who explore connections with the natural world. The exhibition title is drawn from a quote by Rosalie Gascoigne, who described the environment which inspired her practice as ‘All light, all air, all space, all understatement’. Spanning installation, sculpture, performance and ephemeral art, the works reflect the diversity of light, landscapes and waterways in this country, with key works relating directly to the broader Goulburn Mulwaree region. The exhibition features works which utilise natural, found and recycled materials, some which invite participation or will undergo active metamorphosis throughout the course of the exhibition. In distinct and nuanced ways, the works in All light, all air, all space investigate our fragile and fraught dependence on the natural world and raise awareness of the current state of climate emergency. 18 August—8 October Turn on the light James Lieutenant James Lieutenant’s practice focuses on atmospheric and ethereal qualities 168

that can emerge through layering colour and texture. He has researched a variety of surface application techniques; from dabbing watery paint with a rag, to pushing paint through a silkscreen leaving bitmap forms, lightly veiled and shimmering on the surface. For his new exhibition Turn on the light, James Lieutenant has constructed a series of works that explore the relationship between light, materials and texture. These abstracted works create a dialogue between the physical act of layering materials and emotional states including vulnerability, trauma and harmony.

Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. he Grace Cossington Smith Gallery is a T not-for-profit program run by Abbotsleigh, an Anglican pre K-12 Day and Boarding School for girls. Our goal is to provide a resource for teaching and lifelong learning that engages and inspires Abbotsleigh and its communities through compelling programming. The Grace Cossington Smith Gallery is committed to serving the public through free admission and an education program that reaches diverse audiences, including teachers,

3 September—30 September Contemplating Grace Creative responses by 32 Sydney Printmakers to the art and life of Grace Cossington Smith. During its sixty years, Sydney Printmakers has encouraged exploration of innovative and traditional techniques. 7 October—29 October Borders Mandy Burgess, Sarah Fitzgerald, Jan Handel, Michelle Le Dain, ro Murray, and Lisa Pang. Six artists explore ideas of boundaries, from physical, personal, psychological and political points of view.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Tues to Fri 10am–4pm, Sat and Sun 11am to 4pm. See our website for latest information.

GranvilleCentre, BaileeLobb.

NEW S OUTH WALES 6 September—10 December Out of Order Guest curated by Amy Claire Mills Being disabled/chronically ill is an incredibly complex experience; you have to navigate a world that wasn’t built for you. Ablest structures are deeply entrenched across our society, and being denied access is the everyday lived experience of being disabled. Reframing the narrative and subverting the traditional expectations of what disability should look like, Out of Order seeks to hold nothing back, creating an interactive transformative space that incorporates the sensations of both comfort and adventure. Bringing together stories from across the disability spectrum disrupting and recreating a new accessible reality. A reminder this will be an ableism-free zone where we value community, connection and vulnerability.

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

Sandra Blackburne, Fields of Summer Hunter Valley, 2021, oil on canvas. 14 September—2 October Open Spaces Sandra Blackburne Open Spaces represents an escape to the country as opposed to the closed spaces of lockdown. Sandra Blackburne wanted to depict fresh air, expansiveness and freedom. These paintings are a collection of works derived from plein air sketches produced during her travels throughout NSW, and depict Blackburne’s interest in the effects of light on the landscape.

Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission. See our website for latest information. Set amid landscaped gardens, Hazelhurst Arts Centre has been specifically designed to appeal to the whole community. The combination of a major public gallery with a comprehensive arts centre, cafe, theatrette and community gallery makes a unique creative resource for everyone. Hazelhurst acknowledges the Dharawal speaking people, traditional custodians of the land, and pays respect to elders past and present.

Jackson Speirs, Things That Me Smile, Year 9, Anson Street School. 29 July—23 October Operation art An initiative of the Children’s Hospital at Westmead in partnership with The NSW Department of Education.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information.

Kerry Toomey, tent days, 2022, echo dyed canvas, hessian, old blanket, lace, thread. 10 September—13 November Quintet Lee Bethel, Matt Bromhead, Christine Druitt Preston, Nicole Kelly and Kerry Toomey. A series of solo exhibitions by five southern Sydney artists across a diverse range of practices including painting, sculpture, drawing, printmaking and works on paper.

Hurstville Museum

including painting, mixed media, assemblage, installation and the written word, this exhibition grows from this written missive, from letter to artwork, this dispatch on Survival and Resistance.

Isabelle Devos, Where The Road May Take You, 2021, acrylic on canvas. 5 October—23 October Through Our Eyes Tanya Chaitow, Isabelle Devos and Lois Robertson

The Incinerator is an iconic and heritage-listed building, designed by Walter Burley Griffin. It retains its strong Modernist style of architecture. The interior has been sensitively renovated to create a professional gallery space that lends itself to exhibit a broad range of contemporary art in a distinct environment. Incinerator Art Space strives to offer the community a hub for showcasing exceptional, innovative and timely visual art exhibitions.

Three artists journey across Bass Strait to explore the central Tasmanian landscape. They have created a body of work including paintings, drawings and gouache studies. These works express their unique response to the history, atmosphere and isolation of this diverse landscape.

24 August—11 September Dispatches Deborah Burdett, Mandy Burgess, Renuka Fernando, Tilly Lees and Ro Murray.

Colour has always fascinated Jan Cristaudo. It is the first thing she sees, and then comes shape and form. As an abstract artist she uses colour to interpret the way she sees the world. This exhibition is based on Cristaudo’s recent trip to the outback. To the places that are hidden and places that she had wanted to return to and spend time in, to feel the essence and to capture the energy they give out.

This group of artists consider themes of dislocation, grief, human culture, climate change and refuge, but also joy in living. In a time of upheaval and disconnection, the artists have written letters to one another in order to connect and celebrate. Working across a range of media,

26 October—13 November By The Way Jan Cristaudo

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Chris Stevenson Drawn to the Land

Chris Stevenson, River Serpent, acrylic on canvas, 100 x 120 cm.

13 to 27 October

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

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The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information. Exhibitions continuously change around various themes with a focus on the Australian landscape—the reef, Sydney Harbour and the foreshore—as well as the artist’s personal environment. See the most extensive collection of original works, as well as the latest release limited editions prints.

Storymakers presents a selection of works by contemporary Japanese artists evoking images from traditional tales of wonder across cultures; including a journey through the enchanted forest, marriage between different species, and a princess dreaming in a secluded tower. The fairy tale, a genre of narrative that has long told stories about nonhuman beings and nonliving things as agents, can give us clues to imagining a more-than-human world that transforms the way people perceive and experience life. Curated by Emily Wakeling and Mayako Murai, Storymakers features works across a variety of media, including drawings, animation, sculpture and performance art.

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

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

Ken Done, Deep dive, 2022, oil and acrylic on linen, 102 x 82 cm. 6 August—12 October New Work Ken Done

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

Robert Hirschmann, Past Night XXVI, oil on linen, 183 x 183 cm. Photo by Silversalt Photography. 6 September—1 October Past Night Robert Hirschmann

OH Gyuyoung. Image courtesy of the Korea Ceramic Foundation. 2 September—4 November Day By Day: Korean Ceramics in Daily Life The Korean Cultural Centre (KCC) Australia in partnership with the Korea Ceramic Foundation presents Day By Day: Korean Ceramics in Daily Life at its gallery. This exhibition introduces a selection of ceramics created with Korean traditional as well as contemporary techniques and focuses on the practical and functional aspects of Korean ceramics in everyday life; vessels, plates, cups, bowls, etc. Korean ceramics have long been regarded as the finest in East Asia. The history of Korean ceramics began with the oldest earthenware from around 8000 BC. While receiving outside influence and interacting with other cultures, Korean pottery has developed into a distinct style of its own, such as the moon jar and the style of painted decorations. In this exhibition, a group of emerging and established Korean ceramists showcase their handmade pottery with utmost calibre utilising a variety of practices and techniques handed down across multiple generations.

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

Fuyuhiko Takata, film still from Dream Catcher, 2018. Image courtesy of the artist. 29 July—28 January 2023 Storymakers in Contemporary Japanese Art Masahiro Hasunuma, Yūichi Higashionna, Tomoko Kōnoike, Maki Ohkojima, and Fuyuhiko Takatat.

Elisabeth Cummings, Dry Creek Bed, oil on canvas, 110 x 120 cm. Photograph: Roller Photography. 4 October—29 October New Work Elisabeth Cummings

Joel Bray, still image from Giraru Galing Ganhagirri. 2022. Photo: James Wright. Courtesy of Joel Bray Dance. 171

EXHIBITION OPEN 27 AUGUST – 2 OCTOBER Mosman Art Gallery 1 Art Gallery Way, Mosman

PROUDLY SUPPORTED BY: GILLIAN JONES and CHRISTINE FRASER

mosmanartgallery.org.au

NEW S OUTH WALES Leo Kelly Blacktown Arts Centre continued... 9 September—8 October Giraru Galing Ganhagirri / The Wind Will Bring the Rain Joel Bray Myths & Legends Amala Groom Water Woman Taree Sansbury

Lloyd Rees Studio. 12 September—21 October UNCOVERED: Northwood, Lloyd Rees and Beyond EJ Son, Dear Freud, 2020, print. Courtesy of the artist. 8 October—27 November PLAYGROUND Lucas Abela, Billy Bain, Tiyan Baker, Kalanjay Dhir, Oliver Harlan, EJ Son and Meng-Yu Yan.

Lavendar Bay Society Ebony Wightman, A Person of Note. 9 September—8 October The Access Artybald Prize Various artists, Front Up Studios.

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

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information.

Ngurrungurrudjba, 101 x 122 cm. 9 September—9 Octobert Annual Spring Exhibition Featuring the Medal of Distinction Award. Special guest opener judge Paul McDonald Smith OAM FVAS FRSA (Lond).

Macquarie University Art Gallery www.artgallery.mq.edu.au Deborah Kelly, For Creation, 2021, (still), animation from paper collage. Animator: Melody Pei Li. 19 August—2 October Creation Deborah Kelly

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance. See our website for latest information.

An exciting and unexpected new discovery, a rare collection of ninety-one life drawings by renowned Australian artist Lloyd Rees now held in the Macquarie University Art Collection. Shown to the public for the first time, the drawings pertain to the celebrated Northwood sketch club Rees attended every Thursday evening at the Santry’s house that was situated nearby. Rediscovered in Rees’ Northwood studio in 2019 the drawings displayed alongside eleven unfinished paintings produced by Rees, John Santry, Helen Stewart and Roland Wakelin capture the atmosphere and mood of the period. These unpublished artworks reveal how the Northwood collective worked between studio and outdoor spaces providing windows into their modes of production within the context of local modernism. Contrary to previous accounts that have stated the sketch club was formed by John and Marie Santry, new information strongly suggests that it was conceived solely by Marie Santry. It was a means of encouraging her then estranged husband John Santry to return home every Thursday evening. The decision to use a live model was instrumental in bringing the other three artists together − George Lawrence, Lloyd Rees and Roland Wakelin. This led to the formation of the Northwood Group. Macquarie University Art Gallery in partnership with Gallery Lane Cove + Creative Studios.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm. Free entry, donations always welcomed. See our website for latest information. 18 June—11 September See You in the Soup Soft Stories 173

Pat Anderson

Feyona van Stom

Vivienne Lowe

Michael Vaynman

Amanda Harrison

Jenny Green

www.sculptorssociety.com for enquiries and sales: Feyona van Stom - President - feyonavanstom@gmail.com or 0408 226 827 Chris Cowell - Treasurer - chrissycowell@gmail.com or 0419 010 923 Eva Chant - sculpt1@bigpond.com.au sculptorssociety.com

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NEW S OUTH WALES Maitland Regional Art Gallery continued...

2022 Brenda Clouten Memorial Art Scholarship Winner Karri McPherson. 20 August—6 November 2022 Brenda Clouten Memorial Art Scholarship Various artists. 3 September—30 October Life, Still: from the Maitland Regional Art Gallery Various artists.

Salvatore Zofrea, Appassionata series book 7 - study for woodcut No. 99, Self-Portrait at Manly Beach, 1999. AGNSW Collection. year, the exhibition traces his artistic development through drawing; from his early sketches to preliminary drawings for woodblock prints, psalm paintings, frescoes, stained glass windows and his most recent Circle series of multi-panelled paintings. Presented in partnership with Orange Regional Gallery.

3 September—30 October The Drawing Exchange Various artists.

Dan Kyle, Peering through, 2022, oil and mixed media on canvas, 180 x 150 cm. 15 September—8 October No mud, no lotus Dan Kyle

6 September—20 November Luminosity: Inscription of time by light Kris Smith

Peter Stutchbury, Indian Head House, 2019. Photgraph: Louise Whelan. John Adams, Glebe cemetery to the Brokenbacks, (detail) 2019, oil on Masonite. 10 September—27 November Thirty-six views of the Brockenback Range John Adams 10 September—27 November Material Sound Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent & Vaughan O’Connor and Ross Manning. 17 September—4 December Tales from the Greek Marco Luccio 17 September—23 October The Maitland Archive Luke Thurgate

Manly Art Gallery & Museum

2 September—16 October Portrait of a House Photographer Louise Whelan has documented the construction and evolution of Peter Stutchbury’s Indian Head House at Avalon Beach—the ‘tough building with soft edges’, in a long-form photographic genre. Her images have been transformed into a collaborative film, which speaks about the process of making, art, portraiture, landscape and architecture, poetically creating a trail of memories that turn the mundane into tableaus. 2 September—16 October Manly by Ferry: Treasures from the Vault Taking centre stage in this exhibition is a quintessential Sydney icon, the Manly Ferry, featuring photographs and ferry signs, and visual artworks from MAG&M’s extensive collections, including by Frank Hurley, Fairley Kingston, Chuck Bradley and Michael Muter’s poster series.

www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. See our website for latest information. 2 September—16 October Salvatore Zofrea: The Drawn Line Drawing and the power of mark-making are the foundations of Salvatore Zofrea’s artistic practice. This exhibition explores the underlying narrative of Zofrea’s personal journey from Italy to the Australian landscape. Celebrating Zofrea’s 75th

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm. See our website for latest information. 18 August—10 September Precious Little Linde Ivimey

teamLab, The World of Irreversible Change, 2022, Interactive Digital Work, 6 channels, Endless, Sound: teamLab © teamLab, courtesy Pace Gallery. 15 September—8 October The World of Irreversible Change teamLab 13 October—5 November It Takes a Village Peter Cooley

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, closed public holidays. 24 August—2 October 2022 Mosman Art Prize Established in 1947, the Mosman Art Prize is Australia’s oldest and most prestigious local government art award. As an acquisitive art award for painting, the winning artworks collected form a significant collection of modern and contemporary Australian art, reflecting all the developments in Australian art practice in the last 75 years. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Guan Wei, Michael Zavros, Natasha Walsh and Salote Tawale. 175

Michael Bell 28 September—15 October Opening Saturday 24 September, 4–6pm.

Michael Bell, Dog Beach (dog with owner), 2022, oil on aluminium and timber, 37 x 23 cm.

FLINDERS STREET GALLERY 61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

NEW S OUTH WALES Mosman Regional Art Gallery continued...

Featuring Fiona Lowry, Hamishi Farah, Juan Davila and Kate Smith alongside artists including Anna Kristensen, Daniel Boyd, Fred Cress, Gordon Bennett, James Gleeson, Jude Rae, Julie Fragar, Karen Black, Margaret Olley, Marlene Gilson, Mitch Cairns, Nigel Milsom, Patrick Hartigan, and Pierre Mekuba.

Stevie Fieldsend, I Do, I Undo, I Redo, 2022, stockings, hand blown glass, thread, mylar, reflective tarkett. Courtesy of the artist and Mosman Art Gallery. © The artist. Photograph: Jacquie Manning.

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

Bringing together artworks that explore the social and physical aspects of place. It has been imagined as an expanded map, which weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

Nicole Foreshew, Remains, 2015, clay and iron oxide. Murray Art Museum Albury collection. 12 August—5 March 2023 What Remains What Remains draws together the works of fourteen artists within the Murray Art Museum Albury collection, including six works recently acquired by the Museum. Central to the exhibition is a series of abstract sculptures by Wiradjuri artist Nicole Foreshew, titled Remain. The idea of connection to land and impacts on the land and its people are expanded on in the work of First Nation artists Michael Riley, Karla Dickens, Kevin Gilbert, Treahna Hamm and Hayley Millar Baker. A changing environment is further considered through the 19th Century work of Alfred William Eustace and more contemporary photographs by Chantelle Bourne and Jozef Vissel. While a set of works by artists Tim Silver, Amanda Williams, Ernst Fries, Patrick Hartigan and Cornelia Parker have erosion, aging, and change as central concerns.

Fiona Lowry, urge and urge and urge, 2022. Installation view, Zombie Eaters, Murray Art Museum Albury, 2022. Photo Jeremy Weihrauch. 17 June—16 October Zombie Eaters A sprawling exhibition of contemporary and late 20th Century Australian representational painting. Over 40 works have been drawn from the Murray Art Museum Albury collection, institutional and private collections and from artists’ studios.

www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays. See our website for latest information. Ongoing MCA Collection: Perspectives on place

12 July—2 October Stevie Fieldsend, I Do, I Undo, I Redo Working across sculpture and installation, Stevie Fieldend’s practice often encompasses materials such as glass, charred wood, steel and textiles. Her work seeks to detail an emotional state—more a feeling or sensation/bodily memory of a past event. She has participated in solo and group exhibitions both nationally and internationally and has also been a finalist in numerous prestigious prizes including the NSW Visual Arts Fellowship (Emerging), the Fisher’s Ghost Art Award (2014), the Blake Prize (2013) and the Willoughby Sculpture Prize (2013), and her work can be found in numerous public and private collections, including Artbank.

Museum of Contemporary Art Australia

5 August—30 October Shivanjani Lal: Pani begets Pani By engaging with themes of displacement, cultural connection and rituals for return, this new work by Shivanjani Lal navigates water as a site to account for history. In this large-scale installation of video, ceramic and paper works, Lal creates a conversation around ritual and monuments. Pani begets Pani questions how much history does water hold? And who is allowed to tell this story?

Vivienne Binns, The Aftermath and the Ikon of Fear, (detail), 1984-1985, acrylic on canvas, 160 x 160 x 3cm. Museum of Contemporary Art Australia and Tate, with support from the Qantas Foundation in 2015, purchased 2020. Image courtesy of and © the artist. Photograph: Zan Wimberley. 15 July—25 September Vivienne Binns: On and through the Surface This major survey exhibition brings together over one hundred art works drawn from six decades of the artist’s practice. Opening with Binns’s infamous 1967 exhibition at Sydney’s Watters Gallery, the survey traces the collaborative and community projects that spanned two decades of her early career, and her sustained exploration of the canvas as a kind of membrane where multiple processes, relationships and temporalities converge.

Lu Yang, Animal, (still), 2021, single-channel digital animation, HD, colour, sound. Image courtesy of the artist and COMA, Sydney © the artist. 177

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Fellia Melas Gallery From our Stockroom Works by: Boyd, Dickerson, Crooke, Gittoes, Whiteley, Woodward, Coleman, Coburn, Nolan, Olsen, Canning, Campbell, Shead, Rubin, Griffith, Harvey, Irving, Paxton, West, Winch, Buchan, Perceval, Weaver and many others. Tony Irving, Castlemaine “Day’s End”, Oil on Canvas, 91x122cm

2 Moncur Street, Woollahra NSW, 2025. Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

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NEW S OUTH WALES MCA continued... 22 July—2 October Ultra Unreal New myths for new worlds Korakrit Arunanondchai and Alex Gvojic (NYC), Lawrence Lek (London), Saeborg (Tokyo), Club Ate (Sydney), and Lu Yang (Shanghai).

collection. The Max Watters Collection, bequeathed in 2004, spans about 40 years of mid to late 20th century Australian art representing major developments in this period through the work of artists such as Tony Tuckson, Ken Whisson, Danila Vassilieff, Grace Cossington-Smith, John Perceval, John Plapp, and Euan Macleod.

Ultra Unreal is an exhibition of fantastical worlds simulating more-than-human futures, evolving belief systems and fluid frameworks of being. Featuring six artists and collectives whose world-building practices are connected to nightlife ecosystems across the globe, it explores how constructing other worlds can give birth to new mythologies, raising questions about what we believe in and how our beliefs emerge.

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook.nsw.gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. Muswellbrook Regional Arts Centre manages Shire Collection originally founded through the Art Prize in the late 1950s. Astute adjudication of the prize has seen an excellent cross-section of mid 20th century Australian art enter the

10 July—22 October Bright Birds Singing: Carole Driver Through ceramic sculpture, drawings on fragile rice paper and a sequence of poems, Bright Birds Singing reflects Driver’s ongoing engagement to her material surroundings as well as an exploration of the relationships between body, space and time. Together, the works look inward and outward at once, mapping a psychogeography of encounter between artist and land. 10 July—22 October Othering: Photography from the Collections

Brad Franks, The Gates of Eden, 1992, spray enamel, charcoal, acrylic, metal chain with padlock on canvas, 120 x 90 cm, Collection of Lorraine and Roger Skinner. 5 September—22 October Brad Franks RETRO Surveying the work of artist Brad Franks, Brad Franks RETRO features over 40 works from across Franks’ four-decade plus career. Works on display include painting, drawing, photography, and sculpture – from inner city Sydney to the countryside of the Upper Hunter – ‘a life where art was not the means of production, but instead the product of love’ – Billy Crawford in Brad Franks RETRO exhibition catalogue.

Othering explores representations of otherness through photographic works drawn from the Collections held at Muswellbrook Regional Arts Centre. Through the selected works, the viewer is invited to decipher a reality that is not given - a reflection of our fears, anxieties, dreams and desires of ‘the other’. 5 September—17 December In the Frame: James Gleeson The In the Frame series focuses on the practice of a selected artist through work held in the Collections at Muswellbrook Regional Arts Centre. In the Frame: James Gleeson glimpses at distinct points in the career of Australia’s foremost surrealist painter – from work made as an 18-year-old in his first year studying art at East Sydney Technical College in 1934, to insights into his time spent as a writer and poet, to the rebirth of his career as an artist in the 1980s.

Muswellbrook Regional Arts Centre → James Gleeson, Faultline, 1983, oil and varnish on linen, 92 x 133 cm. Loan courtesy of Andrew Grady, Muswellbrook Shire Art Collection. 179

KEN DONE Ngununggula Southern Highlands, August 6 - October 9

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail, No. 7, 2020, oil on linen, 183 x 244cm

kendone.com

NEW S OUTH WALES

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 3 September—17 September Bush Idyll Jun Chen 22 September—8 October Aaron Kinnane

of colour, texture and pattern as well as hobby-craft and children’s materials to provide a total antithesis to the gestural machismo or cool detachment of ‘high abstraction’. Seductive and yet entirely too much, Larter’s glitter works deserve and demand attention. 19 August—25 September Close to Home Samantha Dennison 19 August—25 September Space Between Time Patricia Petersen 19 August—16 October Strong Mirdidingkingathi Juwarnda Sally Gabori, Emily Kame Kngwarreye, Hilarie Mais, Barbara McKay, Aida Tomescu. Strong brings together work by five Australian women artists who began or continued their professional arts careers later in life and whose arts practice is known to include large scale abstract painting or sculpture. The exhibition will highlight the expressive and powerful impact of scale in their work and will focus on the physical power of gesture and construction achieved by these senior women artists.

Paul Ryan, Rosella and rain storm, 2022, oil on linen, 138 x 122 cm. 19 October—5 November Land of the Giants Paul Ryan

New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm. 19 August—25 September Glitter Pat Larter Glitter focuses on Pat Larter’s abstract works which act as an ironic yet celebratory examination of painting, kitsch and outrageous joy. The work uses an excess

Niall Barrington, Running Out (detail, Katherine), 2019, mixed media. Photograph: Helen Orr. 2 September—16 October Groundswell: Recent movements within art and territory Spanning geographies from the Top End to the Central Desert, Groundswell: Recent movements within art and territory brings together a selection of Northern Territory based artists, diverse in aesthetic, but united in their concern for issues of water security. An Artback NT touring exhibition.

National Art School Gallery www.nas.edu.au 156 Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm. 8 August—11 September The Drawing Exchange 2022

Samantha Dennison, Gum Leaves and Green Vase, 2022, oil on canvas.

spaces with a vibrant public exchange focused on education and collaboration.

TDE 2022 is an ongoing collaboration between Adelaide Central School of Art and the NAS. In 2022, Maitland Regional Art Gallery joins the program to host three artists residence in the Gallery

Edith Bell Brown, Looking towards the Church in Darlinghurst Gaol, watercolour on paper, 1922. 23 September—30 October CAPTIVATE: 200 Years of Darlinghurst Gaol and the National Art School The National Art School is proud to present Captivate, an original series of exhibitions and programs across campus and a new book of the same title. Together they tell the stories of an extraordinary transformation, as a harsh and dismal prison which became a lively, flourishing art school. NAS’s origins go back to 1843, but a pivotal moment in its history was in 1922 when it moved into the former Darlinghurst Gaol, a place that since the beginning has been Gadigal land. In 2022, NAS commemorates two significant milestones: 100 years of teaching art on this site, and 200 years since construction began in 1822 on the gaol’s tall sandstone walls, still standing today with their original convict markings. Captivate looks behind the walls to reveal the people, places and events that have created such a rich and fascinating history, right up to the present.

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Fri 10am–6pm, Sat 10am–5pm, Closed Sun and Mon. Jersey Road and Queen Street: 31 August—17 September Creation Myths and Other Tall Tales and Tall Tales and Other Creation Myths Giles Alexander Jersey Road: 31 August—17 September Elliott Routledge Jersey Road: 21 September—8 October Michael Cusack Jersey Road: 21 September—8 October Myles Young Queen Street: 19 October—5 November Allie Webb 181

5 SEP - 22 OCT

Artwork: Brad Franks, The Gates of Eden (detail) 1992, spray enamel, charcoal, acrylic, metal chain with padlock on canvas, 120 x 90cm, Collection of Lorraine and Roger Skinner artgallery.muswellbrook.nsw.gov.au

Mon-Sat, 10am - 4pm artgallery.muswellbrook.nsw.gov.au 1 - 3 Bridge St, Muswellbrook NSW 02 6549 3800

NEW S OUTH WALES

Orange Regional Gallery → Hendrik Kolenberg, Inholland, Rijnhaven, Rotterdam, 2014, oil on gesso on linen on plywood, 58.5 x 80.5 cm. 20 October—6 November No debts, no contracts, no ongoing fees Thorbjorn Bechmann

Orange Regional Gallery www.orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 02 6393 8136 Open daily 10am–4pm. Orange Regional Gallery is a centre for art in the Central West of New South Wales, Australia. We support artists to produce new and innovative works, and assist our audiences to have a meaningful connection to the art they produce. 2 July—2 October Beyond the Shadow Catherine O’Donnell

Roslyn Oxley9 Gallery www.roslynoxley9.com.au

Doug Argue, Untitled, 2022, oil on canvas, 183 x 244 cm. 15 September—9 October There is No Happiness Like Mine Doug Argue

23 September—15 October GABAN: THE STRANGE Brook Andrew 21 October—12 November Julie Rrap

30 July—25 September Urban/Industrial Hendrik Kolenberg

21 October—12 November James Angus

30 July—25 September Material Measure

Rusten House Art Centre

PIERMARQ* www.piermarq.com.au

www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House

23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm. See our website for latest information. 18 August—4 September Turn Me Loose Adam Lester

8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm.

Thorbjørn Bechmann, UT2101, 2022, oil on canvas, 150 x 120 cm.

Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility. Opening for the first time to the public as 183

10 SEPTEMBER - 9 OCTOBER 2022

An annual outdoor sculpture exhibition that takes place within historical Rookwood Cemetery. Free entry from sunrise to sunset. Wesley Harrop, Zygomaticus, HIDDEN 2019

See hiddeninrookwood.com.au for maps and events including curator tours, artist talks, film screenings, workshops and more. hiddeninrookwood.com.au

Annual Spring Exhibition featuring the Medal of Distinction Award

Ngurrungurrudjba, 101 x 122 cm.

Opening Friday 9th September, 6pm-8pm and continues until Sunday 9th October at 3pm Special Guest Opener/Judge Paul McDonald Smith OAM FVAS FRSA (Lond)

ROYAL ART SOCIETY – LAVENDAR BAY GALLERY 25-27 Walker Street, North Sydney, NSW 2060 p: 02 9955 5752 184

royalart.com.au

NEW S OUTH WALES Rusten House Art Centre continued... a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council.

S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.

Marilyn Hutchinson, Untitled, soft pastel on paper, 59.4 x 84 cm.

Marie Mansfield, Tilly, oil on canvas. Slow Burn Collection, Sydney.

2 September—24 September FEEL Marilyn Hutchinson

first given in 1965, was established by Florence Kate Geach in memory of h er sister, artist Portia Geach. The $30,000 non-acquisitive award for a portrait painted by an Australian female artist is awarded by the Trustee for the entry which is of the highest artistic merit. The finalist exhibition presents the work of artists from across the country and has been important in nurturing and celebrating the contribution of female artists.

FEEL is based on present moment drawings on paper creating layered, abstract artworks using feelings. These are in response to different music genres, speeches and poetry reading. A second group of works in paint, in homage to Japanese artist Yayoi Kusama are referencing her infinity nets, letting feelings lead the way.

SCA Gallery www.sydney.edu.au/sca

Mary Nongirrna Marawili, Batpa, 2014, earth pigments on stringybark, 197 x 56 cm. Dyer Family collection. © Mary Nongirrna Marawili, Buku-Larrnggay Mulka Centre, 2022. Sylvie Carter, Wildgrasses and Duck in Flight at Wingecarribee Creek, oil on canvas . 30 September—22 October Valleys, Views and Vines Sylvie Carter Canberra born artist, Sylvie Carter, presents over seventy works in a rich a nd atmospheric solo exhibition exploring and appreciating the beautiful Valleys, Views and Vineyards of Lake George, Wamboin, Bowral, Mossvale, Sydney and surrounding NSW region. Works include paintings of wild grasses, deep valleys, shadows and reflections, and the rhythmic land formations captured in oil and watercolour.

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

30 July—11 September Heart of Country: Arnhem Land Barks The ‘heart’ of this exhibition is the relationship to Country expressed in diverse and sometimes oblique ways by four generations of Indigenous artists from Arnhem Land and beyond. Core works come from a remarkable private collection of bark paintings assembled by Donna-Marie Kelly and Andrew Dyer, featuring some of the finest painters of Arnhem Land. Presented in association with Drill Hall Gallery. 16 September—30 October Portia Geach Memorial Award

Emily Hunt, The Public Art Rings, 2021. Courtesy the artist. Recipient: Fauvette Loureiro Memorial Scholarship (midCareer/Established Category), 2021.

The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award,

29 September—29 October Fauvette Loureiro Memorial Finalist Exhibition 185

wentworthgalleries.com.au

NEW S OUTH WALES SCA Gallery continued... The Fauvette Loureiro Memorial Scholarship supports SCA graduates who are practicing, professional artists working in any discipline through support for professional development facilitated by travel. There are two scholarship categories; emerging and mid-career/established. Selected by an independent panel of judges, applicants are assessed on their initial proposal and the associated exhibition of the finalists’ work. Recipients in each category will be announced at the exhibition opening.

STATION www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

Annette Bukovinsky, Recompense, 2022, Fired clay, cardboard and plastic, 31 x 21 x 20 cm. Photograph: COTA.

Jack Stahel, Under the scrutiny of its own microscope, 2022, acrylic on board, 46 x 46 cm.

31 August—17 September Colloquy Annette Bukovinsky 21 September—15 October Placeholders Gretal Ferguson

Damon Kowarsky, In the Garden, 2021, etching and watercolour, 30 x 30 cm. 16 September—10 October Jack Stahel and Damon Kowarsky Meet the artists and celebratory drinks Friday 16 September, 6pm.

Sullivan+Strumpf www.sullivanstrumpf.com Michael Staniak, OBJ_287, 2021, bronze, acrylic mounted on stainless steel plate, 70 x 50 x 32 cm. Photograph: Arturo Sanchez. Courtesy of the artist and STATION. 6 September—1 October Michael Staniak 8 October—5 November Mechanical Advantage Orson Heidrich

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment. Stanley Street Gallery is a multi-disciplinary exhibition space situated in the heart of Darlinghurst Sydney. Presenting critical and experimental work, the Gallery seeks to give space to innovative and diverse practices that contribute to local and international arts communities.

799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. Sarra Tzijan, Village Vessel No 13, 2021. Photo Grant Hancock.

18 August—10 September Into Air Dawn Ng

21 September—15 October Ghar Aana : Coming Home Sarra Tzija

25 August—10 September Presage Yvette Coppersmith

19 October—12 November The Broken Creek John Donegan

Studio Altenburg Fine Art Gallery www.studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thurs to Mon 10am–4pm. See our website for latest information.

Natalya Hughes, Seated Girl (Franzi), 2021-2022, acrylic on poly, 132.5 x 153 cm. Photograph: Mark Pokorny. 187

neram.com.au

NEW S OUTH WALES Sullivan+Strumpf continued... 22 September—15 October These Girls of the Studio Natalya Hughes

Tin Sheds Gallery www.sydney.edu.au/architecture/ about/tin-sheds-gallery 148 City Road, Darlington, Sydney, NSW [Map 7] 02 9351 3115 Tues to Fri 11am–5pm, Sat 12noon–5pm. See our website for latest information.

Collaborators: Imogen Sage, Robyn Schmidt, Ceren Sinanglou, Timothy Burke, Derren Lowe. Assistants: Peter Fisher, Jackson Voorby, James Dwyer, Aaron Crowe, Na Li, Lexi Le Owen, Guiherme Nettoalvesdosreis, Simon Hewitt, and Paul Ridings. 20 October—26 November SHE Robots: Tool, Toy & Companion Curated by Dr Dagmar Reinhardt, Dr Lian Loke, Dr Deborah Turnbull-Tillman. The promised Female Future has arrived in robotics, radically reshaping practices of design, industrial, construction, manufacturing, social and cultural robotics. We bring together iconic and emerging examples of robotic tools, toys and companions from across the globe. The exhibition asks fundamental questions about the nature and processes of contemporary robotics through the lens of female perspectives.

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

23 September—27 November Modern Beloved Rosi Griffin 30 September—20 November 2022 Wollumbin Art Award The Wollumbin Art Award (WAA) is the Gallery’s new biennial $30,000 award open to artists living in the Tweed, Ballina, Byron, Kyogle and Scenic Rim Shires, as well as Lismore and Gold Coast City. The Award, named for the mountain the Gallery overlooks, celebrates the calibre and diversity of artists of the region. 30 September—20 November 2022 Wollumbin Youth Art Award Until 16 October Animal as Object: Deb Mostert Until 20 November Still Life: More than just Objects Rene Bolten Until 5 February 2023 Transcending Likeness: Contemporary portraits from the collection

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

Michael Chapman, Food machine study, 2022. Courtesy of the artist. 1 September—8 October Banquet Banquet reimagines Tin Sheds as a conceptual banquet hall, interrogating rituals of food and its relationship to architectural production. Drawing from fragments in literary and film fiction, the exhibition explores the relationship between space, the human condition and the experience of consumption through the construction of a transhistorical degustation of interactive food machines. Martine Emdur, Verdant Pearl, oil on linen, 198 x 198 cm. 6 September—30 September Martine Emdur Margaret Olley (1923–2011), Delphiniums and cherries, 1976, oil on board, 122 x 98 cm. Private collection, courtesy Philip Bacon Galleries. © Margaret Olley Art Trust.

Opening evening 9 September.

9 September—12 March 2023 Margaret Olley: The Art of Flowers

Reinhardt and Loke, mage from code_ red documentation, 2021. Courtesy of the artists.

This exhibition celebrates Margaret Olley’s favourite subject—the beauty and joy of flowers. Olley dedicated her career to exploring the endless possibilities of humble, domestic objects combined with colourful, textural and sculptural arrangements of cornflowers, delphiniums, calendulas, hydrangeas, poppies, marigolds, flannel flowers, hippeastrums and more.

Gitte Backhausen, Must Be Dreaming, acrylic on canvas, 183 x 213 cm. 189

Western Plains Cultural Centre 2 July – 18 September 2022

Presented by:

Western Plains Cultural Centre 76 Wingewarra Street Dubbo NSW 2830

Open 7 Days 10am – 4pm, until 6pm Friday

westernplainsculturalcentre.org

190

thesydneyartstore.com.au

Supported by:

NEW S OUTH WALES Twenty Twenty Six Gallery continued... 11 October—30 October Subconscious Landscapes - Adventurous travels from just below awareness Gitte Backhausen

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12noon–5pm. Closed public holidays.

15 October—27 November Falling into Space Liam Fleming Liam Fleming is an Adelaide-based glassblower, artist and designer who has developed a singular glass practice alongside years of experience as a production glassblower and assistant to other makers. This exhibition presents a new body of work by Fleming, that explore the potential of glass medium during fire polishing, fusing and slumping. 15 October—27 November Out of Line Mel Douglas Canberra-based artist Mel Douglas explores the potential and flexibility of glass as a material for drawing. This project contemplates how objects can occupy and trace lines in space and the tonal transformations made possible through the viscosity of glass. 15 October—27 November Through the door that holds you Consuelo Cavaniglia

Gordon Hookey, hoogah boogah, c.2005, card and paint stencil. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Carl Warner. © Gordon Allan Hookey/Copyright Agency, 2022. 30 July—2 October Gordon Hookey: A MURRIALITY Gordon Hookey The first survey of renowned Waanyi artist Gordon Hookey, charting three decades of practice where art and activism fuse. Across sculpture, printmaking, video, and large-scale painting, this exhibition presents perspectives on historical and contemporary issues affecting Aboriginal and Torres Strait Islander peoples.

Sydney-based artist Consuelo Cavaniglia’s practice considers how we see and understand space. Her work unsettles relationships between viewer and space in its exhibition and challenges the perceptual expectations of materials and surface qualities through angling, layering, and offsetting reflections and shadows.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission. See our website for latest information. 4 June—18 September Pack and Follow Jenny Bowker

Sandra Selig, Heart of The Air You Can Hear, 2011, polyester thread nails, synthetic polymer paint. Installation view: Monash University Museum of Art. Image courtesy of the artist, Milani Gallery, Brisbane and Sarah Cottier Gallery, Sydney. Photograph: John Brash.

Pack and Follow, showcases quilts over the past two decades of renowned contemporary Australian textile artist Jenny Bowker AO. This exhibition is a unique insight into Islamic culture which follows Bowker’s experience of living in the Middle East.

Zanny Begg is an Australian artist and filmmaker interested in contested histories. These Stories Will Be Different brings together three of the artist’s most significant video installations, including The City of Ladies (with Elise McLeod), 2017, The Beehive, 2018, and Stories of Kannagi, 2019. Between them, these works reimagine a medieval feminist utopia, probe the unsolved murder of a high-profile anti-gentrification campaigner and explore the connections between love, loss, and language in diasporic communities. 2 July—2 October Funhouse: Carnival of Glass – National Art Glass Collection Various Welcome to Funhouse: Carnival of Glass featuring the loudest, brightest and most outrageous works from the National Art Glass Collection. Showcasing the the extraordinary forms that glass can take, this exhibition playfully explores the potential of glass to engender fun, intrigue and awe. 3 September—30 October Utopia Batik Various artists from Tamworth Regional Gallery’s Fibre Textile Collection. Utopia Batik highlights key artworks from Tamworth Regional Gallery’s Fibre Textile Collection. These assembled pieces include works from some of Australia’s most prominent artists of the Eastern Anmatyerre and Alyawarre people, centred at the remote community of Utopia, 270 kms north east of Alice Springs. 24 September—4 December F.Stop @ the Gallery: Future Photographers Lab Various artists The Gallery is partnering with F.Stop Workshop to develop the artistic practice of early career Riverina photographers. Over a 10-week period, audiences will have the opportunity to get a ‘behind the scenes’ view of artist’s studios as they develop ideas / bodies of work for exhibition within the Gallery’s Project Lab space. 24 September—22 January 2023 Eight More: The Art Factory Brae Tye, Aunty Lorraine Tye, Lorraine O’Hara, Sarah McEwan, Isobel Lambert, Julie Montgarett, Liam Campbell and James Farley. Eight More celebrates the cultivation of work by four creative duos working collaboratively over several months to explore individual and shared practices and diversity between artists with and without disability.

27 August—20 November Exploring Giant Molecules Sandra Selig Exploring Giant Molecules is the largest exhibition to date of Australian artist Sandra Selig, bringing together key projects from the past two decades that sit at the intersection of visual art and experimental music.

Zanny Begg, The Beehive, UNSW Galleries, Photograph:: Steven Siewert, 2019. 23 July—18 September These stories will be different Zanny Begg

Louis Grant, thought you’d never be replaced, 2022, hot sculpted and cold worked glass, blown glass neon, wood, paint, mirror photo by Ashley St George / Pew Pew Studio. 191

UNCOVERED:

NORTHWOOD, LLOYD REES AND BEYOND Macquarie University Art Gallery in partnership with Gallery Lane Cove + Creative Studios Macquarie University Art Gallery 12 September – 21 October 2022 Gallery Lane Cove + Creative Studios 14 September – 22 October 2022

Image: Lloyd Rees (1899-1988), Untitled, circa late 1940s, pencil and conte on paper. Donated through the Australian Government’s Cultural Gifts Program by Alan and Janice Rees. Macquarie University Art Collection. Photography Effy Alexakis, Photowrite mq.edu.au

NEW S OUTH WALES Wagga Wagga Art Gallery continued... 15 October—15 January 2023 Glass Chrysalis—Glass Art of Promise 11 Contemporary glass artists Glass Chrysalis—Glass Art of Promise celebrates artform development and individual creativity, innovation, skill, and technique from eleven of Australia’s premier early career glass artists. Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and Jam Factory Adelaide, Glass Chrysalis showcases developing trends in the contemporary studio art glass scene.

Wester Gallery www.wester.gallery

Supply is motivated by the intersections of cities, people and sub-cultures and exists to influence creative output within these spaces. Opening Friday 7 October, 6pm–8pm.

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm. See our website for latest information.

16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471

Western Plains Cultural Centre, Dubbo www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm. 4 June—23 October Capturing Nature: Early photography at the Australian Museum 1857-1893 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. A touring exhibition created by the Australian Museum. 2 July—18 September Experimenta Life Forms: International Triennial of Media Art Experimenta Life Forms features 26 contemporary Australian and International artists working across diverse art forms—including robotics, bio-art, screen-based works, and installations, participatory and generative art. The exhibition explores the changing notions of life in response to new scientific research and technological change.

Emily Persson, Portsea Portal, oil on linen, 77 x 77 cm.

Luke O’Donnell, Little Things. 2 September—24 September Little Things Luke O’Donnell

Martin Place: 12 October—19 October New Works Emily Persson

Opening Friday 2 September, 6pm–8pm.

9 July—18 September Melissa Kelly: Not Fragile Like a Flower Not Fragile Like a Flower is an exhibition of ceramics by Gilgandra-based artist Melissa Kelly, that explores and challenges the ways society has indoctrinated women into traditional roles. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental. 1 October—12 February 2023 Collection: Predator becomes Prey Predator becomes Prey is an exhibition that explores the delicate balance of nature and the complex relationship between animals and humans that interconnects us both from birth until death. This continual connection is expressed through our interaction and intrigue with the animal world, ensuring our place within the cycle of life. Curated by Mariam Abboud.

Photograph by Lincoln Jubb. 7 October—28 October Hung Supply Presents: DEPOSITORY A Group Show Sling goods and camera carry brand Hung Supply proudly presents DEPOSITORY, a group photography show. An assemblage of images from Hung Supply’s global creative community, DEPOSITORY consists of daily observations and street scenes predominantly shot on 35mm and 120 film. More than a brand, Hung

David Hinchliffe, A Night on the Town, acrylic on canvas, 120 x 90 cm. Martin Place: 20 October—27 October Sydney Impressions David Hinchliffe Rodney Pople, Roulette, 2021, oil on linen, 145 x 184 cm. Image © the artist. 193

ar t g ui d e .c o m . au Western Plains Cultural Centre continued...

community members, Dean Cross, Penny Evans, Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Biyimu, Ruth Ju-Shih Li, and Jody Rallah.

1 October—12 February 2023 2° Euan Macleod and Rodney Pople Friends and well-known Australian artists Euan Macleod and Rodney Pople undertook artist residencies in Dubbo during 2021, observing people and animals at Taronga Western Plains Zoo. Each artist produced sketches and preparatory studies at the Zoo, expanding on these later in the studio. For their first two-person exhibition, they have produced largescale paintings and portraits of animals and humans, revealing a sustained engagement with the act of looking and its reversebeing looked at. Curated by Kent Buchanan. Supported with funding from Create NSW.

Sin Wai Kin, It’s Always You, 2021, two channel video 4 min 5 sec.

Pixy Liao, Holding, 2014, chromogenic print, 75 x 100 cm. 2 July—21 November I Loved You Group Show

Jess Johnson and Simon Ward, Terminus, (still), 2017–2018, National Gallery of Australia, Kamberri/Canberra, commissioned with the assistance of The Balnaves Foundation 2017, purchased 2018. © Jess Johnson and Simon Ward, courtesy of Darren Knight Gallery, Sydney; Ivan Anthony Gallery, Auckland and Jack Hanley Gallery, New York. 1 October—4 December Terminus: Jess Johnson & Simon Ward Inspired by Sci-Fi, comics and fantasy movies, Terminus: Jess Johnson and Simon Ward is a virtual reality (VR) installation that transports the viewer into an imaginary landscape of colour and pattern populated by human clones, moving walkways and gateways to new realms.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm.

Madeline Von Foerster, The Message, 2022, oil and egg tempera on panel, 101.5 x 76 cm. 3 September—27 November Boundary Strider Lukifer Aurelius, Carrie Ann Baade, Oliver Benson, Kim M Evans, Martina Hoffmann, Cameron Potts, Bruce Rimell, Roku Sasaki, Liba Waring Stambollion, Madeline von Foerster and Iain Whittaker

A National Gallery of Australia Touring Exhibition.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org

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27 August—20 November Hiromi Tango: Healing Garden Illawarra A participatory journey that explores how art and nature can contribute to well-being for each of us. Using recycled materials from the community, artist Hiromi Tango brings together the neuroscience of arts engagement—mindful art-making and movement along with colour, light, texture and even aroma—with elements of nature from our own backyard, to create joyous and reflective spaces.

Love turns up in unexpected places. From old rickshaws to a pool of dazzling lights. The 28 artists featured in I Loved You show us that love can be a time, a place, or even a memory. Its traces can be found on our father’s wristwatch, our lover’s skin, or our grandparent’s home.

Terminus presents a quest, a chooseyour-own adventure into the technological. Prepare yourself for a slippage of time and space as your journey propels you through five distinct realms.

30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.

Drawn by stones brings together artists who utilise the ceramic medium to interrogate contested histories, stolen land, Indigenous sovereignty, and national identity. Artists from Australia, Hong Kong and Taiwan investigate ‘nationhood’ and ownership through ceramics and demonstrate how the ceramic form can both memorialise and tell alternative histories. Curated by Bridie Moran and presented by 4A Centre for Contemporary Asian Art.

Ray Chan See Kwong, New ReNew, (detail), 2018, 49 ceramic cups from Chuen Lung local clay, glazed without colourant, dimensions variable. Photog raph: Christian Capurro. 27 August—6 November Drawn By Stones Ray Chan See Kwong with Chuen Lung.

Celebrating a provocative fusion of metaphysical transformation and ecological interconnectivity merging mythic universes with the natural world, Boundary-Strider presents a dynamic group of International and Australian painters converging in a way never possible before the advent of social media. A deep affinity with nature, coupled with the capacity to imagine plural futures, grounds and inspires featured art works, dissolving boundaries between the human domain and the more-than-human world. Curated by Iain Whittaker.

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

ar t g ui d e .c o m . au notion of echoes—how metaphorically and metaphonically we can echo a thought, a sentiment or a consciousness.

Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm. See our website for latest information.

Juli HAAS from Palmetum 2001 (Cheryl Wilson, Daniel Moynihan, Jan Senbergs, Normana Wight, Ray Crooke, David Paulsen, Juli Haas, Jorg Schmeisser, Anne Lord, Anneke Silver, Margaret Wilson, Ron Mcburnie, Tate Adams, Text by Jenny Zimmer), drypoint, edition 2/40. Townsville: Lyre Bird Press. Mackay Regional Council Art Collection, purchased 2002. 2 September—27 November Tales of the Lyre Bird Curated by Ron McBurnie and Helen Cole, Including artists such as Tate Adams AM, George Baldessin, Anneke Silver, Ray Crooke and Juli Haas. 2 September—27 November The Wall: D Harding D Harding

Anna Ward, Spring, 123 x 155 cm .

27 August—20 November Figuratively Speaking Including paintings by Rosella Namok, Davida Allen and Clara Adolphs.

In the 1970s, Australian Aboriginal people from the desert began talking to the world through art, transferring their creation stories of the land and people to canvas. Now in the 2020s, this foundational echo is going back and forth. No longer a one-sided, outward calling, it reverberates multi-dimensionally within wider Australian and global communities. Three Echoes—Western Desert Art is a national touring initiative of Museums & Galleries Queensland in partnership with private collectors Karin Schack and Andrew Arnott.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information.

17 September—22 October Less is More: Minimalism in Contemporary art Minimalist art offers a highly purified form of beauty and represents qualities such as order, harmony and clarity. Less is More presents a contemporary survey of minimalist art across the Art Lovers’ platform.

Veronika Zeil, Thus spoke the tree #2 2020, charcoal, homemade bistre ink, pencil and, binder on paper, 115 x 96.5 cm. Image courtesy of the artist. 27 August—20 November Veronika Zeil: Echo Forest—the Eloquence of Trees Veronika Zeil Kylie Daniels, Open Fields Dusk, 183 x 122 cm. 29 October—17 December BOLD Striking, vivid and flagrantly loud; BOLD presents an exhibition of eye-catching statement pieces that dare to be different.

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry. 196

Gerwyn Davies, Mirror, 2021, archival pigment print, 90 x 130 cm. Image courtesy of the artist, Jan Murphy Gallery, Brisbane and Michael Reid Gallery, Sydney/Berlin. 26 August—16 October Sunshine Coast Art Prize 2022 Various artists

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. See our website for latest information. 10 September—19 November Three Echoes—Western Desert Art Curated by Djon Mundine OAM FAHA, Three Echoes—Western Desert Art is a stunning exhibition exploring the poetic

Doris Naumo, Omie Tapa cloth. Image courtesy of the artist and Joan Winters. 21 October—4 December

QUEENSLAND Sihot’e Nioge: When Skirts Become Artworks Omie Tapa (painted, beaten, bark cloth) artists; Oro Province, Papua New Guinea.

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

Emmanuelle McGlade, Untitled 32, 2022, pastel drawing on 100% cotton watercolour paper, 37 x 42 cm. Working with soft pastels, McGlade creates drawings that explore the push and pull between order and disorder; balance and imbalance. Her work encapsulates a sense of stillness and clarity, influenced by observations and experiences in the natural environment.

Sylvia Ditchburn, HillyGoat Kids, acrylic on canvas, 49 x 49 cm. 1 September—31 October Flowers and Grass Sylvia Ditchburn and Anne Lord

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 07 4197 4206 [Map 13]

Jennifer Herd, Reclaim I, edition of 10, 2021, screen print on Aches paper, 76 x 57 cm. 9 September—15 October Jennifer Herd

Phoebe Stone, Supplies, 2022, oil pastel on board, 30 x 45 cm. Joe Furlonger, Hinchinbrook Island, 2021, acrylic bound pigment on linen, 20.8 x 29.5 cm. 9 September—15 October Joe Furlonger: Land and Sea In partnership with Bruce Heiser Projects.

Gallery Rayé

September—October Sea Call Phoebe Stone A body of work that explores an imagined weekend with the artist’s late grandfather on his yacht—‘The Sea Call’. Having been lost at sea in the late 1960s, before the artist was born, each oil pastel artwork captures imagined moments between the pair.

www.galleryraye.com Based on the Sunshine Coast. Presently online only. See our website for latest information. September—October In Between Emmanuelle McGlade

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

Bill Henson, Untitled 107, from the series Untitled-1985-86, pigment ink-jet print. Monash Gallery of Art, City of Monash Collection, courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney). 3 September—27 November The Light Fades but the Gods Remain Bill Henson The Light Fades but the Gods Remain is a major exhibition showcasing two key series by Bill Henson, one of Australia’s most eminent artists. These explore the suburb of Glen Waverley, where the artist grew up. In celebration of MGA’s 25th anniversary, Henson was commissioned to revisit the suburb of his childhood and to produce a new body of work reflecting upon his earlier series Untitled 1985–86, known by many as The Suburban Series. This ground-breaking commission offers an unparalleled insight into one of Australia’s most revered artists as he explores 197

ar t g ui d e .c o m . au Hervey Bay Regional Gallery continued... the notion of home, intensifying the everyday to a point of dramatic revelation and romantic beauty.

From Coast to Coast, 2020, hand spun and hand dyed wool. Collaborative weaving project created by members of the Hervey Bay Spinners, Weavers and Fibre Workers.

Karla Dickens, Hard-Hitting Sister 1, Hard-Hitting Brother 1, 2019. Images courtesy of the artist and Sullivan + Strumpf, Sydney.

Natalya Hughes, The Interior, 2021. Courtesy of the artist, Sullivan+Strumpf, and Milani Gallery.

Open now HOTA Collects: PUNCHING UP, 21st Century Indigenous Photography

nestled around a hand-painted mural to generate a stimulating space to unpack our collective and unconscious biases.

Punching Up opens the aperture wide, featuring the photography of six 21st century Indigenous artists; Vernon Ah Kee, Tony Albert, Michael Cook, Karla Dickens, Dr Fiona Foley and Naomi Hobson. Drawn predominantly from HOTA’s collection, alongside selected loans, the artworks combat stereotypes and share stories of contemporary Indigenous lived experience.

Aha Ensemble member Allycia Staples, 2020. Photograph: Jorge Serra.

3 September—27 November Colours of Australia Hervey Bay Spinners, Weavers and Fibre Workers

30 July–1 October Absolutely Everybody Judges Aha Ensemble

This is a fibre exhibition showcasing the work of members of Hervey Bay Spinners, Weavers and Fibre Workers inspired by the theme, Colours of Australia. The works presented are in the form of weaving, spinning , knitting, felting, and stitching. Works are made of a large range of fibres and yarns like wool, silk, alpaca, cotton, linen, stencil and natural fibres like raffia and banana. For the exhibition, the members have, besides the individual pieces, contributed and created communal work in the form of weaving, eco dyeing and knitting. A lot of emphasis has been on the creation of yarn by spinning the fibres and hand dyeing of these, either with natural dyes or synthetic dyes to reflect the theme of the exhibition.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm. 10 September—23 October ENERGIES 2022 Celebrating the next generation of artists. For more than 30 years, Energies has provided a platform for Gold Coast senior secondary visual art students to exhibit their work in a professional gallery setting. Energies alumni boasts acclaimed contemporary artists Michael Candy, Abbey McCulloch, Rebecca Ross and Michael Zavros. 198

Open now Martin Edge: Postcards from the Edge Sunny and happy holiday dreams come true in Postcards from the Edge. There’s no need to travel any further than HOTA’s Children’s Gallery where artist Martin Edge’s colourful paintings are brought to life in an inclusive space for fun and adventure.

Institute of Modern Art www.ima.org.au Judith Wright Arts Centre 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm. See our website for latest information. 30 July—1 October The Interior Natalya Hughes Can we use the talking cure to solve society’s ‘problem’ with women? Natalya Hughes’s The Interior invites audiences into an exaggerated consultation room playfully furnished for psychoanalysis. This immersive installation combines sculptural seating, richly patterned soft furnishings, and uncanny objet d’art,

Artist collective Aha Ensemble present a newly commissioned participatory installation Absolutely Everybody Judges, developed with the 2022 Jeremy Hynes Award. Working across Southeast Queensland and driven by an ethos of connection, curiosity, and care, Aha Ensemble use their bodies to explore representation, question value, and challenge assumptions about ways of being in the world. 30 July—1 October the churchie emerging art prize 2022 Darcey Bella Arnold, Emma Buswell, Jo Chew, Kevin Diallo, Norton Fredericks, Jan Griffiths, Jacquie Meng, Daniel Sherington, Linda Sok, Lillian Whitaker, Agus Wijaya, and Emmaline Zanelli. Since its inception at the Anglican Church Grammar School in 1987 the churchie emerging art prize, or ‘the churchie’, has sought to identify and profile rising artistic talent. Today it is known as one of Australia’s leading prizes for emerging artists. Finalists have a chance at a $25,000 prize pool with a Major Prize of $15,000 sponsored by BSPN Architecture. 22 October–23 December A MURRIALITY Gordon Hookey A MURRIALITY is the first survey of renowned Waanyi artist Gordon Hookey, charting three decades of practice where artmaking and activism fuse. The exhibition presents perspectives on historical and contemporary issues affecting Aboriginal and Torres Strait Islander peoples through sculpture, printmaking, video, and large-scale painting— all in the biting satire and critique Gordon

QUEENSLAND Hookey’s work is best known for. Curated by Liz Nowell and José Da Silva and developed in partnership with UNSW Galleries, A MURRIALITY features a significant new commission that draws inspiration from Hookey’s vast collection of political posters and continues his acclaimed series of protest banners.

Having been closed for renovations Logan Art Gallery reopens on Friday 9 September.

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Tue to Fri 10am–5pm. See our website for weekend hours.

Ipswich Art Gallery www.ipswichartgallery.qld.gov.au d’Arcy Doyle Place, Nicholas Street, Ipswich, QLD 4305 [Map 13] 07 3810 7222 Daily 10am–5pm unless stated otherwise. See our website for latest information.

Image by Adam Raboczi and Tara Pattenden.

Gabrielle Fogarty, year 12, St Thomas More College, Return to colour, 2021, acrylic on canvas. 9 September—15 October Artwaves 2022: Logan and adjacent areas secondary schools art exhibition

2 September—1 October Eephus & Sudo’s Funderdome Tara Pattenden Step into Eephus and Sudo’s Funderdome! A playful reimagining of the classic video game arcade offering fun and adventure for everyone. This interactive exhibition invites visitors to play alongside fellow humans and friendly virtual monsters in unexpected and collaborative ways. The exhibition embraces a touch of nostalgia for the lost world of the video arcade, while also reimagining new possibilities for gaming beyond its mainstream history, and the potential for DIY experiments and technical tinkering to produce new experiences. Presented by Metro Arts and Brisbane Festival. 8 October—29 October Tapuitea Katie Rasch

Ali Khadim, Transition/evacuation, 2015, gouache, ink, and gold leaf on wasli paper, ART96910, Image courtesy of the Australian War Memorial. 13 August—23 October Art in Conflict A showcase of diverse responses to war, the exhibition includes more than seventy 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. An Australian War Memorial Touring Exhibition.

Logan Art Gallery www.loganarts.com.au/artgallery Logan Art Gallery Corner Wembley Road and Jacaranda Ave, Logan Central, QLD, 4114 07 3412 5519 Tues to Sat 10am—5pm.

Anna Gonzalez, When the tree shake, the dance begin, 2022, pastel on paper, digital print on archival paper, 156 x 120 cm. 21 October– 26 November Phuong Ly: The story of landscape Anna Gonzalez: Something fishy Kris Estreich: Home and habitat

Tapuitea reimagines Sāmoan mythology using science-fiction tropes and imagery. Working predominantly with photography and digital art, Katie Rasch creates work that connects to the cultural pride she yearned for as a young child. Tapuitea blends her fascination with culture and storytelling. Facilitated by Anthem ARI.

Jeffrey Service: Choices and conundrums

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. 23 August—10 September New Paintings Adam Pyett 13 September—1 October Zaachariaha Fielding 4 October—22 October Ben Quilty 25 October—12 November Zographos – Life Writer Leonard Brown

Mitchel Cumming and Kenzee Patterson, Redistribution (forbearing / forthcoming). Darren Knight Gallery, 2021. Image courtesy of the artists. 199

ar t g ui d e .c o m . au Metro Arts continued... 8 October—29 October A Redistribution The collaborative exhibition gathers ethical, material and political strands associated with the idea of redistribution, embodied within two colonial-era basalt millstones. 8 October—29 October Nextdoor ARI Nextdoor Artist Run Initiative (ARI) exists to champion the experimental practices of young and emerging artists. They endeavour to be the ‘next door’ for aspiring artists by providing access to opportunities for professional development and support.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. Over 40 artists on permanent display.

a passion for the alla prima and plein air approaches, creating a very loose and spontaneous style to his work. All of Todd’s available works are shown on our website and in the gallery. Featured artist for October Keith Betts Keith Betts has, for many years, concentrated on works depicting the bushland in and around the Sydney area. More recently he has shifted his focus to the heart of Sydney, discovering (or rediscovering) the brilliance of Sydney Harbour, seen both from the waters and the foreshore. Paintings have been awarded in regional and city exhibitions and are represented in Australian and overseas collections. They are available to view on our website and in the gallery.

stores in the USA. The exhibition unearths the stories behind the brand, and the miracles of nature that make up Margot’s designs.

From the coral reef in our own backyard to the rich palette of colours found on safari in Tanzania, this exhibition will be a mesmerising celebration of the complex and profoundly beautiful environments and materials that have inspired her designs. Here you’ll find opulent opals, lustrous pearls and rare, exotic gems like the intensely blue tanzanite, lilac amethyst and pink tourmalines. Journey to a treasure trove of memories and mastery and let Margot’s designs and inspiration transport you to a world of wonder.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry. Estuary: Anita Holtsclaw at Museum of Brisbane. Photograph: Alison Law. 11 June—23 October Estuary Inspired by the ebb and flow as well as the mangroves of our city’s river, Anita’s work explores the presence of water in our lives and bodies. During the residency, visitors can see how Anita applies her unique interpretations of the river in three ethereal embroidered artworks that are reminiscent of the sheer, flowing and luminous qualities of water.

Todd Whisson, Montville Wallaby Rocks, Sofala. Featured artist for September Todd Whisson Todd Whisson is a successful exhibiting Australian Impressionist Artist for more than 28 years. He pursued and developed

World of Wonder: Margot McKinney at Museum of Brisbane. Photograph: Georgia Wells. 16 June—6 November World of Wonder Margot McKinney With a lifetime dedicated to luxury, Australian jewellery designer Margot McKinney is one of the world’s boldest talents. The very definition of timeless elegance and bespoke excellence, Margot’s extraordinary pieces are a celebration of the world’s rarest gems.

Keith Betts, Montville Stand of Bluegums. 200

For four generations, the McKinney family name has been synonymous with luxury jewels. However, it is Margot herself who has elevated that name to soaring new heights through her own jewellery brand, and flagship store in Brisbane. With a practice that is rooted deeply in nurturing long-term relationships with suppliers, Margot has worked with leading pearl farmers, opal experts, and gem-cutters across the globe to secure the rare and precious materials that have been the centrepiece of her designs. The one-of-akind pieces are coveted by an international clientele and stocked by the prestigious Neiman Marcus and Bergdorf Goodman

Taking over the Adelaide Street Pavilion gallery, Anita creates artworks using delicate materials and intricate techniques, supported by large-scale hoops. From her workbench, she will experiment with new embroidery motifs and also create a large-scale drawing along the gallery wall. Museum of Brisbane respectfully acknowledges the Traditional Custodians of Brisbane and surrounding areas, and other First Nations peoples. We pay our respects to Elders, past, present and emerging. MoB’s Artist in Residence program is supported by Tim Fairfax AC.

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information. 16 July—4 September Nguthuru-Nur Fiona Foley A recent series of photographic works.

QUEENSLAND

Northsite Contemporary Arts → APT10 Kids mascot Dok Rak and friends, 2021. Created in collaboration with Vipoo Srivilasa. Commissioned for APT10 Kids with support from the Tim Fairfax Family Foundation. Image courtesy of QAGOMA.

07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.

Fiona Foley, The Magna Carta Tree #1, 2021, inkjet print (detail). Photo: Mick Richards. 16 July—4 September Natures Mortes Michael Cook

Ian Alderman, Flanders 3337.

A recent series of photographic works.

19 August—16 October Recovering the Past Ian Alderman

16 July—4 September The Midgley Dolls: Telling Tales of Noosa Sarah Midgley

A photographic exhibition by London based photographer and artist, Ian Alderman. Within this exhibition, Ian has combined his passion for history, and acknowledgment of his ancestor’s sacrifice to produce a set of images that convey his deep respect for the men, women and children who suffered so much from the Great War and its tragic social consequences.

‘Budgeree’ dolls made by Sarah Midgley depicting Kabi Kabi people living in the Noosa region in the 1870s.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 11am–2pm. 29 June—10 September Nyungu Bubu: Stories from our Country Lila Creek, Anne Nunn, Alex Baird-Murphy, Betty Sykes, Josie Olbar, Clarence Ball and Junibel Doughboy. 12 September—5 November il cranio carta Elizabeth Hunter 3 September—29 October APT10 Kids on Tour Shannon Novak (Aotearoa New Zealand), Phuong Ngo (Australia), Syagini Ratna

Elizabeth Hunter and Joel Sam, Ancestral Tapestry, 2017, printed on Hahnemuhle off white and charbonnel oil inks, edition of 10, 100 x 50 cm.

Onespace Gallery

Wulan (Indonesia), Jamilah Haji (Thailand), Gidree Bawlee Foundation of Arts (Bangladesh) and Vipoo Srivilasa (Thailand / Australia).

349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14]

www.onespacegallery.com.au

2 September—24 September Impossible Depth Nicola Scott In Nicola Scott’s latest solo exhibition, Impossible Depth, Scott continues her exploration of ‘holography’, a threedimensional illusionary technique that records the liquidity and reflective ability 201

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

to survive. Some lichens play an essential role in soil erosion control, and some such as ‘cyanobacteria,’ are amongst the organisms that can make direct use of atmospheric nitrogen. Lankester’s beautiful and unique prints cause us to pay closer attention to the important details of our planet’s habitats.

Perc Tucker Regional Gallery www.townsville.qld.gov.au

Nicola Scott, Speculative structure #4, 2022, oil on linen, 61 x 61 cm. Photograph: Louis Lim. Courtesy of the artist and Onespace Gallery.

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

30 September—23 October 67th Townsville Art Society Awards The Townsville Art Society Inc proudly presents the 67th Townsville Art Society Awards. The Townsville Art Society has held an annual or biennial arts exhibition since its inception, and the Townsville Art Society 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 to compete for prizes.

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

of layered light waves and colour, onto a 2D picture plane. The curious, multi-layered textures contained in each work suggest traces of plastic, brushes, alternating opacity and gesture. Due to the depth Scott creates by interlocking and overlaying shapes and hues, each work implies an impossible depth, where forms appear to hang in indiscernible space.

Cutler Footway, Delta after a Flood, (detail), 2020-21, acrylic on canvas, 150 x 150 cm. Image courtesy of the artist. 16 September—27 November Facing North: Cutler Footway

Jo Lankester, Illuminate – Cyanobacteria Il, 2022, multi-colour plate intaglio and hand stitching, 100 x 75 cm. Photograph: courtesy of the artist and Onespace Gallery.

Cutler Footway’s Facing North comprises of three bodies of work reframing the artist’s last two decades of practice into a compelling and cohesive whole. These series include a clutch of small, erotically charged images recording the painter’s attempt to resume the natural and psychological environs of his birthplace after an absence of many decades. The second section of the show explores the gradual maturing of Footway’s picture-making. The concluding section of the exhibition introduces a miscellany of life drawings, all in the medium of oil crayon on paper. Curated by Gitte Weise.

1 October—29 October Luminous: microhabitats Jo Lankester Lankester has created a stunning new series of unique state prints depicting the exquisite presence of lichen on natural substrates. Her exhibition encourages a conversation about ecology and the effects of climate change on a micro level. Lichens exist in microhabitats and arid and rainforest environments all over the world. Australia has both shared common species of lichens but also others unique to this region. Lichens are a symbiotic relationship between algae and fungi—they need each other to survive. We as humans exist in a symbiotic relationship with nature and also need a healthy environment 202

James and Eleanor Avery, Cuddle Curtain, 2020. Courtesy of the artists. 27 August—29 October Come Together Over the past two years we all have learned new ways to work together, leading to more innovative and collaborative partnerships. To create Come Together, we asked artists to share with us their most recent creative collaborations. The five new contemporary works in this exhibition explore many aspects of working together, including creating across physical distance; returning to an idea after time has passed; siblings as co-creators and how different disciplines can develop a single product.

Pinnacles Gallery www.townsville.qld.gov.au

Margaret Crawford, Banksia – Life After Fire, 2021, ceramic, 16.5 x 17.5 cm diam, 23 x 11.5 cm diam, 21 x 12.5 cm diam. Major acquisitive prize winner of the 66th Townsville Art Awards 2021. City of Townsville Art Collection. Image courtesy of Townsville City Galleries.

Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information. Pinnacles Gallery is a dynamic art space committed to community engagement,

QUEENSLAND the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours. 27 September—10 September 2023 Love in Life & Art William Robinson

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

artistic development and contemporary practice. Pinnacles Gallery is currently closed for the Riverway Library Renovation Project. However, keep an eye out for updates regarding the Gallery reopening later this year.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. 20 September—15 October June Tupicoff

Ken + Julia Yonetani, Ultrabuddha 2010, 23ct gold leaf on ceramic. Photograph: Julia Yonetani. ©︎ Ken + Julia Yonetani. Courtesy of Mizuma Art Gallery. 5 July—23 October Ken + Julia Yonetani: To Be Human To Be Human is the first major survey exhibition of Australian-Japanese artist duo Ken + Julia Yonetani. Working together since 2008, the artists have built a collaborative practice that unearths and visualises hidden connections between people and their environment. Responding to environmental degradation and global economic systems, their work addresses coral bleaching, increasing salinity levels, nuclear energy, and, most recently, the microbiome. The artist duo is known for their use of unusual materials, such as salt, sugar and uranium glass, to create awe-inspiring, large-scale installations. This focused exhibition will bring together works from Australian and international collections, including a reiteration of Sweet Barrier Reef, their major installation from the 2009 Venice Biennale.

Chiharu Shiota, Japan b.1972, Uncertain Journey, 2016-2019, metal frame, red wool. Dimensions variable. Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Photograph: Sunhi Mang. 18 June—3 October Chiharu Shiota: The Soul Trembles The Soul Trembles highlights twenty-five years of Chiharu Shiota’s practice across large-scale installation, sculpture, video performance, photography and drawing. Shiota is renowned internationally for her transformative installations constructed from millions of fine threads and works that express the intangible: memories, anxiety, dreams and silence. Curated by Mami Kataoka, Director of Mori Art Museum, Tokyo. GOMA | Ticketed.

Michael Zavros, Purple tulips looking away, 2022, oil on board, 61 x 46 cm. 18 October—12 November Michael Zavros

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

William Robinson, Out of the dawn, 1987, oil on linen. Collection of Martin and Jan Jorgensen, Brisbane. Until 11 September William Robinson: Nocturne The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates

Justene Williams, The Vertigoats, 2021, Mixed media, installed dimensions variable. Purchased 2021 with funds from the Contemporary Patrons through the QAGOMA Foundation, Collection: QAGOMA. Photograph: Natasha Harth, QAGOMA. 203

EPHEMERA 2023 Seaside Sculptures 22 July - 6 August 2023

CALL FOR ARTISTS ENTRIES CLOSE 1 NOVEMBER 2022

90,000

Ephemera Acquisitive Prize

10,000

Artistic Excellence Award (Non-Acquisitive)

1,000

People’s Choice Award

APPLY NOW ephemera-tsv.com.au

PERC TUCKER REGIONAL GALLERY Cnr Denham & Flinders Street Townsville QLD 4810 Tues – Fri: 10am – 5pm Sat – Sun: 10am – 1pm (07) 4727 9011 galleries@townsville.qld.gov.au whatson.townsville.qld.gov.au Townsville City Galleries TownsvilleCityGalleries

HOW TO ENTER

Amanda Parer [detail] Intrude Parer Studio. Ephemera 2021 Invited Artist Photographer: Andrew Rankin #intrude, #parerstudio, #amandaparer

Applications are now open online at ephemera-tsv.com.au

or contact Townsville City Galleries: (07) 4727 9011, galleries@townsville.qld.gov.au or by visiting the reception desk at Perc Tucker Regional Gallery ephemera-tsv.com.au

QUEENSLAND Queensland Art Gallery continued... 13 August—22 January 2023 Embodied Knowledge: Queensland Contemporary Art Embodied Knowledge is a focused survey of new work by Queensland artists. This group of commissioned and recent projects brings to the fore the voices of women, people of colour and LGBTIQA+ artists, all with a close connection to the sunshine state. It includes a vast installation of new paintings by Jenny Watson; a towering work by Erika Scott comprising fishtanks and found objects; a series of textural tributes to traditional rainforest shields by Girramay artist Ethel Murray; and a major new commission on the Watermall by Archie Moore. Also featured are new commissions and recent work by Robert Andrew, James Barth, Janet Burchill and Jennifer McCamley, Megan Cope, Caitlin Franzmann, Heather Koowootha, Callum McGrath, Meuram Murray Island Dance Group, Ryan Presley, Obery Sambo, Vanghoua Anthony Vue, Rosie Ware, Warraba Weatherall and Justene Williams. Embodied Knowledge reveals the current dynamic state of creativity in Queensland, with artists responding to the diverse personal, political and social experiences of our time. QAG | Free. 27 August—29 January 2023 Joe Furlonger: Horizons QAG | Free 3 September—18 June 2023 Courage and Beauty: The James C. Sourris AM Collection GOMA | Free

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery

Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) has been assisted by the South Australian Government through the Department for Innovation and Skills and the Australian Government through the Australia Council for the Arts, Contemporary Touring Initiative. Ernabella Arts and the Carroll family gratefully acknowledge support from the Government of South Australia through Arts SA and the Commonwealth Government through the Australia Council for the Arts and the Indigenous Visual Arts Industry Support (IVAIS) program.

21 August—9 October Sihot’e Nioge: When Skirts Become Artworks 21 August—9 October Woven: Works from the Redland Art Gallery Collection 16 October—4 December Redland Art Awards 2022

Redland Art Gallery, Capalaba Leigh Camilleri, Bending light on water, 2022. Courtesy of the artist. 3 September—5 November Beacon to Beacon Beacons line the coast of Moreton Bay, ensuring safe passage for thousands of water travellers, both human and aquatic. Drawing from the Maritime Safety Queensland publication of the same name, Beacon to Beacon examines the effects and influence of beacons along the coastline of South East Queensland. Through painting, sculpture, textiles and drawing, the artists of the Tidal Collective focus on the navigational tool of beacons, and how they can connect us to place and keep us safe. The Tidal Collective is a group of South East Queensland based artists who are inspired by the ebb and flow of Moreton Bay’s tidal waterways.

1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

8 October—3 December 15 Artists 2022

23 July—1 October JamFactory Icon 2021 Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places)

Each year, 15 artists are invited by Moreton Bay Regional Council to participate in the exhibition, with the winning artist awarded $20,000 and their work acquired into Council’s Art Collection. The exhibition highlights recent works by Australian artists, presenting diverse voices and ideas.

JamFactory’s annual ICON exhibitions celebrate the achievements of South Australia’s most influential visual artists working in craft-based media. Kunmanara Carroll (1950–2021) was a Luritja/Pintupi/Pitjantjatjara artist who worked at Ernabella Arts at Pukatja in the APY Lands. Concerned with passing on cultural knowledge, his paternal homeland was an unwavering source of inspiration and the recurring subject within his oeuvre of painting and ceramic sculpture. JamFactory Icon 2021 Kunmanara Carroll: Ngaylu Nyanganyi Ngura Winki (I Can See All Those Places) is a JamFactory touring exhibition. JamFactory Icon 2021 Kunmanara

IIma Ugiobari, Gome (Orchid), (detail) 2018, natural plant and ash pigments on beaten bark cloth. Courtesy of the artist. Omie Tapa Artists PNG and Baboa Gallery, Brisbane.

www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

An annual acquisitive prize developed to enhance the Moreton Bay Regional Council Art Collection and exhibition program.

Mark Kleine, Rouge, 2021, digital photography. Courtesy of the artist. 18 July—6 September Mark Kleine: Mestiza/Mestizo

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information.

Shannon Garson, 3 moon vases, (detail), 2019, porcelain. Courtesy of the artist. 12 September—8 November Shannon Garson: Vessels and Bird Stories 205

Joachim Froese

Echoes of Process

Joachim Froese (b. 1963) Rhopography #44 2003, silver gelatin print. Rockhampton Museum of Art Collection. Gift of the Queensland Centre of Photography 2019.

20 AUGUST TO 16 OCTOBER Rockhampton Museum of Art 220 Quay Street Rockhampton | rmoa.com.au

Regional Queensland’s largest and most exciting art space rmoa.com.au

QUEENSLAND The Gallery is open Monday 12 September and Tuesday 13 September during Toowoomba’s Carnival of Flowers.

Robyn Bauer Studio Gallery

10 September—18 September Ikebana Display 2022 Toowoomba Ikebana Group

www.robynbauerstudio.com 54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat only 9.30am–4.30pm and by appointment on other days.

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.

Mabel Edmund, Darumbal and Australian South Sea Islander (1930-2009), On Jowalbina, 1990, gouache and acrylic on woven paper, 60 x 41 cm. Purchased from the Rockhampton City Art Prize 1990. Courtesy Rockhampton Museum of Art. 25 February—23 October Welcome Home Robyn Bauer, Hunter and Collectors, oil on canvas, 40 x 40 cm.

RMOA’s inaugural exhibition celebrates our rich and vibrant collection. 28 May—2 October Up to Us Works from the RMOA Collection.

Lorraine Connelly-Northey, Waradgerie people (Australia b.1962), Narbong, 2012, rusted reinforcing mesh and steel irrigation pipe, 160 x 170 x 15 cm. Purchased 2012. Queensland Art Gallery and Queensland Art Gallery Foundation. Photograph: Mark Sherwood, QAGOMA. © Lorraine Connelly-Northey. 10 September—30 October Asia Pacific Contemporary: Three Decades of APT Asia Pacific Contemporary: Three Decades of APT showcases highlights from the Queensland Art Gallery | Gallery of Modern Art’s long-running Asia Pacific Triennial of Contemporary Art series of exhibitions. The exhibition features works of art commissioned or collected from APT1 (1993) through to APT9 (201819). The diverse travelling exhibition underscores the success of the APT’s role in the Gallery’s collection development strategies, highlighting internationally significant works by leading artists dating from the 1980s to the present day.

Robyn Bauer, The City is Not a Concrete Jungle - Brisbane from Red Hill, oil on canvas, 102 x 102 cm. The gallery features paintings, drawings and prints by Robyn Bauer and Sarah Matsuda. For latest information see our Instagram @robynbauerstudio2 Robyn Bauer is a Brisbane based artist well known for her colourful urban landscape paintings and large charcoal tree drawings. She is a Fellow of the Royal Queensland Art Society. Sarah Matsuda produces figurative paintings and commissions with pregnancy, breastfeeding and mother and baby themes.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free.

Joachim Froese, Cucurbita pepo, 2021, from the series, Entangled, salted paper print, 36 x 42 cm. Courtesy the artist and Rockhampton Museum of Art. 20 August—16 October Joachim Froese: Echoes of Process

The exhibition includes works by Heri Dono (Indonesia), Lee Wen (Singapore), Tracey Moffatt (Australia/United States), Lorraine Connelly-Northey (Waradgerie people, Australia), and Michel Tuffery (Aotearoa New Zealand).

Arryn Snowball: Mammoth 13 August—12 February 2023 Collection Focus: Vipoo Srivilasa

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tues & Public Hols.

Arthur Streeton, Kosciusko n.d. (1933), oil on canvas, 87 x 99.7 cm frame. Lionel Lindsay Gallery and Library Collection. 207

PEOPLE ART PLACE

9-18 SEPTEMBER '22 CURRUMBIN BEACH

QUEENSLAND

www.swellsculpture.com.au

swellsculpture.com.au

Griffith University Art Museum 8 September – 3 December 2022 An Art Gallery of New South Wales touring exhibition

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

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griffith.edu.au/art-museum

226 Grey Street South Brisbane QLD 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 3735 3140

QUEENSLAND Toowoomba Regional continued... Asia Pacific Contemporary: Three Decades of APT is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art. 10 September—27 November Deep Impressions: European Landscapes from the Collections Australian Impressionist landscapes by Tom Roberts, Arthur Streeton and Frederick McCubbin. Displayed with paintings that emerged from a mix of British, Dutch and other European landscape traditions. Selected from the Gallery’s three permanent collections.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

Claire Grant, Gorgonian Fan(tasy), (detail), 2020, Hand-tinted cyanotype print on Japanese paper, 12 x 12 cm. 26 August—2 October Compact Prints International Print Exhibition, Auction and Exchange Compact Prints has been Umbrella’s signature biennial exhibition since 2002. It has evolved into a significant benchmark of international engagement for printmakers across the globe. It is also a fundraising event for Umbrella as a not-for-profit organisation. 2022 marks the 20th anniversary of the exhibition’s inception. Katya Venter, How to be a Good Doll (detail), 2022, 3D pen filament. 26 August—2 October How to be a Good Doll Katya Venter This exhibition reflects upon the current age of digital and technological augmentation and the customisation of bodies (including 3D-printed body parts, artificial skin transplants, plastic surgeries, clones and gene selection). Through the body of work, Katya Venter fantasises about the future of human and animal bodies through the allegory of doll characters that seem to be playful

yet uncanny objects of our early life. Accordingly, How to be a Good Doll employs lighting, shadows, paper and 3D-printed techniques to question what makes dolls good, bad, scary or benign.

Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information.

UMI Arts Gallery www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander arts peoples to participate in the maintenance, preservation, and protection of culture. UMI is a Creole word that means ‘You and Me’ – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

Amrita Hepi, The Anguilla Pursuit, 2021, image still from two-channel video, colour and sound, 16:9, 4:31 minutes. Courtesy of the artist, and Anna Schwartz Gallery, Melbourne. 19 July—17 December Oceanic Thinking Amrita Hepi, Madison Bycroft, Ensayos Collective, Angela Tiatia

Dylan River, Kaytetye people, Untitled (Bungalow), 2022, commissioned by the National Gallery of Australia, Kamberri/ Canberra for the 4th National Indigenous Art Triennial: Ceremony with the support of the American Friends of the National Gallery of Australia with the assistance of the Christopher and Francesca Beale Private Foundation. Image courtesy of and © the artist. 27 August—26 November 4th National Indigenous Art Triennial: Ceremony

Dorothy Edwards, Nesting, acrylic on canvas, 2021, (created during the 2021 Exhibition-Ready program) Image credit: Lovegreen Photography. 9 September—31 October My Country of the Norgin Shenane Jago Shenane is a talented Kurtijar artist, living and working in Normanton, QLD. Jago is the 2022 graduate of UMI Arts’ ‘Exhibition-Ready Program’, and in her debut solo exhibition will be showing a range of ceramic works related to and inspired by her country. “I wish to give people a taste of the country in the Gulf where I am from and grew up. My country is beautiful, wild, and is respected”. Official opening 9 September, 6pm.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046

USC Art Gallery www.usc.edu.au/art-gallery USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm. 19 August—29 October The Mystery of Being Here Peter Hudson Since the 1990s, Sunshine Coast-based artist Peter Hudson has explored aspects of the natural world through painting and drawing. The landscape has been a constant particularly the Glass House Mountains and hinterland around Maleny where he resides. In 1998, Hudson started making portraits inspired by a long association with the Gurindji people that transformed his understanding of nature and spirituality. The largest career survey of Hudson’s practice, The Mystery of Being Here brings together an unparallel selection of his landscapes and portraits. 209

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our Indigenous artists including paintings, printmaking, ceramics, glass, bronze and sculpture.

for a bargain.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm. See our website for latest information. The Australian National Capital Artists Inc. (ANCA) is an independent not-forprofit artist-run initiative in Canberra, Australia. ANCA was established in July 1989 as a collaboration between the ACT Government and representatives of Canberra’s Visual Arts community. ANCA provides affordable and professional studio and exhibition space to artists.

Agneta Ekholm, Portent, acrylic on canvas, 100 x 70 cm.

Greg Mallyon, First Contact, mixed media on paper, 65 x 75 cm.

1 September—17 September Continuum Agneta Ekholm

23 September—16 October Re exploration Retracing Burke and Willis Greg Mallyon

Artists Shed

Fran Romano, Loculus IV, 2021, midfire ceramic, black stain, underglaze colour, copper leaf and oxide, found housebricks.

www.artistshed.com.au

17 August—11 September Of Soap and Stone Kati Gorgenyi, Fran Romano and Melinda Brouwer.

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

Julian Laffan, Winter Moon Rising, woodcut and mixed media on birch ply, 34.5 x 44.5 cm. Margaret Hadfield, Glorious Light, oil. A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery,and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired

1 September—17 September The familiar road Julian Laffan

Lucy Quinn, Drift, 2017, cast glass, mirror 110 cm diameter.

13 October—29 October Paintings Thornton Walker

14 September—9 October Venation Lucy Quinn and Sophie Quinn

13 October—29 October Works on paper Chris Denton

22 October—27 November ANCA Artists Exhibition Featuring Australian National Capital Artists studio tenants. 211

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Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005

Each flat tile is unique and through careful arrangement, the subtle tonal differences give the impression of depth. The final compositions suggest a constantly moving, changing surface.

M16 Artspace

Nancy Sever Gallery www.nancysevergallery.com.au Level 1, 131 City Walk, Canberra City, ACT 2601 02 62 62 8448 Wed to Sun 11am–5 pm.

www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm. 8 September—25 September FLORILEGIA Kerry Shepherdson A Feminine Perspective Hedda Photography Group 2022 FUSE Glass Prize winner, Matthew Curtis, Margin, 2022. Photograph: Rob Little for the artist. 24 August—25 September FUSE Glass Prize The FUSE Glass Prize finalists will come to Canberra Glassworks in this JamFactory touring exhibition that showcases the skill and creativity of glass making today. The Prize is a non-acquisitive biennial prize for Australian and New Zealand glass artists and the richest in Australasia. It provides a platform for artists to push themselves and their work to new limits and focuses public attention on the importance of glass as a medium for contemporary artistic expression.

Ruth Waller, Black vase with fern leaf, 2022, acrylic on wood panel, 40.5 x 30.5 cm. 28 August—25 September Paintings ’21–‘22 Ruth Waller Lauren McCartney, Puff, 2022. Framed archival pigment print, edition of 10, 54 x 60 cm. Courtesy of the artist. 8 September—25 September Dressed for Desire Lauren McCartney Studio MAP 29 September—16 October The juice of carrot, the smile on a parrot YOWAH Rachael Maude

Consuelo Cavaniglia coldworking during her residency at Canberra Glassworks. Photograph courtesy of Canberra Glassworks.

Algorithmic Chicane Sanne Carroll, Tony Curran, Daniel Eatock, Tom White Michael Taylor, High-country garden, 2022, oil on linen, 137 x 137 cm.

5 October—27 November Consuelo Cavaniglia In response to the unique space of the Smokestack Gallery, Consuelo Cavaniglia will use reflection, refraction and light to create an immersive installation based on her research into colour and optics. Sheets of variously coloured glass will float seamlessly in the space. This work was developed through a residency held in 2022 at Canberra Glassworks, which allowed her to explore the use of handmade glass for the first time. 5 October—27 November Hannah Gason Canberra based artist Hannah Gason will create a body of new work that continues Gason’s series looking at colour, light and pattern. Wall and floor works will consist of small tiles arranged to form patterns that play with repetition and disruption. 212

2 October—30 October Michael Taylor Celebrating his 90th birthday.

National Gallery of Australia www.nga.gov.au David Hempenstall, Untitled, 2015, toned silver gelatin photographic print, 19 x 12.5 cm. 20 October—6 November The Corner of my Eye Mark Van Veen and David Hempenstall Testamur 4 Canberra Art Workshop Muse & Reflect Erik Krebs Schade

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. 13 August—5 February 2023 Kara Walker 7 September—28 September Contemporary Australian Architects Speaker Series

AUSTRALIAN CAPITAL TERRITORY gestures of cocooning and containment as the artist gradually encases her head and body in bubble wrap. A parody emerges of a society in which fetishised notions of self-comfort, protection and healing coincide with the commercialisation of wellbeing.

Jasper Johns, Gemini G.E.L., Figure 1; from Color numeral series, 1969, colour lithograph printed from one stone and two aluminium plates, 69.6 h cm, 55.6 w cm, National Gallery of Australia, Kamberri/ Canberra, purchased 1973. © Jasper Johns. VAGA/Copyright Agency. 11 June—30 October Rauschenberg & Johns: Significant Others From 10 September Worldwide 24 September—19 February 2023 Cressida Campbell 14 and 15 October Project 4: Victory Over The Sun 29 October—29 January 2023 Project 3: Angelica Mesiti

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Jaq Grantford 2020, 2021. Winner Darling Portrait Prize 2022. 25 June—9 October Darling Portrait Prize 2022 Finalists’ exhibition 1 October—29 January 2023 WHO ARE YOU: Australian portraiture From the collections of the National Gallery of Victoria and the National Portrait Gallery.

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm. 11 August—10 September I am that I am - a deconstruction Prue Hazelgrove

Xi Li, Brain Island: Hyperreal City, 2019, single channel video, video still. 11 August—10 September Transcending Bodies Xi Li, Meng-Yu Yan and Joseph Blair Curated by Gabrielle Hall-Lomax. Transcending bodies explores how sense-of-self and social dynamics are shaped in virtual environments. The exhibition brings into focus the possibilities and limits of existing online, untethered from the physical body. Through video, AI and printed photo-media, the artists challenge traditional and normative ideas of identity and envisions new forms of living in the virtual realm.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

Bringing tintype and collage processes into conversation, I am that I am – a deconstruction examines histories of queer visibility and erasure. The artist engages Christian metaphors and allegories, challenging inherited perspectives on the LGBTQIA+ community and seeking more truthful representations.

Matthew Clarke, Windy Wobbly Windfarms, part 1. 20 August—10 September Windy Wobbly Windfarms Matthew Clarke

Wayne Quilliam, Silent Strength, 2021. Winner: National Photographic Portrait Prize 2022. 25 June—9 October National Photographic Portrait Prize 2022 Finalists’ exhibition

Emily Portmann, Aftercare Action One, 2021, archival Inkjet print.

17 September—29 October Neo Glitch City Danny Jarret

11 August—10 September Aftercare Emily Portmann

17 September—29 October Watching Me Watching You Jemima Campey

Through still and video documents of a private performance, Portmann explores the emotional and psychological ideology of self-care. The works record successive

17 September—29 October Gorgeous Shadow, Bent Dream Jacquie Meng, Joanne Leong, Genie Stuart, and Tom Campbell 213

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

TASMANIA

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Presenting works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions.

Tasmania ruminate on the underlying strata and structures of ‘home’ and ‘land’ and the authority of ‘heritage’ as a practice of selective memory.

13 September—3 October Ode to the Light Lisa Moroney

Devonport Regional Gallery

4 October—24 October Diaspore Donna Lougher

www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed.

Sue Lovegrove, No 13.4, 2021, watercolour and gouache on paper, 8 x 12 cm. 2 September—24 September The Invisible Lake Sue Lovegrove

Stephen Lees, Eva’s Garden, 2022, oil on linen, 137 x 148 cm. 25 October—15 November Recent Paintings Stephen Lees

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information. 6 August—11 September language of the deceased Tomoko Momiyama

Tim Burns, A Musical Silence, 2022, oil on wood, 44 x 28 cm.

Curated by Lisa Campbell-Smith and Joel Stern. Supported by the Australia Japan Foundation.

2 September—24 September Painting the Silent Music Tim Burns 30 September—22 October Dreams and Effigies (to be burnt) Georgia Morgan 30 September—22 October Preservations Richard Wastell

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

Women’s Art Prize Tasmania 2022, Trawalla Foundation Acquisitive Prize: Eddie James, Room 18, 2021, instant photography digital print on textured rag, 100 x 84 cm. 6 August—17 September Women’s Art Prize Tasmania 2022 Finalists Exhibition For 20 years Tasmania’s only women’s art prize has been shining the spotlight on the creativity, passion and vision of this island’s women artists. In this, the 20th anniversary of the Prize, RANT Arts and Devonport Regional Gallery are proud to present the 2022 Women’s Art Prize Tasmania. This exhibition features the works of 25 shortlisted finalists who have entered in the hope of winning one of the three categories: $15,000 Trawalla Foundation Acquisitive Prize; $3,000 Bell Bay Aluminium People’s Choice award; $1,500 Zonta International (District 23, Area 5) Emerging Artist prize. The 2022 winner will join the distinguished prizewinner alumni amongst whom include: Anne Morrison (2019), Sarah Rhodes (2020) and Georgia Spain (2021).

Image of an illegal demotion of 55 Mount Stuart Rd, Hobart c. 2016. A Hullah. 23 September—30 October HOME|LAND Georgia Lucy, Caleb Nichols-Mansell, Flo Robinson, Nunami Sculthorpe-Green, Priya Vunaki and Richie Cuskelly. Curated by Alexandra Hullah. Taking up residence in a metaphorical sharehouse in the midst of Hobart’s housing boom/crisis, six artists of lutruwita/

30 April—14 January 2023 Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community 215

ar t g ui d e .c o m . au Devonport Regional Gallery continued... arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists.

16 September—3 October Survey exhibition Sally Curry

sewerage system. Both factories were situated in Launceston, and enjoyed a friendly rivalry while sharing moulds and employees.

3 September—12 November Attempted Portraits Lisa Garland, Ilona Schneider, Patrick Hall, and historical images from the Robinson Collection of Photographic Negatives. Attempted Portraits is an exhibition of portrait photography from the historical Robinson Collection of Photographic Negatives and three contemporary Tasmanian artists, Lisa Garland, Ilona Schneider, and Patrick Hall, curated by Ellina Evans.

Tasmanian artist, Tony Smibert in his studio. Image: Carmencita Palermo.

Junko Go, Love, 2022, acrylic, 94 x 94 cm. 7 October—24 October New works Junko Go

Nanna Bayer, Nix imper, 2019, coloured porcelain, optic fibres, electrical parts, 210 x 45 cm. Photograph: Peter Matthew. 24 September—5 November Older? Wiser? Stronger? Nanna Bayer 2022 Solo Commission Exhibition. Take a journey with Finnish artist Nanna Bayer into a world of re-discovery. Coming from a land of lakes and forests; of extended periods of darkness and magical Arctic lights, the connection to nature determines much of her aesthetics. However, Bayer questions our assumptions of an unchanging world and gently reminds us of our tenuous position within an unsustainable environment.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm. See our website for latest information. 26 August—12 September Group Exhibition of Handmark artists

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. Until 17 October Exodust—Crying Country Fiona Hall and AJ King Until 17 October Phase Shifting Index Jeremy Shaw Until 17 October Within An Utterance Robert Andrew

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Permanent Museum at Inveresk: Northern Clay Launceston’s past as a major pottery and ceramics hub is celebrated in Northern Clay, an exhibition exploring the story of the rise of ceramics in northern Tasmania beginning with two former Launceston pottery companies: John Campbell Pottery and McHugh Brothers.

Sally Curry, Fluid. 216

Both McHugh’s and Campbell’s were industrial manufacturers, producing pipes and bricks for major infrastructure projects like the Albert Hall, the Cameron street post office and Launceston’s

4 December 2021—6 November Queen Victoria Art Gallery, Royal Park: Tao Sublime Tony Smibert Built from refined skill and dedication to landscape painting spanning a career of 40-years, this exhibition showcases a collection of emotive and striking works by Tony Smibert; many of which are on display to the public for the first time. Inspired by the skill of 19th-century English watercolourist J. M. W. Turner, and eastern painting traditions, Tao Sublime creates a compelling journey of abstract landscapes through works featured within this exhibition. Recognised as a leading Australian watercolourist, Smibert has been long inspired by the philosophy of sublime. Permanent Queen Victoria Art Gallery, Royal Park: Guan Di Temple The Guan Di Temple at the Art Gallery at Royal Park holds the contents of a number of Chinese temples from north-eastern Tasmanian mining towns. As these temples gradually closed down, their contents were kept and eventually donated to the Queen Victoria Museum and Art Gallery. The Guan Di Temple is still a working temple at the Art Gallery at Royal Park and offers a unique window into Chinese religious practice in Tasmania during the 1880s through this permanent exhibition. Permanent Queen Victoria Art Gallery, Royal Park: The First Tasmanians: our story Explore the history and culture of the Tasmanian Aboriginal people in The First Tasmanians: our story at the Art Gallery at Royal Park. Highlights include rarely-seen original objects and Tasmanian Aboriginal perspectives on climate change, astronomy, stories of creation, craft, technology and architecture. 27 August—27 August 2023 Museum at Inveresk: H J King: cameras and carburettors Although H J King’s photographs are more commonly seen than you might realise, the photographer himself is less well-known. In this exhibition we explore the man behind the camera, who was H J King? Herbert John (‘H.J.’) King (1892– 1973) ran a bicycle and motorcycle shop with his family in Launceston, and used

TASMANIA cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians.

H J King,stereographic photograph, (detail) of HJ King with two Indian Motorcycles on a trip to Cradle Mountain, 1921. motorcycles, cars and aircraft to reach many inaccessible parts of Tasmania. He was an extremely talented amateur photographer, and used his photographs to document his outdoor explorations. He experimented with photographic processes, won prizes for his black and white photographs, and took some of the earliest Australian examples of civilian aerial photography.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm. Free entry. Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and

Lucienne Rickard (b. 1981), Extinction Studies, 2019, graphite on paper. From 18 February Extinction Studies Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG. 30 September—12 February 2023 taypani milaythina-tu: Return to Country

colvillegallery.com.au

Ancestor (unknown Tasmanian Aboriginal maker), Claw necklace, c.1830, Echidna and Wombat claws strung on animal sinew, likely to be claw necklace taken by George Augustus Robinson, 1830, Sandy Cape, Tasmania. Purchased by the Friends of the TMAG from Mr Leo Fortess, Hawaii, USA, 1999. The Tasmanian Museum and Art Gallery’s (TMAG) major exhibition for spring–summer 2022, taypani milaythina-tu: Return to Country, is a response from 20 contemporary Tasmanian Aboriginal artists to cultural objects, many long held overseas. This important exhibition is an ambitious project of reconnection between people, objects and Country.

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A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

S OUTH AUSTRALIA

Art Gallery of South Australia → Robert Wilson, born 1941, Lady Gaga: Mademoiselle Caroline Riviere, 2013, HD Video; music by Michael Galasso, Courtesy RW Work Ltd and Tempe Manning Self-portrait, 1939 (detail), oil on canvas, 76 x 60.5 cm. Art Gallery of New South Wales, acquired with the support of the Art Gallery Society of New South Wales 2021. © Estate of Tempe Manning.

Adelaide Contemporary Experimental www.ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information. 9 July—3 October Archie 100: A Century of the Archibald Prize Robert Wilson: Moving portraits Our exhibition double celebrates the enduring power of portraiture with 100 years of the Archibald Prize and an Australian exclusive. Buy tickets online at agsa.sa.gov.au

Flinders University Museum of Art www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information.

GAGPROJECTS Ryan Presley, The Dunes (How good is Australia), 2021, detail, oil, synthetic polymer paint and 23k gold leaf on poly-cotton, 364 x 152 x 3 cm. Courtesy of the artist and Milani Gallery, Brisbane. 3 September—29 October Fresh Hell Ryan Presley Fresh Hell brings together a suite if paintings that Brisbane-based artist Ryan Presley has been steadily developing over the past eight years, for the first time in a major solo exhibition.

www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery & stockroom open by appointment only.

Kate O'Boyle, There's something about Mary, still, 2022, digital video, colour, sound. Image courtesy of the artist. 25 July—16 September The Guildhouse Collections Project: After the Fall Elyas Alavi, Kate O’Boyle and Louise Haselton South Australian artists Elyas Alavi, Kate O’Boyle and Louise Haselton present new bodies of work inspired by the 219

NATURE UP CLOSE 27 AUGUST – 30 OCTOBER 2022 South Australian Museum | Open daily 10am – 5pm BOOK NOW Unlimited free VIP entry for Museum Members

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Rosa Dunbar, Bubble Blowing Fly (detail). Finalist in the Junior category.

S OUTH AUSTRALIA Flinders University Museum of Art continued... mythologies, subjects, and techniques of FUMA’s European print collection dating from the 15th to the 20th centuries. A Flinders University Museum of Art exhibition presented in partnership with Guildhouse and supported by Arts South Australia, curated by Alice Clanachan.

its studios and exhibition program and encourages an effective teamwork environment delivering skills in curatorial/installation practices and nurturing various leadership roles. This exhibition is part of SALA festival 2022, South Australian Living Artists.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm. See our website for latest information.

Ed Douglas, Buddha Contemplating The Fate Of Ozymandias, 2022, archival pigment print on 310gsm cotton rag, 81 x 121.5 cm. 16 September—6 November Ed Douglas Hayley Millar Baker, I’m The Captain Now, Untitled 8, 2016. Inkjet on cotton rag, 20 x 20 cm. Courtesy of the artist and Vivien Anderson Gallery, Melbourne. 4 October—16 December There we were all in one place Hayley Millar Baker (Gunditjmara) There we were all in one place is an early career survey exhibition of cross-cultural artist Hayley Millar Baker (Gunditjmara). A UTS Gallery and Art Collection Touring exhibition curated by Stella Rosa McDonald.

Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5245 08 8388 7250 Open 7 days a week 10am–5pm. See our website for latest information.

This is the working title for a coming exhibition by the artist, Ed Douglas. The lines are from a poem by T.S. Eliot titled Wait Without Hope. This body of work has evolved mainly over the past two years but a few relevant older works may also be included. He says, Like everyone, I have been quite affected by the rapidly changing world we are living in. Climate change, the pandemic along with aggressive and divisive politics are a timely reminder of the threats to our collective humanity and our human vulnerability. These have forced us to look more closely at human suffering and focus on the issues that humanity must deal with. Archetypal figures feature in Ed Douglas’ recent art , along with representations of everyday figures are Gautama Buddha and Mary the Mother of Jesus. He says of Buddha and Mary: They represent to me the profound reality of human wisdom and loving kindness. In these dark times they seem to offer healing and light. In their stillness I imagine that they experience the world as an infinity of atoms dancing. Entries Open Heysen Prize For Landscape Heysen Prize For Landscape — Acquisitive $15,000, People’s Choice Prize — Non-Acquisitive $1,000. Closing Date 5pm Friday 1 October 2022. Heysen Prize for Landscape is a contemporary art prize established in 1997 to commemorate the life and work of the internationally renowned, artist, Sir Hans Heysen (1877-1968).

30 July—11 September Collective Haunt: Constantly Curious SALA

It is a biennial event celebrating emerging, mid-career and established artists and their connection to landscape and place. The word ‘landscape’ includes all possible aspects of the natural, rural, and urban landscape. The prize is open for 2D and 3D and moving image works.

Group exhibition by artists who have studios at Collective Haunt Incorporated, which is an artist-run initiative in Adelaide with 15 artists’ studios and 24 artists. Collective Haunt is focused on supporting a diverse range of artistic talent through

A panel of judges with professional expertise in the arts will select finalist works for exhibition and determine the Prize recipients who will be announced at the exhibition launch at the Hahndorf Academy on 19 November.

Nicola Semmens, A Frog Cake Tea Party, 2022, oil on canvas.

Jessica Loughlin, halites, (detail), 2021. Photographer: Grant Hancock. Morphett Street: 15 July—18 September JamFactory ICON 2022 Jessica Loughlin: of light

Deborah Prior, Lost Flock, 2022. Photographer: Sam Roberts. Seppeltsfield Road: 30 July—2 October Deborah Prior: On the third day

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information. 3 August—25 September Mallee Soul Angela Roesler Mallee Soul celebrates regional artist Angela Roesler’s love for and connection with the Southern Mallee. It explores moments in time and her sense of belonging. 221

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Murray Bridge’s annual Youth Art Prize showcases diverse artistic talents of young people aged 12-25. Empowering them to pursue their creative aspirations, it offers them a platform to express their insightful perspectives on wide ranging issues from personal to global.

Newmarch Gallery is a high quality, nationally recognized exhibition space. The diversity of our exhibition program reflects its role as a contemporary public exhibition space with a longstanding community focus.

Nexus Arts www.nexusarts.org.au Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. Angela Roesler, Recovery, 2022, acrylic on canvas, 30 x 30 cm.

Carolyn Corletto, Always wear your invisible crown, 2021, oil on ceramics, silver card, handmade leaf skeletons, 20 x 20 x 10 cm. Cynthia Schwertsik, My Name, 2018, Broken Hill Art Exchange.

Image supplied by artist, Jake Yang.

3 August—25 September My Name Cynthia Schwertsik

13 October—18 November Pendulum Shaye Duong, Jazmine Deng, Jake Yang, Alice Hu, ej son and Chris Yee.

My Name is an iterative project that responds to and reflects the presence and representation of women across public spaces. 4 August—18 September Refugee Week Youth Poster Awards 2022 The annual Refugee Week Youth Poster Awards provides students from primary, secondary and tertiary institutions the opportunity, through art making, to raise awareness about issues affecting refugees and the valuable contributions of refugees to Australia’s social, cultural and economic development. The project also educates young people on themes such as multiculturalism, human rights and cultural diversity. 1 October—13 November Youth Art Prize 2022 Murray Bridge’s annual Youth Art Prize showcases diverse artistic talents of young people aged 12-25. Empowering them to pursue their creative aspirations, it offers them a platform to express their insightful perspectives on wide ranging issues from personal to global. Primary, secondary and tertiary institutions are given the opportunity, through artthrough art making, to raise awareness about issues affecting refugees and the valuable contributions of refugees to Australia’s social, cultural and economic development. The project also educates young people on themes such as multiculturalism, human rights and cultural diversity. 1 October—19 November Youth Art Prize 2022 222

Six 1.5 to 2nd generation Asian immigrant artists explore the theme of acculturation in Pendulum, curated by Jonathan Kim for OzAsia Festival. As these artists are suspended between two cultures, their art practices are affected by the displacement and restoration in finding connection, like the swinging pendulum. The art works featured in this exhibition draw attention to the challenges facing these artists today and highlight how we all engage in the connections we continually remake in our societal, ecological and creative localities. Featuring works by South Australian based artists Shaye Duong, Jazmine Deng, Jake Yang, Alice Hu and EJ Son and Chris Yee from New South Wales. Pendulum moves between the personal experiences of these artists and their cross cultural relationships, expressing the effects of acculturation within their practice.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9am–5pm, Sat 10am–4pm, Sun Closed. See our website for latest information.

26 August—24 September Emerging from the Labyrinth Carolyn Corletto, Janine Dello, Kate Dowling, Maggie Moy and Anne Grigoriadis. The silencing, erasure, and burial of women’s truths was a constant in history and a reality that continues today. Women’s stories matter.

Gus Clutterbuck, Mirima Lotus, (detail), 2018, porcelain, cobalt, underglaze decoration, glaze, framed tile, 120 x 80 cm. Photograph: Josef Muller. 30 September—29 October Shadow of the Moon Gus Clutterbuck A homecoming exhibition of blue and white porcelain made in Jingdezhen, China, with new installation works created in Prospect. Building a cultural bridge by telling universal stories of love, loss, and reconciliation.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm. 25 August—16 September Becoming Invisible? Margaret Ambridge

S OUTH AUSTRALIA origins, trajectory, diversity and tenacity. It begins with a reimagining of seventeenth century Dutch art where paintings of citrus peel unfurling—evoked representations of wealth, exoticism, trade and expansion. The exhibition continues in the still life genre, exploring citrus’ symbiotic relationship with us humans, in both its global success and the disease that threatens to devastate the species. Underpinning this is the crucial role played by Australia’s own native citrus. This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia. Margaret Ambridge, Me at 63, charcoal and Indian ink on drafting film, 2022, 38 x 35.5 cm. Becoming invisible? asks women, with up to 102 years of life experience, to consider how they navigate their mortality, and the ‘gendered shame’ western culture attaches to ageing. Are we more fearful of looking old than getting old? 22 September—14 October Shallow Focus Patrick Cassar The Lamb and the Slaughter Jess Taylor

Sauerbier House culture exchange Ann Newmarch, Women hold up half the sky!, 1978, colour screenprint on paper. her broader concerns for the future. Ever engaging, and never one to shy away from difficult or challenging topics, Ann Newmarch’s works remain striking in their clarity and vision.

www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm.

24 September—20 November Soft Landscapes Zetta Kanta Drawing inspiration from nature, Soft Landscapes is a reflection on patterns, light and our human connection to the land with a focus on sustaining our precious resources. Combining a felting technique with materials such as wool, silk, black diamond bamboo, raw flax and cotton, this exhibition is about the interconnected symbiotic relationship of all living things.

Maddy Grammatopoulos, Which Made This Place Home, (Installation view). Courtesy of the artist. 22 September—14 October Which Made This Place Home Maddy Grammatopoulos

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

27 August—30 October Electric Sheep Luke Pellen Riffing on themes in Blade Runner, local artist Luke Pellen’s exhibition Electric Sheep features a collaboration with a twist . . . Luke’s collaborator recently celebrated her first birthday. She has studied the techniques of the “old masters”—Da Vinci, Raphael, Rembrandt; she has developed her imagination from surrealists—Ernst, Dali, Magritte; she can emulate Lichtenstein, Picasso or Warhol. This remarkable collaborator is an Artificial Intelligence (AI), and together she and Luke create new, imagined worlds.

30 July—25 September Artist/Activist/Feminist/Mother Ann Newmarch An active and vocal artist from the 1970s until her untimely passing earlier this year, Ann Newmarch was a leader of feminist art in Australia, but particularly in Adelaide. Bringing together a diverse range of her screenprint works from the 70s and 80s, this exhibition highlights her unique and bold voice fighting for workers’ rights, environmental concerns, and against the proliferation of violence. Woven amongst all of this we also glimpse Newmarch’s life as a mother, and how that played into

Emerald, Foreboding, 2022, photographic film print. Image courtesy of the artist. [GRAFTd] Exhibition: 6 August – 17 September In Flux (SALA 22) Emerald, Pony, ExpressWay, Hannah Coleman, Annie Harvey, Mali Isabel, Kit Jury, Fuko Suzuki, Tiah Trimboli. Curated by Christina Lauren. To be human is to constantly be in flux. Lauren curates a metaphorical web, connecting introspective experiences to reflect transitional states and the fluidity of being.

Alison Mitchell, String bag, 2020, oil on linen. 1 October—13 November Unlemon – a meandering tale of citrus Alison Mitchell Unlemon – a meandering tale of citrus reveals a multi-layered story of citrus—its

Artist in Residence Exhibitions: 24 September—29 October In Place Callum Docherty Utilising a range of approaches with a focus on community participation, Callum Docherty invites the public to explore site-specific exhibitable outcomes 223

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1 July—30 September Centre of the Centre Mel O’Callaghan flowers of the sea Julie Blyfield

Matty Smith, finalist in the Threatened Species category. Callum Docherty, Curl, 2021, digital image, dimensions variable. Image courtesy of the artist.

27 August—30 October Australian Geographic Nature Photographer of the Year Exhibition 2022

through collaboratively collecting locally sourced found objects and materials.

A South Australian Museum exhibition, the Australian Geographic Nature Photographer of the Year celebrates the natural heritage of Australia, New Zealand, Antarctica and New Guinea.

24 September—29 October Riverside Lucy Turnbull Drawing from a battered coastline, engulfed in vast swathes of forceful landscape, listening to echoes of conversation between the hard body of land and soft tips of the sea.

Samstag Museum of Art www.unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm.

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Soda Jerk, Hello Dankness, (production still), 2022. Courtesy of the artist. 18 October—16 December Open Sauce Soda Jerk

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

praxisartspace.com

See nature up close through stunning images by professional, emerging and junior photographers who have shown impeccable timing, patience, artistry and technique to capture incredible moments in time. This breathtaking exhibition allows us to witness the unique beauty of the flora, fauna and landscapes of our own backyard and the world around us. This year’s exhibition also includes the exciting new category of Astrophotography which introduces us to spellbinding images of astronomical objects and celestial events of the night sky.

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

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Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment. 13 August—10 September Mélange Minaxi May Commonplace objects are repurposed into ready-made artworks through modification and assemblage. By challenging their inherent meaning the objects are then considered and treasured as abstract sculptures, rather than throwaways, creating relationships that are whimsical, juxtaposed, or humorous and interconnected through colour and shape.

watercolours ponders ‘strata’—as it relates to a rapidly changing earth, to layers embedded in stories and rock, and to how the artist’s art making practice is in a constant state of becoming something else. 17 September—15 October Teaching a Stone to Talk Tom Freeman Text-based paintings and mixed media works explore the artist’s feelings, stemming from recent experiences and emotions around parenting and birth, death and building, climate and future. The works consider ongoing questions about the value of art and the role of the artist, hope and despair within political activism, and the limitations of expression and communication.

13 August—10 September Qualiagraph\Qualiagram Hiroshi Kobayashi New paintings investigate the idea of time and depth perception, based on digitised photographic images and 3D models. The works examine the relationships between personal memories and commercial products, and how unique objects can be shared in virtual spaces yet maintain their unique qualities. 13 August—10 September Floe Stuart Elliott An installation that instigates a visual conversation about choices and their consequences, from the immediate to those so distant as to be effectively unknowable. Although there is an overarching sense of barely contained chaos, the placing of the components is also intended to appear controlled, to present a kind of order, a logic even.

Nigel Hewitt, The Call, 2022, ash and polymer on plywood, 150 x 210 cm, (9 panels). 22 October—19 November Echoes from the Forest Nigel Hewitt

A contemplative look at the notion of Solastalgia, coined by Australian philosopher Glenn Albrecht, and defined as, ‘the lived experience of negative environmental change’, akin to ‘the homesickness you have when you are still at home’. A series of portraits and landscapes that pays homage to lives and habitats lost or irreparably damaged through the carelessness of humans.

The Art Gallery of Western Australia www.artgallery.wa.gov.au

17 September—15 October So Into You Penny Coss

Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. See our website for latest information.

Arising from a field trip to the Pilbara, this collection of sculptures, textiles and

31 August—23 April 2023 Dis/possession

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As art museums globally re-think the display of their collections, this collection-based exhibition brings two important AGWA works into conversation; Hans Heysen’s Droving into the light, 1914–21 and Mervyn Street’s Bull ride, 2015–16. Made almost a century apart, the juxtaposition of these paintings—both of which offer a view of rural Australia— will be used to stimulate debate around significant contemporary issues such national identity, land ownership, our relationship to the natural world, as well as questioning the art historical canon and practices around collecting, display and interpretation.

Paintings made from ash samples collected from bushfire sites across Tasmania. The tones of the ash vary depending on the vegetation and the differing temperatures of the wild fires. The artist brings these charred organic compounds together to create pictorial, almost photographic, tributes to landscape. They are a plea for action. A call from the forest, awaiting a response. 22 October—19 November Portraits of the Dead Rebecca Dagnall

Penny Coss, So Into You, 2022, acrylic and collage on calico on canvas, 172 x 134 cm.

Mervyn Street, Bull ride, 2015-2016, (detail), acrylic paint on canvas, 120 x 90 cm each. The State Art Collection, The Art Gallery of Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2016. © Mervyn Street, 2015-2016.

Jon Campbell, Your application was unsuccessful, 2022, synthetic polymer on linen, 167.5 x 243.5 cm. The State Art Collection, The Art Gallery of Western Australia. © Jon Campbell. 23 September—8 February 2023 Speech Patterns: Nadia Hernández and Jon Campbell This exhibition features the work of two contemporary artists who mobilise the rhythms, harmonies and dissonances of language, abstraction, modernism and the vernacular. 22 October—29 January 2023 The Cost of Living This collection display explores how understandings and misunderstandings of value shape art and everyday life. Featuring several new contemporary acquisitions alongside collection highlights, it looks at how problems around what and how we place value impacts how we relate to each other physically, emotionally, economically. Until 23 October Collective Ground Yamaji/Noongar curator Tui Raven has brought together works from First Na-

WESTERN AUSTRALIA tions artists across Western Australia, in Collective Ground—the first exhibition of Aboriginal and Torres Strait Islander works acquired through AGWA’s COVID-19 stimulus package.

to-date with our latest information.

www.dovacollective.com.au Level 8, 125 Murray Street, Perth, WA 6000 [Map 19] 0419 614 004 Open by appointment. See our website for latest information.

Until 20 November Media-Space This exhibition presents documentation of the multi-disciplinary projects undertaken by Perth-based art collective Media-Space across its life-span, 1981–1986. Curated by Julian Goddard and one of the founding members Paul Thomas, it sheds light on a period in Western Australian art when artists such as Judy Chambers, Anne Graham, Jeff Jones, Will Kohlen, Brian McKay, Lindsay Parkhill, Neil Sullivan, Paul Thomas and Allan Vizents dissected the social and political role of art to examine, amongst other issues, the colonial power structures that shaped life in this state. Until 4 December puberty Wong Ping

DOVA Collective

Loongkoonan, Fitzroy River (Madoowara), 2006. Photograph: Bo Wong. 6 August—30 October Yimaradoowarra: Artist of the River Loongkoonan

Wong Ping is one of the most spirited artists to have emerged in the past decade. He is known for his colourful, playfully-intimate style of animation that tell tantalising tales of contemporary Hong Kong life. 13 August—23 October Heavens Spot Heavens Spot is an immersive graffiti takeover of AGWA’s Rooftop gallery. Framing the view to the city and back inside the Gallery, the project reverses the ways graffiti is typically encountered by its audiences: as often fleeting encounters as we move on to somewhere else.

Sherylle Dovaston, Encounter.

1 October—20 November The Lester Prize The Lester Prize is one of the country’s most recognised and prestigious fine art prizes—an award that places artists and community proudly front-and-centre. The prize pool available to professional, emerging and young artists is worth over $100,000, including the main prize of $50,000. The 2022 main awards winner will be announced 30 September.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 0418 900 954 Open daily by appointment. Since 2004. Working with remote community Aboriginal art centres See website for exhibition information.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. Follow us on Facebook to keep up-

Rona Mirtle, Here Comes The Sun, 2021, Mixed Media Paint, Wax Encaustic and Ink on Hosho Paper, 56 x 2x 45 cm. 13 August—23 October Compound Eyes - Moths, Bees and Beetles- Real and Imagined Group Exhibition: Eleanor Davis, Rona Mirtle, Molly Coy 20 August—2 October Collaborations Group Exhibition: Aidan Harris, Norm Hoskin, Barbara Jennings, Robert Jones, Barry Knop, John MacFadyen, Jeannette Rein, Marian Shapiro and Neil Turner 17 September—27 November Iluka Visions 2022 Youth Awards/Group Exhibition

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm.

Sherylle Dovaston, SONNET, 2022, acrylic on canvas, 160 x 120 x 3 cm. 1 September—31 December Notations Sherylle Dovaston Notations features 10 large scale works which highlight the artist’s signature style and fascination with mark-making. The works explore painterly notations as a form of urban script, and expressive visual language to investigate connections to people, time, and place. Forming part 227

ar t g ui d e .c o m . au DOVA Collective continued... of the daily business environment, this exhibition is part of a unique collaboration between DOVA Collective and BlueSky Co.Lab, marking an innovative re-imagining of the intersection between art and business, and is viewable by appointment.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

Artists: Abdul Abdullah, Casey Ayres, Nathan Beard, Sandra Black, Tanija and Graham Carr, David Charles Collins, Theo Costantino, Susan Flavell, Tarryn Gill, Pilar Mata Dupont, Cherish Marrington, Andrew Nicholls and various artisans from Jingdezhen China and residents of Brighton, UK. Curated by Andrew Nicholls. ‘Chinoiserie’, the Western appropriation of Asian aesthetics, briefly represented the height of fashion for European aristocracy during the early eighteenth century, before falling out of favour and being variously characterised as effeminate, immoral and transgressive. Today the style remains something of a guilty pleasure, via its undeniable aesthetic charm, but intensely problematic and kitsch appropriation of Asian culture. Conceived and curated by Andrew Nicholls, A Gentle Misinterpretation: Australian Artists and Chinoiserie features new works by thirteen Australian artists investigating this fascinating legacy.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. Closed public holidays.

Image credit: CAAWA. 23 September—3 October CAAWA The Ceramic Arts Association of Western Australia has a mission to develop a community that nurtures understanding, practice and passion for the ceramic arts. From 2022 they will run our members selective exhibition annually to allow frequent opportunity for our members and artists to exhibit their work for the community. The prestigious Kusnik Award for Excellence will be selected from exhibited pieces and this year we are introducing a new Emerging Artist Award. The exhibition has previously been run biannually with prior Kusnik Award winners including Julie Excell, Stewart Scambler, Alison Brown and Judith Paisley.

Gallery 152 www.gallery152.com.au

Mariaan Pugh and Desmond Taylor, Niminjarra, 2022, assorted yarn, monks cloth, 115 x 88 cm. Image courtesy of the artists.

152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—4pm.

13 August—23 October Jila Kujarra: Two Snakes Dreaming Desmond Taylor Warnman Peoples, WA and Mariaan Pugh. Curated by Glenn Iseger-Pilkington and Martumili Artists. Jila Kujarra: Two Snakes Dreaming is an exciting cross-cultural collaboration between Warnman artist Desmond Taylor and Boorloo-based textiles practitioner Mariaan Pugh. Taylor and Pugh have worked together to transform Taylor’s Niminjarra paintings, usually seen on canvas or paper, into highly tactile textile works, animating the important Niminjarra Jukurrpa (Dreaming). 13 August—23 October Pop Porn Tania Ferrier This City of Fremantle Art Collection exhibition presents a series of Ferrier’s new print works and short animated videos alongside a survey of her internationally renowned Angry Underwear project. Curated by André Lipscombe, City of Fremantle Art Collection Curator and Tania Ferrier. 13 August—23 October A Gentle Misinterpretation: Australian Artists and Chinoiserie 228

Image credit: Feltwest. 29 August—16 September Marks Over Time Feltwest Marks are lines, symbols or figures; deceptively simple yet incredibly complex. Marks have the ability to: record, define, symbolise, correct, confine or instruct. They can even create. Marks are a universal language that evolves and adapts to suit their purpose, ultimately being a tool used by time itself. The techniques that feltmakers use to mark has also evolved and adapted to suit their purpose. There is opportunity for the feltmaker to mark felt at every stage of the felting timeline producing layered embellishments that bring depth to their personal marks.

Selina Teece Pwerl, Antarrengeny My Country. 3 September—26 September Artitja Fine Art are delighted to be returning to Balardong country to celebrate the arrival of spring throughout September with their fifth annual exhibition of First Nations artists at Gallery 152 in York, WA. Our exhibition will be bright, bold colourful paintings, sculptures, ceramics and weaves from remote community art centres throughout WA, Arnhem Land, Tiwi Islands and desert regions.

WESTERN AUSTRALIA Since 2004, Fremantle-based Artitja Fine Art has established itself as one of Perth’s most reputable and accessible Indigenous art galleries known for its innovative business model which includes a quarterly exhibition program in selected venues and at all times offering an expert and personalised by-appointment service enabling art lovers to view art in a home environment. In its practice as Indigenous Fine Art dealers, Artitja Fine Art makes a commitment to value the culture of the Indigenous people of Australia and treat with respect art centres, the artists and the art which is such an important part of the continuation of culture..

KolbuszSpace www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

paintings are inspired by elements of reality that have been transformed, mistreated, or disembodied in order to be reborn by extraction, by change of scale or within new contexts. These multiple possibilities or combinations allow for suggestive and surprising encounters.”

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm. See our website for latest information.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat and Sun 12pm—4pm. Closed public holidays. Free admission. Housed on the Curtin University campus in Bentley, the John Curtin Gallery is one of Western Australia’s foremost public art galleries and one of the largest and best-equipped university galleries in the country. The Gallery curates the Curtin University Art Collection, one of the State’s major public collections.

Waldemar Kolbusz, Much, oil on linen, 153 x 122 cm. 23 September—25 September Open Studio Waldemar Kolbusz New experimental and stockroom works. Kolbusz paints in two streams which interrelate, one of figurative works about the progress of his actual practice and one of abstract works which explore progressive points of change within the paintings themselves.

Kevin Robertson, Red room, Bondi Junction, 1992, oil on canvas, 127.5 x 127.5 cm, The University of Western Australia Art Collection, University Senate Grant, 1992. Photograph: Robert Frith / Acorn Photo. 10 September—10 December Kevin Robertson: Paintings 1984-2022

Fiona Gavino, Earth and Fire and Air and Water, 2020, John Stringer Prize exhibition installation view, jcg, 2020. Earth and Fire was acquired for the Curtin University Art Collection with support from the curtin foundation. 7 October—4 December The John Stringer Prize The John Stringer Prize was established in 2015 in honour of internationally acclaimed Australian curator, the late John Stringer (1937–2007). The Prize is a non-acquisitive, annual award aimed at recognising and supporting outstanding Western Australian visual art practice. The six finalists for 2022 are Amanda Bell, Bruno Booth, Jacky Cheng, Janet Dreamer, Guy Louden and Holly Yoshida. They will be commissioned to create work from which the winning artist will be determined by a secret ballot conducted by The Collectors Club members.

Caroline Cassel, Nature Morte au Cactus, oil on linen, 40 x 40 cm.

This retrospective exhibition traces the artistic development of Western Australian artist Kevin Robertson from the mid-1980s to the present day. Robertson began his career amid a resurgence of interest in the medium of painting and, more particularly, figurative painting, in Perth and internationally. Over four decades Robertson’s painting practice has continued to evolve—utilising traditional aspects of the craft; while contemplating the limits of representation, and proposing new ways of visualising the world in all its mystery.

Caroline Cassel lives and works in Paris, where she graduated from the École Nationale Supérieure des Beaux Arts. Cassel was then awarded a residency at the Crypt d’Orsay and the Colin Lefranc Scholarship at Curtin University in Perth.

Until 10 December Cristina Asquith Baker, Gemma Ben-Ary, Dorothy Braund, Lina Bryans, Mary Edwards, Linda Fardoe, Margaret Francis, Adrienne Gaha, Bessie Gibson, Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie Wilson-Foster, Sue Wyatt - from the Cruthers Collection of Women’s Art

Cassel says of her paintings: “I work by analogy, by link, using cutting and collage to elaborate unique constructions. My

This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art—portraiture and the work

28 October—30 October Recent Works Caroline Cassel

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The Edge Of Something Joshua Cocking ‘The principal motivation behind my work and practice is to confront narratives surrounding outback mythology, while creating a critical discourse on the influence outsiders have in remote communities. My work is an investigation into Australian post-colonial myth and the over romanticisation of remote Australia.’ Joshua Cocking 2022.

Al Poulet, Untitled (Young Heart), 2022, acrylic on canvas, 200 x 165 cm.

Melissa McDougall, In the city, 1992, oil on canvas, 76 x 61 cm, Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist. of respected Australian artist, Susan Norrie. Norrie’s dark and weighty paintings are placed directly opposite a chronological run of portraits from the collection.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm. 26 August—16 September Subiaco: Magic Carpet Kate Elsey “These works are inspired by the floating forms of interwoven life on water including the jacana and jabiru breeding in the magic carpets of flows at Kakadu (Gagudju).” Kate Elsey 2022. 25 August—18 September Subiaco: 230

Felicia Aroney, Heartland, 2022, acrylic on canvas, 63 x 63 cm. 3 September—24 September West Perth: Land And Sea Felicia Aroney “Sticking to my traditional method of a palette knife, I present the freedom of the outdoors through loud and slathered strokes. The technique organically captures the unpredictability of nature, the complexity of the ecosystem and the mystery of the valleys. In contrast, my cubic abstracts offer a sense of order and symmetry which provides a place for the eyes and mind to rest, safe from the unpredictability that surrounds.” Felicia Aroney 2022. 3 September—24 September West Perth: Sarah Keirle 17 September—10 October Search For The Pearl Dean Home Dean Home is regarded as one of Australia’s foremost painters of the still life genre. The paintings involve multiple picture planes which juxtapose, still life, landscape and narratives incorporated in carefully placed artifacts. They are executed on a grand scale with an opulence of colour, the finished works invading the viewer’s space, a theatre stage where the ‘players’ occupy compositions within compositions—in contemporary parlance, the ‘picture in picture’ tool that, for Home, is a blend of East and West. “The ‘pearl’ is a nexus of ideas from my Asian studies,” says Home. “Virtue, wisdom and the embodiment of an accretion of values around a physical or real point. Just like a painting might be.” 8 October—22 October West Perth: Untitled (Rhythm Scribe) Al Poulet

Al Poulet’s forthcoming show follows his participation in Penrith Regional Gallery’s ‘Cummings & Poulet’, curated by Toby Chapman (April, 2021). This body of work, articulated with energy and instinct in the gestural language of abstraction, forms an emotional response to sensations experienced from direct engagement with the bush at Wedderburn in NSW. “My works are an inner journey, which could be considered landscape in a way; going inwards. Just a place where there are no figures. They’re not necessary yet”. 14 October—30 October Subiaco: Rottnest Revisited Leigh Hewson-Bower “Rottnest Island has become a part of many Perth dwellers’ lives. It certainly has been for me since the early nineties, discovering the extraordinary beauty above and below the waterline that in some respects reminded me of the Greek Islands. Limestone and turquoise water. To discover this so close to home was a revelation, and over many years I have accumulated a large collection of photographs. This show has been an adventure—finding the gems in this library and bringing them to life as paintings.” Leigh Hewson-Bower 2022. 1 October—30 October Mandoon Estate: Burned and Turned II Sandie Schroder and Ian Moss.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm. 10 September—5 November stitched and bound Presented by the West Australian Quilters Association

WESTERN AUSTRALIA Annette Peterson reinterprets her dad’s memories of life at Parkerville Children’s Home in the 1950s through her paintings in Repositioning a Place in the Heart. Peterson began researching and recording his story during an artist residency at Midland Junction Arts Centre. This was followed by a residency at Parkerville Children’s Home, where she was able to paint ‘en plein air’ while re-listening to her dad’s history. Her dad’s story emerges through her work, his emotion intersecting with her own.

Founded and directed by Margaret Moore, MOORE CONTEMPORARY is a space dedicated to the presentation and promotion of major contemporary art.

Judith Wilton, Brush by Technology, (detail), 2022, hand dyed cottons, commercial cotton and synthetic fabrics, 140 x 72 cm. Photograph courtesy of the artist. This biennial, juried exhibition displays the innovative work of Western Australian artists challenging the concept of the ‘quilt’ medium. Forty-five works have been selected for their skilful combination of traditional and unconventional quilted forms, pushing boundaries, and making statements using progressive materials, ideas and techniques.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. 2 July—11 September Extricate Through transformative processes, this group of emerging artists take the printmaker’s craft beyond tradition. While maintaining the physical presence of the artist’s hand in the work, the artists reveal outcomes using non-traditional materials, scale and form, following chance revelations and surprising serendipities into an expanded practice. Curated by Shanti Gelmi.

Erin Coates, Shoulder (Replacement) Snow Crabs, 2022, graphite on paper, 29.5 x 29.5 cm.

Joan Johnson, Waste can be Beautiful, 2022, aluminium cans, wood; Hans Arkeveld, Aquinas Maquette, 1980, reinforced plaster. Photograph: Churchill Imaging. 24 September—18 December Transpositional Hans Arkeveld & Joan Johnson Partners in life, artists Hans Arkeveld and Joan Johnson are quite disparate in their work practices and use of materials. Whilst Hans’ figures and materials are classic and solid, Joan’s are contemporary, light and translucent—but both are interlaced with a quirky sense of humour and wry questioning of personal and societal values.

A mix of three-dimensional, free-standing works have been selected to correspond within the space. Together, they expand the concept theme of “In Plain Sight”. Narratives, text and symbolism each find voice in dynamic ways. In a largely monochromatic display high realism meets unadorned languages in a play upon duplicitous meaning, projecting that ideas can be hiding in plain sight both literally and metaphorically.

24 September—18 December The Sum of Us The Sum of Us celebrates the work of a group of students brought together by a botanical art course in Perth with artist Margaret Oversby. The group continued to meet with Margaret arranging sessions in Bullsbrook to allow the pursuit of their passion and exploration of various styles of botanical art. Margaret has since passed away. This exhibition acknowledges her role in the formation of this diverse, supportive, and talented group, with a selection of her works on display.

MOORE CONTEMPORARY www.moorecontemporary.com

Annette Peterson, In the shade, en plein air, 2021, (detail), oil on wood. 2 July—11 September Repositioning a Place in the Heart Annette Peterson

8 September—11 September MOORE CONTEMPORARY at Sydney Contemporary 2022: In Plain Sight Abdul-Rahman Abdullah, Matthew Hunt, Erin Coates, and Dan McCabe.

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm. See our website for latest information.

John Young, Shiva XXIV, 2022, oil on linen, 71.5 x 89.5 cm. 5 October—12 November None Living Knows John Young Young presents a curated selection of new paintings alongside a suite of History works in his first solo exhibition with MOORE CONTEMPORARY. The title words, None Living Knows, are drawn from a W.B Yeats poem and are especially resonant with his reflection upon the flawed and little-known 19th century pilgrimage of Chinese immigrants tracking across the Northern Territory and Queensland in search of gold and a livelihood. Opening Friday 7 October, 6pm.

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Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

Sandra Selig, bringing together key projects from the past two decades that sit at the intersection of visual art and experimental music.

Stala Contemporary www.stalacontemporary.com.au 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment..

Memories coalesce to form meditative works expressive of Leeming’s intuitive approach to the language of paint and respond to the unseen, felt experience of belonging to the land. The paintings are like internal landscapes incorporating memories, connections to time and place and personal experiences. Leeming’s current practice is primarily based around painting and drawing mediums and extends ideas of abstraction, landscape, identity and spirituality. She experiments with the physicality of paint and process, allowing the imagery to spring from process.

Zig Zag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998

Eric Hynynen, Bad Parking, 2022, acrylic on canvas, 76 x 76 cm. 21 September—8 October Nature of the Beast Eric Hynynen Joana Partyka, Minerva, 2022, stoneware, glaze, lustre, 18 x 9.5 cm. Courtesy of the artist, photo: Olivia Senior. 9 August—2 October Out of Bounds Tom Blake, Pascale Giorgi, Luisa Hansal and Tamara Marrington, Imogen Kotsoglo, Pip Lewi, Leonie Ngahuia Mansbridge, Joana Partyka, and Tyrown Waigana. The first survey of renowned Waanyi artist Gordon Hookey, charting three decades of practice where art and activism fuse. Across sculpture, printmaking, video, and large-scale painting, this exhibition presents perspectives on historical and contemporary issues affecting Aboriginal and Torres Strait Islander peoples.

Finnish-Australian artist Eric Hynynen’s new exhibition featuring paintings, video and sculptural elements. We are living in strange times. Hynynen’s work uses a bold aesthetic to question the relationships between big business, the media and government. Nature of the Beast urges the viewer to engage in critical thinking and consider whether the current systems hold any integrity. These works are balanced with a series of paintings depicting the serenity of our natural environment. By freeing ourselves from social conditioning and turning towards the beauty of nature, we can all thrive in accordance with our true, higher selves. Nature has everything we need.

Image courtesy, Laurie Walters Hill. 3 September—18 September Everyday is Different Laurie Walters Hill 23 September—2 October GEM Camera Club

Shan Turner-Caroll, Fernando do Campo, Kookaburra Self-Relocation Project, 2020. Courtesy of the artist and Gallery Sally Dan-Cuthbert. 9 August—9 October To companion a companion Fernando do Campo Exploring Giant Molecules is the largest exhibition to date of Australian artist 232

Sue Leeming, Coalescence, 2022, oil, wax and ink on panel, 60 x 60 cm.

Wendy Bellis, Nature’s Collective.

21 September—8 October Coalescence Sue Leeming

7 October—30 October Natures Collective Wendy Bellis and Debbie Banks

A–Z Exhibitions

SEPTEMBER/OCTOBER 2022

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au

Darwin, the Museum of Central Australia incorporating the Strehlow Research Centre in Alice Springs, Megafauna Central and the Alcoota Fossil Bed site north east of Alice Springs.

61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm.

22 September—30 October Manifesta 14: Prishtina Petrit Abazi, Piers Greville, and Stanislava Pinchuk 29 September—12 November Retribution: What happens next Franca Barraclough, Jonathon ‘World Peace’ Bush, Crystal Love Johnson Kerinaiua & Jens Cheung, Nadine Birrimilungga Lee, Matthew van Roden, Rupert Betheras & Fabian Brown of Tennant Creek Brio, curated by Carmen Ansaldo

Yolŋu wäŋa roŋiyirra marrtji guyaŋura bunhaŋur (Returning home from hunting). People featured: Muwarra Ganambarr 1.

Albert Namatjira, Heavitree Gap, c.1949–54. On loan from Ngurratjuta Corporation. 1 September—30 September Innovation In Three Parts Celebrating the art of Aboriginal artists in Central Australia through the Araluen Collection and under three distinct themes: TJORITJA + MPULUNGKINYA, EMERGENCE, MOMENTUM.

George Tjungurrayi, Untitled, 2021, acrylic on Belgian linen, 153 x 122 cm. Image courtesy Papunya Tula Artists, photo Gretel Bull. 8 September—23 October Desert Mob Showcasing one of the most significant art movements, one of vast distance, country and kinship, forming a statement of what’s happening in the Desart member art centres right now.

Museum and Art Gallery of the Northern Territory

Currently showing Gumurr’manydji Manapanmirr Djäma (Making successful business together) A photographic exhibition from the Arnhem Land Progress Aboriginal Corporation (ALPA) celebrating 50 years of Yolŋu economic independence, enterprise, self-determination, culture and ingenuity. 6 August—15 January 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Aboriginal and Torres Strait Islander art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists. The annual exhibition demonstrates the richness and diversity of current contemporary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts.

NCCA – Northern Centre for Contemporary Art

Timo Hogan, Lake Baker, acrylic on linen, 200 x 290 cm. Courtesy of Spinifex Arts Project. 6 August—17 September Timo Hogan

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information. RAFT is nationally and internationally renowned for its unique style and carefully considered exhibitions. Since its inception, the gallery has set an agenda promoting community interest in the region and provoking an extensive critical discourse. 2022—RAFT celebrates 21 years.

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm.

www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information. Our principal facility since 1981 is on Larrakia Land at Bullocky Point in Darwin, home to internationally renowned cultural and scientific collections and research and exhibition programs. MAGNT also operates the historic Fannie Bay Gaol in 234

Doris Bush Nungurrayi, Pilkati, 183 x 183 cm, acrylic on linen.

Stanislava Pinchuk, Europe Without Monuments, 2022, steel and zinc scaffolding, textile, wood and acrylic paint (image courtesy of Stanislava Pinchuk and Yavuz Gallery).

8 September—1 October LIVING WATER Spinifex Arts Project, Papunya Tjupi, Tjarlirli Art, Warakurna Art, Tangentyere Artists, Ngukurr Arts.

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246

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

12 13 14 15 16 17 18

Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 19 Queensland Museum 20 QUT Art Museum 21 Side Gallery

22 23 24 25

State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

YD RIV

12 24

Acton

10 9

21 PA R K E

S WAY

AV E

Russell

18 20

16 KIN

ID E

E AV

Barton

AV E

8 14

LA ADE

EN E AV

Deakin G

CAN W

BER

RA A VE

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

247

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

L S T

1 2 3 4 5 6 7 8 9

Hobart EL

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

Y RD

HA CK NE

18 1 14

Adelaide

248

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

12 13 14 15 16 17

Art Collective WA Art Gallery of Western Australia DOVA Collective FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

17 NE

1 2 3 4 5 6 7 8 9 10 11

9 W

ES T

ING

NS T

Perth

15 2

12 TH

EE SPL A

3 13 1 EL A I D8 ET E

7 RR

3 4 OR

T DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 249

@14 (VIC)

140

Burrinja (VIC)

119

Geelong Art Space (VIC)

16albermarle (NSW)

155

Buxton Contemporary (VIC)

119

Geelong Gallery (VIC)

127

4A Centre (NSW)

155

Gertrude Contemporary (VIC)

129

C Caboolture Regional Art Gallery (QLD) 192

Gippsland Art Gallery (VIC)

Araluen Arts Centre, Mparntwe (NT) 232

Caloundra Regional Gallery (QLD)

Glasshouse Port

Art Van Go

Canberra Glassworks (ACT)

A 171

Aarwun Gallery (ACT)

207

ACMI (VIC)

7, 109

Adelaide Contemporary

192 29, 208

CAVES (VIC)

120

Centre for Contemporary Photography (VIC)

Experimental (ACE) (SA)

32, 215

Alcaston Gallery (VIC)

107

Anna Schwartz Gallery (VIC)

1, 107

120

Chalk Horse (NSW)

43, 158

Chau Chak Wing Museum (NSW)

4, 158

Charles Nodrum Gallery (VIC)

27, 121

Annandale Galleries (NSW)

Ararat Gallery TAMA (VIC)

113

CLIMARTE Gallery (VIC) Colville Gallery (TAS)

120

ARC ONE Gallery (VIC)

111

Contemporary Art Tasmania (TAS)

127

118, 129

Macquarie (NSW)

163

Glen Eira City Council Gallery (VIC)

129

Goulburn Regional Gallery (NSW)

164

Grace Cossington Smith (NSW)

164, 174

Griffith University Art Museum (QLD) 204 Granville Centre Art Gallery (NSW)

164

H Hamley Studio (NSW)

166

Hamilton Gallery (VIC)

129

211

Handmark Gallery (TAS)

212

211, 213

Arthouse Direct

186

Counihan Gallery (VIC)

121

Hahndorf Academy (SA)

217

Artitja Fine Art Gallery (WA)

223

Cowra Regional Art Gallery (NSW)

159

Hazelhurst Regional Gallery (NSW)

165

Artists Shed (ACT)

207

Craft Victoria (VIC)

121

Hearth Galleries (VIC)

131

Hervey Bay Regional Gallery (QLD)

193 131

ArtSpace Ballarat (VIC)

113

Artspace Mackay (QLD)

192

DADAA Gallery (WA)

223

Heide Museum of Modern Art (VIC)

Art Collective WA (WA)

222

Darren Knight Gallery (NSW)

159

Horsham Regional Gallery (VIC)

131, 146

112, 192

Deakin University Art Gallery Home of the Arts (HOTA) (QLD)

16, 194

Art Lovers Gallery (VIC, QLD) Art Space on The Concourse (NSW)

155

at Burwood (VIC)

108, 122

ArtSpace REALM/Maroondah (VIC) 22, 112

Defiance Gallery (NSW)

159

Hurstville Museum (NSW)

Art Gallery of Ballarat (VIC)

Divisions Gallery (VIC)

122

Hyphen – Wodonga

111

Art Gallery of New South

D’Lan Contemporary (VIC)

Wales (NSW) Art Gallery of South Australia (SA)

DOVA Collective (WA)

215

Devonport Regional Gallery (TAS)

Art Gallery of Western Australia (WA) 222 112, 142

Everywhen Artspace (VIC)

Australian Design Centre (NSW)

21, 156

Ephemera 2023 (QLD)

Australian Centre for Contemporary Art (ACCA) (VIC)

5, 113 113, 156

Australian National Capital Artists

223 211

Arts Project Australia (VIC)

Australian Galleries (NSW)

121, 132

155

207

122 200

Australian Tapestry Workshop (VIC)

113

B Bank Art Museum Moree (BAMM) (NSW)

157 157

Bayside Gallery (VIC)

36, 115

Beaver Gallery (ACT)

33, 207

and Cultural Hub (VIC)

174

123

42, 193

Flinders Lane Gallery (VIC)

123

Flinders Street Gallery (NSW)

161

of Art (SA) fortyfivedownstairs (VIC) Fox Galleries (VIC)

195

JamFactory (SA)

133 195, 217

Jacob Hoerner Galleries (VIC)

132

The Japan Foundation Gallery (NSW)

17, 167

John Curtin Gallery 215 124 124, 148 125

6, 130

Frankston Arts Centre (VIC)

124

Bendigo Art Gallery (VIC)

115

Fremantle Arts Centre (WA)

11, 224

Bett Gallery (TAS)

211

FUTURES (VIC)

BLINDSIDE (VIC)

115

fYRE Gallery (NSW)

Art Gallery (NSW)

133 15, 194

Ipswich Art Gallery (QLD)

123

Benalla Art Gallery (VIC)

Blue Mountains City

Institute of Modern Art (QLD)

Fellia Melas (NSW)

Footscray Community Arts (VIC)

165

Ivanhoe Library

Flinders University Museum

Bathurst Regional Art Gallery (NSW)

Incinerator Art Space (NSW)

Federation University (VIC)

FireWorks Gallery (QLD)

22, 131

I Incinerator Gallery (VIC)

Fiona and Sidney Myer Gallery (VIC)

(ANCA) Gallery (ACT)

Library Gallery (VIC)

165

Curtin University (WA)

225

Jan Murphy Gallery (QLD)

195

Jewish Museum of Australia (VIC)

133

K KAMILĖ GALLERY (WA)

219

Kelly & Gemelli Gallery (VIC)

126, 135

125

Ken Done Gallery (NSW)

167, 176

166

Kingston Arts (VIC)

King Street Gallery (NSW)

135 42, 167

157

GAGPROJECTS (SA)

215

Kolbusz Space (WA)

225

Brenda Colahan Fine Art (NSW)

167

Gallery 48 (QLD)

193

Koorie Heritage Trust (VIC)

135

Broken Hill City Art Gallery (NSW)

158

Gallery 76 (NSW)

161

Korean Cultural Centre Australia (NSW)

167

Gallery 152 (WA)

224

Brunswick Street Gallery (VIC) Bunbury Regional Art Gallery (WA) Bundanon (NSW)

117, 150 223

Gallery Central (WA)

224

20, 158

Gallery Elysium (VIC)

110, 127

L Latrobe Regional Art Gallery (VIC) 40, 136 Lavendar Bay Society (NSW)

169

Bundoora Homestead Art Centre (VIC) 117

Gallery Lane Cove (NSW)

163

Lauraine Diggins Fine Art (VIC)

136

Bunjil Place (VIC)

10, 119

Gallery Rayé (QLD)

193

Lawrence Wilson Gallery (WA)

225

117

Gallerysmith (VIC)

127

Bus Projects (VIC)

250

INDEX

The Leo Kelly Blacktown

Sauerbier House

National Gallery of Victoria -

Arts Centre (NSW) Leonard Joel (VIC) Linden New Art (VIC)

167

NGV International (VIC)

National Portrait Gallery (ACT)

136

Linton & Kay Galleries (WA)

49, 226

141 31, 209

Culture Exchange (SA)

219

The Sculptors Society (NSW)

171

Sydney College of the Arts

Neil Wallace Printmaking Supplies (VIC)

144

(SCA Gallery) (NSW)

12, 181

169

New England Art Museum (NSW)

177

Shepparton Art Museum (VIC)

LON Gallery (VIC)

136

Newmarch Gallery (SA)

218

S.H. Ervin Gallery (NSW)

Logan Art Gallery (QLD)

195

Nexus Arts Gallery (SA)

218

Sofitel Melbourne on Collins (VIC) 130, 145

Lynn Jaanz Art Gallery (VIC)

128

Niagara Galleries (VIC)

The Lock-Up (NSW)

141

Noosa Regional Gallery (QLD)

M16 (ACT)

208

Macquarie University Art

37, 196

Northern Centre of Contemporary Art (NCCA) (NT)

Gallery (NSW)

169, 189

Maitland Regional Art Gallery (NSW)

169

Manly Art Gallery (NSW)

171

232

NorthSite Contemporary Arts (QLD)

197

South Australian Museum (SA)

25, 145 181 216, 220

Stala Contemporary (WA)

229

The Stan Gallery (VIC)

114

Stanley Street Gallery (NSW)

183

STATION (VIC, NSW)

147, 183

Stephen McLaughlan Gallery (VIC)

O Old Quad (VIC)

147

141

Stockroom Gallery (VIC)

45, 147 183

Martin Browne Contemporary (NSW) 171

OLSEN (NSW)

177

Sullivan+Strumpf (NSW)

McClelland Sculpture

Omnus Picture Framing (VIC)

144

Swan Hill Regional Gallery (VIC)

147

136

Onespace (QLD)

26, 197

Swell Sculpture Festival (QLD)

204

Metro Arts (QLD)

195

Orange Regional Gallery (NSW)

34, 179

The Sydney Art Store (NSW)

168

Metro Gallery (VIC)

137

Outback Regional Gallery,

Melbourne Etching Supplies (VIC)

144

Park + Gallery (VIC)

Melbourne Museum (VIC)

Midland Junction Arts Centre (WA)

226

Mildura Arts Centre (VIC)

137

Mission to Seafarers (VIC)

128

Modern Times (VIC)

137, 138, 152

Monash Gallery of Art (VIC)

139

Monash University MADA Gallery (VIC)

Studio Altenburg Fine Art Gallery (NSW) 183

Winton (QLD)

197

Regional Gallery (QLD)

46, 198

Perth Instiutute of Contemporary Arts (PICA) (WA)

229

Montville Art Gallery (QLD)

Mosman Art Gallery (NSW)

185

Tolarno Galleries (VIC)

149

Toowoomba Regional Art Gallery (QLD) 14, 203

Philip Bacon Galleries (QLD)

199

Town Hall Gallery (VIC)

149

Tuggeranong Arts Centre (ACT)

139

Piermarq* Gallery (NSW)

179

196

Pine Rivers Art Gallery (QLD)

198

209

Tweed Regional Gallery (NSW)

160, 185

twenty twenty six (NSW)

162, 185

Pinnacles Gallery (QLD)

198

Umbrella Studio (QLD)

203

30, 139

praxis ARTSPACE (SA)

218

UMI Arts Gallery(QLD)

205

168, 171

Project8 Gallery (VIC)

145

University of Sunshine Coast (QLD)

MOORE CONTEMPORARY (WA)

227

Mundaring Arts Centre (WA)

227

Murray Art Museum Albury

UNSW Galleries (NSW)

Q QDOS Fine Arts (VIC)

143

(MAMA) (NSW)

173

Murray Bridge Regional

of Modern Art (GOMA) (QLD)

199

217

Museum & Art Gallery of Northern

Art Gallery (TAS)

212

QUT Art Museum (QLD) 232

UQ Art Museum (QLD)

205

The Victorian Artists Society (VIC) VOID Melbourne (VIC)

Queen Victoria Museum and

Gallery (SA)

44, 199

151

Wagga Wagga Art Gallery (NSW)

187

Walker Street Gallery (VIC)

151

140

Wangaratta Art Gallery (VIC)

Museum of Contemporary Art (NSW) 2, 173

RAFT artspace (NT)

232

Wester Gallery (NSW)

Museum of Old and New Art

Redcliffe Art Gallery (QLD)

201

Western Australian Museum (WA)

Redland Art Gallery (QLD)

201

Western Plains

196

(MONA) (TAS) Muswellbrook Regional (NSW)

212 175, 178

N Nancy Sever Gallery (ACT) Nanda\Hobbs (NSW)

Riddoch Art Gallery (SA) RMIT Gallery (VIC)

209 35, 177

219 8, 143, 145

Cultural Centre (NSW) Wentworth Galleries (NSW)

153

Roslyn Oxley9 Gallery (NSW)

179

Wollongong Art Gallery (NSW)

Rubicon ARI (VIC)

134

Wyndham Art Gallery (VIC)

Rusten House Art Centre (NSW)

179

Samstag Museum of Art (SA)

190 117, 153

Z Zig Zag (WA)

S 139

182 190

177

The Ian Potter Centre (VIC)

186, 189

White Rabbit Collection (NSW)

134 208

Rockhampton Museum of Art (QLD) 202, 203

203

National Art School Gallery (NSW) National Gallery of Victoria -

151 189

Whitehorse Artspace (VIC)

Robyn Bauer Studio Gallery (QLD)

NAP Contemporary (VIC) National Gallery of Australia (ACT)

149

Radius Art Space (VIC)

Museum of Brisbane (QLD)

205 41, 187

Queensland Art Gallery/Gallery

Territory (NT)

213

Tin Sheds Gallery (NSW) 143

PhotoAccess Huw Davies

Mornington Peninsula Regional Gallery (VIC)

Tasmanian Museum (TAS)

PG Gallery (VIC)

Gallery (ACT)

of Art (VIC)

TarraWarra Museum of Art (VIC) 24, 149

Perc Tucker

139

Monash University Museum

Sydney Contemporary (NSW) T

230

23, 220

251

“The international presence of Indigenous people in the art world now is incredible . . . It surpasses anything I’ve witnessed in my career.” —T O N Y A L B E R T, A R T I S T, P. 8 3

“I don’t think I could be an artist if I didn’t believe there was some higher aspiration for people than the miserable drudgery that seems to characterise everyday life . . .” — PAU L YO R E , A R T I S T, P. 9 3

“I had a deep interest in this very free idea of art. I didn’t have this narrow view of what artists can and can’t do.” — H A N N A H B R O N T Ë , A R T I S T, P. 10 4

INDIGENOUS ART FROM THE NGV COLLECTION FREE ENTRY THE IAN POTTER CENTRE: NGV AUSTRALIA, FED SQUARE

PRINCIPAL PARTNER Installation view of Indigenous Art from the NGV Collection on display until 29 January 2023 at the Ian Potter Centre: NGV Australia, Fed Square Melbourne © The artists. Photo: Tom Ross

ngv.vic.gov.au