Art Guide Australia — January/February 2020

J A N UA R Y/ F E BRUA R Y 2 02 0

David Griggs Roslyn Oxley9 Gallery February 2020

National Gallery of Australia

13 December 2019– 13 April 2020

Book now nga.gov.au

Pablo Picasso L’Arlésienne (Lee Miller) 1937, Private international collection © Succession Picasso / Copyright Agency 2019

Henri Matisse Le torse de plâtre, bouquet de fleurs 1919, Purchased 1958, Museu de Arte de São Paulo Assis Chateaubriand © Succession H Matisse / Copyright Agency 2019

Madison Bycroft Tianzhuo Chen Lu Yang Sahej Rahal Justin Shoulder Zadie Xa

7 December 2019 – 22 March 2020 Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne Australia acca.melbourne

Asia Engagement Partner:

Media Partner:

Exhibition Partners:

Government Partners:

Image: Justin Shoulder Carrion 2018 Courtesy the artist. Photography and image Liz Ham and Tristan Jalleh v

PICA

2020

Presented in association with Perth Festival

Thunderhead Tina Havelock Stevens Hudson Valley Ruins Jacky Connolly

Presenting Partner

Perth Cultural Centre 51 James St Northbridge (08) 9228 6300 pica.org.au

Government Partners

Chalkroom Laurie Anderson & Hsin-Chien Huang 9 February – 19 April

Visual Arts Program Partner

Image: Laurie Anderson & Hsin-Chien Huang, Chalkroom, 2017.

Courtesy the artists.

Perth Brutal Dreaming in Concrete

21 September 2019 – 17 February 2020 | FREE

That Seventies Feeling the Late Modern

7 December 2019 – 9 March 2020 | FREE

AGWA40 Art Gallery of WA, Perth Cultural Centre artgallery.wa.gov.au | @ArtGalleryWA #AGWA40 Annual Sponsors Principal Partner, 303 MullenLowe, Singapore Airlines, Alex Hotel, Juniper Estate, Otherside Brewing Co. Digital manipulation of work detail from: New Art Gallery of Western Australia, Structural Engineering Brochure, 1979. Public Works Department of WA.

22ND BIENNALE OF SYDNEY

14 MARCH – 8 JUNE 2020 98 ARTISTS 6 LOCATIONS FREE ENTRY BIENNALEOFSYDNEY.ART #NIRIN2020 MAJOR GOVERNMENT PARTNERS

PRINCIPAL PATRON

Art Gallery of New South Wales 2 November 2019— 8 March 2020

Strategic sponsors

Featuring Takashi Murakami Presenting patrons

Major sponsor

Takashi Murakami In the Land of the Dead, Stepping on the Tail of a Rainbow 2014 (detail) The Broad Art Foundation, Los Angeles Š 2014 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved

RETRO HORROR

SUPERNATURAL AND THE OCCULT IN POSTWAR JAPANESE MANGA FREE ADMISSION OCTOBER 18 - JANUARY 24 Program includes artist talk, manga masterclass, curator talk & moreer

JPF.ORG.AU/RETRO-HORROR

JAPAN FOUNDATION GALLERY The Japan Foundation, Sydney Level 4, Central Park (access via lifts) 28 Broadway Chippendale NSW 2008

UNTIL 16 FEBRUARY twma.com.au SUPPORTED BY

MAJOR SPONSORS

INAUGURAL FOUNDATION SUPPORTER

MAJOR EXHIBITION PARTNER

IMAGE: Robert Klippel, Nos 1037–1126 Eighty-seven small polychromed tin sculptures 1995 (detail) polychromed tin and wire, various dimensions Art Gallery of New South Wales, Sydney Gift of Andrew Klippel 2002 © Andrew Klippel.

Courtesy of The Robert Klippel Estate, represented by Annette Larkin Fine Art, Sydney and Galerie Gmurzynska, Zurich / Copyright Agency, 2019 MAJOR PARTNERS

HOME/ LAND PROJECT ANOTHER COUNTRY 14 DEC 2019 – 8 MAR 2020

ISABEL AND ALFREDO AQUILIZAN Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805

www.bunjilplace.com.au Image: Isabel and Alfredo, Aquilizan Here, There, Everywhere: Project Another Country 2018 (detail), installation: Cosmopolis #1.5: Enlarged Intelligence, Mao Jihong Foundation/ Centre Pompidou Chengdu, China, 2018. Courtesy of the artists

collector/collected.

Featuring the exhibition Studio Pottery from the John Nixon Collection alongside SAM Studio Pottery and four new collection responses by contemporary artists Tony Albert, Kate Daw, Geoff Newton and David Sequeira.

7 December 2019 to 1 March 2020 | FREE ENTRY

w sheppartonartmuseum.com.au @SAM_Shepparton

Images clockwise from top right: Isobel Art Pottery, Green and brown coffee set, c.1965, Shepparton Art Museum collection, gift of Mr Russell Zeeng and Ms. Sandra Christie, 1990 © Isobel Pottery and Vijoslav Illich, photo: Stephanie Bradford. Harold Hughan, Untitled (candlestick holder), 1942, Shepparton Art Museum collection, donated by Robert Hughan, 2007 © the artist, photo: Stephanie Bradford. Phyl Dunn, Sugarpot, 1967, Shepparton Art Museum collection, gift of the Estate of Reg Preston and Phyl Dunn, 2002 © the artist’s estate and Susie Cordia, photo: Stephanie Bradford. Phyl Dunn, Cream and brown jug and cup set © the artist’s estate, photo by Simon Peter Fox. ELKE Australia - Karl and Ellen David, Green plate with orange and white interior, John Nixon Collection © the artists’ estate, photo by Simon Peter Fox. LOWE Ceramics - Allan and Peg Lowe, Olive green decanter with white lid and bamboo handle © Marian Lowe, photo by Simon Peter Fox.

2020

ANNE & GORDON SAMSTAG

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

VISUAL ARTS SCHOLARSHIPS

Image: Kate POWER Things Between You and Me (detail), 2016, steel, fabric, papier-mâché, tassel, foam, timber. Dimensions varied. Photo by Grant Hancock.

INTERNATIONAL

2020

The University of South Australia congratulates our 2020 Samstag Scholars Marlee McMahon (VIC) and Kate Power (SA).

An immersive exhibition about the power of the sea in human imagination

Sublime Sea RAPTURE

e REALITY

14 Dec – 23 Feb Exclusively at MPRG

mprg.mornpen.vic.gov.au Tamara Dean, Endangered 1 2018 (detail), archival pigment print on cotton rag paper, Image courtesy of the artist and Martin Browne Contemporary, Sydney

29 • 11 • 19

07 • 03 • 20

RMIT Gallery Image: Gerwyn Davies Bomb, 2017 Image courtesy of the artist

344 Swanston Street Melbourne, Victoria 3000 +61 9 9925 1717 rmitgallery.com.au

DISCOVER SURPRISING CONNECTIONS between some of Victoria’s greatest stories

FREE EXHIBITION NOW SHOWING slv.vic.gov.au/via Images: The Ashes Urn, Marylebone Cricket Club; Centenary of Victoria costume, Broothorn Studios, 1935; Ned Kelly armour, 1880, State Library Victoria

ALGORITHM AESTHETIC Edward Immyns Abbot 1822 – 1859

Dunedin from Little Paisley 1849 reproduction, ink on paper 17 x 27 cm Donated by Emiritus Professor A.D. Trendall LTU Collection LTU0775

Peter Zageris 1947 –

Patricia Caswell, Director Australian Conservation Fund 1995 oil on canvas

180 x 104 cm Donated by the artist through the offices of Dr Joseph Brown AO OBE LTU Collection LTU1158

13012020 08022020

A Geelong Gallery exhibition

23 Nov 2019 to 23 Feb 2020

Stephen Bram— abstract painting Stephen Bram Untitled 2014 synthetic polymer paint on canvas Š Stephen Bram. Courtesy of the artist and Anna Schwartz Gallery Photographer: Christian Capurro

Exhibition partner

Kate Baker Sublimate 6 February to 19 March

Kate Baker, Pulse #1, 2019, single channel digital video, sound, kiln formed glass. Video and sound produced by doeanddoe studio, featuring performance by Leeanna Walsman. Dimensions 1.8m diameter x 2.5m height.

24 November 2019 – 15 March 2020 Peter Atkins (AUS) Anael Berkowitz (USA/ISR) Katja Brinkmann (DEU) Danica Chappell (AUS) Sarah crowEST (AUS) Elizabeth Day (AUS) Stephan Ehrenhofer (AUT) Assaf Evron (ISR/USA) Anna Farago (AUS)

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19 – r 20 mbe Nove

2020 rch 15 Ma

Image: Jordan Marani, HAUSWERK II 2019, acrylic and pencil on board, 30.0 x 40.0 cm.

Courtesy the artist and Daine Singer.

Robert Jacks (AUS) Paul Knight (AUS) Eva-Fiore Kovacovsky (CHE) Paul Klee (CHE) Mafalda Millies and Roya Sachs (USA/DEU) John Nixon (AUS) Laresa Kosloff (AUS) Jordan Marani (AUS)

Sam Martin (AUS) Bernd Ribbeck (DEU) Jacqueline Stojanović (AUS) Esther Stewart (AUS) and Pallavi Sen (IND) Sebastian Stadler (CHE) Tim Tetzner (DEU) Claudia Wieser (DEU)

FREE return shuttle bus from Melbourne on selected days See www.mcclellandgallery.com for details

Monash Gallery of Art

mga.org.au

Africa and the African diaspora A Cairns Art Gallery touring exhibition

23 November 2019 to 9 February 2020

Government Partners

Namsa LEUBA Untitled III 2011 from the series Cocktail courtesy of the artist

Exhibition Supporters

Queer in Kingston Midsumma 2020 An immersive multimedia exhibition by Yandell Walton, Willow Franklin and Queer in Kingston.

Launch: Friday 7 February, 5-11pm Exhibition: Saturday 8 February – Saturday 7 March

kingstonarts.com.au Kingston Arts Centre & City Hall 979-985 Nepean Hwy. Moorabbin VIC 3189 KingstonArtsAu Image: 2019, Willow Franklin, Weldon 2, manipulated archival image with digital glitch.

Hanna Tai THIS COULD WORK!/I’M SCARED 1 February – 5 April 2020

Thurs – Sun 10am – 5pm

www.bundoorahomestead.com

IMAGE: Hanna Tai Caterpillar 2019 (detail) single channel video, no sound 1:44 mins, looped (video still) Courtesy of the artist

UP TO $50,000 ACQUISITIONS AND AWARDS

CALL FOR ENTRIES

Gallery gional sula Re n Penin to g in rn A Mo

ENTRIES OPEN: 1 FEBRUARY ENTRIES CLOSE: 19 APRIL EXHIBITION DATES: 22 SEPTEMBER – 22 NOVEMBER 2020 FIND OUT MORE AND SUBMIT YOUR WORK ONLINE:

mprg.mornpen.vic.gov.au/nwop

ion exhibit

Open House: 3rd Tamworth Textile Triennial 1 February – 15 March

Open House: Tamworth Textile Triennial celebrates the open-ended nature of textiles practice today. All artists’ works are linked with things outside of themselves and their studios. Celebrating the sense of belonging that comes from working with other artists, landscape and the environment, and the artist’s place in a world beset by environmental, social and cultural upheaval.

Ema SHIN, detail from Devoted Body (2017), mixed media, 180 x 260cm, image courtesy of Tamworth Regional Gallery.

Photography by Oleksandr Pogorilyi.

This exhibition has been developed by Tamworth Regional Gallery and is supported by the Visions regional touring program.

Town Hall Gallery Hawthorn Arts Centre 360 Burwood Road, Hawthorn VIC 3122 Ph: 03 9278 4770

Opening Hours: Mon – Fri, 10am – 5pm; Sat/Sun, 11am – 4pm; Closed public holidays www.boroondara.vic.gov.au/arts

OUT IS OUT Elders, olders and young Queer mob in dialogue about freedom, self and expression

Image Credit: Peter-Waples Crowe - Self Portrait - ngurran Mixed media on canvas. 2019

06 FEB - 08 MAR

OPENING NIGHT: THU 06 FEB 6.30pm - 8.30pm Alison Bennett Susan Maco Forrester David Sequeira Peter Waples-Crow

Wyndham Art Gallery Great Art. Deep West.

177 Watton Street, Werribee

#deepwest wyndham.vic.gov.au/arts

George Gittoes on being there 8 February - 26 April 2020 Australian artist, photographer and filmmaker George Gittoes AM has for over four decades, embedded himself in some of the world’s most severe conflicts.

GEORGE GITTOES: on being there, documents this journey and gives unprecedented access to the artist’s personal visual diaries, field drawings, photography and film.

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

us. universal stories SATURDAY 23 NOVEMBER 2019 – SUNDAY 9 FEBRUARY 2020 ALSO ON DISPLAY

we. wiyelliko be. (YOUR COLLECTION) be remembered

Nell if you could hear the sound of my violin you would know how I feel 2015 wood 2 parts, object 1: 60.4 x 20.6 x 7.5cm, object 2: 60.5 x 20.7 x 8.3cm Courtesy of the artist and STATION © Nell

CONTACT US  4921 0382  First Street Booragul, NSW 2284  mac.lakemac.com.au

VISABILITY 27 NOV - 26 JAN

Jasmin Âû Ibby Ibrahim Annie Moors Ngino Amum Ruby Allegra Leilani Fuimaono Dawn Irish Dangkomen Mereani Qalovakawasa morag 17 undulatingroses Curated by Pauline Vetuna + Hannah Morphy-Walsh

Wyndham Art Gallery Great Art. Deep West.

177 Watton Street, Werribee

#deepwest wyndham.vic.gov.au/arts

Image Credit: Leilani Fumaono - ‘the magician’

A celebration of identities, minds and bodies.

Evoke your

curiosity.

Experience Yioryios Papayioryiou

5 - 29 February 2020

A Summer Exhibition Program for emerging visual artists from Shakespeare Grove and Studio 106

Remen Hambly

23 January - 29 February 2020

Tamar Dolev

Opening #1: Thursday 23 January, 6-8pm

Janita Ryan Nina Sepahpour Oliver Hull

Opening #2: Thursday 13 February, 6-8pm TooT Artspace, 5/17 Irwell St. St Kilda 3182 Vic tootartspace.com

Design by Picturelab

WILL MURRAY SOLO 8 February—14 March 2020 Opening Saturday 8 February 2020, 3-5pm

Will Murray, An Unknown Youth, 2018, pastel on paper, 57 x 38.5 cm

PROUDLY SUPPORTED BY

24 High St, Northcote Vic 3040 Australia

T +61 3 9482 4484 T +61 3 9482 1852

info@artsproject.org.au www.artsproject.org.au

Reg. No A0008312K ABN 99 804 795 393

MANLY DAM PROJECT 6 Dec 2019 - 23 Feb 2020 The Manly Dam area is a unique landscape rich in natural biodiversity, shaped by the interventions of engineering and science. This project brings together eight contemporary artists from a variety of practices and eight engineers from the Water Research Laboratory, a facility of the School of Civil and Environmental Engineering, UNSW Sydney, to create new work inspired by place, history, water management and engineering.

Shoufay Derz Blak Douglas Nigel Helyer

David Middlebrook Sue Pedley Melissa Smith

Manly Art Gallery & Museum

Cathe Stack Nicole Welch

West Esplanade Reserve, Manly | 10am - 5pm Tues - Sun I 02 9976 1421 | magam.com.au Image detail: Nigel Helyer, Chaldini plate pattern

Transverse 2019 acrylic on board 60x55cm

JOHN BARTLEY Dark beautiful 18 February – 14 March 2020

King Street Gallery on William

kingstreetgallery.com.au

PATTERN AND EFFECT BRENDAN VAN HEK

30 January to 15 March 2020 Exhibition opening: 6 pm, 29 January Brendan Van Hek Turquoise and Orange, 2019, Courtesy of the artist and Sarah Cottier Gallery, Sydney.

Government Partners

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

Exhibition Partners

BAYSIDE ACQUISITIVE ART PRIZE $15,000 Now in its 6th year, the Bayside Acquisitive Art Prize for painting is calling for entries from all Australian artists.

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

Entries now open For one of Victoria’s major annual prizes for painting Major Prize $15,000 (Acquisitive) Local Art Prize $3,000 People’s Choice Prize $1,000 Judges Ryan Johnston, Director, Buxton Contemporary Louise Tegart, Director, Art Gallery of Ballarat Joanna Bosse, Curator, Bayside Gallery

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

15 May – 12 July 2020 Shortlisted works to be exhibited at Bayside Gallery @baysidegallery

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baysideacquisitiveartprize.com.au Entries close 21 February 2020

arts grants

2020-2021

Applications open Tuesday 28 January Applications close Friday 27 March (at midnight)

Artists and community arts groups seeking funding for innovative new artworks are invited to apply for a Kingston Arts Grant.

Free information session Wednesday 5 February, 6pm The Chamber, Kingston Arts Centre 979 Nepean Highway Moorabbin

Check your eligibility kingstonarts.com.au/opportunities/artsgrants

Enquiries 9556 4440

Forgotten Places, Citizen Theatre, Arts Grant recipient, 2019.

Photo Stu Brown (Citizen Theatre).

January/February

2020

ACTING EDITOR

Kim Butterworth DIGITAL EDITOR

Tracey Clement

WEBSITE COORDINATOR

Minna Gilligan

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Anna Dunnill

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Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066 +61 3 9812 6948 or +61 3 9419 9123 info@artguide.com.au artguide.com.au facebook.com/artguideaustralia instagram.com/artguideau twitter.com/artguideaust #artguideaust We acknowledge the Traditional Custodians of Melbourne, the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation.

Paul Bugeja

PUBLISHERS

Graham Meadowcroft Kim Butterworth

Cover artist: Atong Atem

front

Atong Atem, Self Portrait in Blue, 2018, digital print, 90 x 70 cm, edition of 10 + 2 A/P.

back

Atong Atem, Krown 2, 2019, Illford smooth pearl print, 190.2 x 148 cm, unique edition.

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 © 2020 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press.

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

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PR E V I E WS

54 56 56 57 58 58 59 60 60 61

Vernon Ah Kee Feedback Loops Mika Nakamura-Mather Sue Kneebone Manly Dam Project Tama Sharman Kate Mitchell Velvet, Iron, Ashes Atong Atem Chalkroom INTERV IEW

62 Louise Weaver F E AT U R E S

66 Connecting to Land E S S AY

70 The Supremacy of the Collection Pool C OM M E N T

82 84 88 91 94

On Loving Bad Artists Artist Watching The Act of Collecting Prince and the Revolution Moving, Crumbling, Bubbling S T U DIO

98 Alex Seton R E V I E WS

104 In Full View: works from the Lyon Collection 107 If I pick your fruit, will you put mine back?

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Issue 123 Contributors MICH A ELA BEA R is an emerging curator and

writer currently working as the curatorial assistant at RMIT Design Hub Gallery.

She was assistant editor for the 2017 Honolulu Biennial and has written for Art Asia Pacific, viennacontemporary mag and the Australian and New Zealand Journal of Art, among others.

TR ACEY CLEMENT is an artist, freelance writer and the digital editor of Art Guide Australia.

Her contemporary art PhD responded to JG Ballard’s novel, The Drowned World, through drawing and sculpture. She also has a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture. In 2018 she won the Blake Prize Established Artist Residency, and she is currently the artist in residence at Fairfield City Museum and Gallery. Tracey has been a regular contributor to Art Guide for over 10 years.

SOPHI A CA I is a Melbourne-based curator, arts writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices.

STEV E DOW is a Melbourne-born, Sydneybased arts writer whose profiles, essays, previews and reviews range across the visual and performing arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, Spectrum, The Age, Sunday Life, Vault and Australian Book Review.

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.

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SHER IDA N H A RT is an artist and writer based

in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries.

H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

TI A R NEY MIEKUS is a Melbourne-based writer whose work has appeared in un Magazine, RealTime, Overland and The Lifted Brow. She is the producer of the Art Guide Australia podcast.

JA NE O’SULLI VA N is an arts writer and journalist based in Sydney. She is a former editor of Art Collector and Art Edit magazines and has also contributed to the Australian Financial Review, Artnet, Ocula and Artist Profile among others.

ZA R A SIGGLEKOW is a Melbourne-based arts writer, curator and administrator.

R EBECCA SH A NA H A N is a Sydney-based artist working in photography, video, performance, textiles, and installation.

In 2018 she completed a PhD at Sydney College of the Arts, University of Sydney.

Rebecca has exhibited in more than 20 group and solo exhibitions and is also a lecturer at UNSW Art & Design.

BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country.

His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.

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

“It takes a lot to remember an artist’s name. It’s not as simple as connecting with an artwork in the gallery. If that work is not talked about, taught, written about, reproduced or studied, then it’s not reinforced.

The name slips away.” — Sally Smart The Supremacy of the Collection Pool

by Sheridan Hart P. 70

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Previews Our selection of what to see this summer.

W R ITERS

Steve Dow, Michaela Bear, Tracey Clement, Briony Downes, Andrew Stephens, Tiarney Miekus, Zara Sigglekow and Jane O’Sullivan.

Sydney The Island

Vernon Ah Kee Campbelltown Arts Centre 2 January—23 February

A survey of Vernon Ah Kee’s art will showcase predominantly video as well as text-based works he has created over more than 20 years. The Island delves into Ah Kee’s Vernon Ah Kee, Kick the Dust, 2019, detail, three hard-hitting critiques of Australia, with Campbelltown channel digital video. courtesy of the artist and Arts Centre commissioning a new work to premiere at milani gallery, brisbane. the show, yet to be revealed.

“He’s one of the artists who keep talking about the difficult truths that Australia is yet to face, both from a First Nations perspective but also when it comes to refugees,” says the Centre’s director, Michael Dagostino. “We’re not being honest with ourselves about how this country came to be in 2020 through a variety of exploitations.”

Born in Far North Queensland in 1967, the year Australians voted to change the Constitution to amend two sections that discriminated against Indigenous people, Ah Kee, now 52, has declared: “I was born a non-citizen.” A member of the Kuku Yalanji, Waanji, Yidinji and Gugu Yimithirr peoples, Ah Kee would spend hours drawing in his room. He spent his boyhood years in the small town of Innisfail and his teenage years in Cairns.

The civil-rights writings of Malcolm X and James Baldwin, the text art of Barbara Kruger, and the poetry and art of the late Wiradjuri and Kamilaroi activist Kevin Gilbert have all influenced Ah Kee. “Vernon gets very excited with fonts, and the layout of fonts,” says Dagostino.

There will be ten Ah Kee works shown at Campbelltown, from early art to pieces never exhibited in New South Wales before. There are hopes to tour the show interstate. “It should be noted he’s never had a survey in his home state,” says Dagostino. —S­T EV E DOW

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Vernon Ah Kee, The Island, 2018, detail, three channel digital video. courtesy of the artist and milani gallery.

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Melbourne Feedback Loops

Australian Centre for Contemporary Art (ACCA) 7 December 2019–22 March Populated by new worlds that bring alternative mythologies to life, Feedback Loops playfully invites audiences to question preconceived structures within society.

Born in the eighties, the six exhibiting artists grew up during a period of major technological shift. Drawing upon Tianzhuo Chen with Andrew Thomas Huang, this context, exhibition curator Miriam Kelly says, “The idea Exo-performance / Beio, 2019, still, high definition of the feedback loop comes from the way that images and video, 5:43 mins. courtesy of the artist and bank ideas of the past, present and future are circulating within gallery, shanghai. our current time, and are sampled and mashed up in the works and worlds of these artists.”

Subversive characters, including Uterus Man and Cancer Baby, inhabit Lu Yang’s video games, while Sahej Rahal’s love of Star Wars manifests in digital and physical science-fiction environments filled with reconceived found objects.

Sampling from social history, philosophy, anthropology and popular culture, Madison Bycroft’s videos question human desire to understand and create meaning.

“An interest in the intersections between mythology and technology in much contemporary practice was the basis for thinking about this exhibition,” says Kelly.

“The show is also rooted in thinking about the alternative or speculative worlds that artists have the capacity and creativity to propose, drawing from what they find and how they interpret the world around us.”

A number of the exhibiting artists incorporate performative elements within their immersive universes, including Justin Shoulder, who will workshop and present new episodes from his theatrical piece Carrion. Tianzhuo Chen navigates constructs of spirituality through animated projections and parties, while Zadie Xa imbues videos and handmade costumes with a new personal mythology that references matrilineal power in Korean shamanism. The artists’ interdisciplinary practices expand definitions of reality by converging digital, physical and spiritual worlds . Shedding technology’s often standardising and alienating effects, Feedback Loops creatively embraces this resource – bringing artists, ideas and visitors together. — MICH A ELA BEA R

Mackay Losing Home, Finding Home Mika Nakamura-Mather

Artspace Mackay 29 November 2019–23 February

Mika Nakamura-Mather, Telescoping (the tyranny of distance), 2015-2016, Japanese indigenous bamboo, kyogi paper, natural Japanese mineral pigments, ink, wood, dimensions variable. photogr aph: louis lim.

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In her solo show Losing Home, Finding Home, Mika Nakamura-Mather examines both the fragmentary nature of memory and the quest for belonging. Her wooden sculptures, a kind of 3D collage, often resemble abstract cities or topographical maps. For the artist these works track both the persistence and the erosion of memory.

“They are incomplete and have large swathes of information missing as I can no longer remember clearly things I once took for granted,” Nakamura-Mather says. “But if I was to return to those areas the basic information stored in the maps would still be enough to guide me to my destination.”

Nakamura-Mather says that using wood helps to underline her interest in both memory and home. “The natural appearance of wood in some way evokes nostalgia in everyone,” she explains, “even people who grew up in apartment blocks.”

Born in Japan and based in Brisbane, the artist has experienced a contradictory feeling of belonging simultaneously in both places and in neither, a feeling that may be familiar to many migrants. Even after living in Australia for 15 years, she says that on a recent trip to the country of her birth, “I was conscious of how much easier life was for me in Japan… cultural nuances and references made sense and didn’t have to be examined or questioned.” Speaking about Brisbane, Nakamura-Mather referred to it as ‘coming home.’ As she explains, “I think this is one of the reasons I am so fascinated by the fluidity of memory and the role it plays in our understanding of home and belonging. From my own experiences I think it’s possible to hold seemingly opposing views of ‘where’ home is, and even ‘what’ home is, but maybe not ‘why’ home is. That’s what I am interested in examining in my work.” — TR ACEY CLEMENT

Adelaide Pamplemousses Garden Sue Kneebone FELTspace, Adelaide 5 February–22 February

When Adelaide based artist Sue Kneebone visited Mauritius it was not for the blue sky and beaches, it was for family. During a recent pARTage residency to the mountainous island located east of Madagascar, Kneebone spent time researching her French and British family history, tracing it back to the early 1800s. “I had a good grasp of the general history of Mauritius, but I also knew about places connected to my family,” Kneebone explains. “This knowledge really shaped what I saw and how I saw it. While tourists seemed to look away from the shadows of the country’s colonising past, I wanted to dig deeper.”

Piecing together elements of her ancestry in Mauritius with the broader, long-term effects of colonisation on the landscape, for Pamplemousses Sue Kneebone, Pamplemousses Garden (work in Garden Kneebone has created her own seed bank, progress), 2019, cement fondue and mixed media, based on the plants collected and distributed at the variable dimensions. photogr aph: sue kneebone.

Pamplemousses Botanical Gardens. “The idea of a seed bank stems from notions of place and history involving the area of Pamplemousses where many of my ancestors lived,” she says. “I imagine it as something between a museum cabinet, a mausoleum crypt, and contemporary seedbanks housed in concrete bunkers.”

While on Mauritius, Kneebone also collaborated with Indian artist Sarojini Lewis and Madagascan illustrator Vanii Suki to produce the video work Inhabiting Memories. Recorded by Lewis at Le Morne, a historic oceanside summit where runaway slaves tragically jumped en masse to their death, the video features Kneebone and Suki sharing ancestral stories and personal reflections on their lineage. A work that visually stitches the past to the present, Kneebone reveals, “Sarojini described our encounter as a crossroads of Madagascan, British and Indian origins. For me, these ancestral intersections through time and place really bring the veracity of colonising history into sharp focus.” — BR ION Y DOW NES

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Sydney Manly Dam Project

Manly Art Gallery and Museum 6 December 2019–23 February European history of the Manly Dam, just north of Sydney, began in 1892 when the Curl Curl Creek was dammed.

In 1939, the area was designated for public recreation, and the UNSW Water Research Laboratory has been at the dam for 60 years. But of course human habitation of the area predates this history by millennia; the site is rich with evidence of Indigenous occupation.

Nigel Helyer, Chaldini plate pattern, 2019.

For the Manly Dam Project, the third in a series in which artists work with scientists, senior curator Katherine Roberts has invited eight artists to respond to cultural, environmental and historical themes associated with the area.

As Roberts explains, four artists – Blak Douglas, Shoufay Derz, Melissa Smith and David Middlebrook– responded directly to the Manly Dam environment itself, including Aboriginal connections to the area. “They have created work which is poetic, powerful and provocative,” she says.

And the other four artists – Sue Pedley, Cathe Stack, Nigel Helyer, and Nicole Welch – were paired with eight engineers working at the Water Research Laboratory to help them explore ideas around water management, coastal degradation, and estuarine and wetland habitats. The results of these exchanges, Roberts says, are “all critical and topical.”

For Roberts, putting artists and scientists together in initiatives like the Manly Dam Project is both natural and fruitful. “The deep interest in the relationship and synergies between art and science is growing. Artists and scientists approach their work with similar methodologies and philosophies, firmly rooted in research, intellectual rigour and creativity,” she explains. “With each of these partnership projects, what artists have revealed to me is their surprise at how creative scientists are and, likewise, the scientists are always impressed by the depth of the artists’ scientific knowledge.” — TR ACEY CLEMENT

Melbourne Dark Sepia Tama Sharman

Incinerator Gallery 12 January–22 March

Tama Sharman, Yello, 2018, paint on plastic can, dimensions variable.

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In Tama Sharman’s practice, the world is animated and dark sepia spirits roam as he creates works that involve personal stories, both factual and fictional. For his exhibition Dark Sepia, presented at Incinerator gallery and part of Midsumma (a 22-day queer arts and culture festival in Melbourne), drawing, projection, shadow puppets, sculpture, papier-mâché and found objects will be present. “It’ll be a mix of raw, highly finished and experimental, all at the same time,” says Sharman.

A new influence in this show for Sharman is karetao, Māori puppets. “I am finding out that karetao were used to tell stories and teach whakapapa (genealogy) and to taunt and intimidate enemies. My interest is in how karetao was, is and can be used as a method of storytelling and teaching,” he says. Although some sources are from traditional Māori culture Sharman’s

take is contemporary. “I’m not using directly from Māori historical content. I’m making things my way.” The spirit Ariki will be present and represented as a small sculpture of found wood. “He’s shown up from the underworld and he’s got one of my teeth,” says Sharman. “He seems to be leading the way and I imagine he’ll be keeping an eye on the integrity of things.”

The detritus of our everyday lives also informs Sharman’s work. “My material inspiration comes from walking around and observing waste on the street such as rubbish, and recycling them into art objects. I see art and creation in that. I’m lucky because some of these materials are spirits to me.” — ZA R A SIGGLEKOW

Sydney All Auras Touch Kate Mitchell

Carriageworks 8 January–1 March The compassionate, connective relationship one can potentially have with one’s self, as well as with others, is the fertile grounding of Kate Mitchell’s large-scale installation All Auras Touch. Part of this year’s Sydney Festival, the exhibition explores human affinities by entwining two seemingly unalike aspects of life: our jobs and our auras.

Mitchell has long interrogated notions of work.

All Auras Touch extends this by delivering 1,023 photographic portraits that directly relate to Australia’s occupation classifications, as identified in recent census data. As Mitchell explains, “I’m searching for participants, each with one of these jobs, and then I’m taking their portrait with a camera called the AuraCam 6000, which is a camera that makes a visual representation of a person’s energy field.” Through sensors and algorithms, the AuraCam 6000 transforms the heartbeat and body temperature of portrait sitters Kate Mitchell, All Auras Touch (artist portrait), 2019. into hazy, meandering hues which will hang as A2 prints. commissioned by carriageworks. image courtesy While an open call-out secured many early sitters, those of the artist, anna schwartz gallery and chalk occupations without a portrait will feature a placeholder horse © the artist. question mark, awaiting a potential sitter to come forth during the exhibition.

By playing upon the relationship between surfaces and our inner-lives, Mitchell mines the quiet, collective complexity of simply being. “I want to get beyond the surface level of what work people do and show them in another light—literally.

It’s a kind of duality in that we are our jobs, and that we are not our jobs,” says Mitchell. “I’m an artist. I’m a parent. I’m a partner, a friend, a daughter, a colleague, a teacher. And simultaneously, in this moment, I am this luminous energetic being who exists in a way that I can’t quite comprehend, and we’re all multi-faceted beings with complexities.” — TI A R NEY MIEKUS

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Melbourne Velvet, Iron, Ashes

State Library of Victoria 26 November 2019–12 July 2020 Jessie Clarke might have turned out to be a socialite; instead she became a social worker, says State Library of Victoria curator Carolyn Fraser. The grand-daughter of Prime Minister Alfred Deakin, Clarke and her husband set up the successful Nappie Wash in 1946. “Although it was a business, it was a business made by a social worker,” Fraser says. “She very much had the idea in mind that this business could help alleviate the drudgery that many women experienced in looking after children.”

Fraser began researching Clarke’s life for a recently opened exhibition in the library’s new Victoria Gallery, opened as part of the extensive Vision 2020 SLV redevelopment. The inaugural exhibition, Velvet, Iron, Ashes, features disparate content: from the Ashes urn and Freddo Frog to Ned Kelly and the history of Yallourn.

Jessie Clarke dress. unknown photogr apher.

It incorporates a segment on Clarke’s achievements, in particular an extraordinary outfit she wore for the 1934 Pageant of Nations. The costume comprises a velvet and silk cloak and a hand-painted skirt featuring images of Government House, Flinders Street Station and Melbourne Town Hall. But the highlight is the extraordinarily wacky headdress, exuberantly modelled to represent the Yallourn power station.

Fraser is excited the new gallery will be a cut-through for library users, rather than a specific end-point – meaning visitors don’t have to see exhibitions in one hit, but might stop repeatedly to enjoy various aspects. Aiding this is the retro-looking Map-o-Matic machine, which prints out personalised exhibition routes when visitors input preferences. Fraser says the exhibition objects might seem like “a random grab-bag of stories” but the machine helps explain their many unexpected and interesting connections – such as those between a glorious costume and soiled nappies. — A NDR EW STEPHENS

Melbourne Portals Atong Atem

MARS Gallery 7 February–7 March Melbourne photographer Atong Atem is known for bright, highly patterned tableaux, shot like traditional studio portraits. In her latest series, Portals, she strips away the colour and presents a more intimate view of her subjects, focusing on the head and shoulders. The commanding works examine the power dynamics embedded in photography, the role of the photographer, and postcolonial and diaspora narratives.

In photographic portraiture, “there will always be some kind of imbalance, even with collaboration,” she says. “I’m interested in how we can challenge the way that power has historically been wielded.”

Atong Atem, Self Portrait With Pearls, 2019, digital print, 90 x 70 cm.

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Atem presents her subjects as though viewed through small portals. In some, these views are distorted—with facial features flipped or assembled in unexpected ways—and these distortions speak to the way that lenses can warp perception.

The move to black and white also intensifies details like clothing and the studio backdrop. There is a sense that her subjects are attempting to present themselves a certain way, or in accordance with certain expectations.

Atem’s practice is deeply engaged with this conflict between public and private spaces and identities. “The way we’re perceived publicly has a great influence on the way we present ourselves, either to confront those perceptions or to shy away from them. I see it a lot in migrant communities and also in people who live ‘on the fringes of society’,” she says. She is interested in the aesthetics of these spaces or, as she says, “the aesthetic of comfort or discomfort, freedom, isolation, assimilation.”

This year, Atem will also exhibit at Melbourne’s Immigration Museum as part of the inaugural PHOTO 2020 festival. — JA NE O’SULLI VA N

Perth Chalkroom Laurie Anderson & Hsin-Chien Huang Perth Institute of Contemporary Art 8 February–19 April

Artist and musician Laurie Anderson has branched into virtual reality in a collaboration with Taiwanese new media artist Hsin-Chien Huang. Chalkroom, part of this year’s Perth Festival, utilises as a guide Anderson’s disembodied voice, familiar to audiences since her 1981 hit single O Superman.

Laurie Anderson & Hsin-Chien Huang, Chalkroom, 2017, Visitors enter a black room, with phrases fluorescent paint on slate walls. courtesy of the artists. and song lyrics painted in white on the walls and ceilings. Anderson says she and Huang created this environment “full of shadows and darkness” as a deliberate antithesis of the “brittle and bright” aesthetic of the virtual reality world. Putting the VR headset on, the white graffiti becomes a multichambered journey. Words fly past, then disintegrate and reform.

The Washington Post reports that Anderson had tried as long ago as the early 90s to pull off a virtual reality project with singer-songwriter Peter Gabriel but that early VR work failed because of the then technological limitations. More than two decades later, Chalkroom “establishes Ms Anderson as one of the artists VR was invented for”, writes New York Times co-chief art critic Roberta Smith. Before making its way to Perth, Chalkroom has now been seen by audiences in the US, Denmark, Italy and Taiwan.

In a video interview on her website, Anderson says: “I wanted to see what it would be like to travel through stories. You begin slowly moving into this world of ramps and hallways, and it opens up to huge towers, and they’re all covered in language. Sometimes letters float towards you; like snow, they’re there to define the space … they’re fractured languages.”

Her main inspiration, says Anderson, was to allow people to fly, “like you do in your dreams”. — STEV E DOW

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Louise Weaver, The Skin of Dreams (Narcissus), 2019 , hand-crocheted wool and strands of human hair over gourd, wood, synthetic polymer emulsion, 67 x 40 x 18 cm. courtesy of the artist and darren knight gallery, sydney.

“There’s an intuitive and spontaneous side of learning through making which is such an important thing for me.”

— L OU ISE W E AV E R

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Interview

W R ITER

Tiarney Miekus

Louise Weaver With a practice spanning three decades, Louise Weaver is a Melbournebased artist who works across painting, printmaking, sculpture, installation, sound and photography. Yet it’s for her sculptures of meticulously crochetencased animal forms and branches—which she began developing in the 1990s—that she has become most well-known.

TI A R NEY MIEKUS

From what you’ve said about your practice in the past, it seems that even as a child you intuitively knew you were going to be an artist. How did you know?

LOUISE W EAV ER

I don’t think it’s really knowing what the word ‘artist’ meant, but I knew that I loved making things and experiencing and understanding the world through using things I had at hand.

I didn’t really think of them as artworks when I was younger. Also, my parents became aware it was an innate thing I was probably best at, so it was a combination of my own self-awareness and having the support of my family that made me feel making art was something I could do.

Growing up I studied art very independently.

I went to a school when I was a child that only had 12 people, which was on the farm that I grew up on, and when I went to the local high school I was the only student to study art in year 12, so I did it by distance education. It was almost like I was in art school in my later years of high school.

TM

But then you had a brief stint studying nursing?

LW

I did nursing as a requirement of needing to be able to support myself entirely once I left home— which I did at 18, and I supported myself throughout art school by working as a nurse. I think my parents thought I should have completed my university degree as a nurse, but I knew that art was what I wanted to pursue.

TM

How does a work of art begin for you?

LW

There’s an intuitive and spontaneous side of learning through making which is such an important thing for me. But then I have to counter that with my own personality which is to be very analytical and think about things quite formally.

It’s combining both of those attributes. I also want to learn things I don’t know, and understand things I haven’t experienced before.

TM

You began practising as a painter and now your work spans painting, drawing, printmaking, photography, sculpture, installation and sound. Is that cross-discipline practice simply intuitive for you?

LW

Yes, it is. I have a very inquiring mind. I need to stimulate myself in terms of new ideas and new possibilities. But it’s also the ideas that develop and come into my recognition that tell me what kind of medium it needs to be and how it will best be expressed. I don’t work the other way around very successfully, I’ve discovered. I just need to be intuitive and listen to my own sense of what I should do. I think that’s a very powerful experience and a very powerful tool.

TM

In the 1990s you began creating your well-known sculptures of branches and animal forms that have a surface of crocheted ‘skin’. Do you remember the first one you created?

LW

It was a work titled I am transforming an antler into a piece of coral by crocheting over its entire surface. I was thinking of crocheting and of using very intense mark-making, which I attribute to the knotting or the crochet stitch. [The work] came out of a spontaneous thought that I had— and I say spontaneous, but I think it probably came out of making lots of work and also being at a point of readiness to understand what to do next. It seemed like a logical thing—well, it wasn’t quite logical at all on one level! It’s kind of nonsensical to try and transform one thing into another thing. There’s an alchemical, magical, shamanistic element to it. But it’s also the literal transformation of one thing into another where the title is both an explanation for the work and it encourages the viewer to consider it as a possibility. And if that [is possible], then why not something else in that same way?

The crochet itself was a stand-in for the appearance of coral as an organism that grows from one thing and branches out into other forms. It was a way of thinking about the similar

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Louise Weaver, No small wonder, 2005, detail, mixed media installation with sound, installation dimensions 230 x 500 x 365 cm. courtesy of the artist and darren knight gallery, sydney.

Listen to an extended interview with Louise Weaver: artguide.com.au/podcast.

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Louise Weaver, Bristol fashion (I wager you can make her talk), 2010, hand-crocheted lamb's wool over taxidermy bird and wood, cotton thread, felt, 41 x 28 x 13.5 cm.

growth pattern of an antler. Also, using crochet was not necessarily related to its history of craft-related practice. It was thinking about creating a skin or semi-permeable membrane that could encourage a sense of protection, and thinking in psychological ways as well.

TM

On that idea of thinking psychologically and of protection—I read that as a child you had a severe fracture and were placed in a total body plaster. You talked about the experience as if you yourself were in another skin, but this second skin was a form of healing.

Do you think that has informed your work?

LW

Recovering from that took a long time physically, but I think it took much longer psychologically.

It was combined with being flown to the Royal Children’s Hospital from our country property and being isolated from my family for the first time. It’s all those sorts of things that leave a lasting impression on you as a child and I was probably coming to terms with that when I was making those earlier works. But that’s a personal narrative and I was still thinking of the work very much in analytical terms. I think personal experiences are a good starting point for ideas, but I think that’s all they are—starting points.

TM

What’s the process in crocheting over an animal form and how do you find your animal forms?

LW

I use foam casts of once-living animals that I source from a taxidermist—a very ethical taxidermist—and the skin and fur are removed from the animal and what’s remaining is cast and they’re made as multiples that I’ve acquired in high-density foam. They look very anonymous and in most cases people can’t register what kind of species they are. For instance, someone says a fox is a dog or cat or kangaroo. I’m playing with their anonymity and also giving them an opportunity of another kind of life with the crochet skins.

TM

How does gender inform your work? And do you consider your work feminist?

LW

Yes, it’s feminist in different ways. I come from an educational background studying art where all my lecturers were male, until my final year, when I had my first female lecturer. I was told by one lecturer that art school is finishing school for girls from the country—that was the sort of environment I was taught in. But I also had some very wonderful, very strongly supportive male lecturers. It wasn’t a completely negative experience, but I was very conscious there were very few female artists represented in galleries, very few women having exhibitions.

There were also very few places for young artists to show when I first started exhibiting, which has been wonderful to see change in this period of time. But at that [earlier] time, it was just an acknowledgement of the work men were making in Australia. Not many women were making things that were unashamedly feminine in terms of the selection of materials with a gendered or historical relation to craft. In fact, when I first started making crochet covered objects, young women especially would come up and ask what I had done because they’d never seen crochet before. They’d never seen many of the things I was using because it was before the revival of those things in fashion. I think it was very consciously a choice in that way. But as I became more familiar and able to make the work in the way that I wanted to with a heightened sense of aesthetics and the technical facility that I wanted—because I had to teach myself how to do it by reading books from the library and just practising—it transformed into something far more than my relationship to craft.

TM

Your work sustains many juxtapositions such as that between nature and the artificial. Why are those binaries so fruitful? Is it a tension you want to uphold, or bridge? Or is there a kind of logic that connects nature and culture for you?

LW

It’s probably all of those things depending on the particular artwork and its expression within a context. When my work is exhibited at places like the Australian Museum in context with things from their collection—their historically significant cabinets of curiosities and collected specimens—the artwork has significance that is about the museum culture, collecting culture and the specimens, and putting those artificial works back into the museum context. In some earlier works I think there was a definite nature-culture divide, but I think they’ve become more seamless.

But that varies too! I think the nature-culture divide is one layer of meaning for me in terms of what I’m thinking about in making the work, but it’s also in terms of art history and thinking about actions and activities of making in different cultures and their specific use and function. For me, I don’t like to be too specific about how people should read things visually because I think people come to the work with different experiences and knowledge, and I want it to be open and available and accessible to everyone.

Between appearances: the art of Louise Weaver

Buxton Contemporary (Corner Dodds St and Southbank Boulevard, Southbank VIC) 15 November 2019—9 February

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Connecting to Land Responding to the history and culture of her birthplace, Taloi Havini’s evocative work draws attention to environmental and social change.

W R ITER

Steve Dow

Taloi Havini decided to become an artist when she was in high school in Sydney. The youngest of four children, her family had fled Bougainville’s civil war for a new life in Australia in 1990, the year she turned nine. Her father, Moses Havini, believed in education. His own university graduation had propelled him into his leadership role in the ongoing struggle for his homeland’s autonomy and secession from Papua New Guinea.

“You have to go to university,” Moses told his daughter, having been given the same advice by his father, the late paramount chief of the Naboin clan on Bougainville’s Buka island. “But then, you have to come home and develop your own culture. You have to learn all the white man’s knowledge but come home and better your own people.”

None of Havini’s three siblings, all older brothers, got to university, so Taloi Havini felt the weight of expectation. “I was like, ‘Oh jeez’,” she recalls. “So I said to mum: ‘Is art school considered university?’”

Her Australian-born mother, Marilyn Havini (nee Miller), a painter, replied with an unequivocal ‘yes’: art school qualifies as university. Marilyn had met Moses Havini in Melbourne in 1971 and travelled to Buka to marry him the same year; she is famous for having won a competition to design a Bougainville flag.

Taloi went on to gain her Bachelor of Arts (Honours) at the Canberra School of Art at the Australian National University. Today, the Havinis’ youngest child works with video, photography, mixed-media installations and sculpture,

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immersing audiences in contested sites and histories while exploring locations fraught with political, environmental and social disasters.

She creates in a studio upstairs at Artspace in Sydney’s Woolloomooloo, and travels back to Bougainville each year, helping bring together community projects, including the Women’s Wealth project exhibition – ‘wealth’ in the sense of knowledge and traditional skill rather than materialistic wealth – which was launched on Buka in 2017.

At 38, Taloi Havini is about to have her first solo exhibition, Reclamation, at Artspace during the Sydney Festival in January. The show will include her 2018 iteration of her ongoing Habitat series. This latest four-channel video installation crisscrosses decades of footage in various formats in just under 10 minutes, including film of women protesting mining in Bougainville juxtaposed with an Australian mining company’s own triumphal film about its ‘great adventure’ in the region.

Then, in February, Havini will travel to Bangladesh for the Dhaka Art Summit, where she will use traditional weaving techniques from her community to build a huge shelter – an inviting meeting place – at the centre of the summit. She has lined up collaborators to harvest cane and bamboo and gather other building materials.

The peace that art lovers will find there is a long way from the deadly conflict of Taloi Havini’s childhood. She was born in 1981 in Arawa, but the town was

Taloi Havini, Habitat, 2018, four channel HD, colour, black & white, surround sound, 10'33 digital video installation. courtesy of the artist.

Taloi Havini, Habitat, 2018, four channel HD, colour, black & white, surround sound, 10'33 digital video installation. courtesy of the artist.

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Taloi Havini, stills from the Moses Havini archives. courtesy of the artist.

“...people were telling my mother: ‘You have to go; you’ll die if you stay here’.”

— Taloi Havini

Taloi Havini, stills from the Moses Havini archives. courtesy of the artist.

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Taloi Havini, stills from the Moses Havini archives. courtesy of the artist.

largely destroyed in the bloody conflict between 1988 to 1998. Up to 20,000 people lost their lives during the Bougainville civil war, about 10 per cent of the population at the time, and there were reports of massacres, rapes and torture.

“My father was working for the provincial government [as the assembly’s speaker] and he wanted Bougainville to have its own government.

He loved this idea of living in your traditional lands and Bougainvilleans also having a transparent government. But because the government wanted independence from Papua New Guinea, he was questioned by PNG about his so-called loyalty …”

“My father really believed in independence, and my mother also, by designing this flag. So the Bougainville flag today is designed by an Australian woman.” Marilyn Havini’s winning entry, created after consulting clan leaders across the region, was first raised in Bougainville in September 1975 as part of a proclaimed Universal Declaration of Independence, and is still used today.

“By the time the war came, my father had a mark on his head; the Papua New Guinea defence force

wanted to kill him. He wasn’t safe. He either had to flee into the jungle or flee from Bougainville. There was not a single other Australian left, and people were telling my mother: ‘You have to go; you’ll die if you stay here’.

It was my grandmother here in Sydney who called my father and begged them, ‘Please come’.”

In 2005, Moses and Marilyn moved back to Buka, and Moses became a mentor to the Autonomous Bougainville Government as director of parliamentary committees. In 2013, having been diagnosed with multiple myeloma, he returned to Sydney for treatment, and died in 2015.

At the time of this interview, Taloi Havini was juggling making art, creating a book that combines images of the art with essays to plug gaps in Australia’s knowledge, and working on a trip to Bougainville for the independence referendum to be held in November-December. Successful or not, she says, “I wouldn’t miss the vote for the world.”

Taloi Havini: Reclamation

(Artspace, Woolloomooloo, NSW) 17 January—19 February

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The Supremacy of the Collection Pool After years of imbalance, the time has finally come for the arts sector to achieve greater gender equality.

But will it be more than a hashtag?

W R ITER

Sheridan Hart

I was in my first year of high school, in the midst of a dry Western art history class, when I first heard that ‘men dominated the art world’. I distinctly remember scoffing.

Until then, my experience of art had centred on primary school classrooms and my mum’s marvellous craft box. Perhaps it was the ruffled art-room smocks, or the constant, inexplicable surplus of pompoms, or that my art teachers and most eager peers were girls and women; but to a twelve-year-old, artmaking seemed markedly female.

I soon learned that the practice of art does not have an equal relationship with opportunity, recognition or employment; that the art world—that ecosystem of artists, collectors, galleries, journalists and audiences—had also been scoffing, for centuries, at girls and women who aspired to make things that could speak as part of a shared culture.

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right

Kelly Doley, Things Learnt About Feminism #1 #95, detail, 2014. Ink on 220gm fluorescent card.

60 x 52 cm (95 pieces). cruthers collection of women's art, the university of western austr alia. © courtesy of the artist. image: jessica maurer.

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Destiny Deacon, Ku Ku/Erub/Mer peoples, Where's Mickey?, 2002, light-jet print from Polaroid original. national gallery of austr alia, canberr a, purchased 2006.

Pat Brassington, Twins, 2001, pigment print. national gallery of austr alia, canberr a, purchased 2001.

Julie Rrap, Castaway #1, 2009, pigment print. national gallery of austr alia, canberr a, purchased 2013.

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Gender disparity in the arts sector is complex: past imbalances have dictated an inaccurately male-centric art history narrative, which exerts a powerful influence over the practices and policies that determine which artists receive opportunity and representation. There’s a lot of work to do, and the people rolling their sleeves up in the Australian art landscape are focused on both systemic change and the desire to nurture resilient, supportive communities.

In May 2019, the National Gallery of Australia (NGA) announced ‘Know My Name’: a multidisciplinary push towards gender equality.

Its hashtag #knowmyname asks the public and art industry to build awareness of contemporary and historical female artists. This message is scaffolded by a flurry of new programs: six months of all-female exhibitors in 2020, a major commission from Patricia Piccinini, a focus on Angelica Mesiti and new guidelines for organisational gender equality in collaboration with The Countess Report, a project examining equality in the Australian contemporary art sector.

The NGA’s tenacity was sparked by a statistic: only 25 percent of NGA artworks are made by women. As the collection (some 166,000 items) signifies Australian identity and history at a national level, this finding was “glaringly problematic,” says Sally Smart, artist and NGA Board Member. “Practically speaking, the campaign encompasses exhibitions, commissions, acquisitions and partnerships with some of Australia’s leading female-identifying artists. But critically, it’s intergenerational and it’s ongoing. This is not one season of women-themed programs: it’s embedded across the whole institution.” As a federal gallery, changes at the NGA indicate how hungry Australia is to take women leaders and practitioners seriously.

The NGA’s broad approach is necessitated by the subtlety of the task at hand: “It takes a lot to remember an artist’s name,” Smart explains. “It’s not as simple as connecting with an artwork in the gallery.

If that work is not talked about, taught, written about, reproduced or studied, then it’s not reinforced. The name slips away.”

Meanwhile, the same few blockbuster-level male artists are wellremembered. “Audiences see what the institution has provided them to see, mostly without question,” says Smart. The human animal craves the familiar: identifying and reiterating popular images and stories. It’s a mundane tendency, but in recognising it, the importance of spotlighting female voices on major platforms becomes clear.

The narrative of Australian art history is built from the fabric of the national collection pool: the sum total of artworks held in public institutions, private collections and NGO holdings. “A curator is not able to tell a story, whether conceptual, political or personal, if the artwork to tell it is not acquired,” confirms Smart. For an artwork to enter the popular imagination — via an exhibition, publication, lecture, article, essay, report, postcard or television special — it must be present and accessible in the collection pool: “It’s about women artists being in the culture.”

“The back-end research to historicise women artists who’ve been left out of the canon is really important,” emphasises Gemma Weston, former curator of the Cruthers Collection of Women’s Art. Comprising over 700 works, the Cruthers is Australia’s largest standalone collection of art made by women. In 2015, it acquired Things Learnt About Feminisim #1 - #95, a series of lively fluorescent posters

by Kelly Doley, which were subsequently loaned for the Australian Centre for Contemporary Art’s 2017 survey on feminism Unfinished Business where, says Weston, “they became a really prominent part of the conversation”.

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In 2018, Weston used the Cruthers as a podium to mount No Second Thoughts, a revisiting of the ARTEMIS Women’s Art Forum, a 300-strong collective of WA artists. Former members attended the opening and many have initiated new projects together. “It was a formative project for me,” she reflects. “The ARTEMIS archive tells a rich, detailed story about contemporary art and feminist activity in Perth in the 1980s.

All that information had been under my nose, masked by an inconsistent local art narrative. It was a matter of refocusing.”

Amending historical collections is a slow, knotty task. Initiatives like Into the Light unearth women artists who have been discounted from art history, through primary research: trawling auctions, deceased estates, archives, enrolment data and local publications. Funded by the Sheila Foundation and spearheaded by historian Dr Juliette Peers, Into the Light has already recovered evidence of over 431 women artists working before 1960 – in New South Wales alone – only 10 percent of whom already appeared in the public record.

“As a culture, we need to form a more realistic picture of who is making art. When we repeat the same few names over and over, the complexity of the whole picture diminishes,” says Weston. All this begs the question: how is artistic significance recognised, and are those criteria stacked in favour of male artists?

In the past, forces barring women from significance were sociallyingrained: “Going back to Linda Nochlin’s [1971 essay] ‘Why Have There Been No Great Women Artists’, the criteria for significance are based on gendered concepts of value and structures that preclude women from practicing professionally,” explains Weston. Inadequate access to childcare, pressure to commit to domestic labour, stigma around public breastfeeding and the exclusion of women from life drawing classes: “These structures impacted on women’s ability to work professionally, thereby reinforcing the notion that their work wasn’t ‘professional’.”

Today, other setbacks are in play: female artists who disappear from the public eye for five years to raise children can lose their perceived standing; those who adapt their practice for a home studio are sometimes disparaged for their pursuit of ‘less serious’, non-industrial or smaller-scale media; changing your surname can muddy your professional profile; feeding and putting down a baby exerts time pressure.

“The tremendously imbalanced system became clear to me when I was working as a consultant,” says Lisa Fehily, founder of recently launched Finkelstein Gallery. “When well-known male artists exhibited, collectors would favour the largest and most expensive pieces.

That those artworks proliferate in big collections gives the false impression that men are more likely than women to make large, expensive artwork. It’s a stereotype that hinders both genders.”

Finkelstein Gallery represents two international and nine Australian artists. One is Lisa Roet, whose contribution to international discussion on humanity and inter-species relationships is substantial. “Lisa studied linguistics, worked with gorillas and collaborated internationally. She’s currently in Paris developing an extraordinary forthcoming project with Jane Goodall and UNESCO. Our job is to show the breadth of her practice and find a place for her work in significant collections.”

The Finkelstein stable is all female. For Fehily, it’s about leading by example to create an artworld in which female voices are not a special interest category. “We represent strong women,” she beams.

But marketing ‘all-female’ can be tricky. “When things get badged as ‘women’s art’, there’s an assumption with audiences that they’re relevant specifically to ‘women’s interests’,” explains Weston.

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Graduate Visual Art Degrees 2018

Commercial Gallery Exhibited Artists 2018

2% non-binary

34.78% men (down from 39.12% in 2014) 61.38% women (up from 49.37% in 2014)

Major Museums & University Galleries Exhibited Artists 2018

0.12% non-binary

46.77% men (down from 54.90% in 2014)

52.66% women (up from 30.86% in 2014)

National Gallery of Australia Exhibited Artists 2018

0.47% non-binary

25.48% women (down from 27.12% in 2014) 44.17% men (down from 56.80% in 2014)

Individual Non-binary Collab f+m

52.19% women (up from 36.90% in 2014)

Individual Female

Collab m+m

Collective

72.97% men (up from 68.68% in 2014)

Individual Male Designcompany

Collab f+f Undetermined

Source: The Countess Report 2019.

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Polixeni Papapetrou, I am camera, 2018, photographic silk screen, metallic foil, glue and water based pigment on Belgian linen, 100 x 100 cm. image courtesy of michael reid sydney + berlin and the artist’s estate, © the artist’s estate.

Linsey Gosper, S/HE, 2019, diptych, C-type print, 100 x 66 cm. image courtesy of the artist, © the artist.

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“Over six years of Cruthers’ public programs I was fascinated to see an audience that was consistently almost entirely female, as though male patrons thought the subject didn’t apply to them.” This phenomenon is complicated by the resurgence of craft. “That the whole art community is exploring ceramics, jewellery and weaving again is wonderful,” says Fehily, “but in the past we’ve described men working in this way as career artists and women as hobbyists or crafters. We must be careful to give each artist the gravitas their work deserves.”

Harkening to women’s artistic self-expression is one way forward.

The touring exhibition In Her Words presents 27 women who wield the camera to assert their vision through photography. Inspired by Jill Soloway’s discussion of the female gaze, curator Olivia Poloni was interested in “the idea that women narrate with empathy and aren’t always trying to pleasing the eye.”

In Her Words was kindled by Poloni’s experiences of female camaraderie: “I have been fortunate to receive true mentorship from senior female artists like Polixeni Papapetrou. It’s difficult to walk into a big gallery and see a majority of male voices when you know how much can be learned from our leading women artists.” Papapetrou’s I Am Camera, 2018, provides a powerful account of creative sovereignty: “It was her last work, the only work she put herself in. She stands behind the camera, in full control and with full dedication to her work.”

One disappointment for Poloni was finding that her ability to give wall space to a diversity of female-identifying artists depended heavily on the collection pool. “Queer and non-binary artists are severely underrepresented. That was really difficult. ‘Female’ is a huge category and I’m determined to find room for everybody in my future projects.”

Intersectional representation is also a core objective for Miranda Hine, curator of the exhibition New Woman, currently showing at the Museum of Brisbane: “Women and gender-diverse artists are creating some of the most innovative artwork in Brisbane right now, so working with them was obvious, rather than quota-driven.” New Woman recounts a 100-year history of female artists, including the energetic and generous Vida Lahey and Daphne Mayo: “They singlehandedly changed the face of art and art education in Queensland, but are no longer remembered by the public they served.”

Tracing the history of female Indigenous artists prior to the richness of Tracey Moffatt and the 1980s also proved difficult: “Artworks were being created, but they were not valued enough by the Western institutional ‘eye’ to be collected,” laments Hine. Aboriginal communities in which art was practised communally or where techniques passed between generations also received less recognition from an art world that bought into the trope of the “artist as individual. These gaps talk about Brisbane’s social history as much as its art history,” says Hine.

The privilege, principals and cultural baggage of those who decide what enters the collection pool is a keystone of the gender conversation.

Women do not comprise half of upper-level staff in many Australian arts organisations. Recently, the Countess Report published its 2019 census on gender equality in the arts. Progress at commercial and independent galleries was celebrated across the industry, but one number stuck out like a star picket from a birthday cake: only 12 percent of state gallery directors and CEOs are women.

Of course, the collection pool is not solely constructed by large institutions. Private collectors play an understated but potent role in determining what artworks enter the culture. “The serious collector base in Australia is small, but interestingly they don’t discriminate in purchasing

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There’s a lot of work to do, and the people rolling their sleeves up in the Australian art landscape are focused on both systemic change and the desire to nurture resilient, supportive communities.

the work of male or female artists,” Fehily explains. “It falls on commercial galleries to nurture the emerging collectors whose holdings will be loaned or donated in the future. To do that we must widen our audience”.

Private philanthropy entails another prosaic setback: customarily, donations to public collections occur posthumously, or after years of private ownership. Important female artists being collected now might not arrive into public collections for decades. Moreover, today’s collectors were likely educated in a period when few women artists were included in mainstream histories. Self-awareness, strategic institutional acquisitions and balanced art education must bridge the interim.

Each person interviewed for this article possessed an eager awareness of the others’ endeavours. When asked to name one key provocation for their work, all five mentioned The Countess Report. Founded in 2008 by artist Elvis Richardson and now bolstered by artist/activists Miranda Samuels and Amy Prcevich, the tiny organisation publishes sector reports, guidelines and research on gender representation. In the beginning, its output—hard data on female disadvantage —stunned us all, and trained the Australian arts sector to be attentive and responsive about its shortcomings.

The power of The Countess Report, which measured over 200 arts organisations, lies in “the hard evidence of statistical reporting,” explains Amy Prcevich. “It’s not anecdotal, which helps organisations feel accountable and means we can track progress over time.” The 2019 Report has triggered bold initiatives, including the NGA’s commitment to reach gender parity by 2020. “This is a three-person art activism project,” Prcevich stresses, “yet the evidence we provided led a federal institution to respond, loud and unambiguous. We’ve witnessed a true industry-wide response to the feelings of the community.”

The counting itself is arduous: scouring gallery labels and wordy artist statements for gender pronouns or leads on education, language and nationality. Some data points were captured too irregularly at gallery level to be published. Other insights, surrounding artists who work in a

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Daphne Mayo, Vida Lahey, 1965, oil on panel. photogr aph by carl warner, gift of s. lahey, 1991, under the ta x ation incentives for the arts scheme, city of brisbane collection, museum of brisbane. copyright 1982 by the surf life saving foundation and the uniting church in austr alia property trust (q.).

Daphne Mayo, The Minx, 1942, ceramic. photogr aph by Carl Warner, Museum of Brisbane Collection. Copyright 1982 by The Surf Life Saving Foundation and The Uniting Church in Austr alia Property Trust (Q.).

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Justene Williams, Insight, 2018, fibreglass mannequins, acrylic, plastic VR, mask, LED tube lights, rubber glove, 2 units, overall dimensions 110 x 345 x 215 cm. art gallery of new south wales, contempor ary collection benefactors, 2019, Š justene williams, photogr aph by christopher snee, agnsw.

Kushana Bush, Here we are, 2016, gouache and gold leaf on paper, 75 x 125 cm. art gallery of new south wales, purchased with funds provided by the friends of new zealand art 2016, Š kushana bush, photogr aph by felicity jenkins, agnsw.

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non-commercial, non-online, secluded, local or ephemeral way, remain largely invisible. The development of metrics to distinguish that data lies ahead. For now, The Countess Report is genuinely policy-aiding and stands as proof that ‘chipping away’ can make real change. Across the sector, Elvis Richardson’s efforts are viewed as a meaningful gift, continuous with a shared project that so many work on. “The Countess was our first and most impressive move into a new and more equal Australian culture,” Fehily affirms.

While parity approaches incrementally, there is already much to celebrate. Here, a list must suffice: Here We Are at the Art Gallery of NSW; Slowburn at S. H. Ervin Gallery in Sydney; the 2018 NAIDOC Week theme ‘because of her, we can’; the F Generation; feminism, art, progressions forum at George Paton Gallery in Melbourne; Reimagining the Canon at University of Newcastle Gallery. Looking abroad: all-female programming at TATE Britain in 2018 and Richard Saltoun Gallery (London) in 2019; The National Museum of Women’s #5womenartists campaign (Washington); the Guggenheim’s Hilma af Klimt retrospective (New York), its best-attended ever.

Efforts to forward equality in Australia are gathering speed, enabled partly by changing attitudes to ‘the cause’. “Five or ten years ago, a show like In Her Words would have been criticised for singling women out” remembers Poloni. In the past, getting a leg-up made some female artists uncomfortable: they felt they should beat the patriarchy on its terms, rather than playing a different, more just, game. Women artists are less likely than ever to have their work categorised according to ‘feminine’ or ‘women’s’ concerns, which makes female-focused programming more attractive and impactful. “Women are more comfortable to claim a place for themselves,” says Prcevich. “They want their work to take up space, to be installed in the culture.” Eschewing the patriarchal trope of dog-eat-dog competition, women are “raising themselves up as a whole community.”

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COMMENT

On Loving Bad Artists Is it possible to separate the art from the artist?

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Sophia Cai

It was artist Jenny Holzer who stated that ‘Abuse of Power Comes as No Surprise.’ This maxim is part of her well-known Truism series, using concise one-liners to contest commonly held truths or modern clichés.

Reflecting on this statement more than 30 years later, it still resonates in our current socio-political climate. I’m reminded of Holzer’s words in the ongoing shadow of #MeToo, and the continuing public discourse about how power and privilege are unequally distributed, and change therefore requires structural shifts in the systems we have come to rely on.

As an undergraduate art history student, my professor once told me that when writing about art, I should separate the artist from their biography. My role as a writer was not to take the artist’s background and words as gospel, but to judge and value the merit of the artwork on its own. This might have been a simplification of a larger discussion about the intrinsic value of art — the usual ‘art for art’s sake’— but it does perpetuate a mythology of art that is conveyed through our academies, institutions and popular culture.

A recent exhibition of Paul Gauguin’s portrait paintings at London’s National Gallery has challenged this accepted narrative by openly acknowledging the problematic history of the artist. The curators directly address Gauguin’s sexual exploitation of the Tahitian girls featured in his work through the exhibition texts and public programs, and thus openly grapple with the moral complexity of Gauguin’s place in an art historical canon when it is at odds with the

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values of the audience. In other words, do Gauguin’s artistic accomplishments give him a ‘moral pass’ for his predatory behavior? Do museums have a duty of care or responsibility to uphold ethical standards to the artists they exhibit?

Gauguin is of course not the only artist in history (or in the present day) whose problematic behavior has long been known. History is built on the backs of imperialism, colonialism, exploitation and war, and museums are not neutral spaces that are immune from these powers. Gauguin is an easy example to discuss because of his accepted cultural significance, which also translated into record-setting auction records. Once an artist is so deeply entrenched in the canon, there is more vested interest and cultural capital to keep them there. Simply put, we cannot ‘cancel’ Gauguin that easily.

There is also the myth about the artistic ‘genius’ that feeds into the canonisation of problematic artists. Because art is perceived as an elevated pursuit, the biographies of the artists who create them seem to be above normal societal compasses. At times, it is the notoriety of the artist’s personal life that adds character or becomes part of the popular discourse surrounding their fame (or infamy). Whether that be general bad behaviour like cheating on a spouse (Rivera), to criminal activities like cold-blooded murder (Caravaggio), or sexual abuse (Gauguin), we as audiences are fascinated as much as we are disturbed by these transgressions. There is an inherent voyeurism to this act, which feeds into perpetuating the stereotype of the ‘tortured artist’.

Illustration by Sarah Firth.

This is why the decision by London’s National Gallery to address the ethical issues in Gauguin’s practice is an encouraging step to see by a major institution. Without giving the curators too much credit, this is a step in the right direction towards greater equity and accountability in the arts. It does, however, still hold space for Gauguin, and continues his prominence in art canon, even if it now includes more acknowledgement of the harm caused by his actions.

In recognising that art history and Western art institutions have centred predominantly on white, male artists for so long, whose voices do we miss when we continually centre the same narratives? What do we lose, or gain, when we stop doing this?

This brings me to my final point, which is a question about what we can do as audiences who love the work of problematic artists. It’s not as straightforward as blacklisting or removing all their work from public display, and I don’t think it is fair to expect art audiences to be a moral compass in this way.

Change is structural and needs to come from institutions. We do, however, have the power to be more intentional with who we personally champion, with the living artists we chose to support, whether that be attending exhibitions, buying works by emerging artists or what we tell ourselves about what an artist looks like.

Thinking back on what my art history professor told me about separating the artist from the artwork, I recognise now that a consequence of doing this — unintended or not — protects the status quo. That art, like everything else, is embedded within the social, cultural and political climate it is a part of, where the distribution of power is not equal. We cannot pretend that every artist gets the same opportunity to exhibit.

This is how power works; it needs to be relinquished in order to be distributed. One less Gauguin exhibition, one less Picasso exhibition, one less Woody Allen film screening, means one more space for a previously underrepresented voice.

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Artist Watching As the fascination for seeing artists at work grows, galleries are creating opportunities to view the creative process in real time.

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Tracey Clement

Watching paint dry may be the cliched epitome of dullness, but watching someone mix paint is another matter. Videos of artists doing just that were a hot topic in the 2016 news cycle, and as BuzzFeed gushed at the time, “It’s weirdly the most satisfying thing ever.

It’s basically impossible to look away.”

The often disembodied hands that mix paint (or throw pots, or push and pull a needle and thread) in YouTube videos are mesmerising and do offer a tiny behind-the-scenes glimpse of the creative process at work. But two projects, currently running at the Queensland Art Gallery and Gallery of Modern Art (QAGOMA) ,and Tasmanian Museum and Gallery, actually allow audiences the rare opportunity to watch real artists working in real-time, right in the gallery. The initiatives are quite different, but both have the intent to put artists and the public face-to-face.

Terry Deen, head of learning at QAGOMA, explains that the idea for Open Studio came about after he’d been in the job for a few years and had been testing out “what the digital space could offer the public.” Having learned valuable lessons online, he says he “really wanted to get stuck into more analogue, human-to-human content. We made a decision to focus less on the digital, and more on the human as being really, really beneficial.”

Having begun in June 2019, and running until January 2021, Open Studio offers the public access to five contemporary artists: John Honeywill, Natalya

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Hughes, Grace Lillian Lee, Madeleine Kelly, and Abdul Abdullah. Deen is more than willing to admit that the scheme is a pilot and that the first five artists were chosen, in part at least, “to help us figure out what this thing is.” With this in mind, he says, “Each of the artists we have selected have experience as educators or are really community focused.” And Open Studio currently does centre on education and programmed activities; it is less about just watching an artist work, and more about working with them.

John Honeywill, a seasoned educator and an experienced painter of still lifes or “object-based” compositions as he likes to put it, says he really enjoyed working with the QAGOMA team to help fine tune the Open Studio model. “It will be great to watch where it goes next,” he says.

During his four-month-long stint, Honeywill found himself fielding questions from the general public, working with people with dementia and others, as well as with high school students and their teachers; something his more than 30 years as an art teacher prepared him well for. And like all good teachers the Brisbane-based artist understands that learning goes both ways. While he didn’t actually get a lot of painting done, for Honeywill, an extremely worthwhile part of his Open Studio experience was clarifying in his own mind the value of still life as a genre in a contemporary context and “strengthening my commitment to my own practice.”

Artist John Honeywill conducting a drawing workshop at Open Studio, Queensland Art Gallery. photogr aph: chloĂŤ callistemon, qagoma. image courtesy: qagoma.

Open Studio featuring artist John Honeywill (8 June-29 September), Queensland Art Gallery. photogr aph: natasha harth. image courtesy qagoma.

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Lucienne Rickard, St Helena Olive from Extinction Studies, 2019, graphite on paper.

“I wanted to broadcast the information I’d begun discovering to as many people as possible.”

— Lucinenne Rickard

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Lucienne Rickard, Eastwoods Longtailed Seps from Extinction Studies, 2019, graphite on paper.

At the Tasmanian Museum and Art Gallery, Lucienne Rickard has been getting a lot of drawing done under the watchful gaze of the public; she has committed to working five days a week in the gallery for a whole year. But there won’t be anything left when the Hobart-based artist finishes her Extinction Studies project in September 2020. Every time Rickard completes a drawing of an animal which has become extinct, she then physically emphasises its demise by obliterating it through erasure. “She is paying great attention to detail,” explains Jane Stewart, principal curator of art at TMAG, “so it is quite excruciating to watch her erase the works.”

But people are watching. Rickard describes becoming totally absorbed in the process of drawing – completely oblivious to her surroundings, working and thinking about the devastating loss of whichever creature she is depicting – only to look up to find a crowd of people patiently observing.

“Viewers are shocked and saddened by the erasing of a drawing and then go through a thought process (often verbalised to me or whoever they are visiting the museum with) of realising that the extinction of a species is much sadder than they might have thought,” Rickard says. “I’m thrilled to say that this happens for the majority of people who stop and take some time to consider Extinction Studies.”

Lucienne Rickard, Eastwoods Longtailed Seps Erased from Extinction Studies, 2019, graphite on paper.

In this way, although it is not as structured as an open studio, Extinction Studies also has an educational aim. “I wanted to broadcast the information I’d begun discovering to as many people as possible,” explains Rickard, “so the idea of working in public became a ‘no brainer’.” And as Stewart says, Extinction Studies was a “perfect fit” for the museum.

“It addresses issues which the museum is extremely concerned about and it uses contemporary art to convey that message.”

By offering people access to artists at work, these projects prove yet again that art isn’t just a hypnotic distraction or a canny investment or beauty made manifest. At its best, art opens up conversations and encourages the exchange of ideas.

Lucienne Rickard: Extinction Studies

Tasmanian Museum and Gallery (Dunn Place, Hobart TAS) 6 September 2019—1 September 2020

Open Studio

Queensland Art Gallery and Gallery of Modern Art (Stanley Place, South Brisbane QLD) June 2019–May 2020

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The Act of Collecting How an unexpected interest in ceramics became a cultural time-capsule.

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Andrew Stephens

As an abstract painter with an enduring interest in modernism, John Nixon has always enjoyed exploring and absorbing material from allied fields. Beginning in the 1980s, though, he followed one particular research seam that has produced an unexpected result: a vast ceramics collection that now enjoys a life of its own.

Selections from Nixon’s 500-plus pottery collection covering the 1950s-70s were first shown publicly last year at Deakin University Art Gallery in Burwood. Its curator, James Lynch, says Studio Pottery from the John Nixon Collection revealed how one person’s special interest has transformed the act of collecting into something that now comprises a cultural treasure.

When Shepparton Art Museum (SAM) director Rebecca Coates saw that exhibition, she was impressed – and wanted to respond to the idea.

After all, SAM is renowned for its ceramics collection and for its contribution to the strong resurgence in interest and practice in this field. Moreover, many of the artists Nixon had collected were also represented in the SAM collection.

The result is Collector/Collected, which puts the original Deakin show alongside the museum’s examples of work from that period. While the show has 220 pieces by 29 artists from Nixon’s collection matched with the SAM holdings, it goes even further, appending four artistic responses to the collections by contemporary artists Kate Daw, David Sequeira, Tony Albert and Geoff Newton.

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These works, dispersed throughout the other two displays, are intended to make us look at the older works with a fresh perspective, but also to explore ideas about collecting, colour, shape and form. Daw’s new installation, for example, looks at feminism and modernist design, while Sequeira’s delightfully kitsch array of coloured glass vessels, which he uses in his own installations, provoke more formal reflections.

Nixon, whose successful art practice in abstract painting has received much attention during his long career, says his ceramics collecting began quietly in 1980 in Brisbane, where he then lived. While he had collected many paintings, prints and other objects that intersected with his own artistic output, ceramics unexpectedly became a new interest when his attention was drawn to the collection of a fellow artist. In collecting, Nixon began to focus on particular colours and the nature of their glazes, formal qualities that reverberated with his painting – and such examples in pottery, then and there, were inexpensive and easy to locate.

After Nixon moved to Sydney, the collecting continued, but it really took off in Melbourne, where he now lives, when he came to do a seven-month residency at Longridge farm in Warrandyte. There, he became interested in the modernist architectural qualities of the local mudbrick houses – made from the same mud that local potters were using, sometimes digging it up in their own backyards.

Studio Pottery from the John Nixon Collection, Deakin University Art Gallery, 2018. photogr aph by simon peter fox.

...he became interested in the modernist architectural qualities of the local mudbrick houses – made from the same mud that local potters were using, sometimes digging it up in their own backyards.

Harold Hughan, untitled (candlestick holder), 1942, glazed earthenware, 5.8 x 10.6 x 9.4 cm. shepparton art museum collection, donated by robert hughan, 2007. © the artist. photogr aph by stephanie br adford.

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Phyl Dunn, Sugar Pot, 1967, glazed stoneware, 12.3 x 11.9 cm. shepparton art museum collection, gift of the estate of reg preston and phyl dunn, 2002. © the artist’s estate and susie cordia. photogr aph by stephanie br adford.

Nixon began to research the famed 1950s Potters Cottage cooperative and its members, then started visiting second-hand shops and buying pottery pieces from two particular collectors who had amassed thousands of examples. “And it built over the next eighteen years,” Nixon says. “At various times I was very actively involved in the searching and collecting. Now I’m not – I am happy to buy something if I come across it, but I am not out there like a detective.”

Looking for formal qualities – mainly shapes and colours – he had a specific focus in buying works.

“It was totally to do with abstraction,” he says. “This is the expressionistic abstraction, mine is more the geometric abstraction. I am very fond of this ‘shadow’ of the geometric [in ceramics].”

With a long professional connection to Lynch, the move towards displaying some of the works Nixon had accumulated was a natural one. Lynch says Nixon’s collecting was of artists less well-known than those in the National Gallery of Victoria’s purview. “He was more interested in functional ware that was not highly priced, pieces to be used in the modern home,” Lynch says. Because of its daily usage, much has perished over the past 60 years. But Lynch sees

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Phyl Dunn, Cream and brown jug and cup set, glazed earthenware, 17 x 11 cm and 5 x 7 cm (each). © the artist’s estate. photogr aph by simon peter fox.

these potters as exemplifying modernist ideals of beauty and functionalism, in addition to a kind of DIY attitude. “They set up a lot of artist initiatives in Melbourne back then – which is something John has also done throughout his career.”

Lynch has also noticed that while many of these ceramics were made around Warrandyte, a significant volume migrated to artists’ holiday homes as they began to buy properties bayside or on the coast, taking what were once considered “daggy pottery” to their second homes, along with Scandinavian furniture.

Nixon is pleased his collecting habits have created a new form of access for audiences, and finds the role of the private collector in contemporary life interesting. “Private collectors are only caretakers,” he says. “Even the role of the most wealthy collectors is to not let it get damaged, and then pass it on after their death.”

Collector/Collected

Shepparton Art Museum SAM (70 Welsford Street, Shepparton VIC) 7 December 2019–15 March

Prince and the Revolution Creating a kaleidoscopic vision of Australia, John Prince Siddon’s works dance on the edges.

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Barnaby Smith

The paintings of John Prince Siddon, with their mystical motifs, cosmic mysteriousness and hints of the supernatural, are the kind of art that appears to unlock certain secrets of consciousness, of metaphysics, of creation even. Emilia Galatis, the curator of his new exhibition All Mixed Up, encapsulates his expansive aesthetic neatly when she describes his work as “technicolour occult.”

We can add to that, perhaps a little audaciously, that Siddon is a dazzling mixture of Rover Thomas, and the corporeal and often confronting imagery of avant-garde filmmaker Alexander Jodorowsky.

All Mixed Up at Fremantle Arts Centre is mostly made up of newly commissioned pieces, though some notable examples of Siddon’s previous work, such as One Punch Mob, 2019, will also be displayed.

According to Galatis, the new works traverse the ethereal space between myth and reality, as is his established way; she describes Siddon’s world as an “Australian dystopia on acid.” All Mixed Up also toys with a reappropriation of familiar Australian iconography and symbols.

“Some things that spring to mind from his most recent work include a man vomiting a snake, the Man from Snowy River, a spider Union Jack, a multicultural couple punching each other in the face, footless people and so on,” says Galatis. “He is a man of many pasts, as elusive as he is literal; he waltzes with the macabre, dancing on the fringes whilst throwing another shrimp on the barbie.”

Siddon (known colloquially as ‘Prince’), is a Walmajarri man with a strong affiliation with the Mangkaja Arts Resource Agency at Fitzroy Crossing in the Kimberley, about 400 kilometres west of Broome. His father, the painter Pompey Siddon, was one of the founders of this immensely influential organisation that supports a minimum of 100 artists across four language groups.

In his younger days, Siddon worked on cattle stations until a horse riding accident led to the loss of a leg. After defying medical prognoses, he was able to walk again, and it was in the wake of the accident that he embraced art and learnt to paint. Galatis first came across his work several years ago at Darwin Aboriginal Art Fair; her eye was caught by the extraordinary painting Deadly Place, 2016, which shows a bushman wielding various dead animals against a backdrop of the Australian continent painted in the colours of the national flag.

“It was so uncanny, so on point,” she says, “so hilarious yet painfully serious at the same time. There was this familiarity and unfamiliarity – a lightness and darkness about the work, it was alluring yet confusing.”

All of this makes its way into All Mixed Up. There is also, in a somewhat opaque way, a political dialogue threaded throughout the exhibition, which explores the intersection of mainstream Australian media and culture with remote Indigenous communities. For example, some of Siddon’s new work on cowhide leather

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John Prince Siddon, One Punch Mob, 2019, mixed media installation including leather, wood, bone, feathers and acrylic, dimensions variable. courtesy of the artist.

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John Prince Siddon, Australia Mix it All Up, 2019, acrylic on canvas, 240 x 120 cm. courtesy of the artist.

“He is a man of many pasts, as elusive as he is literal...” — Emilia Galatis is an overt statement on violence and the media’s often reductive and distorted presentation of violence among the Aboriginal population. One Punch Mob, a provocative installation work incorporating leather, cow skulls and various “kitsch ornaments”, is another piece that addresses violence and its aftermath, all in Siddon’s “playful yet sinister code.”

“It’s a complex mix of the violence he sees on TV and the violence he sees all around, and the senseless loss that occurs,” says Galatis. “And the constant maps of Australia remind me that he is concerned with the macro and the micro.

“But Prince is not, as I see, overtly political in that he is not an active activist or leader in that space. He writes the stories of his work by hand, but like the riddles of a savant, you would need Carl Jung to decipher them.”

The role of Mangkaja Arts in Siddon’s work is significant but not primary. According to Galatis, he paints in a support facility where his wife resides, with the centre not directly facilitating the paintings – although it does provide his “very particular” materials, such as the kangaroo hides, animal bones, satellite dishes and tin drums. Furthermore, Siddon’s work does not quite fit with the common style among other Mangkaja artists, with Galatis stating, “Many people at Mangkaja, if they paint figuratively [as Siddon does],

it’s more landscape style or realistic. The majority would be classed as abstract works.”

As for where Siddon fits commercially within the complex, sometimes fraught, potentially lucrative international business that is Aboriginal art, his ‘outsiderness’ and the fact his work decisively departs from conventional ideas of what Aboriginal art is, might potentially be his selling point.

“In my opinion, John Prince Siddon is an important Australian contemporary artist whose work challenges you in all the right ways,” says Galatis. “It disrupts all our familiar notions of Australian and Indigenous art.

“Nobody paints like him. His work has always defied the traditional artwork of Mangkaja Arts and the Fitzroy Crossing region and is committed to being nothing but itself, yet is still firmly connected to deep desert tradition. This exhibition is important in signifying his work as an outlier, as brave. Prince truly is rock and roll.”

All Mixed Up

John Prince Siddon Perth Festival, Fremantle Arts Centre (1 Finnerty Street, Fremantle WA) 5 February–22 March

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Moving, Crumbling, Bubbling Seeking out inhospitable environments, Eloise Kirk is drawn to the unpredictable.

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Briony Downes

Eloise Kirk likes to look at pictures of natural disasters.

Piles of earth ruptured by earthquakes, ripples of molten lava congealed at the base of a mountain or debris scattered in the wake of a tsunami. For Kirk, there is something beautiful about the shape of disaster and chaos. “To me, the visual properties of disasters signify the coming undone of the built environment,” she says. “It’s also analogous to the way I make my work - fracturing, erasing and reassembling elements to create something new.”

Working predominantly with collage, painting and sculpture, much of Kirk’s creative output is connected to landscapes she has visited in person or studied via visuals on Google Earth. Deliberately seeking out inhospitable environments like the lava fields of Iceland and the bare conglomerate peaks of Tasmania’s Queenstown, Kirk is drawn to landscapes possessing partially concealed and unpredictable geological elements. Over time, these places become embedded deep within her work, through images referencing waves and clouds or the way a sculpture recalls a cross section of soil and rock layered beneath the earth. Exact locations are not revealed, and the mystery lends a fantastical edge to her work, as though her images and forms are strange geological samples from unknown realms.

Favouring the pliable materials of resin, pigment and plaster, Kirk deftly combines slick smoothness with organic texture, abruptly cutting off one before the other begins. Words like enigma, elemental and alchemy have been used to describe her work and she cites the mystical practice of scrying as a pivotal

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influence on her practice. Used by soothsayers and fortune tellers, scrying employs reflective surfaces like crystal or stone to divine visions of the future or mysterious messages otherwise hidden from view. “I’ve always been interested in scrying and using natural elements to evoke the other worldly or allude to something other than what is visually present,” says Kirk. “To explore this idea, I often use pools of dark, reflective resin interwoven with rough textures.”

While her pieces are mostly stationary, they appear to possess a latent energy. Movement has ceased yet something still exists beneath the surface – moving, crumbling, bubbling.

Graduating in 2013 with a Masters of Visual Arts from Sydney College of the Arts, a significant portion of Kirk’s early work is focused on painting and collage.

Strikingly minimalist, Kirk’s images embody generously smooth swathes of single colours interrupted by images of rock formations and billowing clouds.

The exploration of sculpture has been a recent development and is tied to research she undertook during a Shotgun residency at Contemporary Art Tasmania (CAT) in 2019. A partnership between CAT, Mona and Detached Cultural Organisation, Shotgun gave Kirk the opportunity to work with curators, writers and artists. She drew particular inspiration from spending time with sculptor Lucy Bleach, an artist who also favours volatile landscapes and is influenced by the geological formation of volcanic sites.

The culmination of Kirk’s Shotgun residency was dark maria, an installation made up of three parts: a series of earthy, cylindrical forms; collages of

Eloise Kirk, SHOTGUN 8: dark maria, 2019. photogr aph by remi chauvin.

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“I’m attracted to things which have multiple meanings, misunderstandings and ambiguous histories.” — Eloise Kirk

Eloise Kirk, SHOTGUN 8: dark maria, 2019. photogr aph by remi chauvin.

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Eloise Kirk, SHOTGUN 8: dark maria, 2019. photogr aph by remi chauvin.

pigmented resin; and paintings placed atop movable curved bases. The title dark maria refers to the phenomenon of lunar maria – dark spots on the surface of the moon once thought to be ocean (in Latin, maria means sea). Further scientific exploration eventually revealed the lunar maria to be large basalt plains formed by ancient volcanic matter. With this information in mind, the cylindrical forms in dark maria appear like drilled samples from a lunar surface, pock-marked and dusty. “I chose this title not only for its geological reference but because I’m attracted to things which have multiple meanings, misunderstandings and ambiguous histories,” elaborates Kirk.

“For me this allows space for consideration and a multiplicity of interpretations within my work.”

Following the concentrated time of researching and making required for Shotgun, Kirk will soon be seeking out inhospitable landscapes once again,

this time in New Zealand. As part of a self-directed residency at New Zealand Pacific, Kirk will be stationed on the North Island, just outside of Wellington.

“I’ll be doing field research and collecting data in volcanic areas like Tongariro National Park and White Island for a new series of collages and sculptures,” she explains. “Most of my time will be spent photographing and documenting geological forms and minerals.

The precariousness and uncertainty of volcanic sites are of great interest to me as these qualities seem especially pertinent at present – both environmentally and on a societal level.”

Eloise Kirk is included in a group exhibition.

KINGS Artist-Run Initiative (Level 1/171 King Street, Melbourne VIC) 10 January—1 February

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Studio

Alex Seton

“The great thing about marble sculpture is that people recognise labour when they see it, and I can use that to my advantage.

I used to run away from it, because it feels like trickery – using skill – but you suddenly run towards the sincerity in that. A marble sculpture is very difficult to dismiss.”

PHOTOGR A PH Y BY

I NTERV I EW BY

Hamish Ta-mé

Tracey Clement 99

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“ There are so many small physical tasks that have to happen in the creation of one sculpture.”

— Alex Seton

Alex Seton is known for his marble sculptures.

These carved stone works often mimic the soft folds of fabric, but they have a hard political edge.

A LEX SE TON: We are coming up to our 10-year

anniversary of being in this studio. And that is leasing, which in Sydney is amazing. I remember the first time I ever saw it: I walked in and there was a massive Tyrannosaurus Rex hanging from the middle of the ceiling. And I went, ‘What is this space? It’s incredible!’

I was so excited that I rang the real estate agent, even though it wasn’t vacant, and put myself on a list because it was perfect. And many, many years later, I had nowhere to go because the studio I’d been in for a year had finished up, and out of the blue, that same week, I got a call from the real estate agent about this place.

Nobody ever gets that lucky! I immediately took it. And I’ve been very happy here. It has been the best studio I’ve ever had.

Any quiet painting, drawing or computer work is done in a different space in my house nearby. This space is 100 per cent dedicated to marble carving, which I do with my assistant Mitchell Ferrie, an artist in his own right.

We have set the studio up for modern techniques. So there is a lot of grinding, a lot of power tools. There is lots of dust. Noise protection and masks are an absolute must. We have an air compressor with hospital grade filters on it to bring fresh air directly to our mouths with positive pressure. So we are like deep sea divers! We also get regular scans to check our lungs. And I’m happy to say that we both got the all-clear recently. You have to be diligent, I’m not interested in dying for this. I love doing it.

PROCE SS

I do have a set routine. I am here from nine in the morning to 11 o’clock most nights. I am a real night owl! In the morning Mitch and I chat about what he’s working on. Often he’s the muscle. He will rough out a large block to my specifications, to take some of the labour out of it. And then I can get down to the creation of the actual work far more quickly.

There are so many small physical tasks that have to happen in the creation of one sculpture.

And obviously my chosen medium, marble carving, is labour-intensive. How long you can work on something is like ‘How long is a piece of string?’

Because there is always some extra task. Always.

But I set strict time limits in which to be satisfied, to execute the object I’m imagining. And I try to keep myself fairly disciplined in that way.

The great thing about having a studio practice, for me, is the act of discovery. Because often there is a difference between what’s in my head and real life. As the artist, I am not only executing the work, I am also its primary viewer; I am learning about myself from this material. And that can be interesting.

After hours and hours of labour there is always a stage in an individual sculpture when suddenly I’m really delighted because it is all coming together. And then it becomes something else. And then I start seeing it. And sometimes the rush from that feeling translates into, ‘Oh what if I take that idea…’ and that’s when inspiration hits, after all the labour. And then I go home and draw it, or draw it on the studio whiteboard, very quickly before I forget it.

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“As the artist, I am not only executing the work, I am also its primary viewer.”

I think now, after 18 or 19 years of commercial shows, I have more work that I want to make in this lifetime than I can actually make. So now I stall as long as I can before an exhibition because I want to make the thing that I find most interesting; the thing I am compelled to make. I work three or four shows in advance. As in I always have three or four shows in my head, besides the ones I’m working on now.

PROJ EC TS

My first show in 2020 will be The Great Escape at Goulburn Regional Art Gallery. I grew up around Wombeyan Caves, which is part of that district, so it’s partly about identity and wanting to escape where you are from. But another leaping-off point is a 2017 work, which the gallery acquired, called Left Turn Albuquerque. For this video, I created a stone wall and dug my way through it from left of frame to right of frame, Bugs Bunny style. So it has me tunnelling away, tunnelling away, tunnelling away in stop motion and out the other side. It’s humorous, but it was really exhausting to make and it addresses the ongoing question of who we choose to keep on the outside, and why.

Obviously I’ve made a lot of work about asylum seekers and refugee policy in the last few years, but there are two strands to my practice.

I have had shows that are essentially about art.

This is a source of fascination for me; human creativity and why we do it all. And I love the lineage of ideas that runs through my chosen medium of marble. Also conceptually, we think of stone as permanent but it is no longer the most permanent thing in the world. There are more permanent things in your iPhone. This is what I’ll be doing in Rome after the Goulburn show. I’ll be working with the American Academy academics and researchers in their conservation department looking at environmental impacts on stone.

Then there is the work I am probably more well known for, the front facing, plain spoken, socially engaged work. In these works I try to look for a creative point of empathy. The great thing about marble sculpture is that people recognise labour when they see it, and I can use that to my advantage. I used to run away from it, because it feels like trickery – using skill –but you suddenly run towards the sincerity in that. A marble sculpture is very difficult to dismiss.

The Great Escape Alex Seton

Goulburn Regional Art Gallery (184 Bourke Street, Goulburn, NSW) 7 February–4 April

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REVIEW

In Full View:

works from the Lyon Collection W R ITER

Zara Sigglekow

When an artwork leaves an artist’s studio and enters the gallery, its interpretation is shrouded by the context in which it temporarily rests. The logic of a group exhibition in an institution is laid out on wall text and marketing collateral. An exhibition of a private collection often has no such conceptual scaffolding, with the assemblage of works a reflection of the collector’s taste, which can create a refreshing air of mystery or potentially a frustrating lack of purpose.

Corbett and Yueji Lyon’s Housemuseum in the eastern Melbourne suburb of Kew, which combines domestic living spaces with gallery walls, has been open for public tours since 2009.

The new neighbouring Housemuseum Galleries that sits beside the Housemuseum operates as a private museum. In Full View: works from the Lyon Collection is the second exhibition in this space, consisting of works by mainly Melbourne-based artists and curated by the Lyons from their collection, which begins in the late 1980s. In effect, it moves the private collection that is next door into a conventional gallery setting that attempts to mimic the domestic space. Works are hung salon-style in the central gallery with the lights dimmed and couch seating provided, and video works line the hallway. Although many artists had multiple works on display, they were often dispersed throughout the space, highlighting that this is to be read as a collection as a whole, rather than a story of particular artists.

As a collection that reflects its collectors’ style, it is possible to read these artworks through the lens of Corbett Lyon’s profession as an architect, with a focus on structures, materials, bright colours and abstraction that recalls shapes that constitute

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Installation view: In Full View: Works from the Lyon Collection. photogr aphy by zan wimberley.

Installation view: In Full View: Works from the Lyon Collection. photogr aphy by zan wimberley.

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buildings. The city is central to architecture as seen in Louise Forthun’s paintings. Eiffel Tower, 1989, focuses on the strong lines of this icon recalling the 20th century futurists who celebrated the dynamism of the metropolis, while Shimmer, 1999, could be read as a blue cartographic view of a city, rendered with the energy of its title. The regions come through in Callum Morton’s print Mac Attack, 2001, which depicts the exterior of McDonald’s in Wahroonga. The crisp and bright pop treatment of the global import elevates its banality.

Patricia Piccinini is known for hyperrealist sculptural works of hybrid creatures, and like other artists in this show, the selection of her works are not what is considered typical, which is refreshing. In Panel Works, 2000, 60 panels of 50 by 50 centimetre plastics in monochromatic tones of blues and grey were painted with automotive paint, their forms indented in a manner that recalls cars with a curvaceous anthropomorphic twist.

Assembled to create a long rectangle, they appear like a façade of a building. A sheen also radiates from Polly Borland’s photo of Queen Elizabeth. The realism of this work stands out amidst the predominantly non-figurative works in this collection, although the way the Queen is lit – with a bright front-on flash – gives her wrinkled skin an artificial luminance.

A walk through Melbourne’s CBD reveals buildings with brightly coloured facades in contemporary materials – the style of Lyon and many of his architect peers — sitting amidst twentieth century art deco and modern high rises, which creates the city’s distinctive characteristics. Fostering a relationship between art, architecture and design is the long-term goal of the Lyon Housemuseum Galleries. In Full View reveals how contemporary art already flows into Melbourne’s architecture by influencing its architects.

In Full View: Works from the Lyon Collection, Melbourne is showing at the Lyon Housemuseum Galleries, 7 September 2019–26 January.

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REVIEW

If I pick your fruit, will you put mine back?

W R ITER

Rebecca Shanahan

Tāmaki Makaurau/Auckland-based artist John Vea’s show at 4A Centre for Contemporary Asian Art is both provocative and elegant. The first work encountered is a spookily accurate workplace tearoom, all cheap plastic chairs and garish colours. Section 69ZD Employment Relations Act 2000, 2019, is chained off like a room in a historic mansion (although look out for scheduled participation opportunities). It’s an oppressive, bare-bones amenity for people with little agency over their working lives. But cheesy tropical island posters attempting to be decorative, reveal texts speaking of Pacifica hope, pride and self-determination.

Vea’s practice is rooted in socio-political critique of seasonal work undertaken by Pacifica peoples without the rights or protections of citizenship. Often using his own body as a tool for labour performances, Vea’s videos and installations are descriptively deadpan but can also carry metaphoric weight.

Small photographs in the exhibition document the artist’s parodic promotional stall held at a Carriageworks Farmers Market.

Sadly missed by this writer, the stall aimed to entice the largely middle-class marketgoers to pick fruit in New Zealand. A wall of cardboard cartons – seasonal worker survival kit, 2015 – references the Pacific community’s travel between homelands and New Zealand.

In 29.09.09 Tribute to Samoa, American Samoa and Tonga, 2013, the artist builds a wall of concrete breezeblocks in the shore break of a beach. Buffeted by waves and undercut by the rip, the blocks repeatedly collapse only for Vea to rebuild. There’s a slightly comical quality as Vea surveys each disintegration, hands on hips, before getting stuck back in, but the collapse/

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John Vea: If I pick your fruit, will you put mine back? Installation view, 4A Centre for Contemporary Asian Art, October 2019. John Vea, If you pick my fruit, will you put mine back, 2019, photo documentation, participatory installation commissioned by 4A Centre for Contemporary Asian Art and Performance Space. photogr aph by k ai wasikowski for 4a centre for contempor ary asian art. courtesy of the artist.

John Vea: If I pick your fruit, will you put mine back? Installation view, 4A Centre for Contemporary Asian Art, October 2019. John Vea, 29.09.09 Tribute to Samoa, American Samoa and Tonga, 2013, video, 30:38. photogr aph by k ai wasikowski for 4a centre for contempor ary asian art. courtesy of the artist.

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John Vea: If I pick your fruit, will you put mine back? Installation view, 4A Centre for Contemporary Asian Art, October 2019. John Vea, Section 69ZD Employment Relations Act 2000, 2019, participatory installation, commissioned by 4A Centre for Contemporary Asian Art. photogr aph by k ai wasikowski for 4a centre for contempor ary asian art. courtesy of the artist.

John Vea: If I pick your fruit, will you put mine back? Installation view, 4A Centre for Contemporary Asian Art, October 2019. John Vea, Finish this week off and that’s it!, 2014, five-channel video, 1:59:00. photogr aph by k ai wasikowski for 4a centre for contempor ary asian art. courtesy of the artist.

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rebuild cycle has darker implications. In our culture, the beach is usually a place of leisure, but this liminal space between sea and land is now politicised for Pacific communities as the climate crisis causes encroachment by rising seas and further aggravates tsunami impact. (The title’s date references the 2009 Pacific tsunami.) The video ends optimistically though: the wall holds, a Brutalist sculpture lit by golden late-afternoon sun.

The five-channel video piece Finish this week off and that’s it!, 2014, communicates the vulnerability of precarity. While subsisting on the poverty line for five weeks, Vea recorded five performances in which he gripped a chunk of building rubble for as long as possible. Slight differences in lighting and screen casts clue the viewer to the timeframe. The weight Vea lost from living on a few dollars a day has echoes of Eleanor Antin ‘sculpting’ her body through weight loss in Carving: A Traditional Sculpture,1972.

While Antin’s approach was a feminist and institutional critique, Vea critiques neoliberal employment practices with disastrous consequences for workers.

In Concrete is as Concrete Doesn’t, 2017, Vea references a painting by New Zealand modernist Colin McCahon.

His six-channel video matches McCahon’s landscape grid, cleverly echoing its varied landforms within a single site.

Artist and co-performer move slowly through the grid’s frames, using pavers to lay a path never more than two metres long, since the front pavers come from the back of the path. This should skew slapstick, yet the pair work with dance-like fluidity and rhythm.

It’s a poetic allegory of labour, flux and belonging.

Vea’s work harnesses contradictions: his performances are made both as live participatory works and for the camera, embracing historically opposing camps. His strenuous performances signpost Pacific cultural resilience and rebirth.

Author and designer Poul Henningsen famously declared that all political art is bad and all good art is political, and it’s the beauty, complexity and intrigue of much of Vea’s work that brings his critique home.

If I pick your fruit, will you put mine back? was exhibited at 4A Centre for Contemporary Asian Art from 25 October–15 December, 2019.

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A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Ararat Gallery → Paul Yore, What a Horrid Fucking Mess, 2016, textile wall hanging; mixed media, 210 x 342 cm (irreg.). Purchased with Ararat Rural City Council acquisition allocation, 2016. Collection of Ararat Gallery TAMA. Image courtesy of Ararat Gallery TAMA, Ararat Rural City Council, the artist and MDP Photography.

ACAE Gallery

Ararat Gallery TAMA

Australia-China Arts Exchange 173 Canterbury Road, Canterbury, VIC 3126 [Map 4] 03 7012 0186 acaearts.com.au Tues to Fri 9.30am–5.30pm, Sat 10am–5pm, Sun 11am–4pm.

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 araratgallerytama.com.au Daily from 10am–4pm.

9 November 2019–1 March Let The World Burn Paul Yore Featuring an uncomfortable intermingling of images, words, ideologies and materials.

Achieved through painstaking hand embroidering techniques, Yore uses these to question the cultural codes that govern one’s body and behaviour; and examines the role of art within society.

Gary Willis, Linda Li, 2019, oil on canvas.

11 January–2 February Gary Willis: Portrait Commissions & Landscapes

Alcaston Gallery 11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 alcastongallery.com.au Wed to Sat 11am–5pm, or by appointment.

Alcaston Gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Australian Indigenous artists.

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Peter Mungkuri, Ngura (Country), 2019, ink and synthetic polymer paint on linen, 122 x 91 cm. Courtesy of the artist, Iwantja Arts and Alcaston Gallery, Melbourne.

29 January—15 February Alec Baker, Peter Mungkuri, Mick Wikilyiri

Anna Schwartz Gallery 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9654 6131 annaschwartzgallery.com Tue to Fri noon–5pm, Sat 1pm–5pm. Closed in January.

February—March Earthcraft 2020 Mikala Dwyer

Let The World Burn, takes What a Horrid Fucking Mess (2016) as its central piece.

Acquired by Ararat Gallery TAMA in 2016, What a Horrid Fucking Mess is a largescale, hand sewn, mixed media textile work that incorporates applique, embroidery and painting alongside collaged found material: Australiana sourced from kitsch tea-towels, graphics from T-shirts and many other disparate elements.

These tactile materials are immediate and familiar; as too is the imagery used to capture Yore’s interpretation of the atmosphere today.

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

Closed until 20 January.

VICTORIA Destiny Deacon, Emily Floyd, Michael Georgetti, Elizabeth Gower, Brent Harris, Matt Hinkley, Elizabeth Newman, Rose Nolan, Simone Slee, Adam Stone, Charlie Sofo, Kathy Temin and Nat Thomas.

Art Echo Gallery 32–34 Wellington Street, Collingwood, VIC 3066 [Map 3] 0431 306 354 artecho.com.au Wed to Sat, 12noon–6pm, or by appointment.

Dani Marti, Blue on Blue–take 2, detail, 2019, customised corner cube reflectors on aluminium, two panels, 240 x 362 x 10 cm. (overall).

4 February–7 March Blue on Blue Dani Marti

Milan Milojevic, Sea of monsters, 2019. woodblock and digital print. Collection of the Art Gallery of Ballarat. Courtesy of the artist and Tacit Galleries, Melbourne.

899 Healesville–Yarra Glen Road, Yarra Glen, VIC 3775 [Map 4] 03 9730 1861 0418 851 819 artatlindengategallery.com.au Thu to Mon 10am–5pm.

Closed 1 February to 1 March.

9 November 2019—23 February Dark horse: Wild beats and curious creatures Animals – we love them, fear them, live with them, work with them and eat them.

Real and imagined, animals have been represented by artists in a variety of ways, as symbols and metaphors, as friendly or threatening beings, or as sparks for the imagination.

Fu Hong, Nude study, oil on canvas, 76 x 62 cm.

January and February Nudes & Outdoors Fu Hong and Echo Z Cai Bev Hardidge, Killara View.

Mount Evelyn and Yarra Valley Art Society.

Artbank 18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 artbank.gov.au Mon to Fri 9am–5pm.

Troy Emery is a Melbourne-based artist who uses sculpture, painting, drawing, and embroidery to explore the ways animals can be viewed as decorative objects. In this immersive installation, he addresses the gold-rush history of Ballarat, making reference to the cultural value of an art gallery and its contents and the value and rarity of native wildlife.

Art Echo Gallery is an artist run gallery with a Chinese Australian background.

It was established in 2014 in Eltham, and relocated to Collingwood in 2019.

Applications to exhibit with Art Echo Gallery in 2020 are now open.

Details online.

Art at Linden Gate

13 December 2019—27 January Life in the Valley

9 November 2019—9 February Troy Emery: After the gold rush

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

30 November 2019—15 March Geoff Bonney: Pangrams Bonney is a painter and sculptor living near Learmonth, north-west of Ballarat, who has had a lifelong interest in text. In this playful exhibition, he uses the alphabet as a repeated motif in an investigation into colour, form and communication, with each letter taking on an abstract colour-field quality.

14 December 2019—22 March Cake Industries: 08:26am Jesse Stevens and Dean Petersen The latest project by local artists Cake Industries explores the complexity of the human psyche in a dark and humorous work which balances weirdness, whimsy and grotesquery.

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

Elizabeth Gower, Scatter, 1989, synthetic polymer paint on canvas.

12 December 2019–28 February A Place for Everything Benjamin Armstrong, Stephen Benwell,

Troy Emery, Descending in grey, 2019.

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ArtSpace at Realm continued...

Arts Project Australia

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

Saturdays 12noon to 5pm, Closed Christmas Day to New Year’s Day.

24 High Street, Northcote, VIC 3070 [Map 5] 03 9482 4484 artsproject.org.au Mon to Fri 9am–5pm, Sat 10am–3:30pm.

For artwork enquiries please contact the gallery.

7 December 2019—22 March Feedback Loops Featuring new commissions and existing works by six local and international artists whose practices sample ideas and images from our past and present to speculate on the future. This exhibition brings together works by artists born is the 1980s, who grew up alongside the growth of the internet and who enmesh technology and popular culture with ritual, spirituality, myth and speculative fiction with a cyclical sensibility that is at once playful, spectacular and challenging.

Curated by ACCA’s Miriam Kelly, Feedback Loops includes large scale installations of video, sculpture, interactive gaming and artificial intelligence as well as a program of live performance by Madison Bycroft, Tianzhuo Chen, Lu Yang, Sahej Rahal, Justin Shoulder and Zadie Xa.

Australian Print Workshop Kate Shaw, The Grandmother, 2018, acrylic. Courtesy of the artist and Martin Browne Contemporary, Sydney.

23 November 2019–1 February R & M McGivern Prize 2019: The Anthropocene A $25,000 acquisitive national prize offered every three years for an outstanding original artwork in the medium of painting. The theme for 2019 is ‘Anthropocene’ and features a selection of 45 finalist works created in response to the impact of human habitation on the environment.

The R & M McGivern Prize will be exhibited across two venues in the Ringwood arts precinct - ArtSpace at Realm and Maroondah Federation Estate Gallery.

Will Murray, An Unknown Youth, 2018, pastel on paper, 57 x 38.5 cm.

8 February—14 March Will Murray Solo A solo exhibition exploring Will Murray’s expressive pastel portraitures, each possessing a deep sense of character.

8 February—14 March Pleased to meet you This exhibition celebrates the everevolving nature of the Arts Project Australia Studio. Curated by James McDonald.

Australian Centre for Contemporary Art (ACCA) Isobel Knowles and Van Sowerwine, Passenger, 2016, still from VR. 15 February–26 April Take me with you Isobel Knowles and Van Sowerwine A suite of works by dynamic Melbournebased artists, Isobel Knowles and Van Sowerwine, at ArtSpace Realm. This mini-survey exhibition includes physically and emotionally engaging stop-motion installations, virtual reality, animations and film sets. The centrepiece of the show is Passenger (2019) a VR stop-motion animated journey taking place in a taxi that creatively explores immigration and the strangeness of arriving in a new place.

This will be a unique opportunity to see these extraordinary participatory narrative experiences all together for the first time.

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210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 australianprintworkshop.com Director: Anne Virgo OAM Tues to Sat 10am–5pm.

Free entry.

111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 acca.melbourne Tue to Fri 10am–5pm, weekends 11am–5pm, Mon by appointment. Free entry.

Kevin Lincoln, The Moon Reflected, etching, 26 x 63.5 cm. Image drawn directly on to the copper plates by the artist and processed, proofed and printed in an edition of 12 (plus proofs), in two colours, from two plates by APW Printer Simon White at Australian Print Workshop, Melbourne, 2019.

7 January–1 February APW George Collie Memorial Award Exhibition A selection of limited edition fine art prints by the 2019 APW George Collie Memorial Award recipients, Alun Leach-Jones and Kevin Lincoln. This prestigious annual award acknowledges and celebrates artists who have made significant and enduring contributions to the field of contemporary Australian Printmaking.

8 February–14 March Crossing Paths A selection of original limited edition fine art prints produced by artists supported by APW programs in 2019 including works by Jessie Balletta (APW Collie Print Trust Emerging Victorian Printmakers Scholarship), Barbie Kjar (APW James Northfield Lithography Scholarship) and Artist-in-Residence Ron McBurnie.

Tianzhou Chen and Andrew Thomas Huang, Exo-Performance / Beio 2019, (video still).

Courtesy of the artists and BANK / MAB SOCIETY, Shanghai.

VICTORIA

Australian Tapestry Workshop → Luke Sciberras, Bridle Track, Hill End, 2019, woven by Chris Cochius, Sue Batten, Amy Cornall, Karlie Hawking and Pamela Joyce, wool, cotton, 1.6 x 1.6 m. Photograph by Jeremy Weihrauch.

Australian Tapestry Workshop 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 austapestry.com.au Tues to Fri 10am­–5pm, gold coin entry to the galleries and Workshop.

Guided tours Wed at 11am and Thur at 2pm, $10 per person: bookings essential.

Closed until 21 January.

Supporting the work of local Bayside artists and arts organisations, as well as giving visitors the opportunity to engage with important work by non-local significant and established practitioners, Bayside Gallery provides a space for people to engage with art at all levels.

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

Memphis Neagle, Addiction, 2019, 42 x 58.5 cm. Courtesy of the artist and Firbank Grammar.

29 January–8 March Target: Bayside art and design graduates

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

A group exhibition that showcases the work of accomplished artists with a connection to Bayside. A range of media, techniques and approaches to art-making demonstrates the creativity of artists and their engagement with the unique qualities of the Bayside area.

Kate Sellars-Jones, The Duke, oil on board, 2019, 54 x 45 cm. Courtesy of the artist.

An annual exhibition celebrating the skill and diversity of Bayside’s talented 2019 VCE Art & Design Graduates.

Participating schools include Brighton Grammar School, Brighton Secondary College, Firbank Grammar School, Sandringham College, St Leonard’s College and Star of the Sea College.

29 January–8 March Bayside Local: Journeys and Discoveries 115

A summer of curious creatures — Troy Emery: After the gold rush

Dark horse: Wild beasts and curious creatures Geoff Bonney: Pangrams Cake Industries: 08:26am

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artgalleryofballarat.com.au Troy Emery Installation view of: red headed runt 2019; & red headed pink ringed silver beast 2019. polyester, polyurethane, adhesive, pins.

Troy Emery is represented by Martin Browne Contemporary, Sydney

One of Australia’s largest Art Prize exhibitions, celebrating the breadth of creative practice by over 300 artists and makers.

On display 7 – 23 January 2020 Opening Event & Prize Announcements Friday 10 January 6-9pm

For more information visit: brunswickstreetgallery.com.au

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Benalla Art Gallery Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 benallaartgallery.com.au Wed to Mon 10am–5pm, closed Tue.

by this final poetic phrase, here Mesiti interprets its original dots and dashes through music, choreography, non-verbal communication and sculpture.

studio and conclude with a brief open studio.

Bendigo Art Gallery 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 bendigoartgallery.com.au Licensed café open 8.30am–5pm seven days. Gallery and gift shop open daily 10am–5pm.

Eliza-Jane Gilchrist, Strange Garden, installation view.

Joe Hamilton, Cézanne Unfixed, 2018, digital moving image, 4:16 min, ed. 25.

Courtesy of the artist.

8 November 2019—31 January Satellite Becoming [In]Determinate Abbra Kotlarczyk, Eugenia Lim, Joe Hamilton, Mitch Goodwin, Nick Rebstadt, Sharni Hodge. Curated by James Carey.

22 November 2019—2 February Eliza Jane Gilchrist: Strange Garden Gilchrist is a visual and performance artist based in regional Victoria. Her sculptural practice involves reinventing discarded materials.

Strange Garden is an installation made from cardboard, representing an abstract garden. It is a participatory exhibition that requires direct involvement and engagement from visitors and families. Participants will draw with black markers on flat, cardboard shapes that are specifically designed to fit together to form 3D organic shapes. These are added to the large cardboard ‘garden’ that is embellished and enlivened with every addition.

Joshua Muir, Psychosis, 2019, digital print on aluminium. Image courtesy of the artist.

30 November 2019—1 March Going Solo First Nations: What’s on your mind?

Joshua Muir

Strange Garden grows into a beautiful community built installation that participants enjoy walking through, looking at, playing in and contributing to.

DEBUT XV, 2019. Photograph by Eliza Tiernan. Courtesy of the artists.

5 February—22 February DEBUT XVI An annual curated exhibition of work by recent graduates from Melbourne’s major art institutions.

26 February—14 March Six p.m. on a Wednesday Rachel Button, Veronica Charmont, Kaijern Koo, Madeleine Minack, Joun Youn.

26 February—14 March Music Practice Luyuan Zhang

Robert Jacks, Red Rose Sank and Rose, 2006, oil on linen. Gifted to Bendigo Art Gallery from Paul Guest through the Cultural Gifts Program 2017. Image © and courtesy the estate of Robert Jacks.

Angelica Mesiti, Relay League, video still, 2017. Courtesy of the artist, Anna Schwartz Gallery, Melbourne and Galerie Allen, Paris.

13 December 2019—23 February Angelica Mesiti, Relay League Relay League by Angelica Mesiti presents a newly commissioned three-channel video installation and accompanying sound sculpture. The work takes as its departure point a Morse code message transmitted by the French navy on 31 January 1997 to signal the imminent demise of this communication method: ‘Calling all. This is our last cry before our eternal silence’.

Morse code, which entailed a system of dot and dash radio signals and was often utilized as a language of distress at sea, was phased out after 130 years in favour of new digital communications. Inspired

Brunswick Street Gallery

7 December 2019—1 March The Paul Guest Collection Various artists

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

BLINDSIDE

7 January–23 January Fifty Squared Art Prize

Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] 03 9650 0093 blindside.org.au Tue to Sat noon–6pm

Opening Friday 10 January, 6pm–9 pm.

16 January—18 January BLINDSIDE Summer Studio Blurring the lines between the creation, installation and exhibition process, recent graduates use BLINDSIDE as a working

Jenna Eriksen, Where The Bodies Act The Landscape, still.

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Brunswick Street Gallery continued...

Sublime Depths Alexandra Burgess and Ricki Wrigley

29 January–11 February Midsumma Festival 2020:

Opening Friday 31 January, 6pm–9 pm.

Where Bodies Act The Landscape Jenna Eriksen Out: A Queer takeover of Brunswick Street Gallery

14 February–1 March Fugitive Fragments Karen Prakhoff Rickman Impressionist Melbourne: parks, gardens and rivers Ben Goh Captured Palettes Jessie Cunningham-Reid SPENT Peter Gilliland Opening Friday 14 February, 6pm–9 pm.

Bunjil Place Gallery

Christopher Kerley, Evening, 2017, detail, oil on canvas, 103 x 127 cm.

29 January–11 February Recent Paintings Christopher Kerley Within Ingrid K Brooker Pools Jessica Tailby Out Group Exhibition

part of an ongoing series of exhibitions designed by the artists to bring people together to share stories and create handmade objects inspired by ideas of home and belonging.

Bundoora Homestead Art Centre 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 bundoorahomestead.com Thu to Sun 10am–5pm.

7 September 2019—26 January Darebin Art Prize

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

14 December 2019–8 March Home/Land: Project Another Country Alfredo and Isabel Aquilizan Created from thousands of handmade houses using recycled cardboard boxes, Home/Land: Project Another Country is international artists Isabel and Alfredo Aquilizan’s latest large-scale installation of imagined habitats. This project is

Hanna Tai, Caterpillar, 2019, single channel video, no sound, 1:44 mins, looped, video still. Courtesy of the artist.

1 February—5 April THIS COULD WORK!/I’M SCARED Hanna Tai

Bunjil Place Gallery → Isabel and Alfredo Aquilizan, Here, There, Everywhere: Project Another Country, detail, 2018. installation view: Cosmopolis #1.5: Enlarged Intelligence, Mao Jihong Foundation/ Centre Pompidou Chengdu, China, 2018.

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VICTORIA 1 February—5 April Mind Fields Adam Knapper

art of Louise Weaver explores the multidisciplinary practice of one of Australia’s most significant contemporary artists.

29 January–23 February Steadfast against the diagonal Emma Berry and Olivia Moriarty

1 February—5 April Larundel George Mifsud

While Weaver is best known for her whimsical, thought-provoking sculptures of animals, Between appearances features more than 100 works in an array of media including sculptural installations, paintings, drawings, printmaking, collage, textiles, movement and sound. The exhibition spans three decades of the artist’s practice and reveals Weaver’s longstanding interests in fields as diverse as visual culture, art history, natural history, science and design.

Tree Time Caitlin Dear

1 February—5 April Beneath our Feet: The Grounds of Bundoora

Buxton Contemporary Corner Dodds St and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 buxtoncontemporary.com Wed to Sun 11am–5pm.

Buxton Contemporary opened in 2018 at the University of Melbourne’s art school, the Victorian College of the Arts. Designed by renowned architects Fender Katsalidis, the museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art. The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

c3 Contemporary Art Space The Abbotsford Convent, 1 St Heliers Street, Abbotsford, VIC 3067 [Map 2] 03 9416 4300 c3artspace.com.au Wed to Sun, 10am–5pm. c3 is a gallery run by the Abbotsford Convent Foundation, that incorporates elements of traditional publicly funded galleries and that of an artist-run model.

It presents the large-scale access outcomes offered by public and institutional galleries, yet remains firmly anchored within a community based, artist-run philosophy.

Slow Art Collective. Image by Anne Moffat.

She Will Destroy You Alice Ramsden Sites with no real place Ara Dolatian

CAVES Room 13, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] cavesgallery.com Thur to Sat, 12noon–5pm.

15 January–25 January Sam George and Lisa Radford 31 January–29 February Anna Varendorff Opening Friday 31 January, 6pm–8pm.

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

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 lensbased arts.

6 January–19 January Convent Kids Present Sensory Art Lab: 2020 Visions with Slow Art Collective.

29 January–23 February To Practice is to Keep Trying Jacqui Gordon

Louise Weaver, Galah (Wild ribbons instead of sleep), 2007–08, handcrocheted lambswool over taxidermied Galah (Eulophus roseicapillus), grey boxwood, MDF, 52 x 20.2 x 32 cm.

Michael Buxton Collection © the artist.

15 November–9 February 2020 Between appearances: the art of Louise Weaver Curated by Melissa Keys. Featuring fantastical creatures, iridescent other worlds, uncanny objects and unsettling organic forms Between appearances: the

Emma Berry and Olivia Moriarty, Steadfast against the diagonal.

Benjamin Sexton, Figure 1, 2013, unique state silver gelatin print, 100 x 80 cm.

Courtesy of the artist.

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CCP continued...

Chapman & Bailey

Counihan Gallery

18 January—15 March Index Olga Bennett, Christopher Day, Karl Fritsch and Gavin Hipkins, Sarah Mosca, Saskia Pandji Sakti and Benjamin Sexton Curated by Dan Price.

350 Johnston Street, Abbotsford, VIC 3067 [Map 1] 03 9415 8666 chapmanbailey.com.au Mon to Fri 10am–5pm, Sat 10.30am–4pm.

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

Apókryphos Cherine Fahd High-Vis Dreams Warwick Baker

Saffron Newey, Lunar Sea, 2018, oil on canvas, 95 x 75 cm. Image courtesy of the artist.

8 February–29 March Histrionic Saffron Newey, Marion Abraham and Tyler Payne.

Georgia Banks, A Four Letter Word, 2019, Process image. Courtesy of the artist.

18 January—15 March A Four Letter Word Georgia Banks The Sky After Rain Blame the Shadows Collective

Charles Nodrum Gallery

Semeria Wurrkidj, Mardayin Design, Lorrkon (Hollow Log), 2019, 108 x 13 x 13 cm.

29 November 2019–31 January Natural Response Ellie Chalmers-Robinson, Robert Grieve, Jill Kempson, Andrew Southall and Maningrida Arts & Culture artists: Ken Djungkidj, Ngindjalakku, Joy Garlbin, Jack Mardilanj, Kenan Namunjdja, Simon Namunjdja, Semeria Wurrkidj.

Chris Bowes, Tessellate, 2019, computer, screens, cables, webcam and code, Dimensions variable. Image courtesy of the artist

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

8 February–29 March Screen Time Chris Bowes

Craft Victoria

Roger Hilton, (British, 1911–1975), (Figure Bending Over), possibly early 70s, pastel on paper, 20 x 25 cm.

30 December 2019—29 February Works on Paper: Annual Summer Group Exhibition 120

Emily Raubenheimer, Louise in flux, 2019, Intaglio ink and oil paint on aluminium composite, 43 x 36 cm.

7 February—14 March HER-stories Ella Baudinet, Corinna Berndt, Dinusha Joseph, Kathy Landvogt, Yuria Okamaru, Emily Raubenheimer.

Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 craft.org.au Free entry. Mon to Fri 11am–6pm, Sat 11am–4pm.

1 February—7 March Fresh!

Fresh! celebrates the next wave of Victorian graduates in contemporary craft and design. Presented annually since 1993, Fresh! showcases the energy, skill and innovation of some of the best graduating

VICTORIA

Craft Victoria → Aphra Cheesman, Plug and Socket neckpiece, 2018. 2019 Fresh! finalist. Photography by Andrew Barcham.

Deakin University Art Gallery at Burwood 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] deakin.edu.au/art-collection/ Tue to Fri 10am–4pm, Closed public holidays.

Aphra Cheesman, Switch neckpiece, 2018. 2019 Fresh! finalist. Photography

by Andrew Barcham. students from craft, design and fine art disciplines throughout the state.

The Dax Centre 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 daxcentre.org Wed, Thur and Fri 12noon –5pm.

Entry by donation.

Adam Knapper, Tünaydin, 2019, watercolour and ink on paper, 21 x 30 cm.

The Dax Centre is a leader in the use of art to raise awareness and reduce stigma towards mental health issues.

Through our exhibitions and educational programs we seek to engage, inform and encourage community connections and conversations about mental health. The Dax Centre is the custodian of the Cunningham Dax Collection, one of only four collections of its kind in the world.

Kenny Pittock, Exciting things are a foot, 2019, documentation of mural painting for MONA FOMA at Inveresk Precinct in Launceston 2019. © and courtesy of the artist.

5 February—27 March Drawing on the Wall This group exhibition features artists Julia Gorman, Kenny Pittock 121

Deakin University continued... and Kerrie Poliness working directly with students from Deakin’s School of Communication and Creative Arts to realize new and ambitious site based artworks. Curated by James Lynch, Deakin University.

Deakin University Burwood Library Gallery Space Foyer Building V, 221 Burwood Highway, Burwood VIC 3125 Daily 8.30am–8pm. Free entry.

Deakin University Downtown Gallery Level 12 – Tower 2, Collins Square, 727 Collins Street, Melbourne, VIC 3008 03 9244 5344 [Map 2] deakin.edu.au/art-collection/ Mon to Fri 9am to 5pm, closed public holidays. Free entry.

E+Hive Art & Design Gallery – specialises in exhibiting contemporary artworks by both emerging and established artists from Australia and East Asia. The gallery also delivers an impressive collection of unique sculptures and hand-picked Japanese/Chinese potteries. Perfect for those who are interested in the East Asian Tranquil lifestyle while appreciating contemporary art.

24 January–22 February East Gippsland Ceramics Exhibition

East Gippsland Art Gallery

39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 mccullochandmcculloch.com.au Thu to Tue, 10.30am–4pm, Wed by Appt. (open daily in January).

2 Nicholson Street, Bairnsdale, VIC 3875 [Map 4] 03 5153 1988 eastgippslandartgallery.org.au Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry.

140 Commercial Road, Prahran VIC 3181 [Map 6] 03 9240 5237 ehive.com.au Thu to Sat 10.30am–5.30pm, Sun 10.30am–3.30pm. Wed by appointment. Closed Mon and Tues.

Everywhen Artspace

29 November 2019–18 January EGAG WRAP small artwork prize Bigger than ever with a $2000 first prize thanks to our sponsors, Simon Anderson Consultants. Opening Friday 29 November, 5.30pm. All welcome and free entry.

5 February—27 March Drawing on the Wall Featuring artist David Harley working directly with students from Deakin’s School of Communication and Creative Arts to realize new and ambitious site based artworks. Curated by James Lynch, Deakin University.

E+Hive Art & Design Gallery

A community group featuring Ben Gritt’s sensitive hand sculpted forms Special opening event Friday 24 January, 5.30pm. All welcome and free entry.

Sallyanne Roberts, Kura Ala, 2012, acrylic on linen, 150 x 120 cm. McCulloch Collection of Contemporary Aboriginal Art. Courtesy of the artist and Tjungu Palya.

Gay Evans, Australian landscape #1, oil on canvas.

24 January–22 February Viva La Difference Gay Evans, Rosemary Hepworth and Daphne Mihan.

Two painters and an embroiderer from East Gippsland. Opening Friday 24 January, 5.30pm. All welcome and free entry.



Patrick Mung Mung, NgarrgooroonBalangal Country, natural ochre and pigment on canvas, 120 x 180 cm. Courtesy of the artist and Warmun Arts.

27 December 2019—25 February The Summer Collector’s Show 2020 Outstanding Aboriginal art from nine regions, featuring a selection of works from the McCulloch Collection of Contemporary Aboriginal Art. Artists include Adam Gibbs Tjapaltjarri, Bugai Whyoulter, Candy Nelson Nakamarra, Barbara Weir, Charmaine Pwerle, Djirrira Wunungmurra, Elizabeth Nyumi, Emily Pwerle, George Wallaby, Jimmy Nerrimah, Maria Josette Orsto, Minnie Pwerle, Nancy Chapman, Nellie Coulthard, Nellie Stewart, Paddy Carroll, Patrick Mung Mung, Pepai Jangala Carroll, Julie Yatjitja, Rosella Namok, Sallyanne Roberts, Sandy Brumby, Sonia Kurarra, Teresa Baker, Vicki Cullinan, Wawiriya Burton, Wukun Wanambi, Mulkun Wirrpanda and many more.

Joseph Hsien, Shell #100, 2019, Inkjet print, 50 x 70 cm.

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Ben Gritt, Hand sculpted ceramic shell.

VICTORIA

Finkelstein Gallery

Flinders Lane Gallery

Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 finkelsteingallery.com Wed to Fri 11am–5pm, Sat 12noon–5pm. Closed in January, open by appointment.

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 flg.com.au Tue to Fri 11am–6pm, Sat 11am–5pm.

The gallery represents, promotes and exhibits a small, carefully selected group of established and emerging artists.

Located in an industrial basement space in High Street, Prahran, Finkelstein Gallery hosts an annual exhibition program and a revolving stockroom of available works.

It is dedicated to fostering a warm and welcoming environment that encourages broader and deeper engagement with contemporary art.

Christine Napanangka Michaels, Lappi Lappi Dreaming, 2019, acrylic on canvas, 183 x 107 cm.

7 January–1 February Warlukurlangu Artists: New Works from Community Pauline Napangardi Gallagher, Christine Napanangka Michaels, Ursula Napangardi Hudson, Magda Nakamarra Curtis, Megan Nampijinpa Kantamarra, Walter Jangala Brown, Hilda Nakamarra Rogers, Kasey-Anne Nampijinpa Gallagher and others.

Kate Baker, Pulse #1, 2019, single channel digital video, sound, kiln formed glass.

Video and sound produced by doeanddoe studio, featuring performance by Leeanna Walsman. Dimensions 1.8m diameter x 2.5m height.

2 Willis Street, Armadale, VIC 3143 [Map 6] 03 9509 1782 fps.org.au Wed to Sat 11am–4pm.

The Firestation Print Studio supports and promotes the art of making original prints. Creativity is vital to our culture and society, and we aim to inspire both individuals and the community by fostering excellence and innovation in the practice of printmaking.

27 November 2019–25 January Summer Salon Exhibition 2019 Annual Members Exhibition.

31 January–29 February Present Tense Lindi Forde and Marie Watt Paintings and photographs.

Annie Burns, forest, detail, 2019, acrylic on canvas, 137 x 86 cm.

4 February—15 February reconstructed landscapes Annie Burns Paintings.

18 February—29 February 1.5 Degrees Group exhibition presented by Art Aviso.

Baluk Arts: Reflecting Country, Recognising Self Curated by Lisa Waup in collaboration with FLG, featuring the artists Lisa Waup, Gillian Garvie, Cassie Leatham, Beverley Meldrum and Nanette Shaw.

Paula McLoughlin, can you see me, 2019, screen print, 76 x 112 cm.

6 February–19 March Sublimate Kate Baker

Firestation Print Studio Gallery

4 February—15 February Sensitive Sweethearts Group exhibition curated by Tegan Iversen.

Annika Romeyn, Endurance, 2019, watercolour and monotype on paper, 168 x 228 cm.

4 February–29 February Endurance Annika Romeyn Layers of Life Naomi White

fortyfivedownstairs

18 February—29 February give me shelter Paula McLoughlin Printmaking

Fox Galleries 79 Langridge Street, Collingwood, VIC 3066 [Map 3] 03 8560 5487 foxgalleries.com.au Tue to Sat 10am–6pm.

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

21 January—1 February The Delusions Run Thick Mark Chu Paintings.

21 January—1 February Glowry Emilie Walsh Installation.

Emilie Heurtevent, Landscape #8, 2019, mixed media on canvas, 122 x 152 cm.

14 December 2019–6 February Nature Emilie Heurtevent 123

Fox Galleries continued...

Gallerysmith Project Space 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 gallerysmith.com.au

Claire Mooney, Circuit (ruin), 2019, acrylic and print transfer on plywood panel, 60 x 8 cm. Photography by Christopher Sanders.

Peter Thomas, Never too late to love you, 2019, monotype and Earth, smoke, water, fire on cotton rag paper, 53 x 40 cm.

23 January—7 March Fugitive Geometries Claire Mooney

8 February–4 March Sparks Eddie Botha, Katie Breckon, Tim Clarkson, Rowley Drysdale, Mark Dustin, Esther Erlich, Wayne Fogden, Stephen Glassborow, Christine Johnson, Bec Juniper, Jason Moad, Victor Rubin, Bart Sanciolo, Nigel Sense and Peter Thomas.

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

Frankston Arts Centre 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 thefac.com.au Mon to Fri 9am–5pm, Sat 9am–2pm.

Annette Allman, Nothing Good, 2019, stoneware, glaze, 60 x 22 cm.

23 January—7 March The Dunning-Kruger Effect Annette Allman

Gallerysmith 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 gallerysmith.com.au Tue to Sat 11am–5pm.

Geelong Gallery was established in 1896 and is one of Australia’s leading art galleries, with a magnificent collection of Australian and European painting, sculpture, printmaking and decorative arts dating from the 18th century to today.

30 November 2019—16 February Raymond Arnold—Elsewhere world (Final consolidated A–H) Renowned Australian printmaker Ray Arnold’s monumental 8-sheet etching Elsewhere world (Final consolidated A–H), 2018, reflects the artist’s fascination with the Australian landscape – its intricacy, power and fragility – and his mastery of the print medium.

Jacqueline Stojanović, Soft grid, detail, 2019, wool on metal, 61 x 46 cm.

26 November 2019–16 February Concrete Fabric Jacqueline Stojanović 5 December 2019–8 February Life on Mars Janette Thompson 31 October 2019–25 January Realism on Canvas Shah Wali Nadiri

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Tim Allen, Thaw, 2019, oil on linen, 91 x 122 cm.

Janenne Eaton, R E E F, 2015, enamel, mixed media on canvas, proposed acquisition, gift of the artist, 2019.

23 January—7 March Interzone Tim Allen

30 November 2019—16 February Turmoil & tranquility—recent acquisitions 2018–19

VICTORIA A diverse selection of works that reflect the Gallery’s active acquisition program, and the generosity of a range of valued donors. Includes works by Peter Atkins, John Davis, John Dermer, Janenne Eaton, David Griggs, eX de Medici, Anne Noble, Rosslynd Piggott and Louise Weaver, amongst others. Additional recent acquisitions of major works by Arthur Boyd, Russell Drysdale and Edward Fischer are also displayed in adjacent gallery spaces.

Gippsland Art Gallery Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] gippslandartgallery.com Mon to Fri 9am–5:30pm, Sat, Sun Pub Hols 10am–4pm.

The Gippsland Art Gallery is situated at the Port of Sale, overlooking stunning waterways and parkland. Every year the Gallery hosts around thirty exhibitions of local, national and international significance, in addition to ongoing and evolving displays of the permanent collection.

natural world through a range of ideas including the consciousness of nature and its relationship with humankind.

1 February–15 March The Nature of Decay Simon Deere A selection of Simon Deere’s botanical drawings, including new work inspired by his connection to South Gippsland.

1 February–19 April Australian Phoenix: A Cosmology Susan Purdy

27 July 2019–19 January and then 25 January–19 July The Art of Annemieke Mein

This exhibition surveys the cyclical phenomenon of fire over hundreds of thousands of years and documents the role humanity plays in shaping this event. Expanding over 21 metres, the work wraps around the gallery and encompasses the viewer in a black and white narrative.

A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist.

15 February–19 April The Lost Impressionist Jan Hendrick Scheltema

Ongoing Stories from the Collection

Featuring seventeen paintings that have recently been donated to the Gippsland Art Gallery from the descendants of Scheltema himself. These works form the largest and most representative public repository of Scheltema’s work anywhere in Australia.

Delving into the deep, multi-layered history of the Gippsland Art Gallery’s permanent collection in a new, everevolving journey through the ages.

Stephen Bram, Untitled, 2018, synthetic polymer paint on canvas. Courtesy of the artist and Anna Schwartz Gallery, Photograph by Christian Capurro.

23 November 2019—23 February Stephen Bram Abstract paintings Bram’s long engagement with abstraction takes, for him, a radical new direction in Geelong Gallery’s Australian premiere of a new series of mesmerising black and white paintings that extend the ways in which Bram tests illusion, representation, landscape, architecture, and the perception of viewers.

Gertrude Contemporary 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 gertrude.org.au Tue to Fri 11am–5.30pm, Sat 11am–4.30pm.

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

Peter Cole, Song for the Kimberley, 2009 Mixed media, 96 x 87 x 20 cm. Courtesy of the artist.

Nick Mount, Scent Bottle #070709, 2009, Blown glass, 101 x 130 x 26 cm. Courtesy of the artist. Photograph by Grant Hancock.

19 November 2019–2 February Hot Glass Nick Mount Mount is one of the world’s leading glass artists. Born in Adelaide, Mount lived and worked in Gippsland from 1972 to 1984, during which time he established Victoria’s first hot glass studio, Budgeree Glass.

A leading figure in Gippsland’s ‘Craft Revolution’ of the 1970s, he remains an inspirational figure within the region.

As a non-commercial and independent space, Gertrude offers artists freedom for risk-taking, innovation and ambition.

7 December 2019–2 February Erasure Louisa Waters

Gertrude Contemporary:

Drawing on a range of materials including drawing, photography, print, and film, this timely exhibition reframes traditional depictions of fire through scientific, historical, and political concerns.

8 February—29 February Joshua Petherick 8 February—22 March Foster + Berean Gertrude Glasshouse: 31 January—29 February Glasshouse Stonehouse Residency Karen Black and Virginia Leonard

19 October–26 January Whispering Landscapes Meg Viney-Bell and Zetta Kanta Gippsland artists Meg Viney-Bell and Zetta Kanta explore the mysteries of the

15 February–3 May The Circus of Life Peter Cole This exhibition invites the viewer to step inside the sacred space of the studio and learn more about the art and creative practice of one of Gippsland’s prominent sculptors.

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

Closed until 23 January.

23 January–9 February Glen Eira City Council art collection summer showcase 13 February–1 March International Baccalaureate Visual Arts exhibition 125

Hamilton Gallery

Harvey Galleries – BLK

107 Brown Street, Hamilton, VIC 3300 [Map 4] 03 5573 0460 hamiltongallery.org Mon to Fri 10am–5pm, Sat & Sun 10am–2pm, Free entry. Closed until 2 January.

Presents The Art of Dr. Seuss Collection, The Block Arcade, 18–19/282 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 0680 drseuss.harveygalleries.com.au Mon to Sun 10am–5.30pm.

Permanent Exhibition Italian 20th Century Glass from the Collection

The Art of Dr Seuss Limited editions from the Dr Seuss Estate.

Murano as a world famous glass centre was established in the late 13th century.

Between then and now Murano glass has been a source of inspiration for artists affiliated with the studio glass movement. This exhibition draws upon Hamilton Gallery’s extensive holdings of Murano glass, ranging in date from the mid-20th century.

Permanent Exhibition Paul Sandby Collection Hamilton Gallery’s Paul Sandby Collection has come about primarily through the generosity of three members of the same generation of the Gaussen family, who settled north of Hamilton and who had inherited these works.

Hatch Contemporary Arts Space

Jacqueline Mitelman, Isabella, gelatin silver photograph 1998, 48 x 37 cm.

14 Ivanhoe Parade, Ivanhoe, VIC 3079 [Map 4] 03 9490 4370 banyule.vic.gov.au/Hatch Tue to Sat 10am–5pm.

21 September 2019—20 January A Dog’s Life Michael Leunig, Jacqueline Mitelman, with submissions also sought from the public.

2 November 2019—19 January A Domestic Lifestyle: 1930s–1980s Tablewares 30 November 2019—16 February A Stitch in Time Fiona Abicare, Vicki Couzens, Marion Manifold, Sanné Mestrom, Sally Smart, Kylie Stillman, Louise Weaver.

Prue Venables, Group of forms – Black Ovals and Yellow Sieve, 2018, photography by Terence Bogue.

12 December 2019—9 February Living Treasures: Masters of Australian Craft \ Prue Venables Prue Venables

Mig Dann, Doppelgangster, 2019.

Heide Museum of Modern Art → En Route: Wona Bae and Charlie Lawler, 2019, Heide Museum of Modern Art, Melbourne.

Photograph by Christian Capurro.

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VICTORIA 30 January–29 February Future Histories Mig Dann, Anj Odessa, J. Rosenbaum and Peter Waples-Crowe.

A Midsumma Festival exhibition exploring current themes and issues facing the LGBTIQ+ community with a focus on gender diversity. Each artist explores these complex ideas, drawing from personal histories to shape a new future.

This exhibition will be complemented by performances, talks, and other resources for further understanding. A safe space for all. Opening Wednesday 29 January, 6pm–8pm. Free event, all welcome.

Horsham Regional Art Gallery

16 November 2019–2 February Art Deco from the National Collection: The World Turns Modern

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 horshamartgallery.com.au Mon to Fri 10am–5pm, Sat and Sun 12pm–4pm.

7 February–3 May Peter Milne: Juvenilia Curated by Helen Frajman and Linsey Gosper.

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

Heide Museum of Modern Art, or Heide as it is affectionately known, began life in 1934 as the home of art patrons John and Sunday Reed, and has since evolved into one of Australia’s most unique destinations for modern and contemporary art. The Reeds promoted and encouraged successive generations of artists, including Albert Tucker, Sidney Nolan, Joy Hester and Charles Blackman. Today at Heide, the Reeds’ legacy is honoured with a variety of changing exhibitions that draw on the museum’s modernist history and it founders’ philosophy of supporting innovative contemporary art.

21 September 2019–23 February Mobile Home Albert Tucker 9 November 2019—2 February En Route Wona Bae and Charlie Lawler

Juvenilia brings together over 70 astonishing photographs of friends and family taken by renowned Victorian artist Peter Milne when he was a very young man.

Warm, intimate, surprising and already displaying the great compositional skills, originality and humour for which Milne is known, these images offer an unprecedented peep into mid 1970s to mid 1980s Melbourne and a milieu of people who would go on to play pivotal roles in Melbourne’s burgeoning cultural scene.

Incinerator Gallery 180 Holmes Road, Moonee Ponds, VIC 3039 [Map 4] 03 9243 1750 incineratorgallery.com.au Tue to Sun 11am–4pm. Free entry.

Minstrel Kuik, The Triplets from the series Mer.rily Mer.rily Mer.rily Mer.rily, 2017 C-Type print. Courtesy of the artist and Richard Koh Fine Art Kuala Lumpur.

7 December 2019—12 January Sumer Show: Hospitality Eli Cristiano, Lauren Snowden, Second Stitch Figure in the Round Andrew Atchison

15 February–10 May Minstrel Kuik : She who has no self Malaysian artist Minstrel Kuik reveals the truths of her personal lived experience with all its imperfections.

Kuik’s work considers and questions the politics of place, familial and cultural identity and how this intersects with personal experience. Born in Malaysia of Chinese ancestry, she lives and works in Kajang a suburban neighbourhood on the outskirts of Kuala Lumpur, negotiating the tensions of different ideologies and social bounds is an everyday occurrence.

Not only do these daily experiences position her between the political society and the authorities, they shape her artistic practice by providing necessary comparative grounds for her to ponder on the complexities of our modern life. With photography at the core of her practice, Kuik works across the disciplines of drawing, photo books, fabric assemblage and installation.

Betty Musgrove, External Pacifist, 2019, Internal war.

Cut from the same cloth Betty Musgrove

Installation view, Terminus: Jess Johnson and Simon Ward, 2019. Heide Museum of Modern Art, Melbourne. Photograph: Christian Capurro.

2 November 2019—1 March Terminus Jess Johnson and Simon Ward 16 November 2019—14 March Dark Kitchen Shannon Lyons 15 February—14 June Memory Horizon Carolyn Eskdale

Peter Milne, Boys Next Door first photo session after Rowland joined. Nick’s bedroom, Caulfield, 1978. Courtesy of the artist and M33.

Tama Sharman, untitled, 2019, lino print on paper, 29 x 25 cm.

21 January—22 March Dark Sepia Tama Sharman 127

VICTORIA

Kingston Arts → Willow Franklin, Weldon 2, 2019, manipulated archival image with digital glitch.

KINGS Artist-Run Initiative Level 1/171 King Street, Melbourne, VIC 3000 [Map 2] 03 9642 0859 kingsartistrun.org.au Wed to Sat, 12noon–6pm.

7 February–29 February Danny Jarratt Kiah Pullens

Kingston Arts G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 03 9556 4440 kingstonarts.com.au Mon to Fri 9am–5pm and Sat noon–5pm.

Kingston Arts galleries are located across two venues at the Kingston Arts Centre in Moorabbin and Shirley Burke Theatre in Parkdale. The annual visual arts program includes a series of curated contemporary art exhibitions, artist floor talks, workshops and events and provides opportunities for local artists and arts organisations to exhibit.

5 December 2019–25 January G3 Artspace: OptiKA 2019 - Kingston Photographic Award OptiKA 2019 invited photographers and video makers of all capabilities to capture images of Kingston that respond to the creative theme of ‘Time’.

Ren Gregorčič, phenomenological geologies, 2019. Cyanotype.

10 January–1 February Connie Anthes and Julia Bavyka.

Amber Koroluk-Stephens, Nikki Rosa, Eloise Kirk, Jelena Telecki and Lisa Sammuts.

Ren Gregorčič 7 February–29 February Sam Pierlot and Lauren Herbison

6 February—14 March G3 Artspace A Touch of Salt Presented by Chris Aspland and Christine Lewis.

Chris Aspland and Christine Lewis present their first joint exhibition exploring a nostalgic journey from past to present and celebrating the recreational pleasures of living by the sea. The artists celebrate the natural beauty of the bay,

Left: Christine Lewish, Gone Fishing III (Schnapper), 2019, oil on canvas, 80x64cm. Right: Chris Aspland, Joy O Joy!, 2019, oil on canvas, 51 x 51 cm. as well as their personal sense of history and connection with the landscape. As residents in the area, they hope to inspire viewers to appreciate the local eco-systems and to respect the need to maintain a clean and safe environment for both people and wildlife to thrive in. Opening Thursday 6 February, 6pm–8pm.

7 February—7 March Kingston Arts Centre Galleries Midsumma 2020: Queer in Kingston Presented by Kingston Arts.

Curated by established projection artist, Yandell Walton, and supported by emerging digital media artist, Willow Franklin, this immersive multimedia exhibition explores queer identity from the perspectives of Queer in Kingston, a social support group for LGBTQIA+ young people aged 14 to 25 years, living in the City of Kingston.

Yandell Walton is a Melbourne-based artist whose work encompasses projection, installation, and interactive digital media.

Willow Franklin is an emerging digital artist who creates through the lens of her queer identity. She works primarily with digital manipulation of archival media.

Opening Friday 7 February, 5pm–11pm.

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Koorie Heritage Trust

Lamington Drive

Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 www.koorieheritagetrust.com.au Open daily 10am–5pm.

52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 lamingtondrive.com Wed to Fri 11am–6pm, Sat 12noon–5pm or by appointment.

The Koorie Heritage Trust at Federation Square takes Koorie peoples, cultures and communities from the literal and figurative fringes of Melbourne to a place that is a central meeting and gathering place for all Victorians. Our presence at Federation Square is a bold statement and significant recognition of our shared history and the importance of Koorie peoples and communities as part of a broader 21st century community.

The gallery exists to simultaneously explore the idea of showcasing commercial artists in a traditional gallery space, and as a venue in which illustrators, cartoonists, photographers and designers can explore this same art/commercial art tension in their practices.

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

Specialists in Australian Colonial, Impressionist, Modern, Contemporary Painting, Sculpture and Decorative Arts.

Andrea Innocent and Cat Rabbit, Bowl of Comfort, 2019.

4 December 2019—25 January Mascots Cat Rabbit and Andrea Innocent

Shelia Hawkins, Gypsy Mother, c.1939, oil on canvas, 60 x 49 cm.

An imaginary expo of mascots in the form of installation, illustration, sculpture, and found objects. Mascots features characters who inhabit different realms of anxieties and function as a talisman to those of us who find the world overwhelming and confusing at times.

Teena Moffatt, Nanyak Nharebula Gana #2, (Pouch Dreaming by River Design), 2018, textile, kangaroo pelt, mixed media.

7 December 2019–23 February The Koorie Art Show 2019 The Koorie Art Show is our annual event showcasing the diverse talent of Victoria’s Aboriginal and Torres Strait Islander artists in one inclusive space.

The Koorie Art Show is an open-entry, non-acquisitive award exhibition, presenting the works of emerging to senior, Koorie and Victorian based Aboriginal and Torres Strait Islander artists aged 17 years and above.

Alison Rehfisch, Urn of Flowers with Geese, oil on board, 53 x 36 cm.

Opening 4 February Showcasing a selection of artworks by Australian women.

Katherine Brickman, Fence, 2019.

5 February—29 February Still Life Katherine Brickman Still Life is the debut solo exhibition of Sydney-based artist Katherine Brickman (Greedy Hen). A meditation on the unusual beauty in everyday clutter, imagined landscapes, playful surrealist humour, and the joy of breakfast.

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Latrobe Regional Gallery 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 latroberegionalgallery.com Latrobe Regional Gallery was established in 1971. Housing seven gallery spaces and a sculpture courtyard, the gallery

VICTORIA

Latrobe Regional Gallery → Catherine Truman, In Preparation for Seeing Cell Culture Glove, 2015. Photograph by Grant Hancock. presents exhibitions and curated projects across contemporary art and design, experimental and interdisciplinary practices, curated collections of note, works by regional artists and national touring exhibitions.

9 November 2019—16 February No surface holds Catherine Truman

La Trobe Art Institute

Linden New Art

121 View Street, Bendigo, VIC 3550 [Map 1] 03 5444 7272 latrobe.edu.au/art-institute Mon to Fri 10am–5pm, Sat noon–5pm.

26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 lindenarts.org Tue to Sun, 11am–4pm 23 November 2019–9 February Linden Postcard Show 2019–20 Visit the iconic Linden Postcard Show! Since 1990, this much-loved open-entry small artwork prize exhibition has been providing artists – from emerging to established – the opportunity to present their artwork on the walls of Linden New Art’s beautiful Victorianera building.

22 February–17 May Mother’s Little Helpers Karla Dickens

Mia Salsjo, Modes of Translation, image still.

18 January–7 February Moving Pictures Holly Block, Pilar Mata Dupont, Rosie Gibbens (UK), Mia Salsjo, Laressa Kosloff, Brie Trenerry, Irene Proebsting and Barry Brown, Silo String Quartet and Vanessa White.

25 January–3 May Small Town Fetish Pezaloom aka Paul Berryman 29 February–17 May Leigh Hobba 29 February–24 May Selected women artists from the Collection

Deborah Paauwe, Sleep Over, 2001, Type C photograph, 120 x 120 cm.

13 January–8 February Algorithm Aesthetic: Collections Focus Opening 17 February Rivers of Gold They Cannot Take the Sky

This exhibition will feature a new series of photographs produced as a result of a collaboration between Karla Dickens and writer Bruce Pascoe. Pascoe is the author of the best-selling book Dark Emu, which challenges the claims that pre-colonial Indigenous Australian communities were hunter-gatherer societies.

22 February–17 May The Long Shot Jacqui Stockdale This major new series of work extends Stockdale’s fascination with 19th century narratives surrounding Ned Kelly and aims to challenge the dominant narratives of Australian folk history. This exhibition 131

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LON Gallery 21 Easey Street, Collingwood, VIC 3066 [Map 3] 0400 983 604 longallery.com Thurs to Sat 12noon–5pm.

Curatorial Tours: First Wednesday of each month, 12:30pm (Free with general admission to the Galleries) Private guided tours available upon request.

Jacqui Stockdale, Duel of the Mount I, 2018, C-type print, 130 x 108 cm. Image courtesy of the artist and Olsen Gallery. will explore the Kelly matriarchy and will re-examine the Kelly story from a feminist perspective.

In Full View: Works from the Lyon Collection, Installation view, Lyon Housemuseum Galleries. Photography

by Zan Wimberley.

Kate Wallace, Floor Detail, 2019, oil on board, 15 x 10 cm. Photo Credit: Daniel Gardeazabal 12 February–7 March New Landscapes

Lynn Jaanz at York Street Art Gallery Level 1, 216 York Street, South Melbourne, VIC 3205 [Map 6] lynnjaanzartgallery.com

Robert Fielding, Kapi Waralpa (Distant Rain), 2019, rusted and sand-blasted water tank panel. Image courtesy of the artist, Mimili Maku Arts and Blackartprojects.

22 February–17 May Routes / Roots Robert Fielding Fielding is an artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent, who lives in Mimili Community in the remote APY Lands. Led by an enquiry into cultural objects that have been collected and removed from country since the beginning of colonisation, Fielding has been researching the links of his ancestors’ travel and trade routes, reconsidering them in a contemporary context.

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To arrange a private viewing contact: curator@lynnjaanzartgallery.com

Lyon Housemuseum Galleries 217 Cotham Road, Kew, VIC 3101 [Map 6] 03 9817 1725 lyonhousemuseum.com.au @lyonhousemuseum Tuesday to Sunday, 10am–5pm.

Closed Mondays and Public Holidays Festive season closure: Closed Monday 23 December to Monday 6 January 2020, inclusive.

Admission: $12, $10 Concession, Under 12 free.

7 September 2019–26 January In Full View: Works from the Lyon Collection The Lyon Collection represents a thirty-year journey by collectors Corbett and Yueji Lyon in supporting Australian contemporary art practice. From small beginnings in the late 1980’s, the Lyon Collection has grown into one of the largest collections of its type in the country, representing more than fifty emerging and established Australian artists.

In Full View presents key works from the Collection, inviting visitors to survey its breadth and depth through the narratives of collector, artist, family and home.

Matthew Sleeth, A Drone Opera, still, 2019.

14 March–29 March A Drone Opera Matthew Sleeth Matthew Sleeth’s A Drone Opera is reimagined from its original live performance to an immersive three-channel video installation. Capturing the choreography of custom-built drones, laser set design and professional opera singers with an original libretto, the installation drives a narrative of desire, fear and destruction. Loosely structured around the myth of Icarus, the work is a poetic reflection of contemporary fear surrounding surveillance, and our dangerous love affair with new technologies. The installation will be on show for a limited time only for its first ever showcase in Melbourne.

VICTORIA

Manningham Art Gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 manningham.vic.gov.au/gallery Tues to Sat 11am–5pm. Free entry.

Altaration, detail from performance documentation. Original image: Andrew Johnson. students are invited to engage contributively during the exhibition, to the production of new art in a collective act of Participation Mystique. Opening Tuesday 25 February, 5.30pm–7.30pm.

Dancer Tara Jade Samaya, The Sky After Rain. Photograph by Pippa Samaya.

9 January—1 February The Sky After Rain The stories of three queer Iranian diasporas, Payam, Shyla and Shaya are brought to life through a formalistic synthesis of recorded interviews, spoken word poetry, moving images, sound design and dance. The multi-disciplinary, three piece video installation explores overarching themes about identity, queerness, gender, family, forgiveness, resilience, hope, love and loss. Presented

by Midsumma Festival and Manningham Art Gallery. The Sky After Rain was proudly supported by Australia Council for the Arts, the Victorian Government through Creative Victoria, Manningham Council’s Community Grant Program, and Access Health and Community.

13 February—1 March Take It Out of the Garden An examination of the distinctive character of terracotta and its use as a ground for expressive slip and terra sigillata decoration in contemporary ceramic work. Featuring work by Jane Annois, Helen Fuller, John Higgins (UK), Holly MacDonald, Megan Patey, Richard Phethean (UK) and Jane Sawyer.

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

Free entry.

25 February—29 February Alterepistemologies: Leanne Hermosilla Altarepistemologies: Hekate Lilen Iris Hermosilla Alterepistemologies Altarepistemologies presents PhD research that has utilised magic as a generative methodology within studio practice. Coinciding with orientation week at the VCA, visitors and

Rebecca Najdowski, Ambient Pressure 23, 2018, archival pigment print.

17 February—21 February Rebecca Najdowski: Inverted Landscapes Inverted Landscapes addresses how photomedia has traditionally shaped nature to humanity’s desire — reducing the animate world to a representation, a distanced landscape to be considered.

The exhibition includes works made by directly exposing photo-materials to natural phenomena like geothermal activity, photographs created through haptic manipulations of conventional landscape imagery, and digital 3D scans of flora. Opening Tuesday 18 February, 5.30pm–7.30pm.

Jordan Marani, HausWerk II, 2019, pencil and acrylic on board, 30 x 40 cm. Image courtesy of the artist and Daine Singer.

24 November 2019—15 March Haus Werk: The Bauhaus in contemporary art Peter Atkins (AUS); Anael Berkovitz (USA/ ISR); Katja Brinkmann (DEU); Danica Chappell (AUS); Sarah crowEST (AUS); Elizabeth Day (AUS); Stephan Ehrenhofer (AUT); Assaf Evron (ISR/USA); Anna Farago (AUS); Robert Jacks (AUS); Paul Knight (AUS); Eva-Fiore Kovacovsky (CHE); Paul Klee (CHE); Mafalda Millies and Roya Sachs (USA/DEU); John Nixon (AUS); Laresa Kosloff (AUS); Jordan Marani (AUS); Sam Martin (AUS); Bernd Ribbeck (DEU); Jacqueline Stojanović (AUS); Esther Stewart (AUS) and Pallavi Sen (IND); Sebastian Stadler (CHE); Tim Tetzner (DEU); Claudia Wieser (DEU).

Mildura Arts Centre 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 milduraartscentre.com.au Open Daily 10am–5pm.

March Space 5 Waltham Street, Sandringham, VIC 3191 0413 685 488 facebook.com/marchspacegallery Tues to Sun, 10am–5pm.

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

McClelland Sculpture Park+Gallery is the home of Australian sculpture, with a collection of over 100 sculptures in eight hectares of bushland complemented by a gallery exhibition program focusing on various forms of spatial practice.

Badger Bates, Warrego Darling Junction, Toorale, 2012.

5 December 2019–16 February Barka: The Forgotten River Badger Bates and Justine Muller Badger Bates and Justine Muller in collaboration with the Wilcannia community tell the story of Barka (the Darling River), that is the mother, cultural and economic lifeblood for the Aboriginal communities living alongside.

The exhibition portrays the beauty of a river, teetering on the brink of destruction, and the pride and resilience of its people.

13 December 2019–1 March Masterpieces… from the Collection Mildura Arts Centre Collection This curated selection spans genres from landscapes to portraits, demonstrating the diverse and rich array of techniques and styles explored by well-renowned artists.

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Missing Persons

20 February–19 April The Wealth of Women Mildura Arts Centre Collection

411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 missingpersons.me Sat 12noon–6pm, Sun 12noon–4pm.

Contact gallery for opening times outside of exhibitions.

Sunday 8 March is International Women’s Day for which we are asked to actively choose to challenge stereotypes, fight bias, broaden perceptions, improve situations and celebrate women’s achievements. In this exhibition attention is focused on the achievements of women artists whose sculptures have, and continue to, challenge biases in a discipline that traditionally privileged men.

All works are drawn from the Mildura Arts Centre Collection and demonstrate how the creative practice of women sculptors have contributed to broadening perceptions of what it means to work in three-dimensional forms.

23 November 2019–9 February Dressing up: clothing and camera As necessity or luxury, to integrate or rebel, in freedom or oppression, dress is the nexus of selfhood. Dressing up draws together photographs from the MGA collection that feature dress or clothing as a significant element in their making.

Shaping and shaped by the individual, our clothes can conceal, reveal and transform who we are. Like the photographs in this exhibition they are the bearers of memory, emotion and time.

Chris Mason, Not titled, 2018, glazed earthenware, 14 x 16.5 x 14 cm. ©Copyright the artist. Represented by Arts Project Australia, Melbourne.

15 February–16 February My Funny Valentine Opening Friday 14 February, 6pm–8pm.

Monash Gallery of Art

Michele Hermans, In the shadow, 2019, screenprint.

This exhibition explores ways in which contemporary black African artists are using fashion, photography and portraiture to redefine personal and cultural identity. The exhibition brings together works by seven prominent artists from Africa and the African diaspora who use photography and different spatial, corporal and temporal reference points as devices to explore and unpack perceptions of race and being.

860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 mga.org.au Tue to Fri 10am–5pm, Sat and Sun noon–5pm. (closed Mondays and public holidays) Gallery, gift shop, licensed café and sculpture park.

23 November 2019–9 February The Tucker portraits Albert Tucker (1914–99) is one of Australia’s most well-known and renowned artists, and a key exponent of Australian modernism. He was primarily a figurative painter who critically responded to the world around him. The Tucker portraits explores how Tucker used photography within his practice – from inspiration and source material for his paintings through to capturing unique and intimate documents that explore the social, cultural and political life in Australia.

21 February–19 April Through My Eyes Michele Hermans Leaving Australia in 1991 to make Finland my home, however it is not Nordic landscapes that inspire me. It is the eclectic architecture and bustling streets of Melbourne, and the nature and country life of rural Victoria where I grew up, that are depicted in my screenprints. These images are evocative of why Australia, even after decades of living abroad, still feels like home.

Lee Grant, Manal Tahir (Saudi Arabia) and her 3-year old son Fouad, Chadstone, Melbourne , 2019. Courtesy of the artist.

15 February–12 April Portrait of Monash: the ties that bind

27 February–10 May Mirror Meditations: Contrasting Tension and Contentment Alexandra Rosenblum Rosenblum is an artist working in a variety of photographic mediums to explore the binaries of self-actualisation.Using photography to investigate concepts encompassing duality, vulnerability and tension, Alexandra produces photographs that are alluring yet evoke a feeling of anxiety. This project utilises an analogue photographic practice to explore natural light in various environments as a symbol of the duality of anxiety and peace.

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In celebration of our 30th anniversary, MGA has commissioned four leading Australian artists to explore the City of Monash by responding to key issues facing the community – a reflection of the city as a microcosm of the nation.

Namsa Leuba, Untitled III, 2011, from the series Cocktail, pigment ink-jet print, 110 x 81 cm. Courtesy of the artist.

23 November 2019–9 February Fashioning black identity: Africa and the African diaspora

Peta Clancy, Lee Grant, Ponch Hawkes and David Rosetzky will shine their own inimitable lens on their chosen topic of interest – local indigenous sites of significance, the migrant experience, homelessness, and the LGBTQI+ community.

VICTORIA

Mornington Peninsula Regional Gallery → Rupert Bunny, Sea idyll (c.1891), detail, oil on canvas, National Gallery of Victoria, Melbourne Gift of Alfred Felton, 1892.

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

Free admission.

MUMA presents a dynamic program of exhibitions focusing on contemporary Australian and international art since the 1960s. Our exhibitions range from newly commissioned projects to surveys of significant artists.

Monash University MADA Gallery Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East VIC 3145 [Map 4] monash.edu/mada/galleries Opening hours during exhibitions: Weds to Fri, 10am–5pm, Sat, 12noon–5pm.

Monash Fine Art Postgraduate Exhibition.

Mornington Peninsula Regional Gallery

14 December 2019–23 February SUBLIME SEA: RAPTURE AND REALITY

8 February—9 April The Outcome is Certain Agatha Gothe-Snape

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

9 February—18 February MADA Now

Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 mprg.mornpen.vic.gov.au Tue to Sun 10am–5pm Entry: $4 adults, $2 concession.

Agatha Gothe-Snape, Rhetorical Chorus, 2017, performance documentation at LIVEWORKS 2017, Performance Space, Sydney. Photo: Document Photography. Courtesy of the artist and The Commercial, Sydney.

National Gallery of Victoria – The Ian Potter Centre NGV Australia

Curated by Dr Vivien Gaston.

A spectacular immersive exhibition about the power of the sea in human imagination. Through superb examples of paintings, sculpture, photography, film and the decorative arts, the exhibition evokes the overwhelming experience of nature, from intrepid journeys and mysterious grottos to the infinite space of the ocean.

A MPRG exhibition.

Reko Rennie, Initiation, 2013, synthetic polymer paint on plywood, (a-oo) 300.0 x 520.0 cm (overall). National Gallery of Victoria, Melbourne. Purchased with funds donated by Esther and David Frenkiel, 2014. 2014.41.a-oo. © Reko Rennie, courtesy blackartprojects, Melbourne.

27 September 2019–29 March Olympia: Photographs Polixeni Papapetrou Petrina Hicks: Bleached Gothic 30 August 2019–9 February Lucy McRae: Body Architect 13 September 2019–2 February Civilization: The Way We Live Now 22 August 2019–15 March Roger Kemp: Visionary Modernist 135

JAMES DAVIS 1940-2019

“Arguably Australia’s foremost living force in the world of Surrealism.

Embracing societal scars and whims of fantasy, rampant and verdant nature and the flames of the apocalypse.” from Ashley Crawford’s ‘The Art of James Davis’

January 5th - 18th 2020 opening Sunday at 4:00 pm

QDOS FINE ARTS Allenvale Road Lorne 03 52891 898 www.qdosarts.com

VICTORIA NGV The Ian Potter Centre continued...

Niagara Galleries

17 August 2019–16 August Marking Time: Indigenous Art from the NGV

245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 niagaragalleries.com.au Tue to Fri 11am–6pm, Sat noon–5pm, or by appointment.

12 September 2019–5 April Black Bamboo: Contemporary Furniture Design from Mer, Torres Strait 26 October 2019–29 March Tammy Kanat: Circles of Life

Martha Needle was executed in 1894 for murder. This photo was in her police record, probably taken shortly before her hanging.

National Gallery of Victoria – NGV International

All of the women could be described as ‘wayward’. Either intentionally, or through force of circumstance, they transgressed society’s rules in some way. Some prospered, but others paid dearly for their actions. The women and girls featured in this exhibition all lived in Victoria in the decade from 1894–1904. It was a time of great privation for many people, with the economy in deep depression and unemployment high. There was little in the way of government assistance for those in need and the charitable organisations that tried to help had scant resources.

Many were turned away.

180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 ngv.vic.gov.au Daily 10am–5pm.

1 December 2019–13 April Keith Haring, Jean-Michel Basquiat: Crossing Lines

Robert Bridgewater, Magdalene Tree, 2018, painted wood (cypress), 162 x 52 x 40cm.

21 January–1 February Robert Bridgewater Bradd Westmoreland

It was also a time when women and men were judged by very different moral standards. While a man’s indiscretions might be ignored, even expected, ‘fallen women’ were often judged harshly, at least by officialdom. Pregnant unmarried women could expect little sympathy and little help. The result was both predictable and tragic – what historians now call ‘reproductive crime’ was extremely common.

Wayward Women? is presented by Old Treasury Building in partnership with the Public Record Office Victoria.

PG Printmaker Gallery

KAWS, ACCOMPLICE, 2010, Fiberglass, paint 304.8 x 120.6 x 91.4 cm. © KAWS. 20 September 2019–13 April KAWS: Companionship In The Age Of Loneliness KAWS: Playtime 22 June 2019–27 January Turning Points: Contemporary Photography From China 31 October 2019–26 July Collecting Comme 15 November 2019–19 April Shirin Neshat: Dreamers

Savanhdary Vongpoothorn, Broken Sutra (Naga Paths), 2019, acrylic on perforated canvas, 180 x 300 cm.

4 February–29 February Savanhdary Vongpoothorn Tcheu Siong

Old Treasury Building

8 March 2019–12 July Liquid Light: 500 Years Of Venetian Glass

20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 oldtreasurybuilding.org.au Sun to Fri 10am–4pm, (last entry 3.45pm).

14 November 2019–April Colin McCahon: Letters and Numbers

24 June 2019—June Wayward Women?

28 February–4 October Japanese Modernism

This exhibition presents ten stories about individual women’s lives in the past.

27 November 2019–April In Absence, Yhonnie Scarce And Edition Office: 2019 Architecture Commission

227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 printmakergallery.com.au Mon by appointment, Tues to Fri 10am–6pm, Sat 10am–5pm.

Chris Lawry, Bridge off O’Donahue Track, 2018, linocut printed on Kozo paper, image size 75 x 43 cm.

6 February—20 February Forests Chris Lawry Hailing from Belgrave, Chris Lawry specialises in linocut, woodblock and dry point printmaking. She grew up in a small house surrounded by the forests of far East Gippsland, where she spent her 137

PG Printmaker continued... childhood exploring this beautiful and peaceful habitat. Chris’s fond memories from her upbringing amongst the forest continues to inspire her art practice and her desire for a closer connection with nature. Her current exhibition ‘Forests’, at PG Printmaker Gallery, is an exquisite reflection of this intimate connection.

Created in three parts, the works are based on her nature walks through Sassafras as well as the Aokigahara forest and Nakasendo Way in japan.

Andrew Haining, Pilar Mata Dupont, Nikos Pantazopoulos, Yorgos Petrou, Joanna Piotrowska, Lisa Radford,

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

Curtis Talwst Santiago, Who playing Mas?, 2018, watercolour, aerosol and charcoal on paper, framed, 87.6 x 67.3 x 3.8 cm. Courtesy Curtis Talwst Santiago, and Rachel Uffner Gallery, New York.

Charlie Sofo, Curtis Talwst Santiago and Salote Tawale. Curated by Tom Polo.

14 February–7 March Clare Longley

Rohan Robinson, Boredwall, oil on aluminium, 180 x 120 cm.

8 December 2019—4 January Pass:port Rohan Robinson

Red Tree Gallery 420 Main Jindivick Road, Jindivick, VIC 3818 [Map 1] redtreegallery.com.au 03 5628 5224 Open daily 10am–4pm 26 December 2019—29 January Ashley Trayder 30 January—26 February Ross Vanner

James Davis, Charly Malta’s Brunswick Patch, oil on canvas (tryptych), 100 x 300 cm.

5 January—18 January James Davis 1940–2019 19 January—1 February Rimona Kedem 2 February—15 February Philip Adams 16 February—7 March Heirloom – An Exhibition of Exquisite Things

ReadingRoom 37 Swanston Street, Room 4, Level 6, The Nicholas Building, Melbourne, 3000 VIC [Map 2] 0424 627 751 areadingroom.com Weds to Sat, 12noon–5pm, and by appointment.

28 November 2019–8 February occupy and echo ( a stage ) Lupo Borgonovo, Leila El Reyes and Justine Youssef, George Haddad, 138

27 February—25 March Wendy Twyerould

RMIT Gallery 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmitgallery.com Like RMIT Gallery on Facebook.

Follow @RMIT Gallery on Twitter.

Admission free. Lift access.

Mon to Fri 11am–5pm, Thurs 11am–7pm, Sat noon–5pm.

Closed Sun and public holidays.

29 November 2019—7 March Pleasure Presenting the work of a diverse group of artists who use the body to celebrate joy, humor, flamboyance and the outrageous.

From decoration, embellishment and exaggeration to examinations of identity and beauty and its various interpretations, Pleasure explores how artists and designers have used the body as a personal, provocative and at times political canvas from the flamboyant 1980s to contemporary times.

Gun Shy, Circe de Merde AW18 “I’m Ready” Jacket, Photograph by The Furies.

Model: Sam Carew-Reid; MUA/SPFX: Lou McLaren; Stylist: Rose Chong Costumiers; Accessories: Alexandra Blak; Model Undergarments: Bryn Meredith.

Artists include Rose Agnew, Robyn Beeche, Holly Block, Queenie Bon Bon, Gavin Brown, Penny Byrne, Frances Cannon, Nicholas Chilvers, Keith Clancy, Kate Clark, Ray Cook, Peter Ellis, Dita Gambiro, Gerwyn Davies, Kate Durham with Moira Finucane, Rhett D’Costa, William Eicholtz, Leah Emery, Tarryn Gill, Judith Glover, Gun Shy, Mella Jaarsma, Kate Just, Grace Lillian Lee, Ramesh Mario Nithiyendran, David McDiarmid, Louise Meuwissen, Misklectic, Mossy 333 & Misklectic, Ciara Murphy, John Pastoriza-Piñol, Robert Pearce, Laksmi Shitaresmi, Cop Shiva, Vipoo Srivilasa, Christian Thompson, Peter Tully, TextaQueen, Wayan Upadana, VERMIN with Jenny Bannister, Xylouris White, William Yang, Paul Yore, Ah Xian, Preston Zly. Public Programs: Friday 14 February, 12.30pm–1.30pm Valentine’s Day ‘Art Celebrates Love’ Julian Goddard and Rhett D’Costa, Gun Shy, Vipoo Srivilasa. Thursday 20 February, 5.30pm–6.30pm Pleasure Plus ‘Art or Porn?’ Evelyn Tsitas and Judith Glover, Kate Just, Gerwyn Davies.

RMIT PROJECT SPACE / SPARE ROOM RMIT Building 94.2, 23–27 Cardigan Street, Carlton, VIC 3053 [Map 5] 03 9925 4971 intersect.rmit.edu.au Free entry, wheelchair access.

Wed to Fri 10am-5pm, Sat 12noon–4pm.

30 January—29 February Posthuman Publics Fiona Hillary with a cast of Posthumans.

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RMIT Gallery → Gerwyn Davies, Bomb, 2017. Image courtesy of the artist.

Shepparton Art Museum 70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 sheppartonartmuseum.com.au Director: Dr Rebecca Coates.

Daily 10am–4pm, public holidays 1pm–4pm. Free entry.

18 May 2019—25 October A Finer Grain: Selected Works from the SAM Collection An exhibition presenting key and lesserknown works by Australian women artists from the SAM collection.

14 September 2019—15 March The Boyd Family: A Legacy of Pottery A SAM curated exhibition showcasing many of the over 140 ceramic works by the extended Boyd family from SAM’s own Collection.

8 November 2019—31 January The Art of Couture An exhibition that pays homage to Melbourne fashion icon Shirley Keon.

7 December 2019—1 March Collector/Collected

State Library Victoria

This summer SAM presents Collector/ Collected, a maximalist exhibition exploring the art of collecting. Showcasing two major collections of Australian studio pottery from the 1960s and 70s: The Studio Pottery from the John Nixon Collection and SAM’s own collection from this period.

Corner Russell Street and La Trobe Street, Melbourne VIC 3000 [Map 2] 03 8664 7000 slv.vic.gov.au

Sofitel Melbourne on Collins 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 7888 sofitel-melbourne.com Mon to Sun, 24 hours.

Phyl Dunn, Sugar Pot, 1967, glazed stoneware, 12.3 x 11.9 cm. Shepparton Art Museum collection, gift of the estate of Reg Preston and Phyl Dunn, 2002. © the artist’s estate and Susie Cordia.

Photograph by Stephanie Bradford.

Costume made for centenary of Victoria celebrations. Photograph by Broothorn Studios, 1935. State Library Victoria, MS 13268.

Heidi Victoria, Shirley Keon at her desk, 2019.

25 October 2019—12 July Velvet, Iron, Ashes 139

State Library of Victoria continued...

13 October 2019—October World of the Book 23 February—1 March Changing Face of Victoria

Mouvlin, Travis John, Liss Fenwick, Youjia Lu, Darren Tan, Michael Needham, Talitha Kennedy, Kate Rohde, Ben Laden.

Curated by Simon Pericich. Catalogue essay by Brie Trenerry.

8 February—8 March Gallery One : Greg Wood

Akio Suzuki is part of the SUBSONIC program curated for Asia TOPA by The SUBSTATION. Presented by The SUBSTATION in association with Room40.

Peter Wille, photographer, John Hipwell, architect, Hipwell House, Warrandyte, designed 1953, reproduction of colour slide.

Performance: Friday 31 January, 8pm.

1 December 2018—April Peter Wille: Out Driving

Stephen McLaughlan Gallery Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 0407 317 323 stephenmclaughlangallery.com.au Wed to Fri 1pm–5pm, Sat 11am– 5pm and by appointment

Nagoya railway station’s stairs (and was subsequently dragged away by staff) to sophisticated, extended sessions in which echoes, resonance and the accidental gather to produce profound soundscapes. Suzuki’s compositions are at once playfully irreverent and deeply meditative, provoking his listeners to reconsider their relationships with space and time. For Asia TOPA 2020, The SUBSTATION hosts a retrospective exhibition of work from across his vast career, as well as a series of performances, including his lauded duet work with fellow Japanese sound artist AKI ONDA.

Sutton Gallery Joel Gailer, Intermedium Harmony 1, 2019, acrylic and oil on steel armature, 20 x 10 x 10 cm.

254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 suttongallery.com.au Tue to Sat, 11am–5pm.

8 February—8 March Gallery Two: Joel Gailer 8 February—8 March Project Space: Freya Pitt 8 February—8 March Ceramics Space: Vanessa Lucas and Courtney King.

The SUBSTATION 1 Market Street, Newport, VIC 3015 [Map 4] 03 9391 1110 thesubstation.org.au Tue to Sat 11am–5pm.

Elizabeth Gower, In Transit, collage, 2019, paper on drafting film.

Margaret Manchee, Oscillation O3, Chine Collé Konzo paper collage, 400 x 400 cm.

1 February—29 February Elizabeth Gower

15 January–25 January Twenty Five 5 February–22 February Ballast

Stockroom Kyneton 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 stockroom.space Thurs and Fri 10.30am–5pm, Sat 11am–6pm, Sun 11am–5pm.

Closed Mon, Tues and Wed. 14 December 2019–5 January Animal Nation Stewart Cole, Christian Bishop, Katja 140

Akio Suzuki. Photo by Kiki Papadopoulou.

30 January–5 March Akio Suzuki – Retrospective Exhibition and Performance with Aki Onda and Guests Since 1963, celebrated Japanese sound artist Akio Suzuki has been creating aural events which have challenged and influenced countless artists in his wake. His guiding principles are those of ‘throwing’ and ‘following’ – from his earliest work in which he literally threw objects down

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

1 December 2019–27 January Open House: Tamworth Textile Triennial Celebrating the open-ended nature of textiles practice today. All of the partici-

VICTORIA pant artists’ works are linked with things outside of themselves and their studios.

Many celebrate the sense of belonging that comes from working with other artists; while others take on wide-ranging issues, such as the landscape and the environment, and the artist’s place in a world beset by environmental, social and cultural upheaval.

This exhibition has been developed

by Tamworth Regional Gallery and is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

TarraWarra Museum of Art 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 twma.com.au For public programs and events please visit twma.com.au.

Open Tue to Sun, 11am-5pm Open 7 days Boxing Day through to Australia Day. Admission fees: Adults $12, Seniors $10 and Concession $8. Free entry for children aged 12 and under.

The TarraWarra Museum of Art was the first privately funded, significant public visual arts museum to be set up under the Australian Government’s philanthropic measures announced in March 1999.

TWMA operates as a not-for-profit institution, with a charter to display Australian art from the second half of the twentieth century to the present day.

Ten Cubed 1489 Malvern Road, Glen Iris, VIC 3146 [Map 4] 03 9822 0833 tencubed.com.au Tue to Sat 10am–4pm.

Entry free.

Ten Cubed is an art experiment. Over ten years, we will collect in depth from an evolving top ten contemporary artists working in various media forms: sculpture, painting, video art, photography and more. Sometimes controversial, but always thought-provoking, these artists will be chosen for the aesthetic appeal and collectability of their works, and for their commitment to regular art production.

We want to share this rare opportunity to follow a hand-picked stable of emerging and established artists, represented by Australian and New Zealand galleries, as their works develop.

Pam Austerberry, Untitled.

TENCUBED presents The Symphony of Collection. Image courtesy of the artists and Ten Cubed.

31 January–1 March Reflecting Identity Four local artists, Pam Austerberry, Inta Blake, Graham Mathiske and Damien Thomas, explore through ceramics and paintings, the essence of identity. Through this journey of observation, a sense of self - that of the artist and subject is revealed.

3 February–28 February Regional Digitisation Roadshow Six public galleries in regional Victoria will make thousands of paintings, photographs and other works available to art lovers from across the globe as part of the Regional Digitisation Roadshow.

The Roadshow involves experts from the National Gallery of Victoria, conservators and digital photographers working in residence at each gallery to train and support staff in digitising items using photography and cutting-edge scanning technology.

A Creative Victoria funded project, the digitization Roadshow will see the photographing and scanning of the permanent collection over the four weeks in February.

This will be an opportunity for visitors to observe the process. Once digitised, the items will be accessible for all via the Victorian Collections website.

Robert Klippel, (Untitled), 1949, pen and brush and ink and gouache on paper, 30.8 x 23.4 cm. irreg. National Gallery of Victoria, Melbourne. Gift of James Mollison, 1981. © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented

by Annette Larkin Fine Art, Sydney and Galerie Gmurzynska, Zurich / Copyright Agency, 2019.

23 November 2019–16 February ASSEMBLED: The Art of Robert Klippel Arguably Australia’s most significant twentieth century sculptor, Robert Klippel (1920–2001) was driven by a dual fascination with the organic and the mechanical. Seeking to find what he described as the ‘interrelationship between the cogwheel and the bud’, he drew upon a deep understanding of nature and the man-made world of machines to develop a distinctive three-dimensional language.

While Robert Klippel’s work is well-known in his home-town of Sydney, this will be the first major exhibition to display this breadth of his work in Melbourne since the late 1980s.

4 February—1 March The Symphony of Collection: (2) Prismatic Rhythms Peter Atkins, Hiromi Tango, Daniel von Sturmer, Anne-Marie May, Alexander Knox, Tony Albert, Alasdair McLuckie, Kate Rohde.

To celebrate ten fabulous years of collecting, Ten Cubed presents The Symphony of Collection, a series of five exhibitions that brings together artworks in the Ten Cubed Collection. Viewing the act of collecting as an accumulative journey, each exhibition will be presented metaphorically as a ‘movement’.

Opening the 2020 exhibition calendar, Prismatic Rhythms brings together a vivid, eclectic and visually diverse display of works from the Ten Cubed Collection.

The exhibition will be looking at some basic art principles and the application of these principles across different mediums. Demonstrating the dynamic and diversity of the collection, the exhibition includes works from artists Peter Atkins, Hiromi Tango, Daniel von Sturmer, Anne-Marie May, Alexander Knox, Tony Albert, Alasdair McLuckie and Kate Rohde.

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Tinning Street Presents → Hannah Fox, Ventuno Giorni a Brescia, 2019, detail, oil on canvas, 21 x 28 cm each.

Tinning Street Presents 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] tinningstreetpresents.com Thur to Sun, 11am–5pm.

Tinning Street Presents is a space dedicated to showing a wide range of creative practices. Since opening in 2010, Tinning Street Presents has proudly shown artists from all disciplines and stages of career, keeping a constant but varied program that affirms the importance of art in the everyday.

23 January—9 February Città. Terra.

Hannah Fox Meaning – ‘Town. Earth’ – Paintings and ceramic works responding to place and environment from Hannah’s recent artist residency in northern Italy.

The Canning Room: In-between Alejandro Casas

Tolarno Galleries Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 tolarnogalleries.com Tue to Fri 10am–5pm, Sat 1pm–5pm.

Set against Melbourne’s undulating, quotidian movements, Alejandro distills the fragmentary and fleeting gestures of its population, its objects and its familiarity.

13 February—1 March Rock Bettina Willner-Browne and Virginia Cummins Cummins and Willner-Browne use photography and sculpture, respectively, to convey a symbiotic relationship with the natural world and to mark the passage of time. Pathways, totems and coral-like formations serve as monuments to memory and desire.

13 February—1 March The Canning Room: A mountain of fallen monuments Linda Studená

Virginia Cummins, Two steps forward, one step back, 2019, photogravure print with Chine Collé, 58 x 80 cm.

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A mountain of fallen monuments presents a series of collages combining drawing, photography and experimental camera-less processes. These works reference and appropriate shapes of public sculpture from former communist Czechoslovakia between 1969 and 1989, loosely termed as ‘normalisation’ abstraction. The collages aim to challenge the ideology of the style, opening new dialogues both personal and collective.

Ben Quilty, After the Pink Dress (Self Portrait), 2019, oil on linen, 265 x 202 cm.

8 February—7 March Ben Quilty An exhibition of new paintings.

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Town Hall Gallery 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 boroondara.vic.gov.au/arts Mon to Fri 10am–5pm, Sat and Sun 11am-4pm, closed public holidays.

From Art to Fashion shines a light on the process of making fashion, from the first illuminating designs to the final finished work. Ellen McKenna offers a unique stepby-step visual journey, showing painted canvas artworks, patterned fabric displays and sewn garments.

18 February—15 March Interplay Marina Floreancig, Cassandra Mastoris, Wirat Sukprem and Caroline Thew.

This group exhibition showcases the works of four artists who use painting as their preferred medium for creating art.

Each artist approaches paint application in a unique way, using drawing, composition, brushstrokes and pigment to create a variety of outcomes. Interplay features artworks created in both representational and abstract styles and traverses a broad range of subject matter.

Ema Shin, detail from Devoted Body, 2017, mixed media, 180 x 260 cm. Image courtesy of Tamworth Regional Gallery.

Photography by Oleksandr Pogorilyi.

1 February—15 March Open House: 3rd Tamworth Textile Triennial GhostNets Australia, Raquel Ormella and John Brooks, among others.

Open House: Tamworth Textile Triennial celebrates the open-ended nature of textiles practice today. All of the participant artists’ works are linked with things outside of themselves and their studios.

Many celebrate the sense of belonging that comes from working with other artists, while others take on wide-ranging issues, such as the landscape and the environment, and the artist’s place in a world beset by environmental, social and cultural upheaval.

Vivien Anderson Gallery Ground Floor, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 4] vivienandersongallery.com 03 8598 9657 Tue to Fri 11am–5pm, Sat 12noon–4pm.

Town Hall Gallery – Community Exhibitions:



David Chen, Last Lights, oil.

2 January–24 January Summer Workshops We have a range of workshops running over summer as follows: Plein air Watercolour with Mike Kowalski, 2 January–5 January. Oil portraiture with Lee Machelak, 6 January– 10 January. Digital art with Richard Impey, 14 January–15 January. Oil Figure painting with Gregory Smith, 16 January –17 January. Impressionism with Ben Winspear, 18 January–19 January.

Oil painting with David Chen, 20 January –24 January. Figure drawing with Alice Palmer, 25 January–26 January.

Watercolour with David Taylor, 27 January–30 January.

3 February Art Classes The Victorian Artists Society has a unique art school situated in one of the oldest studios in Melbourne, where many eminent artists have painted in the past. We have daytime, evening and weekend classes that suit all ability levels. Our teachers are highly regarded in their specific mediums and well respected for their own training and experience. All classes are kept small to allow one-on-one time with the teacher. We offer 18 different classes including oil, watercolour, pastel, acrylic, gouache, drawing and sculpture.

For detailed information and bookings, visit our website.

Keith Stevens, Piltati, 2019, synthetic polymer paint on canvas, 200 x 200 cm.

15 February–7 March Piltati: in association with Tjungu Palya SA Keith Stevens

5 February–18 February Rhythm, Pattern and Colour An exhibition of pastel works by Kristin Parkinson.

The Victorian Artists Society

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 victorianartistssociety.com.au Mon to Fri 10am–4pm, Sat to Sun 1pm–4pm.

Free entry.

Marina Floreancig, Strata 1, 2019, mixed-media on canvas paper, 50 x 40 cm.

Image courtesy of the artist.

21 January­—16 February From Art to Fashion Ellen McKenna

The Victorian Artists’ Society is a society for art practitioners and lovers.

Our members are made up of people ranging from new artists right through to very accomplished and awarded artists.

Our network is large and far reaching.

We are very proud of our historical roots and past.

Jennifer Fyfe, Bringing in the Catch, oil on linen.

19 February–3 March From this Moment An exhibition of recent works by Angela Abbott, Maggie Cowling, Margaret Cowling and Jennifer Fyfe.

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Image credit: Wyndham Art Prize 2019 Winner Welcome to Country by wĂŁni (video still)

Wyndham Art Prize 2020 Call for Entries

$12,000 Non-Acquisitive Prize $ 2 , 5 0 0 P e o p l e ’s C h o i c e Aw a r d

Entries close Fri 28 Feb

for more information visit w y n d h a m . v i c . g o v. a u / w y n d h a m a r t p r i z e

Wyndham Art Gallery Great Art. Deep West.

177 Watton St, Werribee Vic

#deepwest wyndham.vic.gov.au/arts

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Walker Street Gallery and Arts Centre Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 greaterdandenong.com Tue to Fri, 11am–5pm and Sat, 11am–3pm during exhibitions and events (closed public holidays).

The Walker Street Gallery and Arts Centre is the City of Greater Dandenong’s home of the arts. It celebrates and enhances our great city with its diverse range of exhibitions, artist talks and monthly openings and brings energy and vibrancy to the arts with a contemporary flavor. We host an exciting range of high quality and diverse exhibitions from leading Australian artists. Funded by the City of Greater Dandenong, this facility is open and free to the public.

Martin has been constantly inspired by his surrounds, from the everyday object to the universe.

Wangaratta Art Gallery

where or how they are excelling in their surrounds through activity, ability and belief. Through research and discussion with each subject, every photo was composed and shot in full consultation to create the images presented in this solo exhibition.

56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 wangarattaartgallery.com.au Wangaratta Art Gallery is a cultural service of the Rural City of Wangaratta. Tue to Sun 10am–4pm.

Established in 1987 the Rural City of Wangaratta’s unique regional art gallery is housed in a striking heritage building located in the arts precinct, a short walk from the CBD. The Gallery collects textile art, small sculpture, wood, and significant works of art from, and about the north east of Victoria region. It also collects works of art by state and national artists of significance.

13 November 2019–28 January Prints Elisabeth Cummings

Hung Lin, Vintage Artefacts, 2019.

12 November 2019—31 January Benga House, Heritage Hill Museum and Historic Gardens: Tea and Tricycles Hung Lin Through drawings and photographs, artist Hung Lin evokes stories and moments from Dandenong’s heritage. Hung has created a series of works responding to items in the City of Greater Dandenong’s heritage collection, including homewares, children’s toys and sporting equipment.

Martin Heatherich, The Cave Hill Quarry, 1989, oil on canvas.

16 January—22 February Gallery One and Two: 65 years of making art Martin Heatherich This is a survey exhibition of Martin Heatherich’s works from his early paintings as a young man living in Holland through to his most recent works, including painting, sculpture and installations, made in Melbourne. Over a period of 65 years,

In collaboration with King Street Gallery on William, Sydney, Wangaratta Art Gallery presents a suite of limited edition prints by Australian artist Elisabeth Cummings. Landscapes and interiors are a predominate influence in the artist’s work and this suite of prints highlight the vastness of the Australian landscape and the intimacy of her immediate environment.

21 December 2019–16 February Hearts and minds: wartime propaganda An Australian War Memorial Touring Exhibition.

Propaganda has been used to influence audiences for as long as recorded history.

By presenting facts selectively and using loaded language to provoke emotional reactions rather than rational responses, it seeks to promote the agenda of a particular group.

Posters were an ideal means of communicating propaganda: impermanent yet public, they were designed to be noticed, and could be printed and distributed quickly in large numbers. The Australian War Memorial holds a large collection of wartime posters from government– issued campaign posters to handmade posters protesting the war in Vietnam.

Hearts and minds: wartime propaganda introduces this collection, featuring home-front propaganda from the First and Second World Wars.

6 February–27 March Nat Ord : Rise Rise! surveys ten inspirational and forging women, through portrait and story, from our local North East and Border Murray region. Standing tall in vast and varied fields from community service and environment to sport and entertainment, these women have pushed boundaries and paved ways in their quest for voice, recognition and success.

Each portrait has been captured in the environment of the ‘sitter’, to show

Louise Meuwissen and Glenn Barkley, Blossom shirt, 2018, Worn King Gee cotton shirt, glazed earthenware ceramic, glass, plastic, pearls, moonstone, rose quartz, brass, acrylic, synthetic felt, glitter foam, wool, cotton, nylon, polyester, dye, Image courtesy of the artists, Niagara Galleries, Sullivan + Strumpf.

Photo credit, Isabelle Gander.

22 February–12 April The Fun Room Hannah Gartside, Louise Meuwissen, Glen Barkley and others.

The Fun Room presents a selection of contemporary practicing Australian artists that create provoking works with a presence of fun. The show is a collection of vibrant contemporary artworks that initially appear as light hearted, colourful dynamic works, but where the artists are often investigating deeper running themes of concern.

29 February–5 April Maker’s Hand Tricia Flanagan An exclusive showing of Maker’s Hand from artist Tricia Flanagan. This exhibition has never been shown to Australian audiences. A combination of two projects, Flanagan explores the increasingly digitised manufacturing of manual skills and traditional crafts. It invites viewers to pause for reflection, to consider the risks of what might be lost to future generations who are in danger of losing touch with the essential core of humanity, making by hand.

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West End Art Space 137 Adderley Street, West Melbourne, VIC 3003 [Map 5] 0415 243 917 westendartspace.com.au Wed to Sat 11am–4pm, other times by appointment.

18 December 2019–30 January West End Artists Summer Salon

30 January–29 February A 50 Year Journey Professor Chijian Ye After completing his studies at Guangzhou Academy of Fine Arts, Whitehorse artist Professor Ye has worked prolifically to create a tremendous body of work that includes ceramics, silk and oil paintings.

Bear witness to his love of both Guangzhou and Melbourne, developed across a 50 year career and on display in A 50 Year Journey.

Wyndham Art Gallery 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 wyndham.vic.gov.au/arts Mon to Fri 9am–5pm, Sat to Sun 11am–4pm. Free admission.

Peter Waples-Crowe, Self Portrait – ngurran. activists; young Queer mob who challenge gender identifying language and norms. Opening Wednesday 6 February, 6.30pm–8.30pm.

Yering Station Art Gallery 38 Melba Highway, Yarra Glen, 3775 [Map 4] 03 9730 0102 yering.com Mon to Fri 10am–5pm, Sat and Sun 10am–6pm

Wendy Kelly, R A I N (evening), 2004, mixed media on board, 183 x 122 cm.

7 February–29 February Imber (Rain Series) Wendy Kelly Imber (Latin for rain) is a series of paintings Kelly has worked on since 2004.

These haven’t been shown in Victoria, they are quite a large size and have evolved through the years.

Whitehorse Artspace Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 whitehorseartspace.com.au Tue to Fri 10am–4pm, Sat noon– 4pm. Closed until 30 January.

Leilani Fuimaono, The Empress.

27 November 2019–31 January VISABILITY A celebration of identities, minds and bodies as artists who identify as having a disability make the invisible and marginalised, visible. The exhibition asks the audience to consider how values, assumptions and falsehoods embedded in our culture and systems discriminate against people with disability - and what might be possible when those assumptions are challenged. Featuring artists Jasmin Âû, Ibby Ibrahim, Annie Moors, Ngino Amum, Ruby Allegra, Dawn Irish Dangkomen, Leilani Fuimaono, Mereani Qalovakawasa and morag 17 undulating roses. Guest curated by Hannah Morphy-Walsh and Pauline Vetuna.

6 February–8 March OUT IS OUT Alison Bennett, Susan Maco Forrester, David Sequira, Peter Waples-Crowe and invited guests.

Chijian Ye, Blue Birds, 2016, silk dyes on silk, 72 x 72 cm.

Examining the generation gap in queer politics, exhibiting work by people who paved the way for LGBTIQ self-expression and freedom and a new generation of

Marisa Avano, Desert Lands, acrylic on canvas, 122 x 91.5 cm.

8 January–16 February Journey to Essence Marisa Avano

Antonio Villella, Fossil, fruitwood, paint, shellac, 140 x 50 cm.

19 February—29 March Harmonious Equilibriums Antonio Villella 147

A–Z Exhibitions

JANUARY/FEBRUARY 2020

New South Wales

Trafalgar 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 love’? Curated by Sophia Cai, the works in the exhibition explore a range of topics including intimacy, self-expression, vulnerability, identity and desire.

16albermarle 16 Albermarle Street, Newtown, NSW 2017 [Map 7] 02 9550 4180 or 0433 020 237 16albermarle.com Thu to Sat 11am-–pm by appointment only.

Artereal 747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 artereal.com.au Wed to Sat 11am–5pm.

16albermarle is a project space showcasing a range of international and Australian art within a domestic space in inner-city Sydney.

For more than 13 years Artereal has been known for showcasing the work of rare, expansive, and illuminating artists at the cutting edge of contemporary art practice. With a strong stable of emerging, established and significant multidisciplinary artists, the Artereal Gallery program represents a vivid cross-section of contemporary Australian and international art.

Paula Schaafhausen, Ebbing Tagaloa (detail), Installation documentation from Elam School of Fine Art, Auckland. Image courtesy of the artist, 4A Centre for Contemporary Asian Art and UNSW Galleries.

Dias Prabu, The culture keepers, detail, 2019, batik on cotton, 300 x 150 cm.

29 February–28 March 16albermarle and KULTURA Projects present: Exhibition 2: Myth lines and Memories: new batiks by Dias Prabu Opened by Tom Tandio, 29 February, 4pm.

Artist talk 29 February, 2pm.

but rather a connected waterscape that holds distinct and diverse cultures and communities. Through art, performance and conversation, the project celebrates the depth and diversity of contemporary visual and material culture throughout these regions, placing customary practices alongside contemporary articulations in art, writing and the moving image.

Artbank 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 artbank.gov.au Gallery: Mon to Fri 9am–5pm Art leasing: Mon to Fri 9am–5pm by appointment.

Yioryios Papayioryiou, CHROMA 10 Cobalt Blue, 2019, aluminium, automotive paint and synthetic polymer, 48 x 69 x 44 cm.

5 February—29 February CHROMA / XPΩ MA Part 3 Yioryios Papayioryiou Opening Wednesday 5 February, 6pm–8pm.

4A Centre for Contemporary Asian Art 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 4a.com.au Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm.

17 January–29 March Wansolwara: One Salt Water Exhibited across both 4A (17 January– 29 March) and UNSW Galleries (17 January–18 April).

Exhibiting artists at 4A: Terry Faleono, Rebecca Ann Hobbs, Paula Schaafhausen and Vaimaila Urale.

A series of exhibitions, performances and events from across the Pacific and throughout the Great Ocean. Wansolwara – a pidgin word from the Solomon Islands meaning ‘one-salt-water’ or ‘one ocean, one people’ – reflects not a single ocean,

Tori Ferguson, lungs and heart, 2011, cotton embroidery on cotton handkerchief, 44 x 44 cm. Artbank Collection.

28 November 2019–14 February The Four Letter Word An outcome of Artbank’s emerging curators program and brings together artworks from the Artbank collection as well as a number of select loans that examine the age-old question – ‘what is

Kenneth Lambert, Hemispheres, 2019, celloluse and silica particles, 40 x 35 x 25 cm.

5 February—29 February Incandescent Bloom Kenneth Lambert Opening Wednesday 5 February, 6pm–8pm.

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Art Gallery of New South Wales → Takashi Murakami, In the Land of the Dead, Stepping on the Tail of a Rainbow, 2014, detail. The Broad Art Foundation, Los Angeles © 2014 Takashi Murakami/Kaikai Kiki Co, Ltd. All Rights Reserved. Photo: courtesy of Kaikai Kiki.

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

Discover this wildly imaginative realm through more than 180 works from historical master Katsushika Hokusai through to contemporary superstar Takashi Murakami.

Until 8 March Dora Ohlfsen and the facade commission Discover the 100-year-old story of the Gallery’s unfinished façade. Meet the unsung artist originally invited to make a sculpture for above the entrance doors and explore six contemporary creative proposals for the space.

15 June 2019–December In one drop of water Explores the significance of water in Asian art through a range of works from the Gallery’s collection.

Arthouse Gallery

Ben Quilty, Self-portrait after Afghanistan, 2012. Private collection, Sydney © Ben Quilty.

66 McLachlan Avenue, Rushcutters Bay, NSW 2011 [Map 10] 02 9332 1019 arthousegallery.com.au

Until 2 February Quilty

Be spirited away to the fascinating world of Japan supernatural, an extraordinary exhibition revealing three centuries of folklore and fantasy in Japanese art.

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With a strong curatorial approach to current contemporary visual arts practice, Artsite’s diverse and innovative exhibition program places a strong focus on local emerging and early to mid-career artists. Housed in a classic 1940 art deco warehouse, Artsite Galleries offers two large purpose designed, well-lit exhibition galleries , plus a browsing stockroom gallery of selected work from our represented and associate artists.

Artspace 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] artspace.org.au Tue to Fri 11am–5pm, Sat and Sun 11am–6pm.

Presented by Artspace and Sydney Festival . Opening 16 January, 6pm.

7 September 2019–16 February Making art public: 50 years of Kaldor Public Art Projects

2 November 2019–8 March Japan supernatural

165 Salisbury Road, Corner St Marys Street, Camperdown, NSW 2050 02 8095 9678 [Map 7] artsite.com.au Wed to Sun 11am–5pm during exhibitions, or by appointment.

16 January—23 February Reclamation Taloi Havini

The first major survey exhibition in a decade of one of Australia’s most acclaimed contemporary artists.

Celebrates one of the world’s most ambitious public art initiatives and revisits some of the most iconic large-scale artworks to have been presented in Australia.

Artsite Galleries

Kiata Mason, Romantic grunge, acrylic on canvas, 122 x 183 cm.

14 January–8 February Summer Arthouse Gallery Group Show.

13 February–29 February The Artist’s Table Kiata Mason

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

NEW S OUTH WALES 6 December 2019—18 January The Moree Portrait Prize

Alexandra Karnasopoulos, Untitled, 2018.

Courtesy of the artist.

David Cubby, 100 Year old lady in a 400 year old hakka village, Fujian Mountains, China PR, 2003, digital photograph.

14 December 2019–25 January Photostart 2019: annual ACP Workshop exhibition Various artists

Artists are given the opportunity to compete and display their portraiture artwork in a professional art museum and develop their practice with feedback from our expert judge. This year the Moree Portrait Prize pool grew to $3500, awarded to artists of all ages, living and working throughout Australia. Visit in the New Year to vote for your People’s Choice before the third instalment of the Moree Portrait Prize wraps up. Budding and professional artists are encouraged to begin planning their own entry for the 2020 intake of Moree Portrait Prize in November 2020.

22 January–9 February Everyday Dignity; Between the village and the metropolis of modernised China David Cubby In partnership with Australia-China Institute for Arts and Culture, Willoughby City Council presents an exhibition of photography by David Cubby to celebrate Lunar New Year 2020. His photographs feature ordinary people from all corners of China, and document the recent historical shift of people migrating from the village to the metropolis.

Ross Manning, Dissonant Rhythms, installation view, Institute of Modern Art, 2017. Photograph by Carl Warner.

24 January—14 March Ross Manning: Dissonant Rhythms

12 February–23 February Abundance; Legend of the Koi at Dragons Gate Katrina Read The exhibition show cases the launch of new series of paintings that form part of the ongoing Prosperity Collection. An established fine art collection by Internationally recognised artist Katrina Read.

Martine Gutierrez, Body En Thrall, p.113 from Indigenous woman series, 2018.

Courtesy of the artist and Ryan Lee Gallery, New York.

7 February–4 April Body En Thrall Martine Gutierrez

Bank Art Museum Moree (BAMM) John-Paul Shahady, Hypnogogia, 2019, photomedia.

26 February–22 March Smart Expressions 2019

25 Frome Street, Moree, NSW 2400 [Map 12] bamm.org.au 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm, Sun closed.

Spanning the past decade of Manning’s practice, Dissonant Rhythms was originally presented at the Institute of Modern Art (IMA) and has now been reconfigured to tour across Australia. Dissonant Rhythms is curated by Aileen Burns, Johan Lundh, and Madeleine King.

Bathurst Regional Art Gallery 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 bathurstart.com.au Tue to Sat 10am–5pm, Sun and public holidays 11am–2pm

Willoughby City Council presents an exhibition of student artworks selected from the 2018 NSW HSC practical examination in Visual Arts from students who attended five local high schools: Chatswood High School, Glenaeon Rudolf Steiner, Mercy Catholic College, St Pius X College and Willoughby Girls High School.

6 December 2019–2 February Void Pepai Jangala Carroll, Dr Thancoupie Gloria Fletcher AO, Jonathan Jones, Mabel Juli, John Mawurndjul, Hayley Millar-Baker, Doreen Reid Nakamarra, Rusty Peters, Andy Snelgar, Freddie Timms, Mick Namarari Tjapaltjarri, James Tylor, Jennifer Wurrkidj and Josephine Wurrkidj.

The Australian Centre for Photography 21 Foley Street, Darlinghurst, NSW 2010 [Map 9] 02 9332 0555 acp.org.au Tue to Fri 10am–5pm, Sat 11am– 4pm, closed pub hols.

Dissonant Rhythms is Brisbane-based artist and musician Ross Manning’s first-ever survey exhibition. Best known for his use of everyday materials, Manning’s exhibition features sculptures that repurpose ceiling fans, fluorescent tubes, and overhead projectors. Propelled by electricity and their own kinetic forces, Manning’s work engulfs the entirety of the spaces they exist in, capturing viewers in mesmerising experiences with light and sound.

Amy Canfield, Dreaming to meet you, 2018, detail. Winner of the Moree Portrait Prize 2018.

An exhibition curated by Emily McDaniel, in conjunction with UTS Gallery and Bathurst Regional Art Gallery, presented 151

16 November 2019—8 February Weapons for the Soldier Protection Country, culture & family

Bathurst Regional Art Gallery continued...

Still from Backyard Bila. nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program 6 December 2019–2 February Gunhigal Nguambang Wiradyuri Mayiny (Plains Country Wiradyuri People) An exhibition of works by students from ten public schools in the Bathurst region who participated in the Home program.

The Home Program is a series of workshops, virtual excursions and embedded framework in schools looking at Aboriginal art, culture and language. The Home Program is a partnership between Wiradjuri community, Wagga Wagga Art Gallery, NSW Department of Education and the Art Gallery of NSW and connects schools to local Aboriginal artists, community, language and culture.

Backyard Bila Take a deep dive into Wiradyuri art, culture and language with this fun interactive art piece. Audiences of all ages can decorate their own design of local fish, yabby or platypus and watch it come to life. A BRAG Make Space Project designed

by Joel Tonks in collaboration with the Wiradyuri Elders and Traditional Owners from Gunhigal Mayiny WIradyuri Dyilang Enterprise.

Canis Lupus Familiaris Louise Kerr “The world would be a nicer place if everyone had the ability to love as unconditionally as a dog.” – Agatha Christie Blue Mountain-based sculptor Louise Kerr playfully explores the ancient relationship between humans and dogs, a bond that can be traced back thousands of years, most notably with the discovery in 1914 of the Bonn-Oberkassel dog buried alongside two humans.

Drawing inspiration from Papua New Guinean and African sculpture, Kerr uses the coil-basket technique to create three-dimensional dogs that are painted and enhanced with very fine twine and clay. The resulting idiosyncratic creatures impart her personal perspective within the rich history of our relationship with dogs, both domestic and wild. Kerr has been exhibiting since 1979, after completing a Diploma of Visual Arts at Alexander Mackie College of Advanced Education.

She is represented by King Street Gallery on William, Sydney.

7 February–22 March Marion Hall Best: Interiors Focusing on the professional career of Marion Hall Best (1905–1988), this 152

A room for Mary Quant, display room designed by Marion Best, 1967. Caroline Simpson Library & Research Collection, Sydney Living Museums. Photo © Estate of Mary White. exhibition explores one of the first independent interior designers in Australia and ultimately one of the most influential.

Best’s career spanned four decades from the mid–1930s, a period of transition from the department store decorators and art furnishers of the 1920s, to the independent professional designers of today. A travelling exhibition from Sydney Living Museums.

The Golden Days Paul Davies Australian-born, Los Angeles-based artist whose work is driven by friction between opposing forces of built and natural environments, design and art, abstraction and figuration. These boundaries and relationships are illustrated through Davies’ process, which combines painting, stencilling, photography and sculpture.

The Golden Days reflects on the connection between Los Angeles, California, and Hill End, NSW, through an exploration of landscape and notions of ‘gold rush’ in the context of historical and present day meaning. A Bathurst Regional Art Gallery exhibition with Olsen Gallery, Sydney.

Bega Valley Regional Gallery Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 gallery.begavalley.nsw.gov.au Mon to Sat 10am–4pm.

APY Lands Artists: Alec Baker, Eric Barney, Willy Kaika Burton, Pepai Jangala Carroll, Taylor Cooper, Sammy Dodd, Witjiti George, Rupert Jack, Kunmanara (Brenton) Ken, Ray Ken, Hector Mitakiki, Junior Mitakiki, Kamarin Mitakiki, Kunmanara (Willy Muntjantji) Martin, Peter Mungkuri, Vincent Namatjira, Kunmanara (Jimmy) Pompey, Keith Stevens, Derek Jungarrayi Thompson, Thomas Ilytjari Tjilya, Bernard Tjalkuri, Ginger Wikilyiri, Mick Wikilyiri, Mumu Mike Williams, Anwar Young, Frank Young, Kamurin Young and Young men of Amata.

Invited Artists: Abdul Abdullah, Tony Albert, Brook Andrew, Lionel Bawden, George Gittoes, Shaun Gladwell, Richard Lewer, Uncle Charles ‘Chicka’ Madden and Jonathan Jones, Danie Mellor, Steaphan Paton, Ben Quilty, Reko Rennie, Greg Semu amd Alex Seton.

A groundbreaking exhibition initiated by the young men of the APY Lands, bringing together Indigenous and non-Indigenous Australian artists to examine complex themes of weaponry, warfare, and protecting land and Country. Touring from the Hazelhurst Arts Centre.

14 February—2 May Craftivism. Dissident Objects and Subversive Forms Presenting the work of 18 contemporary Australian artists who utilise craft based materialities with a political intent. Broadening our understanding of craft-making traditions, the artists in this exhibition subvert and extend these forms into the realm of activism and social change, reflecting on the world in which we live.

While some respond directly to artistic or political movements, others encourage social connection between community members or require participatory activation through collective processes.

Drawing on a long historical lineage, Craftivism. Dissident Objects and Subversive Forms enables viewers to rethink craft in a new light.

Artists: Catherine Bell, Karen Black, Penny Byrne, Erub Arts, Debris Facility, Starlie Geikie, Michelle Hamer, Kate Just, Deborah Kelly, Ramesh Mario Nithiyendran, Raquel Ormella, Kate Rohde, Slow Art Collective, Tai Snaith, Hiromi Tango, James Tylor, Jemima Wyman and Paul Yore.

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

Tony Albert, Australia’s Most Wanted with a Paint Brush, 100 x 100 cm.

Courtesy of the artist and Sullivan & Strumpf, Sydney.

This summer The Leo Kelly Blacktown Arts Centre are offering a range of engaging and creative workshops with artists for everyone – children, families and adults. Drop in and join artist Patrice Wills every Wednesday and Saturday at Leo Kelly Blacktown Arts Centre.

NEW S OUTH WALES Wed 15 January, Drawing and Painting

Broken Hill Regional Art Gallery

Sat 18 January, Young Artists Workshop Wed 22 January, Drawing and Painting

404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 brokenhill.nsw.gov.au

Sat 25 January, Drawing and Painting Wed 29 January, Drawing and Painting Sat 1 February, Young Artists Workshop Children 12 years and under require a parent/care giver present.

Opened in 1904 Broken Hill Regional Art Gallery is the oldest regional gallery in New South Wales. The beautifully restored emporium displays a selection of works from the City of Broken Hill’s art collection and a quality program of temporary exhibitions by local, state and national artists along with touring exhibitions. The exhibition program also includes the Gallery’s annual acquisitive award, the Pro Hart Outback Art Prize.

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

Admission fees apply.

Blue Mountains Portraits People’s Choice Winner 2019: Mathew Lynn, Aunty Mary King (study), 2010, conte crayon on brown paper, 127 x 91 cm. broad range of styles and media such as painting, photography, drawing, collage and mixed media will be exhibited together with a selection of local students’ work.

National Photographic Portrait Prize 2019 A National Portrait Gallery exhibition.

Boomalli Aboriginal Artists Cooperative 55-59 Flood Street, Leichhardt, NSW 2040 [Map 7] 02 9560 2541 boomalli.com.au Wed to Sun 11am–4pm. Closed until 15 January.

John Mawurndjul, Ngalyod, 2012, earth pigments on Stringybark (Eucalyptus tetrodonta), Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2015 © John Mawurndjul / Copyright Agency, 2019, photograph: Jessica Maurer.

Hayley Millar-Baker, Untitled (The best means, of caring for, and dealing with them in the future), inkjet, 80 x 100 cm.

28 November 2019—23 February The Real World Stewart McFarlane

7 December 2019–19 January John Mawurndjul: I am the old and the new Organised and toured by the Museum of Contemporary Art Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

AridDrawn Susan Severino The Truth of What Occurred Remains Tracey Moffatt and Hayley Millar-Baker

Obsessed: Compelled to make ADC On Tour: An Australian Design Centre national touring exhibition.

25 January–22 March Blue Mountains Portraits The Cultural Centre’s annual celebration of the local community and its diverse members. Over forty artworks in a

Stewart MacFarlane, The Long Road (self), oil on canvas, 153 x 122 cm.

HSC Showcase Hayley Pigram, Nature Spirit Weeping, Linocut print.

20 February–12 April Boomalli’s Mardi Gras exhibition Curated by Hayley Pigram Opening Thursday 20 February, 6pm–8 pm.

28 February—3 May 2020 MMIAA (Maari Ma Indigenous Art Awards) Jesse Boyd-Reid Paul White George Raftopoulos 153

Ephe-mortality Exhibition by Simon Brown Opening November 21, 6 - 8pm

gaffa emerging art, craft & design

www.gaffa.com.au (02) 9283 4273 281 Clarence st. Syney CBD 2000 Mon-Fri 10am-6pm. Sat 11am-5pm.

Realistic to Abstract 12 February to 1 March 2020

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Opening event Saturday, 15 February from 4pm–6pm.

Wednesdays to Sundays 10am–4pm.

Gunnel Watkins, Tipping Point

Belinda Piggott, Constructs

Artists from the Sculptors Society exhibit sculptures in a variety of media.

NEW S OUTH WALES

Campbelltown Arts Centre → Vernon Ah Kee, The Island, 2018, still, detail, three channel digital video. Image courtesy of the artist and Milani Gallery.

Campbelltown Arts Centre 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 c-a-c.com.au Open daily 10am–4pm.

2 January–23 February The Island Vernon Ah Kee Spanning almost two decades, The Island profiles Ah Kee’s brilliantly diverse practice in full.

16 January–18 January She Conjured the Clouds Justene Williams A glowing, vibrating, technicolour journey of the senses by internationally acclaimed artist Justene Williams.

Casula Powerhouse Arts Centre 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 casulapowerhouse.com Mon to Fri, 9am–5pm, weekends, 9am–4pm.

23 November 2019–25 January 28th Annual Mil-Pra AECG Exhibition This annual exhibition and art prize celebrates the significance of Aboriginal and Torres Strait Islander culture in our region and beyond. Presented at Casula Powerhouse Arts Centre, the 28th Annual Mil-Pra AECG Exhibition will feature an exciting variety of artworks, from painting to ceramics and sculptural pieces by Aboriginal and Torres Strait Islander artists of all ages living in both NSW and the ACT.

Hedar Abadi, Intimacy, 2018 major prize winner Liverpool Art Society Exhibition.

7 December 2019–9 February 22nd Annual Liverpool Art Society Exhibition Liverpool Art Society and Casula Powerhouse Arts Centre are proud to present the 22nd Annual Liverpool Art Society Exhibition. The annual Liverpool Art Society exhibition, presented at Casula Powerhouse since 1998, promotes and celebrates the creative talent of our region. This year the exhibition will feature an array of artworks from painting, ceramics, sculpture and photography from Liverpool Art Society members of all ages.

Cement Fondu 36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 hello@cementfondu.org cementfondu.org Thur to Sun 11am–5pm.

23 January–23 February 2020 An Appropriate Reaction Tabita Rezaire, Sezzo, Hannah Brontë, Black Birds and EME Saturday 1 February, 6pm–8pm Sezzo Ngāti Kangaru (Māori in Australia) Saturday 8 February, 6pm–9pm FEMPRE$$ Moon Tides Hannah Brontë

Black Birds, Stelly G, image by Tane Cavu.

Saturday 15 February, 6pm–8pm Our Visions Begin with Our Desires Black Birds

Coffs Harbour Regional Gallery Cnr Coff and Duke Streets, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4863 coffsharbour.nsw.gov.au/gallery Tue to Sat 10am–4pm.

Closed Sun and Mon. 6 December 2019—1 February The Overwintering Project A multidisciplinary, environmental art project that brings together artists, local high school students, scientists, birders and poets to address environmental impacts on migratory shorebirds and their habitats, including special places here on the Coffs Coast.

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KEN DONE

Rocks, 2019, oil and acrylic on linen, 112 x 82cm.

1 Hickson Road, The Rocks, Sydney, tel 8274 4599, www.kendone.com

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NEW S OUTH WALES Coffs Harbour Regional Gallery continued...

Cooee Art Gallery

Darren Knight Gallery

14 February—18 April An Artist’s Garden Terri Butterworth and Guy Gilmour.

326 Oxford Street, Paddington, NSW 2021 [Map 10] 02 8057 6789 31 Lamrock Avenue,

840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 darrenknightgallery.com Tue to Sat 10am–5pm.

Presenting work by two of the Coffs Coast’s most established and respected painters: one abstract, one figurative.

Founded in a strong, personal sense of place, these artists view the Orara Valley’s bush and pastoral landscapes through two distinct lenses.

Bondi Beach, 2026 [Map 7] 02 9300 9233 

1 February–29 February Charlie Sofo and Mary MacDougall 1 February–29 February Sam Petersen

Cowra Regional Art Gallery 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 cowraartgallery.com.au Admission free. Tue to Sat, 10am–4pm, Sun 2pm–4pm.

Defiance Gallery 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 defiancegallery.com Directors: Campbell RobertsonSwann and Lauren Harvey.

Wed to Sat 11am–5pm.

Jorna Newberry, Walpa (Wind Dreaminng), 2019, synthetic polymer paint on Belgian linen, 101 x 110 cm.

14 December 2019–11 January Jorna Newberry

Wendy Sharpe, Erskineville Train Station, 2018, oil on canvas, 145 x 182 cm. Winner - Calleen Art Award 2019.

Until 9 February The Calleen Collection 1977–2019

Ann Thomson and Joe Furlonger, Sanbao, painting on ceramics.

The Calleen Collection was established in 1977 together with the acquisitive Calleen Art Award by arts patron Mrs Patricia Fagan OAM. The collection consists primarily of paintings by Australian artists and is the foundation collection of the Cowra Regional Art Gallery, established in 2000. Artists include Mandy Martin, Meg Buchanan, David Fairburn, Martin Coyte, Rowen Matthews, Peter Gardiner, Claire Martin, Gladdy Kemarre, Zai Kuang, Brian Robinson and Wendy Sharp.

12 February—5 March Ground floor: Sanbao Ann Thomson and Joe Furlonger Opening 9 February.

9 February—15 March Behind the Lines: The Year’s Best Political Cartoons 2019 Celebrating another year in Australia’s unique, vibrant and fearless tradition of political cartooning. No politician, party or policy is safe from the nation’s best cartoonists; witty, powerful or ribald, their images offer an astutely observed journey through twelve months in our political life.

Genevieve Kemarr Loy, Bush turkey dreaming, synthetic polymer paint on Belgian linen, 200 x 120 cm.

16 January–8 February Genevieve Kemarr Loy

CALLEEN ART AWARD 2020 The Cowra Regional Art Gallery wishes to inform artists that the CALLEEN ART AWARD 2020 acquisitive prize for painting will take place from 4 October to 15 November 2020. Entry forms will be available at the Gallery website www.cowraartgallery.com.au or sent by post from mid March 2020. Entries for the CALLEEN ART AWARD 2020 close 22 July 2020. For more information telephone: (02) 6340 2190/92.

The Cross Art Projects 8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 crossart.com.au Thur to Sat, 11am–6pm.

By appointment .

Roy Jackson, 76 x 57 cm.

11 March—2 April First floor: Works on Paper Roy Jackson Opening 8 March, 11am–2pm.

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

9 January—20 January Out of Focus Xiuwenbo Wang 23 January—3 February Graduate Exhibition Selected graduates from ANU, NAS, SCA, UNSW and UTS. 26 Views of Uluru Alex Byrne Fashion Show Kate Dunn 6 February—17 February Re-Representation Tara McIntosh, Steve Starr, Elizabeth Creixell, Elizabeth Lewis, Daniel Press, Bijanka Bacic and Angélique McLoughlin.

Stressed Gabrielle Chaloner Porcelain Wearabilia Pauna Dumitrescu 20 February—2 March Noztalgia Anke Stacker, Mark Penny, Shawn Sjinstra and Lynn Smith.

Chelsea Lehmann, Wormhole, 2019, oil on linen, 95 x 85 cm.

6 February—22 February Persona Chelsea Lehmann By appointment 30 January–4 February.

Galerie pompom 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 galeriepompom.com Weds to Sat 11am–5pm, Sun 1pm–5pm.

5 February–1 March Vicky Browne 5 February–1 March Luke Pither

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

A Drug Called Life Robert Pegrum Solitude and Joy Diana Chew Line of Thought Chris Ross Fool Me Once Corrie Diamond

Fox Jensen Gallery Exhibition Space Corner, Hampden Street and Cecil Lane, Paddington, NSW 2021 [Map 10] Sydney: 23a Roylston Street, Paddington, NSW 2021 02 8084 4298 foxjensengallery.com Wed to Sat, 12noon–5pm.

Kirtika Kain, 5, silkscreened pigment and parrafin wax on japanese rice paper, 2017. Winning entry, 2017 Lloyd Rees Youth Art Award.

Chris Clements, Prickly Pear – Midnight, 2019, oil on canvas, 49 x 49 cm.

5 March—21 March Chris Clements

6 December 2019–18 January 2019 Lloyd Rees Youth Art Award

By appointment 28 February–3 March.

An exhibition of winners and entries for the 2019 Lloyd Rees Youth Art Award in the categories of painting, drawing and printmaking. The biennial award is a national prize for 18-30 year old emerging artists. It was established in 1981 to promote and support talented young emerging artists initiated by the Lane Cove community in honour of its longterm resident and eminent artist Dr Lloyd Rees.

Gaffa Gallery 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 gaffa.com.au An independent creative precinct, artist-run in attitude and execution. Mon to Fri, 10am–6pm, Sat 11am–5pm.

Closed Sun and pub hols.

9 January—20 January Exhibition by the Kashmiri Youth Collective

Lawrence Carroll, Untitled, 2014–17, oil, wax, house paint, plastic flowers, canvas and fabric on wood , 64.5 x 47.5 x 7 cm.

Love Bird Maricelle Olivier

8 February–21 March Lawrence Carroll

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6 December 2019–18 January Uppercase Kirtika Kain Kain uses the transformation of material to examine themes of caste stigma, ancestral memory and the language of power and reclamation. As recipient of the 2017 Lloyd Rees Youth Memorial Award,

NEW S OUTH WALES Kain will present a series of new prints and collages. Curated by Rachael Kiang.

funded by JQZ property development.

Opening Thursday 30 January, 6pm–8pm.

Gallery 9 9 Darley Street, Darlinghurst, NSW 2010 [Map 9] 02 9380 9909 gallery9.com.au Wed to Fri 11am–6pm, Sat 11am–5pm, Mon and Tue by appointment.

29 January–22 February Michael Taylor Tianli Zu, Mimi Tong and Rainbow Chun Yin Chan, Daughters of the Dragon.

30 January–27 February Daughters of the Dragon Tianli Zu, Mimi Tong and Rainbow Chun Yin Chan Bringing together three generations of Chinese-Australian artists, Daughters of the Dragon examines each individual’s experience of Chinese cultural identity and heritage through the tradition of Chinese New Year myths and customs. It presents interpretations of the Dragon symbolism and reclaiming it from a distinctively female perspective. The exhibition features new, commissioned site-specific work and performance art

Glasshouse Port Macquarie Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 glasshouse.org.au Tue to Fri 10am–5pm, Sat, Sun & Public Holidays 10am–4pm 30 November 2019—5 January Olsen and Ormandy An exhibition from artists Louise Olsen and Stephen Ormandy, featuring a series of paintings, sculptures and tapestry that celebrate the pair’s creative partnership and evolving artistic practice, which has

Stephen Ormandy, Budgies on linen, 2018. existed for over 30 years. The exhibition showcases individual works of art from each artist alongside pieces made in collaboration, drawing on Olsen and Ormandy’s substantial archive, but also incorporating new paintings and large-scale sculptural installations made especially for this exhibition 23 November 2019—12 January Symmetry of Nature Beric Henderson Threaded Earth Vana Ford and Kerry Wheeldon

Gallery 9 → Michael Taylor, The Secluded Beach, 2017, oil on canvas, 120 x 160 cm.

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Muswellbrook Regional Arts Centre Corner of Bridge & William, Muswellbrook Tue to Fri 10am - 5pm, Weekends 10am - 1pm arts.centre@muswellbrook.nsw.gov.au muswellbrookartscentre.com.au

Artwork: Merran Esson, Trees of the Monaro 2018 (detail), stoneware, copper glaze, 39 x 70 x 55cm; Winner 46th Muswellbrook Art Prize 2019, Ceramics; Muswellbrook Shire Art Collection.

NEW S OUTH WALES Glasshouse Regional Gallery continued...

This biennial Mid North Coast showcase is back. The exhibition presents a cross section of artistic practice, including sculpture, painting, drawing, printmaking, ceramics, mosaic and mixed media artworks. With such a vibrant artistic regional community this is sure to be the largest yet.

Grace Cossington Smith Gallery Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 gcsgallery.com.au facebook.com/gcsgallery Mon to Fri 10am–5pm, Sat 9am–4pm. Free entry.

from across Australia who work land and sea scapes into performance, painting and installation. The exhibition is a contemplation of our relationship to earth’s natural elements and the role they can play in our personal journeys. In looking to what is powerful and natural these artists share an unbending will to work within the elements, traversing the terrain that will eventually inhabit their work. Of the Sun shows new commissions and key works from each artist and is a statement on what is happening in contemporary Australian practices, now.

Second Exit Aishah Kenton Based between Canberra and Kuala Lumpur, Kenton presents her first exhibition in Goulburn. An intimate and extensive collection of images taken whilst travelling, Second Exit explores transitory slices of time – the smell of the car, the fading light and the captured moment.

Russell Drysdale (1912–1981), Soldier, 1942, oil on hardboard, ART92623. Image courtesy of the Australian War Memorial.

11 January–1 March Reality in Flames: Modern Australian Art & the Second World War An Australian War Memorial touring exhibition This exhibition explores the different ways in which Australian modernist artists responded creatively to the war, producing work which sought to comprehend cataclysmic events. It also provides a visual history of the period, revealing the war as a transformative force that altered Australia and the world.

Many of the works were created through the Official War Art Scheme, where artists were commissioned to record the experience of Australians fighting overseas or of home-front wartime activity – a tradition that began during the First World War and continues today.

18 January–23 February Clay Intersections Presenting the work of eight contemporary makers who take a range of innovative approaches to making and working with clay, exploring the different intersections of its sculptural and functional qualities. Highlighting the work of Bridget Bodenham, Cone 11’s Colin Hopkins and Ilona Topolcsanyi, Helen Earl, Tania Rollond, Natalie Rosin, Ulrica Trulsson and Kenji Uranishi, the artists in Clay Intersections draw their inspiration from the built or natural environment and how they interact with it – whether in contemplation or in a practical sense – enhancing the way we live.

Together, these eight artists are part of a new generation of craftspeople and designer-makers who have emerged alongside new and non-traditional market places outside the gallery and retail environment. ADC on tour: An Australian Design Centre national touring exhibition.

29 February–19 April Northern Exposure 6

Vanessa Stockard, Sleeping Beauty (after Leighton), oil on hardboard, 50 x 50 cm. Image courtesy of the artist.

30 January–20 February Abbotsleigh Young Curators present Vanessa Stockard with 3:33 Art Projects.

Goulburn Regional Art Gallery 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 goulburnregionalartgallery.com.au Mon to Fri 9am–5pm, Sat 12pm–4pm.

Alex Seton, Left Turn at Albuquerque, 2017, duration: 4 minutes, stop motion video.

7 February—4 April The Great Escape Alex Seton With an inquisitive and critical approach to his medium, its history and tradition at large, this exhibition marks the first major solo showing of Seton’s work in Goulburn, close to his childhood home of Taralga.

Seton’s sculptural practice resonates a profound dedication to the physical and conceptual agency of marble.

The Great Escape presents works that tell of his parents’ escape to create their own idyllic world at Guineacor Creek; of childhood escape into the bush; of escape into the seemingly magical possibilities of the caves; escape into making, to the subsequent teenage desire of escape to the big city. With large-scale installation works within and outside the Gallery space, the exhibition examines what it is to struggle with and find a sense of place; not just in home, but in form and in material.

Lucinda McDonald

Maringka Baker, Minyma Kutjara Tjukurpa, 2019, 150 x 240 cm, synthetic polymer on linen. Image courtesy of Tjungu Palya.

6 December 2019–25 January Of the Sun Sharon Adamson, Maringka Baker, Mary Barton, Lottie Consalvo, Teelah George, Claudia Nicholson and Annika Romeyn. Curated by Gina Mobayed.

Of the Sun brings together seven artists

A Southern Highlands based artist born and trained in the United Kingdom, McDonald’s practice is informed by her skill in welding. Constructing sculptures from offcuts and discarded pieces of steel, McDonald reclaims and rejuvenates unwanted materials, creating subconscious yet harmonious tension between movement and stasis, colour, line and weight. Expanding her process to include collage and painting, McDonald utilises a broad aesthetic approach to composition across various disciplines and dimensions.

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Brett Whiteley, The Dove, 1982, Etching and Collage, Image size 211x91.5cm, ed: 30.

BRETT WHITELEY Works on Paper UPSTAIRS Works on Paper R Dickerson, V Rubin, Del Kathryn Barton, J Olsen, G Gittoes, B Whiteley 2 Moncur Street, Woollahra NSW 2025 Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au

STEELREID STUDIO

Pennie Steel, Sleeping Muse.

Brian Reid, Untitled.

www.SteelReid Studio.com.au by appointment only 0414 369 696

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Grafton Regional Gallery 158 Fitzroy Street, Grafton, NSW [Map 12] 02 6642 3177 graftongallery.nsw.gov.au 7 days a week 10am–4pm Closed public holidays.

12 December 2019–2 February Summer Sensations Celebrating the vibrant artists of the Clarence Valley and their wonderful creative contribution to the cultural vibrancy of the area. This exhibition showcases artwork across all mediums.

Hawkesbury Regional Gallery 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 hawkesbury.nsw.gov.au/gallery Mon, Wed–Fri 10am–4pm, Sat to Sun 10am–3pm.

The exhibition celebrates the much loved TV serial, A Country Practice, which was filmed in the Hawkesbury area between 1981 and 1994. It features memorabilia and artwork inspired by the series and its characters.

7 February—22 March Legacy: Reflections of Mabo Reflections of the man behind the game-changing Native Title Act, Eddie Koiki Mabo – and the impact of his achievements on Australia, 27 years on.

The exhibition brings together about 30 works by Indigenous and non-Indigenous artists in the spirit of reconciliation.

A travelling exhibition presented by Umbrella Studio Contemporary Arts and toured by Museums & Galleries Queensland.

Hazelhurst Arts Centre 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 hazelhurst.com.au Daily 10am–5pm.

Admission free.

Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday.

A Country Practice: Entire Cast Set Back in the Past, production date: 1981, from the National Film and Sound Archive of Australia.

8 February–13 April ARTEXPRESS Showcasing a selection of outstanding HSC artworks by some of New South Wales most talented young artists.

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

July 2019–January From Jakarta to Hurstville This spotlight display presents the story of Georges River resident Harry, his wife Meilany, and children Angelina and Andrew who migrated to Australia from Indonesia in 2005.

Georges River Art Prize 2019, Hurstville Museum & Gallery.

John Veage (photographer) Cronullabased surfer Connor O’Leary winning the 2019 Carve Pro, Maroubra, February 2019.

23 November 2019–2 February Southern Swell From the early days of surfing in the 50s through to now, this exhibition examines the history and current day of surfing in southern Sydney. It includes contemporary and historic photographs, films, memorabilia and commissioned artworks that highlight key surfers, influential characters, iconic surf breaks, competitions and clubs over the past decades.

25 October 2019–30 January Georges River Art Prize 2019 A biennial prize with a prize pool over $20,000, hosted by Hurstville Museum & Gallery and Kogarah Library and Service Centre. This art prize provides a platform for local emerging artists to exhibit side by side with well-known national artists.

See the finalists and winning works of the Georges River Art Prize, Sculpture Prize and Local Artist Prize at Hurstville Museum & Gallery, and view the vibrant works of local young people aged 7 to 17 at Kogarah Library and Service Centre.

Arone Meeks, Mabo 25 and Big Wet Community, detail, 2018, mixed media, 183.2 x 61.2 cm. Image credit: Carl Warner.

13 December 2019—2 February The Wonders of Wandin Valley Liam Benson, Julia Drouhin and Sanne Waratah Maxine Kok-Drouhin, Freya Jobbins, Simon Mee, Jason Wing.

Iris Li, Cultural Metamorphosis, 2018, Graphic Design, St Ursula’s College.

Cover illustration, The 13-Storey Treehouse, written by Andy Griffiths, illustrated by Terry Denton, published by Pan Macmillan, 2011.

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8 February–3 May The Many Story Treehouse Exhibition: Celebrating Terry Denton’s illustrations for the phenomenal Treehouse series by Andy Griffiths & Terry Denton This Books Illustrated touring exhibition celebrates Terry Denton’s illustrations and his role in the creation of the phenomenal Treehouse series written

by Andy Griffiths and published by Pan Macmillan. Terry‘s original illustrations, sketches and layouts reveal the development of their crazy ideas, characters and stories for the series.

Incinerator Art Space 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 willoughby.nsw.gov.au/ whats-on/visual-arts Wed to Sun 10am–4pm.

platform, on the way to or from work, one place to another. It gradually became her way of storytelling, witnessed in pictures rather than coded with words.

The exhibition also features a manga reading lounge, with horror manga classics in English and Japanese available for browsing.

12 February–1 March Realistic to Abstract The Sculptors Society

RETRO HORROR is curated by the Yoshihiro Yonezawa Memorial Library of Manga and Subcultures, Tokyo. Says curator Noriaki Suzuki, “This exhibition showcases the power of modern horror manga to evoke visceral responses in readers across generations and cultures.”

The Sculptors Society returns to present a range of sculptures from representational forms to abstract structures. The Society’s members work across a diverse range of materials; metal, bronze, resin, ceramic, timber and glass. Exhibiting members include Lee Blattmann, Chris Cowell , Jenny Green, Amanda Harrison, Gustav Ilosvay, Belinda Piggott, Vera Robinson, Ian Scott and Feyona van Stom.

The Ken Done Gallery 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 kendone.com Open daily 10am–5.30pm.

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

Admission is free.

Grace Sui, Sydney Opera House Sunset, 2019, digital photograph.

22 January–9 February Where it Shines Grace Sui

Ken Done, Pink sea, 2019, oil and acrylic on linen, 112 x 82 cm.

In partnership with Australia-China Institute for Arts and Culture, Willoughby City Council presents an exhibition of photography by Grace Sui to celebrate Lunar New Year 2020. Street photographer Grace Sui is fascinated by the brilliant natural light of Sydney; its bright sunlight and contrasting strong shadows. As a routine commuter, she started photographing people around her, on the bus, train or

20 October 2019–12 February New Works Ken Done

Kate Owen Gallery 680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 kateowengallery.com Daily 10am–6pm.

From Dictionary of Darkness. © Ochazukenori.

18 October 2019—24 January RETRO HORROR: Supernatural and the Occult in Postwar Japanese Manga Tsunezo Murotani, Hideshi Hino and Ochazukenori RETRO HORROR: Supernatural and the Occult in Postwar Japanese Manga explores the horror manga of postwar Japan. The exhibition focuses on three artists—Tsunezo Murotani (b. 1934), Hino Hideshi (b. 1946) and Ochazukenori (b. 1960)—each representing a different phase of the genre from the 1960s to the 1990s.

Belinda Piggott, Constructs, 2018, ceramic.

RETRO HORROR features original genga drawings by Tsunezo Murotani and Ochazukenori, reproductions of iconic works by Hideshi Hino, and publications by artists including Junji Ito, Tezuka Osamu, Kazuo Umezu and Masako Watanabe.

Kate Owen Gallery is a multiple award winning gallery in Sydney’s Inner West and specialises in contemporary Australian Indigenous art for modern interiors. Just 10 minutes by bus or taxi from the CBD, the Gallery is Sydney’s go-to art space for everyone from new buyers to established collectors. The Gallery Owner and Director is also the President of The Aboriginal Art Association of Australia (AAAA), an Association that binds members to a strict code of conduct, so visitors can be assured that artists are dealt with fairly, transparently and with respect. The gallery coordinates roughly eight exhibitions, including one artist in residence programme, each year.

4 January–16 February Director’s Choice: the best from our stockroom This exhibition has a beautiful balance of works with strong iconography and 165

NEW S OUTH WALES Kate Owen Gallery continued...

18 February–14 March Dark beautiful John Bartley

The Lock-Up Tommy Watson, Ngayuku Ngura (My Country), acrylic on linen, 119 x 198 cm. incredible amount of mythological detail, as well as works that are extremely bold, free, expressive, abstract and experimental.

90 Hunter Street, Newcastle, NSW 2300 [Map 12] thelockup.org.au Wed to Sat 10am–4pm, Sun 11am–3pm.

MAC Museum of Art and Culture Lake Macquarie First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 artgallery.lakemac.com.au Tue to Sun 10am–4.30pm.

Admission free.

29 February–29 March King Sisters Sculptures Following in the steps of their father, the late William King Jungala, Tarisse and Sarrita King are always investigating other mediums in order to express their stories. We are delighted to host the world premiere of the King Sisters Sculptures.

Please visit our website for more information on this exciting exhibition.

King Street Gallery

Dale Collier, Over The Falls (The Watershed), 2019, (video still), installation with single channel HD Video & Fog Machine, Duration: 3 minutes 40 seconds, Dimensions variable.

177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 kingstreetgallery.com.au Tues to Sat, 10am–6pm.

7 December 2019–26 January All things are water Tom Blake, Dale Collier, Ellen Dahl, Michaela Gleave, Hannah Jenkins, Todd McMillan, Talia Smith and Angela Tiatia.

Theo Kuijpers, S4 (Harbour City) 8, 2018, oil on linen, 75.5 x 73 cm.

28 January–16 February Theo Kuijpers

Water is an element always on the cusp of transformation (moving between vapour, liquid and ice), but it is also an element with a slipperiness that makes it difficult to define. All things are water, curated by Meryl Ryan and Naomi Riddle, takes water as its defining feature. Moving between video, installation, photography and painting, this exhibition rethinks water as an environment, as a site of escape, as an emotional state, and as a necessity for survival. But all things are water is also an elegy. That is, the works contained in this exhibition speak to the impending ecological crisis, and a landscape increasingly defined by an absence of water rather than its surplus.

1 February–29 March Uncertain Paths Lucas Davidson This exhibition incorporates the The Lock-Up cells into his work creating a series of site-specific installations that challenge the viewer perception through phenomenological inquiry. Using light and space as material, these works aim to disrupt and destabilise the traditional subject-object relationships within the viewing experience.

1 February–29 March Natural Causes Gavin Vitullo

John Bartley, Transverse, 2019, acrylic on board, 60 x 55 cm.

Hunter-based emerging artist Gavin Vitullo presents his solo exhibition Natural Causes. Through an amalgamation of man-made and earthly sculpted materials, Vitullo examines the physical relationships of form and surface, of action and of consequence, questioning the perpetual nature of co-existence.

Nell, if you could hear the sound of my violin you would know how I feel, 2015, wood, 2 parts: object 1: 60.4 x 20.6 x 7.5 cm; object 2: 60.5 x 20.7 x 8.3 cm Courtesy of the artist and STATION, Melbourne. © Nell.

23 November 2019—9 February us. universal stories With a national / international interest and reach, this exhibition features work by significant contemporary artists whose practices tell stories about the human condition. Featuring artists: Abdul Abdullah, Abdul-Rahman Abdullah, Lottie Consalvo, Richard Lewer with Felicity Law, Angelica Mesiti, Nell, Michal Rovner, Alex Seton, Chiharu Shiota, Christian Thompson and Sam Jinks.

Curated by Meryl Ryan. we. wiyelliko This exhibition explores the elemental response of contemporary Aboriginal artists to their environment. Featured artists: Nicole Chaffey, Jasmine Craciun, Nicole Monks, Lin Burrinja Onus and Arthur Koo’ekka Pambegan Jnr. Curated

by Donna Biles-Fernando in consultation with the Aboriginal Reference Group.

23 November 2019—26 January be. (your collection) be remembered This exhibition celebrates the museum’s two most significant gifts. Curated by Damian Smith in consultation with Rob Cleworth.

1 February—12 April Mervyn Bishop This exhibition brings together photographs from the Art Gallery of New South Wales collection and material from the artist’s archive. An Art Gallery of NSW touring exhibition.

15 February—5 April First Class 19 167

Macquarie University Art Gallery → Tamara Dean, Luca and Aki, About Face, 2016. Archival inkjet print on cotton rag paper.

Donated through the Australian Government’s Cultural Gifts Program by Tamara Dean. Macquarie University Art Collection.

Courtesy of the artist and Martin Browne Contemporary.

Macquarie University Art Gallery

Joanna Braithwaite, Kathrin Longhurst, Michael Muir, Paul Newton, Kate Shaw and Sally Ross.

24 August 2019–16 February Unfolding Time: Penelope Seidler’s gift to Maitland

The Chancellery 19 Eastern Road, Macquarie University [Map 5] artgallery.mq.edu.au 02 9850 7437 Mon to Fri 10am–5pm.

Curated by Leonard Janiszweski and Andrew Simpson. Exploring portraiture within the context of a media-driven society running in parallel with the rise of the selfie. Evocative and thought-provoking, this exhibition depicts portraits in all guises from the grandiose celebrity, known to the public faces to the everyday private world of individuals. The efficacy that lies behind the creation of a self-portrait, continues to entice. The interwoven thread that joins these two fascinating exhibitions are the way in which portraiture expands our views about the role of identity and the way in which that plays out in a variety of situations.

Penelope Seidler AM has an intrinsic and layered connection to Maitland.

This exhibition unfolds those layers to reveal Penelope Seidler’s love of art, her support of artists, her generosity and ties to the region.

25 November 2019—21 January Tamara Dean: About Face – are you a boy or a girl?

Curated by Rhonda Davis and Kate Hargraves.

Tamara Dean’s About Face: are you a boy or a girl? challenges, with acute adroit, the preconceptions we associate with dress codes, hairstyles and facial features as gender specific. Comprised of androgynous faces, the portraits themselves pose questions of identity and the role it takes in shaping how the onlooker perceives that person to be.

Dean calls upon the viewer to reconceive the notion of identity as fluid and symbolic to the way we dress, look and act. The works are atmospherically characterised, using cinematic-lit backdrops that draw the viewer into the subject’s world with arresting beauty that extends the act of looking.

Mirror 2: Portraits from the Collection, New donations 168

19 October 2019– 2 February Snakeabout Teresa Purnell 9 November 2019 –26 January Legacy: Reflections on Mabo Touring exhibition from Umbrella Studio Contemporary Arts.

23 November 2019–16 February Learning to speak Edward Milan

Maitland Regional Art Gallery 230 High Street, Maitland, NSW, 2320 [Map 12] 02 4934 9859 artgallery@maitland.nsw.gov.au Gallery: Tue to Sat 10am – 5pm (café open from 8am) Free entry, donations always welcomed.

Nicola Hensel and John Turier in their studios.

NEW S OUTH WALES 23 November 2019–16 February Kalliope Calliope Nicola Hensel and John Turier Between the wheezing song of the carousel and the voice of the muse of epic poetry lies the land of Nicola Hensel and John Turier. For twenty six years their home and studio have produced a steady stream of sculptures, drawings, songs and offspring who make things. This show brings their practices together for the first time – and includes a drawing machine a mechanical parade, giant buttons and maps for the ever renewable heart.

30 November 2019–16 February Warlock Dale Forward 8 February–3 May Let all the birds fly: The hybrid print curated by Patricia Wilson-Adams and Therese Kenyon.

Kei Takemura 8 February–10 May Masters and Apprentices Featuring the Lake View Collection of Old Masters with responses from local school students.

Laboratory, a facility of the School of Civil and Environmental Engineering, UNSW Sydney. Curated by Katherine Roberts and Professor Ian Turner.

Manning Regional Art Gallery

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

12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 manningregionalartgallery.com.au Weds to Sat, 10am–4pm, Sun 1pm–4pm. Closed on Mon and Tue. The Manning Regional Art Gallery is a vibrant cultural hub, promoting art and community engagement in the Manning Valley and Midcoast region for 30 years.

The Gallery presents a diverse and outstanding exhibition program throughout the year showcasing, emerging and established artists, group and solo shows and high profile touring shows.

8 February–10 May Jaime Pritchard

Joanna Braithwaite, Kettle of Fish, 2019, oil on canvas, 137 x 116 cm.

Manly Art Gallery & Museum

12 December 2019—3 February Summer Group Exhibition Monika Behrens, Joanna Braithwaite, Marlene Gilson, Tim Maguire and Michael McHugh.

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

Free entry.

Closed Mon and public holidays.

Mosman Art Gallery

Katherine Kachor, The Wife’s Tale, mixed media. Courtesy of the artist.

5 December 2019–19 January Un:Seen

Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 mosmanartgallery.org.au Open daily 10am–5pm, closed public holidays.

Using fibre as the allegory of the invisible hidden within.

An innovative exhibition by Untethered Fibre Artists – a talented and highly skilled group working predominantly with fibre.

David Middlebrook, From the Dam Wall III, 2019, ink on polyester, 90 x 90 cm.

6 December 2019–23 February Manly Dam Project Shoufay Derz, Blak Douglas, Nigel Helyer, David Middlebrook, Sue Pedley, Melissa Smith, Cathe Stack and Nicole Welch.

The Manly Dam area is a unique landscape rich in natural biodiversity, shaped by the interventions of engineering and science. Once the source of drinking water in Sydney’s north, fresh water continues to flow from the catchment to the sea.

In this exhibition eight artists present new works inspired by place, history, water management and engineering. In partnership with the Water Research

Pixie O’Harris, Goodnight. Photograph by Julie Slavin.

23 January—8 March The Forgotten work of Pixie O’Harris During the 1950s Pixie O’Harris painted panels featuring fairy stories and childhood dreams and donated them to public hospitals. This exhibition features works formerly shown in the Manning Hospital in Taree, providing a nostalgic trip back in time for many visitors.

Jumaadi, Belantara akal [The gate to the wilderness], 2019, acrylic on buffalo hide, 98 x 80 cm. Photograph by Tim Connolly.

4 December 2019—9 February Jumaadi: My Love is in an Island Far Away This exhibition takes inspiration from the celebrated poem of the same name 169

Mosman Art Gallery continued...

Cintaku Jauh di Pulau, by one of Indonesia’s most important writers, Chairil Anwar. The exhibition imagery traverses the histories and narratives that weave between our neighbouring countries of Indonesia and Australia. In several new series of artworks Jumaadi responds to and interprets the historical events of the internment of Javanese political detainees, who lived in exile in the Dutch penal colony of Tanah Merah, Digul, Western Papua from 1926 and were eventually stationed in Cowra, Central Western NSW at the request of the Dutch colonists during the Second World War (1943–1944).

parks and wreck explores the idea of setting aside environmental areas for protection, the idea of sacredness and boundaries, common ownership and shared responsibility. In a new series of paintings, sculpture and installation, Thornber focusses on Chiltern-Mt Pilot National Park.

29 November 2019—9 February Pets A celebration of the colourful, weird, cute, sometimes troubling, but ultimately loving relationships between pets and the humans that care for them. An incomplete encyclopaedia drawn from the museum’s extensive collection of photographs, paintings, and sculptures, alongside newly commissioned work, and selected pieces from international artists who have long championed the bond between humans and their animal companions.

12 December 2019—27 January Year 12 Art Show

Sally West, North Sydney wharf from Kurraba – Plein Air, 2018, oil on canvas, 120 x 150 cm. From 2018 Artists of Mosman: 2088 exhibition.

A showcase of artworks created by this year’s graduating art students from across the region. The exhibition highlights the creativity, innovation and unique perspectives of young people in our community and appreciates that these perspectives may lead to future discussions and cultural endeavours.

Presented in partnership with ArtsSpace Wodonga.

21 February—31 May National Photography Prize 2020 Australia’s oldest acquisitive photography prize returns with a showcase of the most innovative photo-based practices from across Australia. The 12 finalists will each present a small body of work in pursuit of the $30,000 first prize. One emerging artist will be selected from among the finalists to receive the $5000 John and Margaret Baker Memorial Fellowship, and visitors will be able to vote for their favourite in the People’s Choice Award. The National Photography Prize is generously supported by the MAMA Art Foundation, and presented in partnership with PHOTO2020.

Museum of Contemporary Art Australia 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 mca.com.au Daily 10am–5pm, Wed 10am–9pm.

22 February—22 March Artists of Mosman: 2088 This annual exhibition is an excellent survey of the region’s thriving artistic community and includes works created

by Mosman residents as well as Friends and volunteers of Mosman Art Gallery.

The resulting large group exhibition shows contemporary artworks across the mediums of painting, drawing, printmaking, textiles, photography, sculpture and ceramics. Inevitably many of the artists draw inspiration from Mosman’s natural beauty: its beaches, harbour bays, coves, headlands and beautiful bushlands.

Guan Wei, Feng Shui, 2004. Installation view, Guan Wei: MCA Collection, Museum of Contemporary Art Australia, Sydney, 2019. Acrylic on composite board.

Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by Cromwell Diversified Property Trust, 2017.

Photograph by Anna Kučera.

11 October 2019–9 February Guan Wei: MCA Collection James Tylor, Economics of Water, detail, 2018, digital photograph. Image courtesy of the artist.

Murray Art Museum Albury (MAMA)

6 February—17 May Economics of Water James Tylor

546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 mamalbury.com.au

Economics of Water maps the damage that has occurred to the Murray Darling river system in a series of photographs documenting the severely drought-affected Menindee Lakes region, as well as new photographs taken near Tallangatta, Victoria, near the Hume Dam.

29 November 2019—29 March Summer Place An annual experiment connecting art and architecture, Summer Place 2019 has been designed by architect Joshua Zoeller of CHROFI. The design responds to the increasing heat and dryness in the region, transforms the public gardens in front of the museum into a cool, shaded place that can be enjoyed by the whole community.

28 November 2019—27 January parks and wreck Bethany Thornber 170

Tully Arnot, Installation View, National Photography Prize 2018, Murray Art Museum Albury.

Primavera 2019: Young Australian Artists Curated by Mitch Cairns. Artists include; Mitchel Cumming, Kenan Namunjdja, Rosina Gunjarrwanga, Zoe Marni Robertson, Lucina Lane, Coen Young and Aodhan Madden.

Cornelia Parker, War Room, 2015, installation view, Museum of Contemporary Art Australia, 2019, perforated paper negatives left over from production of remembrance poppies, image courtesy the artist, Museum of Contemporary Art Australia and Frith Street Gallery, London © the artist, photograph

by Anna Kučera.

NEW S OUTH WALES 8 November 2019–16 February Cornelia Parker 14 March–8 June 22nd Biennale of Sydney Artistic Director Brook Andrew, artists showing in the MCA; Denilson Baniwa, Victoria Santa Cruz, Mayunkiki, Noŋgirrŋa Marawili, Elicura Chihuailaf Nahuelpán, Erkan Özgen, Ahmed Umar, Joël Andrianomearisoa, Huma Bhabha, Jes Fan, Aziz Hazara, Tarek Lakhrissi, Misheck Masamvu, Prof Zanele Muholi, Kalisolaite ‘Uhila and Pedro Wonaeamirri.

Muswellbrook Regional Arts Centre Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 muswellbrookartscentre.com.au Tue to Fri 10am–5pm, Sat and Sun 10am–1pm, Mon by appointment only.

Closed public holidays.

27 October 2019—12 January Muswellbrook Local Art Awards 2019 The Muswellbrook Local Art Awards are an annual competition that offer local artists from the Muswellbrook, Singleton, and Upper Hunter Shires the opportunity to show off the cream of their work from the past twelve months.

Five sections–Painting, Works on Paper, Sculpture, Photography and Youth—never fail to disappoint in highlighting the depth and talent of the Upper Hunter Region’s extraordinary creativity.

Act-Belong-Commit PhotoVoice Muswellbrook A collaboration between Muswellbrook Regional Arts Centre and Muswellbrook Healthy and Well, Act-Belong-Commit PhotoVoice Muswellbrook invites the community of the Upper Hunter Region to share their photos in the promotion of individual and community wellbeing, encouraging participation in family, com-munity and culture, and strengthening these connections.

Paul Ryan, J Banks and Banksia, 2019, oil on linen, 138 x 122.5 cm.

Archibald Prize 2019 finalist David Darcy, Tjuparntarri – women’s business, oil on linen 240.5 x 180.5 cm. © the artist Photo: AGNSW, Jenni Carter Sitter: Tjuparntarri (Daisy Ward) – artist, activist, educator, traditional healer.

The 2019 Archibald is proudly presented

by ANZ. This year is the 10th anniversary of ANZ’s partnership with Australia’s most extraordinary art event.

26 January–8 March Young Archie Muswellbrook

National Art School Gallery Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 nas.edu.au Mon to Sat 11am–5pm.

Ignite: Muswellbrook High School HSC Works Reflection: Contemporary Portraiture from the Collections

Nanda\Hobbs 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 nandahobbs.com #nandahobbs 

Fiona Foley, HHH #1, 2004, ultrachrome print on paper, 76 x 101 cm.

9 January—8 February Fiona Foley: Who are these strangers and where are they going?

A powerful and timely showcase of Badtjala artist Dr Fiona Foley’s 30-year career, curated by Djon Mundine OAM. The exhibition brings together Foley’s acclaimed photographic series, large-scale installations, and the Sydney debut of a new musical soundscape premiered at the Ballarat International Foto Biennale.

26 January–8 March 2019 Archibald Prize Awarded to the best painting of a notable Australian, the Archibald Prize is a who’s who of Australian culture, from politicians to celebrities and from sporting heroes to artists. Prestigious and controversial, the Archibald Prize is Australia’s foremost portraiture prize. The Archibald Prize awards $100,000 prize money for the winning artist. In its 98th year, the Archibald Prize has been held annually since 1921.

An open competition, the Archibald Prize is judged by the trustees of the Art Gallery of NSW. Entries to the Archibald Prize must be painted in the past year from at least one live sitting. Finalists are exhibited at the Art Gallery of New South Wales before embarking on a year-long regional tour. In the early years, all entries were hung. Opening Saturday 25 January, 6pm.

6 February–22 February South Pacific Paul Ryan

Newcastle Art Gallery 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 nag.org.au Tue to Sun 10am–5pm.

Aaron Kinnane, Autumn Back Roads VII, 2019, oil on linen, 54 x 48 cm.

16 December 2019–1 February Summer Show A salon hang of works by Nanda\Hobbs artists.

26 October 2019–27 January Wish you were here: landscapes from the collection A unique adventure through the Australian landscape and beyond featuring works of art drawn exclusively from the Newcastle Art Gallery collection.

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OLSEN

16 November 2019–16 February Between Two Worlds

63 Jersey Road, Woollahra, NSW 2025 [Map 10]

An exploration of cultural identity, globalisation and migration through the lens of Australian-Chinese artists.

and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 olsengallery.com Director: Tim Olsen Mon noon–5pm, Tue to Fri, 10am–6pm, Sat 10am–5pm, Sun 11am–5pm. Gallery closed until 6 January.

George Byrne, Do Not Enter, 2019, archival pigment print.

5 February–29 February Exit Vision George Byrne

George Gittoes, Our house, 1989–90, (detail) oil on canvas 168 x 220 cm.

Donated through the Australian Government’s Cultural Gifts Program by George Gittoes 2015. Newcastle Art Gallery Collection. Courtesy of the artist.

New England Regional Art Museum

John Olsen, Sopa Marinara, 2018 mixed media on paper, 80 x 90 cm.

106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 neram.com.au Tue to Sun, 10am–4pm.

11 December 2019–20 January Recent Works John Olsen

18 October 2019—2 February Hinton’s Menagerie Various artists

8 February–26 April George Gittoes: on being there Gittoes AM has for over four decades, embedded himself in some of the world’s most severe conflicts. This exhibition gives unprecedented access to the artist’s personal visual diaries, field drawings, photography and film.

Parramatta Artist’s’ Studios → Sarah Rodigari in her studio at Parramatta Artists’ Studios, 2019. Courtesy of Parramatta Artists’ Studios. Photograph by Andrew Vincent Photography.

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NEW S OUTH WALES 8 November 2019—2 February Experimenta Make Sense: International Triennial of Media Art Various artists

Peacock Gallery and Auburn Arts Studio Auburn Botanic Gardens, Corner Chisholm and Chiswick Roads, Auburn, NSW 2144 [Map 11] 02 8757 9029 cumberland.nsw.gov.au/arts Tue to Sun 11am–4pm.

Rochfort Gallery 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 rochfortgallery.com Open Mon to Fri 9am–5.30pm, Sat & Sun 10am–4pm.

14 December 2019–19 January Painting Flowers Amani Haydar A solo exhibition by Amani Haydar which discusses, through floral still life imagery, identity and the traumas of the past.

14 December 2019–19 January Local Exhibition Curated by Natasha Welde

Jonathon Larsen, Tea Tree Bay – Noosa, 2019, linocut.

This exhibition brings together people who have a connection to the Cumberland local government area to explore themes of climate change, sustainability and our place within the changing world.

8 November 2019—2 February Luminous Land Jonathon Larsen

Paul McCarthy, Tinkering, Acrylic on Linen, 91.5 x 61 cm.

11 December 2019–9 February In my Backyard To many Australians, the ‘backyard’ begins at the kitchen door and stretches for thousands of miles in all directions. In that context, our artists have forged a private language for the places they find sacred.

In this light the backyard is more precious than ever.

Parramatta Artists’ Studios Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] 02 9806 5230 parramattastudios.com.au Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere, NSW 2116 Open during events only.

Studios by appointment.

Admission free.

Sally Stokes, Some Bird Is Singing, oil on linen, 153 x 185 cm.

Tom Polo in his studio at Parramatta Artists’ Studios Rydalmere, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.

1 January—29 February 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Liam Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor, Justine Youssef.

2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo, Yasmin Smith.

Gillian Kayrooz, Do Not Use If Seal Is Broken, silk organza, 2019.

12 February – 29 March Group exhibition

8 February–15 March Echoes in Soft Spaces: A Residency Reflection Gillian Kayrooz

In this exhibition Sally Stokes chooses a sensuous palette to celebrate the bush.

Her use of blushing pinks are offset with mustard yellows and the tea stained mid tones of Bonnard and the Nabis.

A workshop series and outcomes exhibition of Kayrooz’s “Professional Development Program in the Asia Pacific” which included a series of residencies, artist talks and exhibitions completed from mid to late 2019. This was supported by the Create NSW’s Young Creative Leaders Fellowship which she received in late 2018.

8 February–15 March Bhulano Nahi (forget me not) Shivanjani Lal An exhibition which looks at the Auburn Botanic Gardens through the lens of my fathers memory and photos, working collaboratively with him. We will explore our family photos of the gardens and create new photo based works that consider the role of public spaces in creating ties to community outside of the home.

Roslyn Oxley9 Gallery 8 Soudan Lane, (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 roslynoxley9.com.au Tue to Fri 10am–6pm, Sat 11am–6pm.

Closed until 21 January.

3 February—29 February David Griggs

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This Autumn, experience art amid temperate rainforest at the 9th annual Sculpture at Scenic World.

Discover all the Blue Mountains has to offer – from epic World Heritage landscapes to vibrant arts & culture.

A range of accommodation packages are available so plan your arts escape today.

PLAN YOUR VISIT / BOOK ONLINE SCULPTUREATSCENICWORLD.COM.AU

NEW S OUTH WALES

S.H. Ervin Gallery

Stanley Street Gallery

National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 shervingallery.com.au Tue to Sun 11am–5pm.

1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 stanleystreetgallery.com.au Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment.

The gallery is closed in January.

1 February—15 February Introducing Group Exhibition Joanne Makas, Peach Perfection, 2018, Plastic, acrylic, celotape, Site responsive.

Image credit Document Photography. the flow of time and the flow of movement are interconnected, how the invisible time of duration keeps the disappearing body visible. Touching Time is an exploration of thinking, feeling and relating to the poetics of daily life.

Cressida Campbell, White waratah, 2000, carved woodblock, hand painted in watercolour pigment. 51.5 x 57 cm (block). Margaret Hannah Olley Art Trust 2002, Art Gallery of New South Wales.

4 January–22 March Margaret’s Gift An exhibition celebrating the generous legacy of Margaret Olley AC (1923–2011), who in the course of her lifetime and following her death, donated hundreds of art works to cultural institutions across the country.

Steel Reid Studio 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 or 02 478 26267 SteelReid Studio.com.au View the collection by appointment.

Sturt Gallery & Studios Corner Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 sturt.nsw.edu.au Daily 10am–5pm.

Tony Sheffield, Frosty Sunburst.

Curated by Renee Porter, the exhibition will gather over 70 works from collections in Queensland, New South Wales and the ACT and include works by European masters, Australian artists and ceramics from Papua New Guinea. Margaret wanted to make giving ‘contagious’ so we hope to honour her with an exhibition the highlights her generosity and inspire others to follow.

Margaret Olley made her first donation of four eating bowls from the Middle Sepik River to the Art Gallery of New South Wales in 1984 and she continued to give generously up until the time of her death in 2011. Presented in association with the Margaret Olley Art Trust and is the second in the series celebrating the important contribution that Margaret had to so many aspects of Australian cultural life.

18 February—14 March Séance Group exhibition curated by Sean Morris.

13 December 2019–9 February Land and Sky – Southern Highlands Tony Sheffield fine art photography. An exhibition of artist produced recent editions including landscape, cattle and botanical works, created using traditional darkroom techniques and digital technology.

13 December 2019–9 February Pulse An exhibition by members of the Southern Highlands Printmakers of artists books responding to the many meanings inherent in the word ‘pulse’.

Pennie Steel, Gerubu. From The Four Gods Principle, oil on Canson paper.

STACKS Projects 191 Victoria Street, Potts Point, NSW 2011 [Map 8] stacksprojects.com Thurs to Sat 11am–6pm, Sun 11am–4pm.

The gallery is closed in January.

Chair and stool by Isao Takezawa.

16 February–29 March Edge – Studio Woodworkers Australia

10 February–23 February Material Explorations – Touching Time Joanne Makas

Brian Reid, Blue Mountains, NSW, digital image.

This project explores the physicality of the body and its relation to time. An underlying motivation is to explore how

Permanent studio exhibition.

Collections by Pennie Steel, Brian Reid, Kaya Sulc.

The heartland of accepted practice is well defined, but new insights take place at the periphery. This exhibition is an invitation to design and make at the edge of accepted practice.Includes Tools & Techniques Festival 15 and 16 February.

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Australian modern, contemporary and Indigenous works of art.

Approved valuer for the Australian Government’s Cultural Gifts Program.

Mark Munro, Factory #6, c-type photograph, 118 x 151 cm, edition 4/5.

78B Charles Street, Putney, NSW 2112 02 9808 2118 Open Monday-Friday 9am-4pm; Saturday 9am-3pm, Wednesday and Sunday by appointment. brendacolahanfineart.com

Patchwork 3

29 November to 27 January 2020 Collectable 15 x 15cm works on canvas Opening event Saturday 30 November 2pm–4pm.

C3/60 Caves Beach Road, Caves Beach, NSW 2281 E: info@Finitegallery.com W: FiniteGallery.com Friday to Sunday & Public Holidays 10am–4pm.

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NEW S OUTH WALES

Tamworth Regional Gallery → Craige Watson, Tacking Point Lighthouse, panorama, detail.

Sullivan+Strumpf 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 sullivanstrumpf.com Tue to Sat 10am–5pm or by appointment.

31 January—8 February Sullivan+Strumpf Annual Summer Group Show A selection of gallery artists including Ry David Bradley, Maria Fernanda Cardoso, Kirsten Coelho, Michael Zavros, Tony Albert, Karen Black, Alex Seton, Ramesh Mario Nithiyendran and Lindy Lee.

Tamworth Regional Gallery 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am –4pm, Sun 10am–4pm.

Closed Public Holidays.

Gregory Hodge, Untitled, 2019, acrylic on canvas, 199 x 153 cm.

7 December 2019–2 February Wonders of the Night Sky Through Our Eyes

Hugh Oliveiro, Astrologer, detail, 2019, mixed media on canvas, 30 x 30 cm.

Photography by the artist.

7 December 2019–2 February Out of This World Hugh Oliveiro 14 December 2019–2 February Postcards from the North West Fran Wachtel 177

‘Wansolwara’ – a pidgin word from the Solomon Islands meaning ‘one salt water’ – reflects not a single ocean, but rather a connected waterscape that holds distinct and diverse cultures and communities.

Through art, performance, and conversations, this project celebrates the depth and diversity of contemporary visual and material culture across the Pacific and throughout the Great Ocean. Presented in partnership with 4A Centre for Contemporary Asian Art and in association with Sydney Festival.

Thienny Lee Gallery 176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 thiennyleegallery.com Tue to Fri 10am to 4pm, Sat 11am–4pm.

We are currently taking exhibition proposals for 2020, apply now.

Phillipa Butters, Of the Land, acrylic on canvas, 61 x 61 cm.

27 February–17 March Take 6 for IWD Angela Alcock, Phillipa Butters, Jenny Hall, Julie Johnstone, Sue McRoberts, Catherine Stewart

Jenny Lavender, Inside Out #20, acrylic on x-ray film, 57 x 48 cm.

6 February–25 February Inside Out Jenny Lavender Abstract artist Jenny Lavender embodies her art through sustainability by addressing the world’s significant waste disposal, utilising the large numbers of x-ray films, which would normally have found their way into landfill, as her medium of creation. The Sydney-born artist is renowned for her original approach to shape, colour, form, and balance in her body of work.

In Inside Out, Lavender allows the x-ray films to dictate the flow of the colour, following the outline of the monotone scans, and resulting in a spirited composition that engages both the mind and the heart in equal measure.

In honour of International Women’s Day (IWD) on the 8th of March, this exhibition invites the viewer to experience the individual responses of 6 female artists to the landscape, to nature and to their experience of place – the intimate and familiar, the harsh and remote, and where land meets water. The diverse landscape is captured through the changing light and colour, tones and textures, mark-making and motifs, layering and scraping, and the revealing and concealing. An impression, a feeling, an abstraction … a moment seized on canvas.

UNSW Galleries

Caroline Monnet, Creatura Dada, 2016, HD video, 3:03mins. Courtesy of the artist and Galerie Division, Montreal.

17 January–18 April ‘O le ūa na fua mai Manu‘a asinnajaq, Sarah Biscarra Dilley, Sebastián Calfuqueo Aliste, Mariquita Davis, Amrita Hepi, Caroline Monnet, Faye Mullen, Shannon Te Ao, Angela Tiatia, and Gutiŋarra Yunupiŋu. Curated by Dr Léuli Eshrāghi.

Featuring an archipelago of Indigenous moving image works, this exhibition deepens understandings of the complexities of Indigenous life today, focusing on language, memory, desire, and pleasure.

17 January–18 April OFO HAKE: Koe Ngatu Teuteu ‘o ‘Akesa mo ‘Isileli Fifita Ruha Fifita

Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 artdesign.unsw.edu.au/unsw-galleries Tue to Sat 10am–5pm.

Closed public holidays.

Featuring a monumental ngatu (painted tapa) created by Tongan artist and curator Ruha Fifita in New Caledonia alongside a recent ngatu made collaboratively with her family in Aotearoa New Zealand, this special project represents the critical role of fibre arts, familial knowledge, and intergenerational learning in Tongan community life.

17 January–18 April Wansolwara: One Salt Water

17 January–18 April Shivanjani Lal

UNSW Galleries → Gutiŋarra Yunupiŋu, Garrutu’mi Mala – My connections, 2019, HD video, 30mins. Courtesy of the artist and Buku-Larrŋgay Mulka Centre.

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NEW S OUTH WALES

Wagga Wagga Art Gallery → Oscar Wilde’s The Nightingale and the Rose, Dirs. Del Kathryn Barton and Brendan Fletcher. Prod.

Aquarius Films, 2015.

A twice-removed Fijian Indian Australian artist who works with archival images, found materials, video, performance and ritual. Her work explores the indentured labour diaspora of the Indian and Pacific Oceans and the histories that brought her family from India to Fiji and now to Australia.

Wagga Wagga Art Gallery Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 waggaartgallery.com.au Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

and Earth. This exhibition questions the popular perception of life being anchored and lived in the ‘real’ world, by floating the possibility that the human experience – our experience – is as much about abstraction as it is about reality.

23 November 2019–26 January The Nightingale and the Rose Del Kathryn Barton: Enter the hauntingly beautiful world of Oscar Wilde’s The Nightingale and the Rose, magically brought to life by acclaimed artist Del Kathryn Barton and renowned filmmaker Brendan Fletcher.

9 November 2019–9 February Remain Hoda Afshar This exhibition weaves a haunting narrative as Hoda Afshar’s lens follows a group of stateless men who remain on Manus Island despite the centre’s closure in 2017.

23 November 2019–5 January Heaven and Earth Joel Markham Local photo media artist Joel Markham presents his new exhibition Heaven

29 June 2019–31 May Fun Foam Fantastical Fabulous Fun! Rosie Deacon Deacon was gifted a truck load of Fun Foam from a studio neighbour. She was tasked with repurposing the left over foam which started the artist’s obsession with this dynamic and versatile material.

20 April 2019—5 April Perceptual Reversal Madisyn Zabel This exhibition builds on Zabel’s current rationale, which explores the relationships between three-dimensional objects and their two-dimensional interpretations in glass and mixed media.

26 October 2019–16 February Six Decades in Reflection Peter Minson Highlighting Peter Minson’s conceptual brilliance and mastery of lampworked glass. This exhibition showcases his expertise over the physical process of making and lack of boundaries glass allows.

Global Melody Project is a catalyst for understanding, an opportunity to communicate with strangers, and most importantly shift expectations, as well as discover new music to enjoy.

Wagner Contemporary Andrew Sullivan, Pachycephalosaur, oil on canvas, 71 x 91 cm. Courtesy of the artist and Galerie pompom, Sydney.

23 November 2019–26 January Survey into the Cretaceous Andrew Sullivan A journey into Andrew Sullivan’s vivid imagination. The painter has imagined himself as being an assigned artist with a team of paleontologists, scientists and geographers on a survey expedition into the late Cretaceous period.

1 February–22 March Global Melody Project Michael Agzarian

2 Hampden Street, Paddington, NSW 2021 [Map 10] 02 360 6069 wagnercontemporary.com.au Tues to Sun 10.30am–6pm.

Focusing on both early career and established artists as well as secondary market works of art, the gallery alternates new and exciting solo and group exhibitions on a monthly-basis and boasts an extensive and impressive stockroom which holds a vast selection of works to suit any taste and interest.

January–February Summer Show This popular exhibition showcases an incredible collection of impressive 179

Wagner Contemporary continued...

Minnie Pwerle, Women’s Ceremony. contemporary and modern works of art, including new works in stock as well as rare collectable pieces sourced from private collections around Australia.

Hanging together, this broad collection is an opportunity for art collectors focused on a range of styles and periods to incorporate both minor and major pieces to their collections.

energy and technical quality of the works she saw and wanted to share them with people outside China.

Bronwyn Berman, Interwoven landscapes: Time is the essence from which we are made, 2014, paper contact printed with material from the Nepean and Lachlan rivers, hand made twine, 550 x 180 cm.

Rytmeister, Enrico Scotece, John South, Savanhdary Vongpoothorn, Nathan Waters and Justene Williams.

Bu Hua, Beauty 3, 2008, pigmented inkjet print, 100 cm diam.

11 September 2019—2 February THEN

Wallarobba Arts and Cultural Centre 25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] hornsby.nsw.gov.au/culture 02 9847 6572 Daily 10am–4pm.

Western Sydney University Art Galleries Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943 westernsydney.edu. au/aciac/exhibitions Mon to Thur 10am–3pm.

14 October 2019—21 February Essence, Energy, Spirit An exhibition featuring the works of Guan Wei.

Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116 02 9685 9210 virtualtours.westernsydney.edu.au 2 November 2019—31 January Past and Present An exhibition highlighting multi-media works by past graduates and current PhD candidates at Western Sydney University.

Artists featured include, Liam Benson, Rachel Bentley, Bronwyn Berman, Janice Bruny, Dawne Fahey, Adam Hill (BLAK DOUGLAS), Felicia Kan, Juan Klaver, Gillian Leahy, Ellen Malanos, Jan Pilgrim, Emily 180

The White Rabbit Gallery Turns Ten!

14 February—24 April Marriage, Love and Law A NSW State Archives exhibition that explores the laws, beliefs and social attitudes that have shaped and reshaped marriage in Australia over three centuries.

Margot Hardy Gallery, Western Sydney University Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 virtualtours.westernsydney.edu.au 26 November 2019–25 January Perspectives An exhibition featuring artworks by students from Bossley Park High School.

1 February–28 February Recent works by Rafat Yacoub

White Rabbit Contemporary Chinese Art Collection 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 whiterabbitcollection.org Wed to Sun 10am–5pm.

The White Rabbit Gallery was opened in 2009 to showcase what has become one of the world’s most significant collections of Chinese contemporary art. Dedicated to works made in the 21st century, the White Rabbit Collection is owned by Judith Neilson, who was inspired to establish it after her first trips to Beijing in the late 1990s. She was thrilled by the creative

White Rabbit Gallery celebrates its tenth birthday with THEN, a show which takes a chronological walk through the first ten years (2000-2010) of Judith Neilson’s renowned private collection. Among more than 60 works in THEN you will rediscover many old favourites and some works never before shown. Featured artists include Chang Xugong, He Yunchang, Xu Bing, Li Shan, Song Yongping, He Jia, Tamen, Gao Xiaowu, Zhang Hai’er, Huang Yan, Zhu Jinshi, Chen Wei, Chen Yanyin and Xu Zhen.

The White Rabbit Gallery will be closed from Monday 3 February—Tuesday 10 March as we prepare for our new exhibition, AND NOW, which opens Wednesday 11 March.

Wollongong Art Gallery Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 wollongongartgallery.com Mon to Fri 10am–5pm, Sat to Sun noon–4pm.

Wollongong Art Gallery has an important collection of Australian, Aboriginal and Asian art. The permanent collection not only documents Illawarra regional histories and art practices, but also reflects developments and issues in art of local, national and international relevance. Our diverse program includes exhibitions and activities that highlight the unique energy and creativity of the Illawarra region, as well as those derived from partner institutions around Australia and the world.

16 November 2019–2 February Postcodes from the Edge WAG Friends art prize and exhibition featuring small format contemporary art works that reflect the Illawarra region through people, places or events.

30 November 2019–23 February On The Move: The Dion Family.

NEW S OUTH WALES

White Rabbit Contemporary Chinese Art Collection → Chen Yanyin, b.1949, Young Pioneers of Communist China, 2010, bronze, paint.

7 December 2019–1 March Jenny Orchard: Creatures of consequence, marvels of things imagined and miraculous aspects of things existing

A selection of curated objects drawn from the family’s vast archive of material,

Brothers Barney and Ted Dion in 1920s Chevrolet wooden-bodied bus receive help crossing the Cann River December 1932.

Tracey Moffatt & Gary Hillberg, Other (still), 2010, 7 minutes, looped video, sound. Courtesy the artist, Roslyn Oxley9 Gallery and Tyler Rollins Art, New York.

and new commissions by Matt Chun, Pia Johnson and Naomi Segal, that tell a story of migration, survival, acceptance and community spirit of a remarkable family. Produced and presented in partnership with 4A Centre for Contemporary Asian Art.

Curated and developed by Artspace, Sydney and is touring nationally in partnership with Museums & Galleries of NSW.

7 December 2019–1 March Tracey Moffatt and Gary Hillberg Montages: The Full Cut, 1999–2015.

An exhibition of new and existing works from the past decade. Jenny Orchard artist talk, Wednesday 5 February, 1pm–2pm In this talk the artist will share her ceramic artworks and collaged images which come from her worldview of inclusiveness and celebration of diversity.

Free, all welcome.

Talk by Rachel Arndt, Wednesday 5 February, 11am–12noon. Rachel Arndt, Gallery Programs & Touring Exhibitions Manager M&G NSW, will discuss the concepts and themes in the exhibition, and the process of collaboration between Tracey Moffatt and Gary Hillberg. Free, all welcome​.

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A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Artspace Mackay → Miki Nakamura-Mather, Telescoping (the tyranny of distance), 2018, Japanese indigenous bamboo, kyogi paper, natural Japanese mineral pigments, ink, 150 x 650 cm approx. Image courtesy of the artist.

Artspace Mackay Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 artspacemackay.com.au Tue to Fri 10am–5pm, Sat to Sun 10am–3pm. Free entry.

Artspace Mackay was developed through the Queensland Heritage Trails Network (QHTN), a partnership between Commonwealth, Queensland and local governments to celebrate the Centenary of Federation in 2001.

18 October 2019—19 January Reasonable and Necessary Prints and artist’s books by Artel Artists.

Sacred Ink: Jardine Bobongie, 2019, Photograph by Jim Cullen.

8 November 2019—16 February Sacred Ink Connecting to culture 29 November 2019—23 February Losing Home, Finding Home Mika Nakamura-Mather 24 January—5 April Disquiet Barbara Dover and Robyn Glade Wright.

Artisan 45 King Street, Bowen Hills, QLD 4006 [Map 15] 07 3215 0800 artisan.org.au Tue to Fri 10am–5pm, Sat 10am–4pm.

Free admission.

Jumaadi, Snake’s Wedding, 2019, acrylic on buffalo hide. Image © Cassandra Lehman.

16 November 2019—20 February Jumaadi: House of Shadow

Artisan is a not-for-profit organisation dedicated to supporting and promoting contemporary craft and design practice for both makers and their audiences. artisan began its legacy in 1970 and has, for almost 50 years, been the home of craft and design in Queensland.

A captivating new solo exhibition by the internationally-recognised Indonesian Australian contemporary artist Jumaadi. A rising star on the international art scene, Jumaadi is known for his vivid, playful and ironic imagery, the celebration of the poetic, and his enjoyment and appreciation for the traditional and contemporary.

We share, celebrate and offer advocacy for Australian practitioners with exhibitions, events, workshops, and the artisan store. artisan enriches cultural life in Queensland by harnessing creative and commercial opportunities, and collaborates with organisations, businesses and the broader community.

The installation, sculptural and painted works in this exhibition are an intimate reflection into Jumaadi’s recent creative practice. With roots in both Western art and the culture, ideology and traditional crafts of Indonesia, Jumaadi: House of Shadow celebrates the artist’s hybrid practice.

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NORTH QUEENSLAND

biennial

20 20

bie

20

ceramic awards Call for entries MAJOR ACQUISITIVE PRIZE $10,000

NORTH QUEENSLAND ENTRIES CLOSE Monday 20 April 2020

ENTRY FORMS AVAILABLE townsville.qld.gov.au/pinnacles EXHIBITION DATES 17 July – 13 September 2020

ceramic awards Call for entries PINNACLES GALLERY

(07) 4773 8871 pinnacles@townsville.qld.gov.au whatson.townsville.qld.gov.au Townsville City Galleries townsvillecitygalleries

www.townsville.qld.gov.au/pinnacles

Image: Simone FRASER Landscape Series (single) 2017 Clay and dry glazes 63 x 27 cm Major acquisitive prize winner of the City of Townsville Art Collection Award, 2018 Biennial North Queensland Ceramic Awards, Townsville.

City of Townsville Art Collection

A CENTURY OF WOMEN IN BRISBANE ART

13 Sep 2019 – 15 Mar 2020 | MUSEUM OF BRISBANE

museumofbrisbane.com.au

EXHIBITION PARTNER

MEDIA PARTNER

Caroline Barker, Untitled (life class model), c1925, oil on canvas, photo: Carl Warner, gift of the artist, 1982, City of Brisbane Collection, Museum of Brisbane

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QUEENSLAND

Butter Factory Arts Centre 11a Maple Street, Cooroy, QLD 4563 [Map 13] 07 5442 6665 butterfactoryartscentre.com.au Tue to Sun 10am–3pm 17 January–18 February 40 Under 40 Forty artists under forty years old share the Butter Factory galleries for this inaugural show.

30 November 2019—15 February John Rigby: Monumental Colour One of Australia’s most acclaimed painters, John Rigby enjoyed a career that spanned over 70 years. For the first time, the life and art of John Rigby will be told through the stories and memories of his three children, Mark, Renee and Tony.

Experience Rigby’s travels to exotic destinations, interactions with iconic Australians and relationships with those whom he held dear, through his expert handling of colour.

FireWorks Gallery 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 fireworksgallery.com.au Tue to Fri 10am–6pm, Sat 10am–4pm.

Grace Lillian Lee, Woven Reflection, detail, 2014. Photograph by Patti Gallagher-Jones.

Jan Ross-Manley, Reef Study. Image courtesy of the artist. imprinted onto the very core of Aussie DNA. There is a particular emphasis on the Capricornia and Bunker section of the Southern Great Barrier Reef, located in the Gladstone Region.

Supported by the Gladstone Regional Council Regional Arts Development Fund (RADF). RADF is a partnership between the Queensland Government and Gladstone Regional Council to support local arts and culture in regional Queensland.

2 January–14 January GOMA Kids on Tour 2020 Program: Island Fashion

Caboolture Regional Art Gallery 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 moretonbay.qld.gov.au/ caboolture-gallery Mon to Fri 10am–4pm, Sat 10am–4pm.

Laurie Nilson, Running the gauntlet, 2007, pastel a acrylic on canvas, 152 x 168 cm.

7 December 2019–7 February Matches 8 Yvonne Mills-Stanley and Woven 14 February – 21 March 2020 Laurie Nilsen and Paddy Carroll Tribute with the Campfire Group

Gladstone Regional Art Gallery & Museum Corner Goondoon and Bramston Streets, Gladstone, QLD 4680 [Map 17] 07 4976 6766 gragm.qld.gov.au Mon to Sat 10am–5pm.

Free admission.

A community cultural initiative of the Gladstone Regional Council.

14 December 2019–29 February Reef on Our Mind: The Great Barrier Reef in the Australian Psyche Jan Ross-Manley

John Rigby, Self portrait with painting of wife, 1990, oil on canvas. Photograph by Carl Warner.

The result of a three-year investigation by local artist Jan Ross-Manley into how the Reef has come to hold such a dear place in the hearts and minds of Australians. Telling the story through art, objects and memorabilia, the exhibition shows how the colourful Wonder of the World has become a national treasure,

Merv with his new watercolour works, 2018. Photograph by Prue Acton.

14 December 2019–29 February COLOUR II Merv Moriarty: In the Field A touring exhibition of recent works by artist, art educator and founder of Flying Arts Alliance, Mervyn Moriarty.

Marking the extraordinary impact that Mervyn Moriarty and The Flying Arts School had in the Gladstone Region, during the late 1970s and 1980s, the touring project is complemented by a locally curated showcase from the region’s artists, as well as works from private and public collections that demonstrate the impact of Moriarty’s legacy.

20 December 2019–29 February Saiki Children’s Art A series of works created by young children from Saiki City, Japan. This annual exhibition is part of a Gladstone Saiki Sister City cultural exchange program.

Ten Years On: looking back at the local Shires Looking back, pre-amalgamation of the Gladstone Regional Council, to the signs of Calliope Shire, Miriam Vale Shire and Gladstone City Council.

7 January–30 September 2020 Celebrate Australia Primary School Art Competition Touring exhibition of entries 185

with the horizon as a starting point, and a metaphor, for discussing the human condition—specifically connection, disconnection, and longing.

Gladstone Regional continued...

Presentation of the 14th annual Celebrate Australia Primary School Art Competition entries, a colourful and imaginative display of paintings, drawings and collages celebrating ‘who and what make Australia great’. A selection of finalist works tour to Saiki City, Japan, during September, as part of an annual cultural exchange.

The 2020 touring exhibition commences at the following venues: Gladstone Tondoon Botanic Gardens Visitors Centre Gallery (7–31 January), CQUniversity Gladstone Marina Campus (3–29 February) and Gladstone Regional Art Gallery & Museum (7 March–18 April).

Gallery 48

Daniel McKewen’s work Promissory Estoppel will be projected onto the façade of the Judith Wright Centre of Contemporary Arts as a temporary public artwork.

22 February–22 April CREATURE Marianna Simnett Bonita Ely, Plastikus Progressus, 2017/2019. Plastic, cellophane, metal, photographs, sound, works on paper and touch screen. Dimensions variable.

Image courtesy the artist and Milani Gallery, Brisbane. Photograph: Carl Warner 12 October 2019—8 February Bonita Ely: Future Tense

22 February–18 April IMA Belltower: Sancintya Mohini Simpson

2/48 The Strand, Townsville, QLD 4810 gallery48thestrandtownsville.com Wed and Sat 12noon–5pm.

Vince Bray, Pink Hill, gouache on paper, 2019.

Metaprogramming.

Kulī nãm dharãyã / they’ve given you the name ‘coolie’ is a solo exhibition by Brisbane based artist and researcher Sancintya Mohini Simpson. Simpson works between painting, video, poetry, and performance to address the impact of colonisation on the historical and lived experiences of her family. More broadly, she traces the movements and passages of indentured labourers from India to South Africa during the late 1800s and early 1900s.

20 February–11 April Cognitive Dissidents: Reasons to be Cheerful

Logan Art Gallery

Curated by Stephen Jones.

Institute of Modern Art 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 ima.org.au Tue to Sat, 11am–6pm.

First Thursday of the month, 11am–9pm. Free entry.

Griffith Regional Art Gallery 167 Banna Ave, Griffith, NSW 2680 02 6962 8338 [Map 12] griffithregionalartgallery.com.au Wed to Fri 10am–5pm, Sat to Sun 11am–2pm.

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Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 logan.qld.gov.au/artgallery Tues to Sat 10am–5pm.

Free entry.

Wayne Budge, Normie Rowe, 2019, digital photograph.

Anne Lord, Water Layerings, acrylic on canvas, 2019.

1 January–29 February Monsoon ~ wet ~ dry Anne Lord and Vince Bray

The first exhibition in Australia by London-based artist Marianna Simnett brings together a body of video and sculptural work telling wicked tales of transformation with a cast of children, beasts, and mutants. Surveying the last six years of Simnett’s practice, alongside new work, this will be the largest solo exhibition of her moving image and sculptural work to date.

Courtney Coombs, Field of Vision (testing), 2019, digital image. Courtesy of the artist.

9 November 2019–8 February IMA Belltower: Courtney Coombs Façade Projection: Daniel McKewen After an open call for applications across Queensland, Courtney Coombs and Daniel McKewen have been selected to exhibit as part of the IMA Belltower program.

Field of Vision, an exhibition of new works by Courtney Coombs, engages

6 December 2019—18 January Faces behind the music Wayne Budge Cutting edge Rusty White, Rosemary Gorton and Owen Lucas Inherit this Chris Martin Observing the quiet unquiet Spectator Jonze 24 January—7 March The Beenleigh line Ian Smith

QUEENSLAND

Institute of Modern Art → Marianna Simnett, still from Blood In My Milk, 2018. Courtesy of the artist.

Alex Buckingham, Cherry. special lighting and skill produce amazing images. Buckingham’s exhibition Aqueous is part of the 20/20 PHOTOGRAPHIC VISION program, where 20 photographers are introduced throughout the year, showcasing 20 images each, with a new installation every fortnight.

Metro Arts Chris Martin, Race to nowhere, 2018, oil on canvas.

24 January—7 March Coral impression Mei Mei Liu New York rambling Miriam Innes Tales around a tea cosy and Somebody yarn bombed my tea pots!

Adele Spain

The Maud Street Photo Gallery Queensland Centre for Photography 6 Maud Street, Newstead, QLD 4006 [Map 15] maud-creative.com This exhibition: Thur to Fri 1pm–6pm, Sat and Sun 11am–4pm.

13 February—16 February Masterpieces of Dr. Julian Smith

Dr. Julian Smith, You Called Me Dog. The first exhibition in the 20/20 PHOTOGRAPHIC VISION program, where 20 photographers are introduced throughout the year, showcasing 20 images each, with a new exhibition every fortnight.

In this installation, we have the privilege to view 20 masterpieces, carefully selected from the portfolio of Julian Smith’s reproductions, titled 50 Masterpieces of Photography, published in 1946.

The folio is a beautiful collection of portraits that surveys the work of a respected surgeon and pioneering photographer in Australia. A collection of character studies and portraits of prominent civil servants and individuals, often based on characters from Dickens’ novels.

27 February—1 March Aqueous A photographic exhibition of highly specialised commercial photography, where using special techniques, props, tricks,

109 Edward Street, Brisbane, QLD 4000 [Map 18] 07 3002 7100 metroarts.com.au Mon to Sat Noon–8:30pm

Image courtesy of the artist.

1 February–15 February The Time of Light Courtney Coombs This site-specific exhibition responds to the play of light in the Metro Arts galleries, inviting reflection on this space, and offering a loving farewell.

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Noosa Regional Gallery → Karla Dickens, Wiradjuri People, Quartered, 2017, mixed media, dimensions variable. Mackay Regional Council Art Collection.

Karla Dickens, S.J. Norman, Yhonnie Scarce and Jemima Wyman.

Museum of Brisbane Level 3, City Hall, Brisbane, QLD 07 07 3339 0800 [Map 15] museumofbrisbane.com.au Daily 10am–5pm daily, Fri 10am–7pm. Free entry.

31 January—8 March Wallace House Quilt Project Group exhibition featuring artists of Noosa Shire Arts & Crafts Association Inc. Davida Allen (from the McCrea Collection) Works from the private collection of Australian art collector Mr. John McCrea.

Onespace Gallery

Museum of Brisbane’s High Rotation exhibition. Photograph by Dylan Evans.

30 August 2019–19 April High Rotation See, hear, feel–30 years of Brisbane music. Turn up the volume as Museum of Brisbane’s High Rotation exhibition takes you backstage through three epic decades of Brisbane’s incredible music scene. Discover and revisit the iconic songs, music videos, photographs, instruments, and souvenirs from 1989 to present-day, from the likes of Powderfinger, Regurgitator, Keith Urban, Thelma Plum, Violent Soho, Sheppard, Savage Garden, Emma Louise, The Grates and more. The exhibition also reveals the extraordinary stories and industry highlights from artists, producers, venue managers and record label representatives.

13 September 2019–15 March New Woman Celebrating a century of women in Brisbane art. New Woman recognises the lives of Brisbane women artists over the past 100 years from the independent and adventurous to the often overlooked, exploring the trailblazing women who have continued to take the lead in Brisbane art.

The exhibition is a snapshot of the art, personal stories and enduring 188

Caroline Barker, Untitled (life class model), detail, c1925, oil on canvas, gift of the artist, 1982. City of Brisbane Collection, Museum of Brisbane. legacies of Brisbane’s most significant and ground-breaking artists between 1920-2019 reflected in artworks, sculpture, performance and installation works on a scale never seen. Featuring more than 80 artists and 110 works, New Woman traces vast changes in ideas of gender, artistic styles, subject matter and ways of seeing the world. Discover more about the women in Brisbane art with our extensive range of related events, including talks, tours, performances and workshops.

Free entry.

Noosa Regional Gallery Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 noosaregionalgallery.com.au Tue to Fri 10am–4pm Sat and Sun 10am–3pm.

6 December 2019—26 January Violent Salt Abdul Abdullah, Vernon Ah Kee, Richard Bell, Daniel Boyd, Megan Cope,

349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 onespacegallery.com.au Wed to Fri 10am–5pm, Sat 10am–4pm or by appointment.

Onespace is a Brisbane gallery that presents and sells contemporary art, including work by Aboriginal and Torres Strait Islander artists. We curate an exhibition program exploring diverse themes and media. We show emerging, mid-career and established artists whose works inform, stimulate and challenge.

15 January–31 January Shiver No Australian animal or marine creature captivates our national psyche more than our indigenous sharks. They divide us like no other creature in our ecosystem.

The more they diminish in numbers, the more they loom omnipresent in our consciousness. They headline sensationally in all manner of news media, but our understanding of sharks is dominated disproportionately by fear. Shiver brings together a group of Australian artists of various backgrounds—including Australian First Nations artists and artists with Polynesian, Chinese, Japanese, or European heritage—who dare to enter these open waters.

5 February–14 March rightNOW Onespace Gallery presents its second iteration of rightNOW. An exhibition

QUEENSLAND present the first major retrospective of Glen O’Malley. A long-time resident of North Queensland, O’Malley has consistently offered an esoteric viewpoint on Queensland and the world, from otherworldly landscapes and the surrealism of the everyday to the eccentric and the erotic. What is a Dream? assembles work spanning O’Malley’s decades-long career from the artist’s own archives and several collections, as well as a selection of his books, documents and ephemera for an expanded view of the artist’s practice.

Curated by Marion Heath.

Pine Rivers Art Gallery Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 moretonbay.qld.gov.au/ pinerivers-gallery Mon to Sat 10am–4pm.

Vincent Serico, The Road to Cherbourg, 2009, Folio print reproduction, archival inks on 300gsm Hahnemuhle rag paper.

City of Ipswich Collection, Ipswich Art Gallery. Image courtesy of Fireworks Gallery. Photograph by: Mick Richards.

8 November 2019—19 January Vincent Serico: Some people are stories Leah Emery, The Beast and Beauty, 2019, embroidery thread on Aida cloth, 60 x 35 cm. Photograph by Brisbane Digital Images. Courtesy of the artist and Onespace Gallery. (From Shiver exhibition). dedicated to bringing works by a select group of emerging and mid-career artists fresh from their studios onto the gallery walls. The show highlights recent concerns, directions and preoccupations right now.

Perc Tucker Regional Gallery Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 townsville.qld.gov.au Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Ken Done, Yellow Beach II, 2016, oil and acrylic on linen, 152 x 122 cm. Image courtesy of the Ken Done Gallery, Sydney.

9 December 2019—9 February Ken Done: Paintings You Probably Haven’t Seen: Selected Works 2000–2017 This major exhibition of twenty-first century paintings by Ken Done brings together a selection of mostly-unseen works from one of Australia’s best known artists.

Featuring dozens of works, Paintings You Probably Haven’t Seen: Selected Works 2000–2017 is a brilliant survey of an artist at the peak of his lifelong practice.

Philip Bacon Galleries 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 15] 07 3358 3555 philipbacongalleries.com.au Tue to Sat 10am–5pm.

Vincent Serico was born in Brisbane and was separated from his immediate family at the age of four. His mother was a Palm Island woman and his father was from Carnavon. During the 1950s, he grew up on the ‘mission’ at Cherbourg, Queensland.

Serico’s stories are about living in different parts of Queensland, working, travelling, painting and playing cards in old mission communities like Cherbourg, Palm Island, Mornington Island, Yarrabah and Doomadgee.

Some people are stories is a touring exhibition in partnership between FireWorks Gallery and Museums & Galleries Queensland. This project is supported by the Queensland Government through Arts Queensland. This project has also been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and supported by the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments.

6 February—18 April Know your neighbour Do you know your neighbour? Who are the people we live our lives alongside? What does it mean to be a good neighbour – both locally and further abroad?

Glen O’Malley, What is a dream? You’re asking me too much, 1995, silver gelatin print, 34 x 51 cm. Courtesy of the artist.

9 December 2019—9 February Glen O’Malley: What is a Dream?

Perc Tucker Regional Galley is proud to

Our communities are ever changing and as globalization reduces the distance between one another, our understanding of being a ‘good’ neighbour is shifting. In Know your neighbour, participating artists examine ideas of friendship, community and civic responsibility.

Lisa Adams, Urgent message, 2018, oil on canvas, 75 x 110 cm.

21 January–3 March Summer Exhibition 189

QUT Art Museum → Anne Wallace, Morning Glory, 2004, oil on canvas, Collection of Jane Kleimeyer and Anthony Stuart, Melbourne.

Pinnacles Gallery Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 townsville.qld.gov.au Tue to Sun 10am–5pm.

Pinnacles Gallery and Riverway Art Centre are currently closed until further notice due to the recent extreme weather event. These facilities will be undergoing repair until it is safe for residents to use.

QUT Art Museum QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 artmuseum.qut.edu.au Tues to Fri 10am–5pm, Sat and Sun noon–4pm.

QUT Art Museum and our sister gallery, William Robinson Gallery, are two of Queensland’s premier visual art institutions, situated in one of the CBD’s premium locations on the Brisbane river.

9 November 2019–23 February Anne Wallace: Strange Ways 190

On the surface, Anne Wallace’s figurative paintings might seem conventional, however they are anything but ordinary.

Her meticulously painted canvases satisfy our visual habits and conform to our expectations of paintings, leading us to expect a narrative; however, on a deeper level, they conspire to deny us the satisfaction. They exude a strangeness derived from her unusual use of perspectives, the superimposing of images, and the borrowing of disparate sources.

Queensland Art Gallery | Gallery of Modern Art

Wallace’s paintings are at times difficult to look at. She combines the familiar with the unfamiliar, capturing a tension between the real and the imagined to create slightly awkward moments. Like any good ‘story’, there is sexual and social confusion, vulnerability and violence, alienation and loneliness, feelings of the abject, or fantasies of power and revenge. Wallace’s paintings have an uncanny ability to tap into a shared psyche, drawing upon the language of pop culture.

Geometries

Bringing together more than 80 works from public and private collections, and spanning three decades, this is the most comprehensive survey of Wallace’s practice to date. The exhibition will include a screening program of films selected by the artist, and is accompanied by a major publication, featuring new essays by Gillian Brown, Francis Plagne and Vanessa Van Ooyen.

Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 qagoma.qld.gov.au Daily 10am–5pm. Free entry.

25 May 2019—2 February Queensland Art Gallery (QAG): Bringing together works that dazzle the eyes with colour and form. Using deceptively simple strategies — structuring relationships between the most elementary components of shape, scale and relative sequencing, for the most part described in pure, flat and vibrant colours — the artists behind these arrangements excel in creating mesmerising optical effects. Contemporary in their lively spirit, and sometimes surprisingly classical in their sense of order and proportion, these works are certain to stir the senses.

14 September 2019–2 February Queensland Art Gallery (QAG): Jon Molvig: Maverick 21 September 2019–1 March Queensland Art Gallery (QAG): Shirley Macnamara: Dyinala, Nganinya (GOMA)

QUEENSLAND other important landmarks and buildings we interact with. Drawn entirely from Moreton Bay Regional Council’s Art Collection, Built forms considers human connection to the home, the neighbourhood and the holiday spot.

Shirley Macnamara at Mount Guide. Image courtesy of R.M. Williams Publishing Pty Ltd. Photograph by Virginia Hills.

Redland Art Gallery, Cleveland Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 artgallery.redland.qld.gov.au Mon to Fri 9am–4pm, Sun 9am–2pm.

Admission free.

2 February–8 March Adapation: Miles Allen, Helena Jackson Lloyd and Nicola Moss An exhibition reflecting on the many values of healthy environment – ones we create for ourselves as communities and those larger forces beyond our control.

Together, the work of Queensland artists Miles Allen, Helena Jackson Lloyd and Nicola Moss, brings a dialogue in response to their contemporary relationship with Australian landscape.

8 December 2019—26 January Robert MacPherson: Boss Drovers

Cai Guo-Qiang, China, b. 1957, Heritage (installation view), 2013, Animals: polystyrene, gauze, resin and hide. Installed with artificial watering hole: water, sand, drip mechanism. Purchased 2013 with funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery | Gallery of Modern Art / © The artist. Photograph: Mark Sherwood, QAGOMA. 7 December 2019–26 April Gallery of Modern Art (GOMA): Water

Redcliffe Art Gallery 470–476 Oxley Avenue, Redcliffe, QLD 4020 [Map 15] 07 3283 0415 moretonbay.qld.gov.au/redcliffe -art-gallery/ Mon to Sat 10am–4pm.

View a selection from Boss Drovers 1996 –2014 which comprise 2400 individual drawings, all deliberately executed as if by the hand of a ten-year-old. Over a 20-year period, Robert MacPherson made these in the guise of his alter ego, Robert Pene, a grade 4 student at St Joseph’s Convent, Nambour, Queensland. The project is dated 14 February 1947, and each sheet is stained to give it an aged patina.

Robert MacPherson: Boss Drovers is a touring exhibition developed by the Queensland Art Gallery | Gallery of Modern Art. 8 December 2019—26 January The In-Between: Papermakers and Artists Queensland An exploration of artist books by members of the Papermakers and Artists Queensland. This group formed in 1993 and their membership consists of artists who share a passion for paper as a sole creative medium. Each artist has started with a found book of their choice, drawing inspiration from subject matter and raw material to create a meaningful relationship between the context of the original book and the new form.

Rachael Lee, Drifting, 2019, linocut, stencil, collagraph and collage on Magnani Aquerello. Courtesy of the artist.

2 February–8 March Drawn by a whisper: Rachael Lee Rachael Lee’s work is a direct response to feelings of connection with the positive experience of nature-based environments and unseen forces that create this attraction. While traveling through particular areas in Redlands, strong positive vibrations are felt by the artist as if – nature is whispering – an invitation to explore the area in closer detail. In response to the exploration of Hilliards Creek at Ormiston, Rachael presents a series of multi-layered linocuts, collagraphs and stencils to highlight rhythms of this natural environment.

Redland Art Gallery, Capalaba Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 artgallery.redland.qld.gov.au

Elizabeth Lawrence, My Castle, 2007, oil on canvas. Moreton Bay Regional Council Art Collection.

22 November 2019—8 February Built forms People have complex relationships to the building and structure they live in and around. The spaces we inhabit bear witness to not only extraordinary events, but also regular life.

As the Redcliffe Art Gallery anticipates a new location in 2020, Built forms explores

Nicola Moss, Value Adding, detail, 2019, altered book, relief print, copic pen, mixed media. Courtesy of the artist.

Photography by Carl Warner.

Matthew Cheyne, Copper thieves, 2018, oil on linen. Courtesy of the artist.

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Redland Art Gallery continued...

This showcase of photographs is diverse in nature and forms a well-rounded snapshot of 10 years of Queensland contemporary photography.

26 October 2019–7 January Broken Glass Matthew Cheyne Matthew Cheyne’s large-scale, hypercolour oil paintings are full of an optimism that infuses even the darkest subject matter. His latest body of work is peopled with faceless hooded figures. Thieves, looters and bystanders are set against abstract, ambiguous landscapes. Cheyne delights in playing with the attraction and repulsion these scenes allow for, holding his vivid colours in balance with the dark ambiguity of his compositions.

Toowoomba Regional Art Gallery

Stephen Skillitzi, Bowl, 1970–1979, Glass.

Courtesy of the artist. delicately rendered glass objects.

Featuring international makers, in addition to artists from the region, the pieces acquired span over 150 years of manufacturing and draw upon glass as a malleable medium, from which both practical and ornamental vessels can be crafted. Reflective and colourful vases, bowls, perfume bottles, brooches, signet rings and conceptual artistic sculptures will be brought together to showcase the Gallery’s fine array of glass.

531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 tr.qld.gov.au/trag Tue to Sat 10am–4pm, Sun 1pm–4pm. Closed Mon and public holidays. Free entry.

26 October 2019–26 January Race Relations This exhibition explores representations of race relations through key works and publications held in the Lionel Lindsay Gallery and Library Collection, complemented by works from Toowoomba Regional Art Gallery’s permanent holdings.

2 November 2019–16 February KAGI: Collection of British Prints Chrys Zantis, Neuron, detail, 2018, chiffon fabric, bias binding, wool and sewing threads. Courtesy of the artist.

15 January–17 March Beneath the surface Chrys Zantis Beneath the Surface is an exhibition by Brisbane based artist Chrys Zantis devoted to human biology and psychology from scientific and metaphysical perspectives.

Beneath the Surface visually represents the unseen, inner workings of the body, while referencing the complimentary and compelling relationship between visual art and medical science. Heat-manipulated fabric pieces ‘hold the memory’ of objects used to shape the medium and leave pockets of air in their wake, poetically referencing the ephemeral brain-body connection, as well as representing the breath as central to mindfulness. Circular frames recall scientific apparatus like microscope, magnifying glass and petri dish, while textiles form artistic representation of body tissues. The palette is one of muted skin tones and greys, as specimens take on after being preserved, with the artist’s signature pink alluding to the humanness of this subject.

Rockhampton Art Gallery 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 rockhamptonartgallery.com.au Find us on Facebook Mon to Fri 9am–4pm, Sat to Sun 10am–4pm.

25 January–30 March Reflected: Collection of Glass Sculpture Rockhampton Art Gallery over time has amassed an eclectic collection of 192

The Douglas Kagi Gift acknowledges one of the most important donations ever made to the Rockhampton Art Gallery.

In 2008, the Melbourne scientist and art collector Dr Douglas Kagi donated 157 modern British prints, a marvellous gesture which has enabled the Gallery to present regular thematic print exhibitions and further develop its international collection. For the first time in 10 years, KAGI will be displayed at Rockhampton Art Gallery, forming part of the ‘Inside Out’ exhibition series, which seeks to showcase artworks not ordinarily available for public view. This behind the scenes look at our collection of over two thousand artworks will see visitors immersed in the day-today functioning of the Gallery, as the team prepare for the New Rockhampton Art Gallery building.

16 November 2019–19 April Exposed: Queensland Centre of Photography The Queensland Centre for Photography (QCP) was an artist-run photographic institution that operated from 2004 until 2014, showcasing local, national and international photo-media artists in Brisbane. On 17 April 2014, the QCP Board decided unanimously to close its Brisbane exhibition venue, following the withdrawal of core government funding.

Recently, 112 photographs held in the QCP collection have been loaned to Rockhampton Art Gallery’s nationally significant collection. As it stands, Rockhampton Art Gallery is home to a modest collection of photo-media art, including works by: Polexini Papapetrou, Petrina Hicks, John Gollings, Patricia Piccinini, Tracey Moffatt and Michael Cook.

These QCP works include photographs

by Peter Annand, Svetlana Bailey, Di Ball, Kate Bernauer, Camilla Birkland, Jeremy Blincoe, Magdalena Bors, Eric Bridgeman, Renata Buziak, Keith Carey, Ray Cook, Nathan Corum and Gordon Craig.

Claire Healy and Sean Cordeiro, Downstairs dining room – Octopus, 2014, Lego, IKEA chair and plant with hanger, 96 x 100 x 72 cm. Photograph by Ivan Bulijan.

Image courtesy of the artists and Roslyn Oxley9 Gallery.

7 December 2019–2 February Safe Space Safe Space contemporary sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It features a range of figurative elements and narrative themes with social, and sometimes political, resonances.

Many of the works in this exhibition take as their point of departure: the human body, its dimensions, the spaces it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.

8 February–22 March Violent Salt Bringing together contemporary artists from across Australia representing diverse cultural heritage. Co-curated by Yhonnie Scarce and Claire Watson, the exhibition reflects on the experiences of the marginalised, the underrepresented and the silenced. The exhibition discusses issues surrounding racism and discrimination against First Nations peoples and minority groups as well as the lack of respect for, and desecration of culture

QUEENSLAND Australia’s unique multiculturalism and landscape.

Violent Salt is an Artspace Mackay Touring Exhibition co-curated by Yhonnie Scarce and Claire Watson.

Umbrella Studio 408 Flinders Street, Townsville, QLD 4810 07 4772 7109 umbrella.org.au Mon to Fri 9am–5pm Sat and Sun 9am–1pm Jemima Wyman, Pairabeenee People / Aggregate Icon (from centre to periphery: Free-Gaza protester, Palestine, 5th May 2012 (Che Guevara t-shirt), Anti-government protester, Milan, 14th December 2010 (screaming skull), Union member protester against labour and fiscal reform, Madrid, 31st March 2012 (striped t-shirt), Indigenous land rights protester, Caledonia, 28th February 2006 (camo hoodie)…..) 2016, hand-cut digital photographs, collage, 173cm diameter.

Mackay Regional Council Art Collection, Reproduced by kind permission and the natural environment. Violent Salt invites artists to speak their truths about these experiences and offers an opportunity for understanding and connection, whilst seeking to celebrate and honour

UQ Art Museum Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 art-museum.uq.edu.au Mon to Sat 10am–4pm, Wed 10am–8pm. Closed Sunday and public holidays.

26 July 2019—18 January High Stakes Lara Merrett Sydney-based artist Lara Merrett presents High Stakes: a newly commissioned participatory painting project that will culminate in a large installation.

26 July 2019—18 January Weaving the Way

Nick Drake, The Promise, 2019, oil on linen, 61 x 91 cm.

31 January–16 March overThink Nick Drake 31 January–16 March Pandanas in the Desert Emily Donaldson

Guest curator Freja Carmichael presents Weaving the Way featuring works from the UQ Art Collection. This exhibition makes visible the layers of meaning and wisdom carried in contemporary fibre works by Aboriginal and Torres Strait Islander artists. Honouring visual languages of the past through form, material and technique, the artists included in this exhibition weave together the spiritual, cultural and historical.

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A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Aarwun Gallery 11 Federation Square, Gold Creek, Nicholls, ACT 2914 [Map 16] 02 6230 2055 aarwungallery.com Daily 10am–5pm 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 contemporary works. Norman Lindsay, Pro Hart and David Boyd sit alongside exquisite works from the indigenous community. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best which Australia has to offer.

Artists Shed 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 artistsshed.com.au Mon to Sat 10am–5pm, Sun 10am–4pm.

Canberra’s largest private gallery.

David Frazer, The Tangled Wood, etching, edition of 40, 80 x 120 cm.

13 February—1 March The tangled wood David Frazer Becky Gibson, Construct, 2019, plaster, terracotta, timber veneer, pencil, acrylic, 31 x 29 cm.

5 February—23 February A Provisional Landscape Becky Gibson and Nina Juniper.

Beaver Galleries 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 beavergalleries.com.au Tue to Sun 10am–5pm.

Prints.

Canberra Glassworks 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 canberraglassworks.com Wed to Sun 10am–4pm Entry by donation.

Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Margaret Hadfield, Rhododendron Spur, Gallipoli Series.

Clare Belfrage, Quiet Shifting, Aubergine and Blue, 2018, blown glass with cane drawing, sand blasted and pumice polished. Photo by Brenton McGeachie.

A developing place of arts in many practices. It is the work space and gallery of Margaret Hadfield-Zorgdrager and friends. Our art school provides daily classes, quality art supplies and spaces for other artists to exhibit. Artistic Vision Gallery section is for rescued,revamped and reloved art. Bohemian Coffee And Winebar is now operational and performances are also a part of the ‘Shed’. The whole place is anti-establishment and resourceful in its creation within the light industrial area of Canberra.

Australian National Capital Artists (ANCA) Gallery 1 Rosevear Place (corner Antill street) Dickson, ACT 2602 [Map 16] 02 6247 8736 anca.net.au Wed to Sun noon–5pm.

7 November 2019–19 January JamFactory Icon: Clare Belfrage: A Measure of Time

Dai Li, Deep breath, stoneware, 26 x 14 x 12 cm.

13 February—1 March Little things in life Dai Li Ceramics.

With a career spanning almost three decades, the multi-award winning artist has forged an international reputation for her finely detailed glass sculptures that marry organic blown forms with intricate line work. Throughout her career, Clare Belfrage has maintained a vibrant studio glass practice and is known for her distinctive artworks in which complex patterns of fine glass lines trace her forms.

Inspired by the repetitious patterns found in nature and the woven lines of textiles, Belfrage is particularly drawn to the layered rhythms that mark growth, change and the passing of time in the natural world. At Smokestack Gallery, Canberra Glassworks.

30 January–15 March Pattern and effect Brendan Van Hek

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National Gallery of Australia → Club Ate, Ex Nilalang (Balud), 2015, production still, single-channel HD digital video. Image courtesy of the artists. Photograph by Gregory Lorenzutti.

Humble House Gallery

M16 Artspace

93 Wollongong Street, Fyshwick, ACT 2609 [Map 16] 02 6228 1988 humblehouse.com.au Weds to Sun 10am–4pm.

Blaxland Centre, 21 Blaxland Crescent, Griffith ACT 2603 [Map 16] 02 6295 9438 m16artspace.com Wed to Sun noon–5pm.

6 February–23 February Colour Me Happy Alicia Gilchrist Rondo Dörte Conroy

16 January–2 February Unnatural Histories Dan Power and Luke Hadland M16’S Regional Initiative A Month of Sundays Brenda Goggs

Li Xinsheng, Snow in a Mountain Village, detail, ink and watercolour on ricepaper.

8 January—16 February Chinese art Welcoming the Year of the Rat with an exhibition of Chinese art and ceramics including Li Xinsheng, Cheng Yu, Wang Fangcheng and Huang Wentao.

Justin Wasserman, Trajectory-1, 2019, oil pastel and graphite on paper, 35 x 45 cm, Photo courtesy of the artist.

Dörte Conroy, Rondo, detail, 2018, paddle pop sticks, 12 x 16 cm. Photo courtesy of the artist.

6 February–23 February Illumination Tin Shed Art Group Curated by Manuel Pfeiffer.

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27 February–15 March David Reid Trajectories Justin Wasserman Cease and desist Annette Schneider, Rhiannon Lawrence, Caroline Ambrus

AUSTRALIAN CAPITAL TERRITORY

National Gallery of Australia

National Library of Australia

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 nga.gov.au Daily 10am–5pm.

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6262 1111 nla.gov.au Open daily 9am–5pm, until 9 February 2020.

28 February—9 March Club Ate: In Muva We Trust Over eleven nights, water and bodies will flow across the National Gallery’s facade in a monumental video projection by Club Ate. For the 2020 iteration of the Gallery’s annual Enlighten Illuminations commission, Club Ate have created a video projection that tells stories of resistance, transformation and queer futures. Club Ate is a collective led by Sydneybased interdisciplinary artists Bhenji Ra and Justin Shoulder. Drawing on their shared Filipino-Australian heritage, Ra and Shoulder use performance, costume and video to create work about personal myth and stories of the queer Asia– Pacific diaspora.

29 February—13 November Angelica Mesiti: ASSEMBLY Mesiti’s videos are portraits that consider how communities are formed through shared movement and communication.

The artist recently represented Australia at the 58th Venice Biennale with the three-channel video installation ASSEMBLY 2019. Acquired for the national collection, ASSEMBLY will be presented at the Gallery in Canberra before touring Australia. Free.

13 December 2019—13 April Matisse & Picasso The relationship of Matisse and Picasso is one of the most important stories in modern art. Between them, they set the course of western art history in the first half of the twentieth century. The exhibition features more than sixty paintings and sculptures and many drawings, prints and costumes.

30 November 2019—29 March Hugh Ramsay This major retrospective, the first in more than twenty-five years, celebrates the legacy of Australian artist Hugh Ramsay (1877–1906), whose portrait paintings achieved success here and in France before his untimely death at the age of twenty-eight. The exhibition brings together paintings, drawings, sketchbooks and letters from collections around the country to celebrate his achievements.

7 September 2019—9 March Lichtenstein to Warhol: The Kenneth Tyler Collection This exhibition of prints pays tribute to the collaborations between master printer Kenneth Tyler and some of the century’s most prominent artists, including Anni Albers, Jasper Johns, Roy Lichtenstein, Joan Mitchell and Andy Warhol.

December 2019– 26 April Urs Fischer: Francesco Swiss artist Urs Fischer’s Francesco, 2017, is a larger than life-sized wax sculpture of Italian art curator, Francesco

Earle, Augustus. (1793–1838). King’s Table Land, Blue Mountains, New South Wales the appearance of the new road.

NLA cat-vn793467.

Urs Fischer, Francesco, detail, 2017 sculptures, paraffin wax, microcrystalline wax, encaustic pigment, stainless steel, wicks, aluminium powder, steel, stainless steel hardware, bronze hardware, electrical wiring, LED light, AAA batteries, overall 391.4 h x 80.3 w x 103.6 d cm. © Urs Fischer, courtesy of Sadie Coles HQ, London.

Bonami, standing on a refrigerator while looking down at his smartphone, a pose that may come to symbolise our contemporary era. Alight during gallery hours, Fischer’s ‘candle’ slowly melts and breaks down, before being recast by the artist’s studio and ignited for another slow-burn performance.

January–February Treasures Gallery Delve into Australia’s colourful history and come face-to-face with highlights from the National Library’s amazing collections on display in the Treasures Gallery.

With displays changing regularly, there are always new stories to share. This summer, see exquisite eighteenth-century watercolours of Australian birds by Sarah Stone, important watercolours of rural New South Wales by Augustus Earle dating to c.1826 and displays about the 2008 Apology to the Stolen Generations and Germaine Greer’s landmark book The Female Eunuch (1970).

Ongoing Belonging: Stories of Australian Art This major collection presentation recasts the story of nineteenth-century Australian art. Informed by the many voices of Indigenous and non-Indigenous cultures and communities, the display reconsiders Australia’s history of colonisation. It draws together historical and contemporary work created by more than 170 artists from across Australia.

Ongoing Devotion Nature Time People: Asian Art | From Indonesia to Turkey and from 2,500 BCE to now, this collection display explores Asian art across geography, time, religion and culture. Structured by theme, the 174 works on display include Indian paintings and textiles, Chinese funerary goods, Indonesian ancestor figures and Japanese woodblock prints.

Ongoing Yayoi Kusama: Infinity Room This installation by Yayoi Kusama comprises a vibrant yellow room overrun with black polka dots of various sizes. A mirrored box at its centre houses a dozen illuminated pumpkin sculptures, which are endlessly reflected in the room’s internal mirrors. The combination of dots, pumpkins and mirrors creates an optical illusion of infinite space and colour. This infinity room was made possible with the support of Andrew and Hiroko Gwinnett.

22 August 2019–9 February Story Time: Australian Children’s Literature Exhibition A free exhibition of much-loved Australian children’s literature from the colonial period through to the present day that will appeal to anyone who has experienced the magic of stories.

This exhibition reacquaint you with old friends and introduce you to new ones. It will take you on a nostalgic tour through 197

National Library of Australia continued...

14 September 2019–9 March Primed: Some Prime Ministers

childhood, looking at the works of great Australian authors and illustrators including Bronwyn Bancroft, Mem Fox, May Gibbs, Bob Graham, Emily Rodda, Ivan Southall, Shaun Tan and Ethel Turner.

A must-see exhibition, Story Time explores the rich history of Australian children’s literature and takes you on a journey across time and place—real and imagined. Presented in association with the National Centre for Australian Children’s Literature.

Only seventeen of Australia’s thirty prime ministers to date are represented in the National Portrait Gallery’s collection.

Their portraits have been acquired in random order, mostly according to unexpected opportunity. This is the first time in the Gallery’s 20-year history that the esteemed prime ministers’ portraits have been shown as a group.

The contrasting sizes, moods and mediums of these portraits, and the different ways they have become available, reflect the exhilarating variety across the collection as a whole.

National Portrait Gallery King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 portrait.gov.au Daily 10am–5pm. Disabled access.

PhotoAccess Huw Davies Gallery Manuka Arts Centre 30 Manuka Circle Griffith ACT 2603 [Map 16] www.photoaccess.org.au 02 6295 7810 Tues to Sat, 10–4pm.

Tuggeranong Arts Centre 137 Reed Street, Greenway, ACT 2901 [Map 13] 02 6293 1443 tuggeranongarts.com Mon to Fri 10am–6pm, Sat 10am–4pm.

For more than 25 years, the Tuggeranong Community Arts Association has delivered artistic programs and events, with a focus on participation and accessibility, and helped shape a sense of pride in the local community.

Embracing the Valley’s broad array of artistic interests, the Arts Centre presents a vibrant program of activities – engaging professional and community artists alike, cultivating a unique creative personality for Tuggeranong.

Its dynamic youth programs continue to develop the skills, outlook and cultural awareness of young people in the T uggeranong region and beyond.

As the ACT and region’s centre for photography, film-making and media arts, PhotoAccess presents changing exhibitions showcasing local, Australian and international emerging and established photo-media artists.

Sharon Peoples, Lake Tuggeranong, 2019, glasses case, cotton.

5 December 2019–18 January Still Waters Sharon Peoples Adam Knott, Bryan Brown, 2008.

14 September 2019–9 February The Look Featuring striking photographic portraits of contemporary figures from the National Portrait Gallery collection, The Look is an aesthetic treat with a lashing of je ne sais quoi.

Faith Stellmaker, Untitled-1, 2018 30 January–29 February VIEW2020 PhotoAccess’ inaugural annual emerging artists showcase, VIEW2020 features future leaders in photo-media practice from the ACT and surrounding regions.

Presenting challenging and diverse new work in analogue and digital photography, alternative processes, video and experimental photo-media.

12 February–24 April Venue: East Hotel Terraform Josh Dykgraaf Centred on Dykgraaf’s remarkable Photoshop manipulation of his own original images, Terraform invites intimate attention to vanishing species and explores the limits and interconnections of the world.

Peter Brew-Bevan, Julia Gillard, 2013, type C photograph. 90.2 x 74.5 cm.

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In January 2019, Peoples spent four weeks as artist in residence at the Tuggeranong Arts Centre. The residency was a springboard for thinking and in subsequent months a new body of work was assembled to create the exhibition, Still Waters.

From the outside, Canberra is often seen as a designed city with little organic growth. Through her residency, Peoples discovered that nature has its own way of infiltrating designed environments, indicating that the environment cannot be fully controlled.

Watson Arts Centre 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 watsonartscentre.com.au Tues to Sun 10am–4pm.

A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Burnie Regional → Fernando do Campo, You are my new infatuation, 2017, acrylic on canvas, 100 x 140 cm (diptych).

Bett Gallery Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 bettgallery.com.au Mon to Fri, 10am–5.30pm Sat, 10am–4pm.

Gallery closed until 13 January.

17 January—8 February Tomorrow Group Show

Burnie Regional Art Gallery Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 burniearts.net Mon to Fri 10am–4.30pm, Sat, Sun and public holidays 1.30pm–4pm. Free admission.

6 December 2019–27 January BigBoysToys Eamon O’Toole Created by a petrol head of the first order, artist Eamon O’Toole’s sculptures celebrate a passion for motorsport, minibikes, tools and more.

Photography Bruce Smart

14 February—7 March Watersong Troy Ruffels

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1 February–15 March Forest Obscura Leigh Hobba, Jennifer Marshall, Milan Milojevic and Yvonne Rees-Pagh

20 January–23 February Making Marks: A Celebrating of Children’s Art Exhibition

The exhibition Forest Obscura brings together four multidisciplinary artists all inspired by the theme of nature-human relationship. The artistic responses to the theme offer a wide range of interpretations, visions, styles and disciplines –from printmaking, digital, drawing, video, sound and installation, enriching and challenging our perceptions of our relationship with nature.

This exhibition aims to celebrate, nurture and support the voice of the child through art. The exhibition consists of 61 individual works selected by a curatorial team led by Dr Barbara Piscitelli AM for the exhibition.

Works selected are representative of the depth, diversity and range of art from across Tasmania geographically and children from birth to 4 years.

In Tasmania there are many forests but the one that stands out as the most mysterious and inaccessible is the Tarkine or Takayna forest wilderness situated in the North West of the state. This rain forest is unique in that many of the flora and fauna species are ancient and don’t exist in other places in the world; it is also recognised as being a living remnant of prehistoric forest.

In conjunction with the BigBoysToys display, this exhibition will consist of a series of historical motorsport photographs taken by Bruce Smart.

Troy Ruffels, A sky’s archeology, 2018 digital print on aluminium, 220 x 330 cm.

Yvonne Rees-Pagh, Selva Oscura, woodblock, mixed media, 2019.

1 February–15 March Yet to live in a place without house sparrows Fernando do Campo

3 January—25 January Voice in the Wilderness Richard Dunlop

11 February—19 February The Valley Glen Preece

An exhibition including an installation of small text paintings Yet to live in a place without house sparrows and the diptych about Spotted turtle-doves, You are my new infatuation. Tasmanian-specific experiences of introduced bird species and the colonial/nationalistic/migratory effect they produce. The exhibition will also include new works specific to Burnie, sparrows or other introduced birds to Tasmania including the kookaburra – introduced in 1902.

Contemporary Art Tasmania

Devonport Regional Gallery

Robert Brown, Light on the Channel, oil on canvas, 91 x 76 cm.

paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 devonportgallery.com Mon to Fri 7.30am–4.45pm, Weekends and public holidays 7.30am–2pm.

23 November 2019—19 January RACT Insurance Tasmanian Portraiture Prize

27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 contemporaryarttasmania.org Wed to Sun, noon–5pm.

The prize, which started in 2008, is open to artists 30 years old and under, across many disciplines, with past award recipients working in mixed media, print, photography, painting, video and drawing.

The objective of the award is to foster the development of emerging Tasmanian artists and provide: an opportunity for the public to appreciate their talents. As well as an opportunity to exhibit their works in a professional exhibition in a statewide tour, the award offers a monetary incentive to assist the artist in their endeavours.

17 January—20 January The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS) Fernando do Campo An offsite project presented in partnership with Mona Foma 2020.

25 January—23 February La morte mi troverà vivo Mat Ward Curated by Sarah Jones.

7 December 2019 – 23 February Modern Sublime Photographs from the Robinson Collection

Colville Gallery 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 colvillegallery.com.au Daily 10am–5pm.

28 January—5 February Light on the Channel Robert Brown

Glen Preece, The Valley, 2019, oil on board, 58 x 38 cm.

Traditionally, the ‘sublime’ has referred to feelings of awe inspired by nature. However, in the 20th century, the notion of the industrial sublime emerged - the feeling

Contemporary Art Tasmania → Mat Ward, 2019, video still.

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to factory and store, through images which celebrate technology, machinery and production.

11 January—9 February Finding Place Cheryl Sims Sims’ childhood was like that many other Tasmanian families from the North West Coast; they fought and struggled to keep families together. Encaustics is the medium that best expresses the journey Sims is now taking, when finally finding contentment in the place she calls home.

11 January—9 February Life Lines June Wilson

Bert and Albert Robinson, Gordon Edgell and Sons Pty Ltd, 1961, The Robinson Collection, R13350. These images are used with the permission of Simplot Australia. of awe induced by machines, technology and progress. Modern Sublime explores this idea, with focus on the Edgell factory.

Devonport was once the largest processor of peas in Tasmania, this playing a vital role in the economy of North West Tasmania. This exhibition traces the journey of the humble pea from harvest,

The exhibition Life Lines is a series of pastel portraits that pay homage an underrepresented group - women of diverse cultural back grounds. The works are a celebration of the subjects’ heritage, resilience and uniqueness as well as the 300-year-old tradition of pastel portraiture.

24 January—15 March FEM-aFFINITY Fulli Andrinopoulos, Jane Trengove, Dorothy Berry, Jill Orr, Wendy Dawson, Helga Groves, Bronwyn Hack, Heather Shimmen, Eden Menta, Janelle Low, Cathy Staughton, Prudence Flint, Lisa Reid, Yvette Coppersmith Curated by Associate Professor Dr. Catherine Bell, Australian Catholic University.

FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Dr Catherine Bell, this exhibition uncovers shared perspectives on female identity by drawing upon interdisciplinary and collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. This exhibition is a NETS Victoria and Arts Project Australia touring exhibition.

15 February—15 March Beyond Sight Katrin Terton Beyond Sight is a multi-sensory exhibition in which visitors can explore the artworks through touch, sound, smell, sight and imagination. Katrin Terton’s evocative, interactive and immersive experience contemplates inclusion of the broadest audience by making her works meaningfully accessible to people of all ages and abilities with particular regard to people with low or no vision. The exhibition challenges the prevailing paradigm of inclusion by revealing that the experience of those with impairments is both valid and rich, then including other members of the audience in that appreciation.

This not only levels the playing field for participation, it also reminds the whole audience of the benefit of using all of their available senses to understand their world.

Devonport Regional Art Gallery → Eden Menta and Janelle Low, Eden And The Gorge, 2019, inkjet print, 1/5.

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TASMANIA

Handmark 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 handmark.com.au Mon to Fri 10am–5pm, Sat and Sun 10am–4pm.

2 Russell Street, Evandale, TAS 7212 03 6391 8193 Mon to Sun 10am–4.30pm.

Hobart: 13 December 2019–13 January Summer Salon

Mona plays mineshaft in this new exhibition by New Zealand artist Simon Denny, revolving around mining as a reflection of hope and anxiety about the environment, technology, and development.

To ‘mine’ is to extract elements of the earth’s physical materials–but it also describes data drawn from the landscape of information. The exhibition acts, in the words of the artist, as a ‘theme park to extraction’, exploring not just the political and environmental significance of mining, but also the role of work and value throughout human history, and in the rapidly changing present. It includes a giant version of a classic Australian board game; an operating shop-front for Extractor, another board game that doubles as an exhibition catalogue; life-size replicas of machines and products used in automated mineral mining; and a human-sized Amazon worker cage, home to the proverbial canary in the coalmine… Just one of the birds that embodies our worries about the fallout of rapid change.

The final room features an assemblage of sculptures by a variety of artists selected by Mona: these depict humans at work, navigating a thorny relationship between technology, development, and human labour.

Vika Fifita, #Selfportrait.

17 January–10 February New paintings Vika Fifita and Hilton Owen

8 June 2019—ongoing Siloam Alfredo Jaar, Ai Weiwei, Oliver Beer and Christopher Townen.

Penny Contemporary 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 pennycontemporary.com.au Wed to Sat 11am–4pm, or by appt

Hamish Hall, Johnathan, 2019, oil, spray paint and ink on board, 710 x 810 cm.

2 December 2019–3 January Golden Years Al Roberts and Hamish Hall 17 January–10 February Jeff Raglus 14 February–2 March Paul Zika

Queen Victoria Museum & Art Gallery Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 qvmag.tas.gov.au John Lendis, The Leaving II. 14 February–9 March New paintings John Lendis Evandale: 8 December 2019–4 March Summer Exhibition

Museum of Old and New Art (Mona) 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 mona.net.au Open 7 days in January 10am—6pm, Wed to Mon in February 10am—6pm.

8 June 2019–12 April Mine Simon Denny

13 April 2019–29 March QVMAG Inveresk: Katy B Plummer, The Centre–Beast Trinity, video still, 2019.

14 January–19 January MONA FOMA: The Centre Elphin Sports Centre – Launceston’s 1960s Tasmanian oak sports hall– will be transformed with an exhibition by Mona curators Emma Pike and Pippa Mott. The Centre is a suburban maze of recreation, sweat, and the pong of after-school-sport nostalgia, infiltrated by choreographic artworks about the community and the individual and the tensions between them.

Featuring video works from international and local artists including Alexandra Bachzetsis, Tarryn Gill and Pilar Mata Dupont, Jess Olivieri and Hayley Forward with the Parachutes for Ladies, Ali Kazma, Liz Magic Laser, Katy B Plummer, Khaled Sabsabi, Tony Schwensen, Dominik Jałowiński and Piotr Wysocki and Hissy Fit.

Domestic Goddess: Marjorie Bligh Bligh is a Tasmanian icon, well-known for her advice on household management, craft, cooking, gardening, and even relationships. This exhibition looks at Marjorie’s life, from her early years in Ross and home-making in Campbell Town, to her later celebrity in Devonport.

Photo Credit: MONA/Rémi Chauvin.

Free entry.

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ed plaques, incense burners and other ceremonial items.

11 January–20 January QVMAG Inveresk:

Ongoing QVMAG Royal Park:

MONA FOMA 2020 The MOFO party returns. Get amongst the fun at the Festival Hub at Inveresk.

Our Chinese Treasures: The Wong Collection The objects in this gallery are a gift to the Queen Victoria Museum and Art Gallery from Professor Wong Shiu Hon and Mrs Nancy Wong.

The collection includes Chinese ceramics, glass and wooden antiquities. These works are from the private collection of the donors, acquired over the past 40 years or more. Their collection has been developed to represent a history of the development of Chinese culture from the earliest Neolithic pottery to outstanding works from the earlier 20th century.

Ongoing QVMAG Royal Park: The First Tasmanians: Our Story

Ben Shelley, No. 247, Impartial Conversation, tactile print.

14 December 2019–14 April QVMAG Royal Park : ArtRage An annual, touring exhibition that showcases work by Tasmanian students studying pre-tertiary visual arts. The exhibition is a unique and inspiring snapshot into the creative minds of young artists.

Until December 2020 Calculating Infinity Josh Foley An uncanny live art project of multidimensional proportions.

Ongoing QVMAG Inveresk: Tasmanian Tiger: Precious Little Remains On 7 September 1936, the last known thylacine, or Tasmanian Tiger, died in the Hobart Zoo. Ironically, almost eight weeks prior, the species had been given full legal protection by the Tasmanian Government.

What was the thylacine and what became of it? A handful of photos and some old film footage, stories and recollections, together with a few treasured museum specimens are all that survive of this remarkable and misunderstood animal.

Ongoing QVMAG Royal Park: Guan Di Temple This temple, formally known as the Joss House, holds the contents of a number of Chinese temples from north-eastern Tasmanian mining towns.

As these temples closed their contents were kept, and eventually donated to the people of Launceston.

It is still a working temple, and is a unique window on Chinese religious practice in Tasmania in the 1880s. The significant collection includes decorat204

An exhibition presenting and exploring the history and culture of the Tasmanian Aboriginal people. The exhibition features rarely seen original objects and examines climate change, astronomy and stories of creation, craft, technology and architecture.

Katherine Cooper, Final Approach – White bellied Sea Eagle, watercolour gouache, 2019.

Salamanca Arts Centre 65–77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6234 8414 salarts.org.au

Mark Aheimer and Catherine Rogers, Faceted Screen, 2019.

2 December 2019—31 January Top Gallery and Lightbox: Immortelle Abigail Giblin

Sidespace Gallery: 10 January—22 January Parallelism - Convergence - Infiltration Mark Alheimer and Catherine Rogers

Immortelle is part of an ongoing investigation into the relationship between flowers and death within western society. Treated as a taboo topic, there are few conversations about death and limited rituals for mourning. Immortelle explores the cultural desire to restrain and deny natural decay, combined with the transience and fragility of flowers.

19 December 2019—8 January Long Gallery: Images of Tasmania 22 An annual exhibition of around 45 Tasmanian artists with links to the UTAS School of Creative Arts in its various incarnations, where artists mount mini exhibitions so viewers can more fully appreciate artistic practice through bodies of work rather than single works.

14 December 2019—31 January Studio Gallery: Island Connections Katherine Cooper A visual documentation of birdwatching, beachcombing and natural elements.

Paintings in watercolour and gouache.

Inspiring viewers to look more appreciatively at their surroundings. Paying tribute to the natural world – and reminding us to slow down and to reconnect.

Two artists come together to explore the parallel nature of their work, and the infiltration and collision of ideas and processes to create new works that combine their relatively disparate art practices (design, printmaking).

Sidespace Gallery: 30 January—10 February Contra Ian McKenzie and Vicki Webb A 2D and 3D mixed media wandering from old technology to the modern equivalent, with control and freedom.

Sawtooth ARI 160 Cimitiere Street, Launceston, TAS 7250 sawtoothari.com Weds to Fri, 12noon –5pm, Sat 10am– 2pm.

Sawtooth ARI is an Artist Run Initiative gallery based in Launceston, Tasmania committed to servicing our community through the provision of a quality exhibition program. We showcase contemporary and experimental art by local, interstate and international artists at various stages of their professional career.

TASMANIA

Tasmanian Museum and Art Gallery

that reflect on impermanence and the inevitable transience of life, beauty and material things.

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 tmag.tas.gov.au Open Tues to Sun, 10am–4pm, Tours Wed to Sun 1pm and 2pm.

Free entry.

Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural, cultural and heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians.

TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

complex and compelling west, exploring how people have shaped this unique region and, in turn, been shaped by it.

Visitors will learn about the west’s defining natural elements and discover the stories of the people who have made their home in this rugged environment. They’ll also be able to delve into the west’s industrial history and be inspired by the region’s landscapes like countless artists past and present.

6 December 2019–26 April Salon Gallery:

Lucienne Rickard, Extinction Studies, 2019, graphite on paper.

6 September 2019–1 September Link Foyer: Extinction Studies Lucienne Rickard Extinction Studies is a twelve-month daily durational performance by Tasmanian artist Lucienne Rickard who seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

20 December 2019–Ongoing This Too Shall Pass

6 December 2019–10 May Argyle Galleries 1–4:

Showcasing portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection

A captivating multidisciplinary exhibition that showcases the state’s distinctive,

Captured Moments: Photographs by Jackie Robinson (1883–1953) At a time when mining towns were booming, amateur photographer John (Jackie) Robinson captured moments of life on the West Coast – particularly around Waratah – that have encapsulated daily life in the early 20th century.

This display invites you to look closely into these photos and discover the hardships, the joy and unique nature of living in this rugged environment..

West: Out on the Edge

Tasmanian Museum and Art Gallery→ James Gleeson (1915–2008), Nest of premonitions, 1987, oil on canvas, 183 x 274 cm.

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A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Art Gallery of South Australia → Darrell Sibosado, Bard people, Western Australia, born 1966, Port Hedland, Western Australia, Aalingoon (Rainbow Serpent), 2019, Lombadina, Western Australia, corten steel, 550 x 300 cm (overall); © Darrell Sibosado.

Photograph by Saul Steed.

ACE Open Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 aceopen.art Tue to Sat 11am–4pm.

Carly Snoswell, Since 1989, detail, 201718, sequins, cotton. Photo Steph Fuller.

Jess Taylor, She Blots Out The Whole World, 2017, 3D printed plastic, table,.

85 x 40 x 40 cm. Photograph by Joseph Haxan.

ACE Open begins 2020 with an exhibition of new and recent work by its five current studio artists. The exhibition is a snapshot of the diverse practices and ideas encouraged as part of ACE Open’s annual Studio Program, a fully- supported professional development opportunity for South Australian artists.

Adelaide Central Gallery Steven Cybulka, Tenebroso, 2019, acrylic, epoxy resin, spray paint, Western Red Cedar, 132 x 99 x 7 cm. Photography by Elizabeth Harper.

25 January—15 February Tamara Baillie, Max Callaghan, Steven Cybulka, Tara Rowhani-Farid, Jess Taylor.

7 Mulberry Road, Glenside, SA 5065 [Map 18] 08 8299 7300 acsa.sa.edu.au Mon, Tues, Thurs & Fri 9am to 5pm, Wed 9am to 6.45pm, after hours by appointment.

11 February–20 March Drastic Fabric Elizabeth Jenner, Carly Snoswell, Sera Waters and Henry Jock Walker.

Art Gallery of South Australia North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 agsa.sa.gov.au Daily 10am–5pm.

Free entry unless specified.

18 October 2019–27 January Tarnanthi at AGSA Presenting works of artistic excellence, creative daring and ground-breaking innovation by Aboriginal and Torres Strait Islander artists from across the country.

This unmissable experience begins from the moment visitors enter the Art Gallery of South Australia. Enjoy a curated program of films, music and tours every Sunday in January.

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GAGPROJECTS / Greenaway Art Gallery 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 gagprojects.com Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12–4pm, closed Mon.

Abdul Abdullah, Australia, born 1986, Understudy, 2019. Courtesy of the artist and Yavuz Gallery.

Suzie Riley, Daydream Believer, acrylic on wood, 125 x 127 cm.

29 February–8 June 2020 Adelaide Biennial of Australian Art: Monster Theatres

1 December 2019–26 January Adelaide Hills Landscape Arts Prize Finalist Exhibition

Celebrating 30 years, the Adelaide Biennial is the nation’s longest-running survey of contemporary Australian art. Titled Monster Theatres, the 2020 Adelaide Biennial invites twenty-three artists to make visible the monsters of now through installation, painting, photography, sculpture, textiles, film, video and sound art, as well as performance and live art.

Presented at the Art Gallery of South Australia as well as partner venue Adelaide Botanic Garden.

BMGArt

This contemporary art prize is a biennial event celebrating emerging, mid-career and established artists and their connection to the Adelaide Hills landscape. This Finalist exhibition showcases works by South Australian artists with paintings, ceramics, glass, printmaking, drawings and photography.

Angela Valamanesh, Dark life 6, 2018, ceramic on plywood backing, 63 x 18 x 10 cm. Courtesy GAGPROJECTS, Adelaide.

444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 0421 311 680 bmgart.com.au Wed to Fri 12noon–5pm, Sat 2pm–5pm or by appointment.

Gallery closed until 31 January.

Sarah McDonald, Kuitpo Forest, oil on canvas, 125 x 125 cm.

13 December 2019–1 February The Artist’s Voice: New Works This is a group exhibition of paintings, drawings and mixed media by artists from the Adelaide Hills. The Artist’s Voice exhibit regularly in South Australia and share resources, ideas and enthusiasms.

Barbara Chalk, See, Speak, Hear, 2019, ink on paper.

31 January–15 February Barbara Chalk – works on paper Michael Carney– porcelain objects 21 February–14 March Adelaide Festival Exhibition: Porcelain and Paintings Mark Thompson

Hossein Valamanesh, Tokamachi Samue, 2019, maps on cotton backing, 125 x 95 cm, framed. Courtesy GAGPROJECTS, Adelaide.

26 February—22 March Angela & Hossein Valamanesh 2020 Angela Valamanesh and Hossein Valamanesh

Hahndorf Academy 68 Main Street, Hahndorf, SA 5155 08 8388 7250 hahndorfacademy.org.au Open 7 Days 10am–5pm.

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7 February–15 March Adelaide Fringe Exhibition: India Flint My practice conflates the visual and written poetics of place and memory, using ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape – working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human inhabitation, the local weed burden. My work has kindly been described as using “ the earth as the printing plate and time as the press”. I negotiate path between installation, printing, painting, drawing, writing and sculpture

S OUTH AUSTRALIA

Hugo Michell Gallery→ Paul Yore, Heads are Spinning, detail, 2015, mixed media appliquéd textile, embroidery, 88 x 399 cm (irregular).

– immersing myself in and paying deep attention to – wherever I happen to be: gathering thought and experience, imagery and marks, as well as harvesting materials for making. I try to step lightly on the land while being nourished by it, and plant trees to compensate for the ecological impact of my wanderings. The work of each day, philosophically rooted in topophilia [the love of place] literally begins with a walk.

Hill Smith Gallery

JamFactory

113 Pirie Street, Adelaide, SA 5000 [Map 18] 08 8223 6558 hillsmithgallery.com.au Director: Samuel Hill-Smith (member of ACGA) Weds to Fri 10am–5pm, Sat 2pm–5pm.

19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 jamfactory.com.au Open daily 10am–5pm.

Adelaide Fringe Exhibition: Sculptures Ian Hamilton, John Hayward, Rebecca Lloyd, Karl Meyer, Deborah Sleeman, Clancy Warner and Elizabeth Close.

Seppeltsfield Road, Seppeltsfield, SA, 5355 08 8562 8149 jamfactory.com.au Open daily 11am–5pm.

29 November 2019–2 February Seppeltsfield: Picturesque

Artists selected from the Heysen Sculpture Biennial are exhibiting their works in Hahndorf Academy’s galleries and gardens.

Hugo Michell Gallery 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 hugomichellgallery.com Tue to Fri 10am–5pm, Sat 11am–4pm.

6 February—7 March Crown Of Thorns Paul Yore 6 February—7 March Clara Adolphs

Brett Ferry, Endurance, oil and acrylic on linen, 153 x 137 cm.

28 January–28 February Selected artists

JamFactory Associates. Photograph by Kate Bowman.

13 December 2019—9 February Generate 2019 Hamish Donaldson, Gretal Ferguson, Luca Lettieri, Sean Prentis, Sarra Tzijan, Scott Van Manen and Hannah Vorrath-Pajak.

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Murray Bridge Regional Gallery 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 murraybridgegallery.com.au Tue to Sat 10am–4pm, Sun 11am– 4pm.

Closed Mon and pub hols, Closed until 2 Jauary.

Newmarch Gallery ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 prospect.sa.gov.au/ProspectGallery facebook.com/ProspectGallery Mon, Wed & Fri 9am–5pm, Tue & Thu 9am–7pm, Sat 11am–4pm, Sun 2pm–5pm.

15 December 2019– 12 January Mallee Routes: Photographing the Mallee 2019 Gilbert Roe (SA), Gary Sauer-Thompson (SA), Eric Algra (VIC), Lars Heldmann (SA), Stuart Murdoch (VIC.)

panelling Seb Humphreys deconstructs the heavily accumulated strata on top, prying back the layers to uncover what was otherwise lost to the ephemerality.

praxis ARTSPACE 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 praxisartspace.com.au Wed to Sat 11am–4pm or by appointment. .

An ongoing, collective project that explores the South Australian and Victorian Mallee landscapes

Margaret Ambridge, What Remains, detail, winner of the 9th Prospect Portrait Prize.

Emma Hutchings, Freedom, 2019, acrylic on canvas, 51 x 76 cm.

17 January–23 February Drawn Together Bridge Arts and Neami mental health and wellbeing.

5 December 2019—25 January 10th Prospect Portrait Prize Various Artists

Bernadette Freeman, Con_ected, detail, 2019, oil on canvas, 175 x 175 cm.

Courtesy of the artist.

The longest-running portrait prize in South Australia. A non-acquisitive juried exhibition of contemporary portraits in any medium.

A collaboration between two local art groups, with vibrant and free-ranging responses to the theme of cycling, to coincide with the Tour Down Under in Murray Bridge.

Instant Gratification group exhibition, praxis ARTSPACE, January 2020.

9 January–31 January Instant Gratification Nerida Bell, Ty Brookhart, Janine Dello, Bernadette Freeman, Jane Heron-Kirkmoe, Simone Linder-Patton, Kylie Nichols and Chris Webb.

Instant Gratification examines technological advancements in written communication and the consequential transformation of our social interactions into a universal expectation of immediate gratification.

Stephen Oatway, Bird of Prayer, recycled found objects, 50 x 30 x 60 cm.

Seb Humphreys, acrylic, enamel, aerosol lacquer.

17 January–23 February Birdz

31 January—1 March An Archaeological Study of the Layering of Graffiti Seb Humphreys

Stephen Oatway ‘Junk Art Birds’ with tales of whimsy and fantasy, made from recycled found objects starting with a car jack and push bike parts.

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This work is an investigation into the sedimentary layers of paint left behind by the thousands of artists that have painted Adelaide’s Morphett Street Bridge graffiti free-wall. Acquiring the original plywood

6 February–6 March Material Girls Kate Bohunnis, Sam Gold and Anna Gore.

A collaborative exhibition showcasing new work by visual artists Kate Bohunnis, Sam Gold, and Anna Gore. Focused on material experimentation and new processes, Material Girls is the culmination of an eight-month, Fringe-funded collaborative project held at George Street Studios in Thebarton, South Australia.

S OUTH AUSTRALIA

Riddoch Art Gallery → Eugenia Lim, The People’s Currency, 2017, performance, dimensions variable. Photo by Zan Wimberley.

Courtesy of the artist. by the Australian Government’s Visions of Australia program.

Riddoch Art Gallery 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 riddochartgallery.org.au Mon to Fri 10am–5pm, Sat to Sun 10am–3pm, open most public holidays.

1 February–15 March Calibre This inaugural exhibition dedicated to Senior High School students in the Limestone Coast will award a major prize of $1000 to the winning entry. Showcasing the most creative and innovative work from young people in the region, students are nominated by teachers and will encompass visual art, design, photography, performing art, media or creative art.

23 November 2019—12 January As far as the eye can see Antonia Aitken, Raymond Arnold, G. W. Bot, Susanna Castleden, Jan Davis, Gary Jolley, Locust Jones, Martin King, Judith Martinez, Clyde McGill, Helen Mueller, Alice Nampitjinpa, Dorothy Napangardi, Daniel O’Shane, Janet Parker-Smith, Julie Paterson, Olga Sankey, Gary Shinfield, Rochelle Summerfield, Chris Tobin, Judy Watson and Freedom Wilson.

Celebrating the contemporary topography of both landscape and printmaking, this exhibition challenges these conventional themes through the work of 22 Australian artists whose work reflects the breadth and depth of print practice in Australia today. The artists express their individual relationships to the land through a variety of print media, describ-ing both the vast scale and the intimate detail of our diverse natural environment and portraying Australia’s unique and varied geography. A Blue Mountains City Art Gallery touring exhibition.

23 November 2019–27 January Unbound Rory Carter An exhibition about a drive to understand the world through a process of making and experimenting; sending out art-astest-beacons with each idea, each work, each thought. Featuring oversized

Royal South Australian Society of Arts (RSASA) Rory Carter, Skull, 2019, pastel on paper. abstract paintings, figures hewn from clay, copper etchings with bold colours and sketches inspired by daily events.

In this significant solo show Rory Carter presents us with an expansive journey, both in subject and discipline.

Level 1, Institute Building, Corner North Terrace and Kintore Avenue, Adelaide, SA 5000 [Map 18] 08 8232 0450 rsasarts.com.au Monto Fri 10.30am–4.30pm, Sat and Sun 1pm–4pm.

Closed on public holidays.

18 January–23 February The Ambassador Eugenia Lim Bringing together Australian artist Eugenia Lim’s most recent body of work.

In this three-part project, Lim transforms herself into the Ambassador, a Mao-like persona who sits halfway between truth and fantasy. She takes on new roles in uncovering the Australian-Asian narrative, drilling down into racial politics, the social costs of manufacturing and the role of architecture in shaping society. A 4A Centre for Contemporary Asian Art and Museums & Galleries of NSW touring exhibition. This project has been assisted

Heather Clegg, Skeletons from the sea, sea shells, 10 cm.

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15 December 2019–12 January Sun Down Under RSASA Members’ Summer Exhibition.

Untitled (work in progress), 2019, mixed media. Image courtesy of the artist.

Iroda Adil, Glenn Skuthorpe, oil on canvas, 92 x 101 cm.

17 January–9 February Excellence 2020

14 December 2019– 25 January Artist in Residence Exhibition Unmoored Memories Sue Kneebone

Iroda Adil, Cheryl Bridgart, Tsering Hannafor, Adam Opala, Shiela Whittam & Peter Westerhoff. All Fellows of RSASA.

This visual and archival inquiry traces the social memory of coastal passages to produce a series of dreamlike conjunctions.

Opening event 19 January, 2pm.

14 December 2019– 25 January The Inbetween Jonathan Kim

14 February–15 March On the edge of the day RSASA Members’ Autumn / Fringe Exhibition.

Opening event 16 February, 2pm.

An exploration into the inherent value of reconfigured found objects collected within the surrounds of Sauerbier House.

Samstag Museum of Art University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 unisa.edu.au/samstagmuseum Tue to Sat 10am–5pm.

Julia Sorokina, Skin, oil on panel, framed.

60 x 90 cm.

8 January—1 February Real / Unreal Julia Sorokina Painting has always been a kind of meditation for Julia Sorokina, she describes it as switching off her everyday self and tuning in to a different key, like a shaman. A piece of white paper, yet untouched, has always exciting and scary me at the same time…

Like a white door to the unknown world, always something or someone behind it — begging to be released. Opening 8 January, 5.30pm.

IV Print Collective, Odysseys, 2019, linocut, etching, screenprint on paper, dimensions varied. Image Nicola Rowlands John Wardle Architects (with Natasha Johns-Messenger), Somewhere Other, 2018, installation view 16th International Biennale Architecture 2018. Photography by Peter Bennetts.

28 February–12 June 2020 Adelaide//International John Wardle with Natasha JohnsMessenger, Zoe Croggon, Helen Grogan and Georgia Saxelby, David Claerbout, Brad Darkson and Matthew Bird.

Sauerbier House culture exchange 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 onkaparingacity.com/ sauerbierhouse Wed to Fri 10am–4pm, Sat noon–4pm.

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1 February–14 March [GRAFTd] Exhibition: IV Voyages: The Odyssey Revisited The IV Print Collective: Hanah Williams, Nicola Rowlands, Angelica Harris-Faull and Lucy Timbrell .

Investigating ancient Greek myths and stories, the artists navigate themes of journey, self-discovery and the representation of women. Adelaide Fringe Festival 2020.

Urban Cow Studio Shop 6, 10 Vaughan Place, Adelaide, SA 5000 08 8232 6126 [Map 18] urbancow.com.au Mon to Thurs, 10am–5pm, Fri 10am– 9pm, Sat 10am–5pm, Sun 12noon–5pm.

Casey Cumming, Hawkers Corner.

5 February—29 February The Story Leanne Heading Combining controlled line work with spontaneous, colourful brushwork, Leanne Heading captures the streets and buildings of Adelaide in vibrant watercolour paintings. In this exhibition, Heading will also showcase her most recent work inspired by her trip to India and Venice where she immersed herself in local culture and found inspiration from aromatic spice flowers. This work will be accompanied by sketches which reveal more of the story and depth behind each artwork.

A–Z Exhibitions

JANUARY/FEBRUARY 2020

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

Art Collective WA 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 artcollectivewa.com.au Wed to Fri 11am–4pm, Sat noon–4pm.

Caspar Fairhall, Double Remnant, 2019, acrylic and oil on panel, 25 x 50 cm, (diptych).

1 February–29 February Elision Caspar Fairhall Caspar Fairhall’s multidisciplinary art practice over more than 25 years incorporates painting, video and interactive video art — all with a foundation in observational drawing. The word elision means both the omission of one or more sounds in a word and to join together or merge disparate elements. The double sense of omitting and combining elements is central to this body of work, which draws on the language of geometric abstraction to make figurative works. Fairhall deliberately elides the difference between figuration and abstraction, between the representational image and its putative opposite, in order to better examine the representation of time in images and the nature of images themselves. In these paintings, architectural elements take on the qualities of eroded geology; geology becomes abstract pattern and flat geometrics are used to build ambiguous spatial structures.

Tom Freeman alternates approaches in his work to encourage a transformative translation between 2D and 3D processes. Building upon abstract forms, marks and processes, the work reflects a whole gamut of conscious and unconscious forces. Sculptural works utilise home craft practices, with a particular affection for ceramics and tactile materials, while other works incorporate pencil, ink, watercolour, acrylic, oil and enamel paints on board, canvas, paper and other surfaces.

‘I make marks on the land I walk on and it makes marks on me. I retraced paths I used to walk, repeated journeys and trips from my childhood. Routes and directions turn into layered lines and colours of memories. The details are lost but the feelings hold strong.’

7 December 2019–9 March That Seventies Feeling…the Late Modern

Art Gallery of Western Australia Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline 08 9492 6622 artgallery.wa.gov.au Wed to Mon 10am–5pm.

12 October 2019–13 January Screen Space – Sue Ford Sue Ford’s iconic Time series photographs, 1962-74, and her video work Faces, 1976-96, are on display together for the first time since acquisition. Ford’s images of her subjects taken ten, twenty and thirty years apart were a key photographic and a deeply feminist gesture which changed the way Australian photographers saw and conceptualised their work.

21 September 2019–17 February Perth Brutal: Dreaming in Concrete AGWA 40 – Celebrating the anniversary of AGWA’s 1979 Brutalist building.

1 February–29 February Paths Tom Freeman 214

AGWA 40 – Celebrating the anniversary of AGWA’s 1979 Brutalist building.

That Seventies Feeling showcases some of the Gallery’s best works from the 1970s.

Full of surprises and rarely seen works, the exhibition examines a transformative decade for Western Australia, the Gallery and the world at large. Featuring artists Miriam Stannage, Virginia Cuppaidge, Mike Parr and Brian Blanchflower, hip new visions by Robert Rooney, Stephen Shore and Jenny Watson, and late work by modernists Howard Hodgkin, Fred Williams and Albert Tucker you’ll be transported back to the decade that shaped modern Australia.

17 August 2019–10 February WA Now – Eveline Kotai: Breathing Pattern Over the past 15 years, Eveline Kotai’s interest in material dissolution and regeneration has culminated in the practice and process of cutting up and reworking her own paintings into new works. Breathing Pattern features new and recent work including canvas reconstructions and paintings, and forms part of the WA Now series dedicated to showcasing work by WA artists.

Tom Freeman, South Freo High School to the Silos, 2019, acrylic on paper, 76 x 56 cm.

Brian McKay, Fathom, 1970, oil on canvas on hardboard, 105 x 105 cm. State Art Collection, Art Gallery of Western Australia. Purchased 1970.

Opened on 2 October 1979 by then Premier Charles Court, the new Art Gallery of WA building was a dramatic example of late Brutalist architecture designed by Polish born Charles Sierakowski. This exhibition opens out the many layers of the history of the building’s development featuring images of the building in construction and its early days, along with ephemera such as building models, plans, diagrams and drawings, and early promotional brochures about the structure and its place in the Cultural Centre.

Hushahu looks at dailies in a cardboard VR headset. Photo by Greg Downing.

7 February–2 March Awavena – Lynette Wallworth Presented in association with Perth Festival.

From Emmy Award-winning director Lynette Wallworth and the Amazonian Yawanawa people, Awavena is a stunning tale of metamorphosis told through cutting edge VR and AR technology.

For the Amazonian Yawanawa people, ‘medicine’ has the power to take you inside a vision to a place you have never been.

Using technology that the Yawanawa feel enables them to share their story and visions, this immersive work takes you on a virtual journey into the spirit world, capturing fluorescent specimens from the forest world, to create a vivid, luminous vision.

WESTERN AUSTRALIA

Fremantle Arts Centre → John Prince Siddon, Australia Mix it All Up, 2019, acrylic on canvas, 240 x 120 cm. Courtesy of the artist.

Artitja Fine Art Gallery South Fremantle, WA 6162 08 9336 7787 0418 900 954 artitja.com.au Viewing by appointment outside of the exhibition program.

Artitja Fine Art Gallery is based in South Fremantle. Specialising in Aboriginal art from remote art centre communities from Western Australia, Northern Territory and the South Australian APY Lands.

Recipients Fremantle Business Awards: Outstanding Cultural Enterprise in 2017; Corporate Social Responsibility in 2016.

Making Cultural Connections Through Art.

Conway Ginger, People Sitting Down, 23 x 17 cm.

SUMMER SALON – The Marketplace This annual salon style exhibition brings together art and objects from remote art centre communities including licensed merchandise which send royalties back to Indigenous artists. A marketplace atmosphere during this holiday month, the gallery style might be casual, but the art is fine and significant.

Bunbury Regional Art Gallery 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 brag.org.au Daily 10am–4pm.

The City of Bunbury Collection has a permanent showcase in the Music Room upstairs which changes every 6-8 weeks. Further exhibitions of works from the collection take place in the Gallery throughout the year according to the exhibition schedule.

Bob Gibson, Patjantja, 101 x 76 cm.

4 January—26 January Exhibition venue: Earlywork, 330 South Terrace, South Fremantle WA.

30 November 2019—2 February Glass Artists WA: Exploration in glass Showcasing contemporary glass art from glass artists across Western Australia including several award winning

Gerry Reilly, Platter (Rainbow series), 2019, blown and sculptured glass. and internationally acclaimed artists.

The exhibition addresses the theme of “Exploration of your place, your culture or yourself”. Through this exhibition, GAWA’s aim is to show the current and evolving status of art glass.

7 December 2019—1 February STEEL: art design architecture Curated by Margaret Hancock Davis STEEL art design architecture showcases 29 outstanding projects by contemporary Australian artists, designers and architects. It represents a cross-section of current creative practices and relationships to this versatile material. STEEL: art design architecture is a JamFactory touring exhibition and is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding.

14 December 2019—16 February Machine and Makers Displaying a healthy obsession for sewing machines captures the extraordinary history of a disruptive technology from the 19th Century that changed the world.

The exhibition takes us through the magic of creating stitch, texture and beauty, and reflects on the disposable clothing culture of the 21st Century. This is an ART ON THE MOVE touring exhibition.

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James Corbett Mechanically Challenged 8 – 23 February Subiaco

James Corbett, ‘Brooklands Bike No. 2’, Found objects, 32 x 77 x 27 cm.

Selected Gallery Artists Summer: A Mixed Exhibition 13 January - 22 February West Perth

Adrian Lockhart, ‘Woman l’ 2018, Mixed media on canvas on board, 100 x 150 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

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

WESTERN AUSTRALIA 17 February–24 May Holmes à Court Gallery @ Vasse Felix:

Fremantle Arts Centre 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 fac.org.au Daily 10am–5pm. Free admission.

Becoming Australian Lesley Meaney

6 February–22 March All Mixed Up John Prince Siddon Runs Through the kaleidoscope of TV and community, John Prince Siddon entwines contemporary politics, social issues and personal experiences into his surreal vision of Australia. Oscillating between myth and reality, his visions form grand technicolour morality tales for the modern world.

Encompassing newly commissioned paintings sculptures and installation All Mixed Up is full of references to WA’s dark and mostly undocumented history.

John Prince Siddon is a Walmajarri man living and working in Fitzroy Crossing in the West Kimberley. All Mixed Up is curated by Emilia Galatis and presented in association with Perth Festival and Mangkaja Arts. Opening Wednesday 5 February.

6 February–22 March Janangoo Butcher Cherel Janangoo was a key elder of the Gooniyandi language group in the Kimberley and was instrumental in the retention of men’s law ceremony at Muludja Community. Janangoo features a selection of Butcher’s paintings from the early 2000s, which he made to preserve and transmit this significant body of cultural knowledge to the younger generation.

These works have never been shown outside of Fitzroy Crossing. Curated by Lynley Nargoodah and presented in association with Perth Festival and Mangkaja Arts. Opening Wednesday 5 February.

6 February–22 March Bricolage Art meets science in an ambitious new installation from WA’s Nathan Thompson, Guy Ben-Ary and Sebastian Diecke that brings microscopic ‘biobots’ to life inside a custom-built incubator. From blood, silk and heart muscle the artists bio-engineer individual cellular units, which self-assemble into living, kinetic sculptural forms large enough to see with the naked eye.

This thought-provoking exhibition invites us to consider the human body in a world beyond its control.

Bricolage is accompanied by a visual text by acclaimed WA writer Josephine Wilson exploring the concept of ‘bricolage’ and the relationship between art and science.

Presented in association with Perth Festival and SymbioticA.

Holmes à Court Gallery

Sujora Conrad, Purity and Danger, detail. Image courtesy and copyright of the artist.

31 January–15 March Holmes à Court Gallery @ no.10: FIBRE Tingapa Davies, Mark Dustin, Olga Cironis, Marjorie Coleman, Sujora Conrad, Carmela Corvaia, Angela Ferolla, Nola Hunt, Emily Kame Kngwarreye, Eveline Kotai, Holly Story, Kate Thompson, Anne Walmsley, Lesley Parker, John Parkes, Susan Roux, Nalda Searles, Helen Seiver, Debra West and Anne Walmsley.

FIBRE is an unwrapping, unrolling and unfolding of fibre artworks from the Janet Holmes à Court collection together with works from local artists.

FIBRE features stitched, threaded, strung, rubbed, ripped, folded and pressed Fibre art. From luminous to opaque, delicate to robust, the works speak of processes of material manipulation and ritualistic gestures of repetitive stitching, gathering, rubbing and patterning. Everyday clothing is stitched and sculpted anew; forms of nature are enveloped in matted, compressed and dyed felt; objects are crafted of fibrous textures of bark and grasses; human hair is shaped and strung together and; native flora and fauna are pictured and sculpted with or on fibres.

The exhibition will coincide with the launch of a book featuring Lesley’s work, Lesley Meaney: Becoming Australian an Artist’s Journey. All proceeds from the sale of the book will be donated to support a brighter future for children with brain cancer.

John Curtin Gallery Curtin University Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 jcg.curtin.edu.au Mon to Fri 11am–5pm, Sun 12–4pm.

Closed public holidays.

Admission is free.

29 September 2019–9 February Holmes à Court Gallery @ Vasse Felix: Enigmas of the Outback Rebecca Dagnall, David Downs, Nigel Hewitt, Janet Laurence, Polixeni Papapetrou, Rosslynd Piggott, Brad Rimmer, Jacqui Stockdale, Monique Tippett, Paul Uhlmann, Paddy Fordham Wainburranga and Toni Wilkinson.

This exhibition considers different cultural responses to and perceptions of the Australian outback as an enigmatic, mysterious, spirited and haunted terrain.

It explores the dark undercurrents that inform mythologies of the Australian landscape across Indigenous and non-indigenous art works. It presents spiritual and mythological stories of the land and reflects upon how the outback can provoke feelings of foreboding and maintain an element of unsettling mystery.

At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 holmesacourtgallery.com.au

Presented anew for the Holmes à Court Gallery at Vasse Felix, Lesley Meaney | Becoming Australian is a culmination of five decades of the artwork of Lesley Meaney. This show unfolds as a sensorial experience of fiery sunburnt colours, luminous greens and deep earthy tones.

The works evoke a sense of place and belonging, as a sustained, experimental and unique response to the Australian landscape. For Lesley Meaney, each new body of work is another journey, another discovery, another set of artistic challenges to resolve along the way towards becoming Australian.

Lesley Meaney, Tag – the Mark of the Scribbly Gum Moth, 2005-13, Janet Holmes à Court collection.

Ian Strange, Number Twelve, 2013, archival digital print, documentation of site-specific intervention. 112 x 162 cm.

Image courtesy of the artist.

7 February–24 April Ian Strange: Suburban Interventions 2008–2020 Western Australian-born artist Ian Strange has brought together the first large scale survey of his photography and films, offering a deep look into more than a decade of his practice.

Strange has forged an international career through a series of site-specific interventions and community-based projects that interrogate the anxieties and tensions of suburban life. His works are both beautiful and disquieting. His fascination with the psychological and emotional relationship people have with their homes is expressed through his fullscale transformations of idyllic suburban homes. By laboriously spray painting 217

John Curtin Gallery continued... houses black or writing “SOS” across the front of them or cutting them open, Strange subverts the role of the house as a private sanctuary.

Aboriginal women across Australia.

This is the first time Hill’s work, revealing these experiences, has been brought together to present a compelling part of our recent shared history that has remained largely invisible.

Lawrence Wilson Art Gallery & Berndt Museum The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 lwag.uwa.edu.au Tue to Sat 11am–5pm.

Sandra Hill, Thin Veneer, detail, 2015, oil on board, 119 x 119 cm. Image courtesy of the artist and Mossenson Galleries.

7 February–24 April Sandra Hill: Mia Kurrum Maun (Far from Home) Sandra Hill is an acclaimed Western Australian Noongar artist whose work examines the spectre of Aboriginal cultural annihilation through her own lived experience as a Noongar woman of the Stolen Generations. Hill’s work reveals the profound impact that government policies and widespread racial discrimination has had upon generations of

8 February—9 May The Long Kiss Goodbye Artists: Sarah Contos (NSW), Penny Coss (WA), Iain Dean (WA), Brent Harris (VIC), Clare Peake (NT) and Michelle Elliott with Tender Funerals (NSW).

This exhibition explores how artists transform familiar materials and symbols into complex meditations on love, loss, attraction and repulsion: the ashes of visual diaries become ceremonial jewellery, fragments and studio scraps become an epic patchwork of memories, and simple actions become poignant rituals.

Presented in association with Perth Festival, this evocative exhibition features a group of artists from around the

nation, each with a unique connection to Western Australia.

Watty, Mowanjum, Western Australia, wood with natural pigments, 61.8 x 16.1 x 1.2 cm. Gifted by P Lucich, Berndt Museum of Anthropology Collection.

8 February—27 June Boomerang – A National Symbol Australia as a nation is recognised around the world by symbols of Aboriginal culture.

In this exhibition, the Berndt Museum of Anthropology explores the idea of the boomerang - beyond a symbol of ‘Australia’ - to highlight its many uses and meaning. The exhibition asks audiences: ‘How much do you know about boomerangs?’

Linton & Kay Galleries Mandoon Estate Gallery: 10 Harris Road, Caversham, WA, 6055 08 9388 3300 Fri to Sun and public holidays 11am–5pm or by appointment.

Lawrence Wilson Art Gallery → Sarah Contos, Sarah Contos Presents: The Long Kiss Goodbye (installation view), 2019, screenprint on linen, canvas and lame, digital printed fabrics and various found fabrics, PVC, poly-fil, glass, ceramic and plastic beads, thread, artists’ gloves. Art Gallery of South Australia, gift of the James & Diana Ramsey Foundation for the Ramsay Art Prize 2017.

Photograph courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

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Located in Perth, Linton & Kay Galleries hosts an impressive collection of quality fine art, complemented by a range of exhibitions, events and art services.

Directors Linton Partington and Gary Kay have established extensive networks enabling them to produce exhibitions and projects with established and emerging artists from around Australia and the world. Following the opening of the original Subiaco Gallery in 1998, Linton & Kay Galleries has had a gallery at Mandoon Estate Winery in the Swan Valley since 2015 and now has an exciting new arts precinct in West Perth. The galleries specialise in contemporary painting, sculpture and Aboriginal Art, and enjoy a dedicated client base. Linton & Kay Galleries are committed to providing corporate, private and investment collectors access to fine art of the highest quality.

6 January–6 February Water: Above and Below Gallery Artists Our much-loved gallery artists have created works on the theme of ‘Water: Above & Below’ for our summer exhibitions. The results are spectacularly diverse, ranging through multiple media and genres. Don’t miss it, there’s something for everyone!

8 February–23 February Mechanically Challenged James Corbett “I can make these sculptures now. I couldn’t have made them one hundred and twenty years ago. I doubt the parts will be here to make them in another hundred years time. My sculptures are a time capsule from the era of the internal combustion engine.”—James Corbett 2019

Emma Jolley, 14 Florence Street, West Perth, detail, relief and intaglio on paper.

Reflecting on the recent closure of the original Sheridan’s Badges & Engraving factory, Emma Jolley repurposes old plates and dies from the factory, in a new body of printed works. Sheridan’s considers the importance of local production, skill sharing & community connection fostered by longstanding local businesses.

Linton & Kay Galleries West Perth Gallery and Stockroom and Framing: 11 Old Aberdeen Place, West Perth, WA, 6005 08 6465 4314 lintonandkay.com.au Mon to Sat 10am–4pm.

Jo Darvall, Water Above and Below, 2019, oil on canvas, 84 x 84 cm.

6 January–27 January Celebrating Summer in the Swan Valley Gallery Artists Art in the vineyards, in Perth’s famous Swan Valley. A selection of gallery artists exhibit an eclectic mix.

Holly O’Meehan, Chippy Chap, 2019, ceramic, porcelain and cotton yarns, 36 x 19 x 20 cm.

Linton & Kay Galleries Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 lintonandkay.com.au Mon to Sat 10–5pm, Sun 11am–4pm.

15 February–11 April Artist In Residence :Holly O’Meehan Yvonne Zago, An afternoon spent hunting by the water on the rocks—Caladenia infundibularis, 2019, oil and acrylic on cotton rag, 76 x 56 cm.

13 January–22 February Summer Selection Gallery Artists A mixed show to celebrate the diversity of talent amongst our gallery artists.

Midland Junction Arts Centre 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 midlandjunctionartscentre.com.au Wed to Fri 10am–5pm, Sat 11am–3pm.

James Corbett, Cello Goat, found objects, 111 x 96 x 60 cm.

15 February–11 April Sheridan’s: Emma Jolley

Testing relationships between clay and crochet, Holly O’Meehan will be working on new ways to fuse these seemingly unrelated elements during her time in residence. Come and see what Holly is up to in the studio as she continues her ongoing material research into ceramic and fibre art forms.

Mundaring Arts Centre 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 mundaringartscentre.com.au Tue to Fri 10am–5pm Sat and Sun 11am–3pm.

1 February–22 March Retrospective: Hans Arkeveld Hans Arkeveld is one of WA’s foremost artists and sculptors. This retrospective exhibition documents his 50-plus year 219

Mundaring Arts Centre continued...

Anderson and Taiwanese new media artist Hsin-Chien Huang, Chalkroom is a Virtual Reality work unlike any other.

Instead of the brightly-lit gaming world of most VR, everything is hand drawn, dusty and dark, creating a shadowy, atmospheric world to explore. Opening Saturday 8 February, 6.30pm–8.30pm.

Hans Arkeveld, Valkyre, painted timber, 63 x 57 x 24 cm.

Tina Havelock Stevens, Thunderhead, 2016, video still. Courtesy of the artist.

multi-disciplinary practice and long-term engagement with the University of Western Australia Anatomy Department, and draws on his passion for the machinations and form of the human body as well as social justice issues.

9 February—19 April Thunderhead Tina Havelock Stevens

Perth Institute of Contemporary Arts (PICA) Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 pica.org.au Tue to Sun 10am–5pm.

Housed in a large and striking heritage building in the heart of Perth, PICA is the city’s focal point for those wishing to experience the best of Australian and international visual, performance and interdisciplinary art.

Opening Saturday 8 February, 6.30pm– 8.30pm.

9 February—19 April Hudson Valley Ruins Jacky Connolly Opening Saturday 8 February, 6.30pm– 8.30pm.

STALA Contemporary 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 stalacontemporary.com.au Wed to Sat, 10am–4pm during exhibitions and by appointment.

Free admission.

PICA is both a producing and presenting institution that runs a year round program of changing exhibitions, seasons in contemporary dance, theatre and performance and a range of interdisciplinary projects.

Laurie Anderson and Hsin-Chien Huang, Chalkroom, 2017, fluorescent paint on slate walls. Courtesy of the artists.

9 February—19 April Chalkroom Laurie Anderson & Hsin-Chien Huang Step inside an immersive world and take a journey through an enormous structure made of words, drawings and stories.

Once you enter this interactive installation you are free to roam and fly. Words sail through the air as emails. They fall into dust. They form and reform. Created by pioneering artist and musician Laurie 220

research and imagery, concerning themes of evolution, weather patterns, core samples, colonialism, and ‘zoochosis’, amongst others, to create narrative spaces that unpack his own thoughts and observations surrounding humanity’s relationship with nature.

Richard Healy, Bathers, 2019, oil on canvas, 100 x 136 cm.

12 February—6 March Exit Wounds Richard Healy The exhibition will include a succinct collection of the artist’s paintings, depicting scenes of figures and bodies, in the midst of movement or action. In each work, the subjects appear obstructed and broken, intending to, in his own words, ‘create tension and ambiguity on the canvas’.

Using digital collage, Healy has re-contextualised sourced material (a combination of collected images, and the artist’s own photography) to create new narratives.

‘I have built images that aim to evoke anxiety and a sense of unease,’ says Healy.

‘These painted images are constructed and deconstructed allowing them to toe the line somewhere between figuration and abstraction, reality and fiction’.

ZigZag Gallery 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 zzcc.com.au Weekdays 9am–4pm, Weekends and public holidays 10am–4pm.

Jarrad Martyn, Beautiful Mountain Alpha, 2018, oil on canvas, 120 x 120 cm.

12 February—6 March It is not down in any map; true places never are Jarrad Martyn The current conversation around global warming has encouraged a politicised and loaded representation of nature.

The body of work explores, and reflects on how humanity is presently engaging with the natural environment.

Martyn employs the process of bricolage, ‘something constructed from a diverse range of things’, to bring together

21 December 2019—5 January Close To Home Open Studios artists exhibiting together in the Zig Zag Gallery. A riot of multi – media works ranging from ceramics and jewellery to print and watercolours.

17 January—2 February Lions Club Art Awards The annual art award open to hobbyists as well as professional artists. Awards presented for a range of artistic criteria.

Exciting range of works at all levels of expertise.

8 February—29 February The Splendiferous Melange of Eclectic Oddities Leesa Padget presents her latest offering of the creative, quirky, unique and non-conventional art forms she is known for.

A–Z Exhibitions

JANUARY/FEBRUARY 2020

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

Museum and Art Gallery of the Northern Territory 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 magnt.net.au Mon to Sun 10am–5pm.

Free entry.

21 March 2019—22 March Between the Moon and the Stars Marking the 50th anniversary of the first lunar landing by NASA’s Apollo 11.

Get up close to a lunar meteorite and discover the connection between sea-worms and lunar phases when you embark on this stellar journey through the exhibition Between the Moon and the Stars.

The connection with life on Earth and the Solar System has defined our existence from ancient cultures to the present day.

Travellers and famous navigators such as Captain Cook, Magellan and Aboriginal and Torres Strait Islanders looked to celestial navigation to guide them across land and sea to create history.

30 June 2019—17 May Unruly Days The Northern Territory has always been an impossible land to master. From its monsoonal Top End to its arid Centre, it promises bountiful resources, but almost every attempt to exploit them has failed. It is too immense, too remote, its resources too inaccessible.

By 1900, the Territory had been largely neglected by its South Australian administrators. Few Europeans ventured there.

The first peoples, the Aboriginal population, were the majority, and Chinese people outnumbered white Australians.

16 November 2019—23 February Sidney Nolan's Ned Kelly series Sidney Nolan’s 1946–1947 paintings

depicting the 19th century bush ranger Ned Kelly are among the most significant Australian paintings of the 20th century.

Nolan’s Ned Kelly series is a distillation of a complex, layered story set in the Victorian landscape and centred around a 19th century bushranger and his gang who were on the run from the police.

30 November 2019—28 June Therese Ritchie: burning hearts Therese Ritchie is renowned for her provocative prints that make fearless political and social commentary. This exhibition situates these prints within her practice more broadly and considers the fundamental role photography has played in her development as an artist.

Therese Ritchie: burning hearts features work from MAGNT’s collection and includes a number of important loans from private collectors and institutions.

NCCA – Northern Centre for Contemporary Art Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 nccart.com.au Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols.

NCCA is the leading centre for contemporary visual art in the Northern Territory – bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communities through its dynamic programs.

Image courtesy of the artists.

31 January—7 March Off The Walls Group exhibition by six contemporary local artists using VR as their medium.

Curated by Rita Macarounas.

RAFT artspace 8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 raftartspace.com.au Open during exhibitions Tues to Fri 10am–5pm, Sat 11am–2pm.

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1 2 3 4 5 6 7 8 9 10 11

234

Andrew Baker Art Dealer Artisan Gallery Edwina Corlette Gallery Fireworks Gallery Graydon Gallery Griffith University Art Gallery Heiser Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery Jugglers Artspace

12 13 14 15 16 17 18 19

Lethbridge Gallery 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 20 QUT Art Museum 21 Side Gallery

22 23 24 25 26

State Library of Queensland Suzanne Oâ&#x20AC;&#x2122;Connell Gallery The Third Quarter Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

BA

RR

YD R

4

25

IVE

2 ST

1

SS

7

S

RO

10 9

5

CL

UN

IE

3 22 PA R K E

CO

N

S WAY

ST

IT

U

TI

O

N

AV E

20

Russell

19 21

18

15 17 KIN

L A ID

E AV

8

E E AV

14

W

ADE

GS

EN E AV

U

12

TH

M

OR

6

16

TW

23

Deakin G

G

A

CAN W

AY

BER

RA A VE

13

11

24

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 Humble House Gallery M16 Artspace Megalo Print Studio Museum of Democracy Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery

22 23 24 25

Nishi Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

235

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 Entrepot Gallery Freehand Gallery Handmark Gallery Inka Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

A

M

P

B

E

LL

ST

R

D AV

A G Y E

T EY S

L

6

A

R

R

IN

G

TO

T

H

S

1 2 3 4 5 6 7 8 9 10 11 12

C

N

Hobart EL

ST

9

M

UR

RA Y

IZ

AB

12

ET

H

5

10

ST

ST

11

8

7

2

4

SAL AM ANC A PL

15

14

FRO

8 19

22 21

10

EAST TCE

5

Y RD

4

7

236

3

NORTH TCE

12

HA CK NE

18

20

RD

16

17 1 13

ME

Adelaide

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 Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Praxis Artspace Prospect Gallery 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 22 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

2

9

11 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

BU

LW

ER

12

13 NE

1 2 3 4 5 6 7 8 9 10 11 12 13

Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery 152 Gallery Central John Curtin Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

ST

RO

WE

LL

W

CA

ST

LE

ST

ES T

ING

TO

NS T

5

Perth

10

4

11 2

3

8

9 TH

EE SPL

AD

AN

AD

1 EL

E

AID

ET E

6 RR

AC

E

7

4 5 OR

EL

D

ER

PL

T DS

Aboriginart Indigenous Fine Art Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Moores Building Contemporary Art PS Art Space

Fremantle

1 MA ST

3

ET

8 6

RK

1 2 3 4 5 6 7 8

HIG

T HS

7

2 237

16albermarle (NSW)

149

Bunbury Regional Art Gallery (WA)

4A Centre (NSW)

149

Bundoora Homestead (VIC)

A

215 28, 118

Bunjil Place (VIC)

12, 118

Gallery Lane Cove (NSW)

158

Gallerysmith (VIC)

124

Gallerysmith Project Space (VIC)

124 186

Aarwun Gallery (ACT)

195

Burnie Regional Art Gallery (TAS)

200

Gallery 48 (QLD)

ACE Open (SA)

207

Butter Factory Arts Centre (QLD)

185

Gallery 9 (NSW)

ACAE Gallery

112

Buxton Contemporary (VIC)

119

Geelong Gallery (VIC)

Adelaide Central Gallery (SA)

C

207

Alcaston Gallery (VIC)

112

Gertrude Contemporary (VIC)

c3 Contemporary Artspace (VIC)

119

Caboolture Regional Art Gallery (QLD) 185

Gladstone Regional Art

112

Campbelltown Art Centre (NSW)

ARC ONE Gallery (VIC)

112

Canberra Glassworks (ACT)

Artbank (VIC, NSW)

1, 112

113, 149

Arthouse Gallery (NSW) Artereal (NSW)

150 39, 149

155

CAVES

45, 119

Cement Fondu (NSW)

183

Centre for Contemporary

Artitja (WA)

214

Artists Shed (ACT)

195

Artsite Gallery (NSW)

150

Artspace (NSW)

150

Coffs Harbour Regional

Artspace Mackay (QLD)

183

113

46, 195

Casula Powerhouse (NSW)

Artisan (QLD)

Art Echo Gallery

155

155

33, 125

Gallery (QLD)

185

Glasshouse Port

Macquarie (NSW)

159

Glen Eira City Council Gallery (VIC)

125

Goulburn Regional Gallery (NSW)

161

Grace Cossington Smith (NSW)

161

119

Grafton Regional

Chapman & Bailey (VIC)

120

Charles Nodrum Gallery (VIC)

120

Photography (VIC)

125

Gippsland Art Gallery (VIC)

Ararat Gallery TAMA (VIC)

Anna Schwartz Gallery (VIC)

159 20, 124

Art Gallery (NSW)

163, 186

H Hahndorf Academy (SA)

Gallery (NSW)

155

Hamilton Gallery (VIC)

Colville Gallery (TAS)

201

Handmark Gallery (TAS)

208 126 203

Art Collective WA (WA)

214

Contemporary Art Tasmania (TAS) 201

Harvey Galleries (VIC, NSW)

Art Space on The Concourse (NSW)

151

Cooee Art (NSW)

157

Hatch Contemporary Arts

ArtSpace REALM/Maroondah (VIC) 113, 146

Counihan Gallery (VIC)

120

Art at Linden Gate (VIC)

Cowra Regional Art Gallery (NSW)

157

Hawkesbury Regional Gallery (NSW) 163

Craft Victoria

120

Hazelhurst Regional Gallery (NSW)

The Cross Art Projects (NSW)

157

Heide Museum of Modern Art (VIC)

113

Art Gallery of Ballarat (VIC)

113, 116

Art Gallery of New South

Wales (NSW)

D

8, 150

Art Gallery of South Australia (SA)

207

Space (VIC)

Hugo Michell Gallery (SA)

121

Holmes à Court Gallery

Arts Project Australia (VIC)

Deakin University Art Gallery (VIC)

121

(ACCA) (VIC)

4, 114

Australian Centre for Photography

(ACP) (NSW)

17, 151

Australian National Capital Artists

(ANCA) Gallery (ACT)

195

Australian Print Workshop (VIC)

114

Australian Tapestry Workshop (VIC) 115

B Bank Art Museum Mortee

(BAMM) (NSW)

151 151

Bayside Gallery (VIC)

48, 115

Beaver Gallery (ACT)

44, 195

at Vasse Felix (WA)

217

Horsham Regional Art Gallery (VIC)

127

122

Humble House Gallery (ACT)

196

Defiance Gallery (NSW)

157

Hurstville Museum (NSW)

163

Despard Gallery (TAS)

201

Devonport Regional Gallery (TAS)

201

Incinerator Art Space (NSW)

127

Dust Temple (QLD)

162

Incinerator Gallery (VIC)

165

Institute of Modern Art (QLD)

186

Gallery (VIC)

E E + Hive Art & Design Gallery (VIC)

122

East Gippsland Art Gallery (VIC)

122

Everywhen Artspace (VIC)

Bathurst Regional Art Gallery (NSW)

127 209

157

The Dax Centre Deakin University Art Downtown

163 209

Darren Knight Gallery (NSW)

41, 114

126

Hill Smith Gallery (SA)

Art Gallery of Western Australia (WA) 6, 214 Australian Centre for Contemporary Art

126

29, 122

F Fellia Melas (NSW)

I

J JamFactory (SA)

209

The Japan Foundation Gallery (NSW) 10, 165 John Curtin Gallery (WA)

162

217

K

Firestation Print Studio Gallery (VIC) 123

Kaldor Public Art Projects (NSW)

Fireworks Gallery (QLD)

185

Kate Owen Gallery (NSW)

21, 123

Bega Valley Regional Gallery (NSW)

152

Finkelstein Gallery (VIC)

Benalla Art Gallery (VIC)

117

Flinders Lane Gallery (VIC)

123

Kingston Arts (VIC)

117

Flinders Street Gallery (VIC)

158

Kings ARI (VIC)

fortyfivedownstairs (VIC)

123

King Street Gallery

43, 167

Fox Galleries (VIC)

123

Koorie Heritage Trust (VIC)

26, 130

Fox Jensen Gallery (NSW)

158

Bendigo Art Gallery (VIC) Bett Gallery (TAS) Blacktown Arts (NSW) BLINDSIDE (VIC)

200 152 117

Blue Mountains City

Art Gallery (NSW)

Frankston Arts Centre 153

Fremantle Arts Centre (WA)

124 22, 215

G

BMGArt (SA)

208

Boomalli Aboriginal Artists (NSW)

153

Gaffa Gallery (NSW)

Brenda Colahan Fine Art (NSW)

176

GAG/Greenaway Art Gallery (SA)

Ken Done Gallery (NSW)

9 165, 166

Lamington Drive (VIC)

130

Latrobe Regional Art Gallery (VIC) La Trobe Art Institute (VIC)

130 19, 131

154, 158

Lauraine Diggins Fine Art (VIC)

36, 130

208

Lawrence Wilson Gallery (WA)

218

Galerie pompom (NSW)

158

Linden New Art (VIC)

Brunswick Street Gallery (VIC)

Gallery Central (WA)

215

Linton & Kay Galleries (WA)

238

129

L

Broken Hill Regional Gallery (NSW) 153, 162 116, 117

156, 165 27, 48, 129

131 217 , 218

INDEX

The Lock-Up (NSW)

167

Newmarch Gallery (SA)

210

STACKS Projects (NSW)

Logan Art Gallery (QLD)

186

Niagara Galleries (VIC)

137

STALA Contemporary (WA)

LON Gallery (VIC)

132

Nicholas Thompson Gallery (VIC)

47

Lyon Housemuseum Galleries (VIC) 132

Noosa Regional Gallery (ACT)

Lynn Jaanz Art Gallery (VIC)

Northern Centre of Contemporary

132

M

M16 (ACT)

196

MAC Museum of Art and Culture

Lake Macquarie (NSW))

35, 167

Macquarie University Art

Gallery (NSW)

188

Art (NCCA) (NT)

222

O

175 220

Stanley Street Gallery (NSW) State Library Victoria (VIC)

175 18, 139

SteelReid Studio (NSW)

175

Stephen McLaughlan Gallery (VIC)

140

Stockroom Gallery (VIC)

140

Old Treasury Buildin (VIC)

137

Sturt Gallery (NSW)

175

OLSEN (NSW)

172

The Substation (VIC)

140

Onespace (QLD)

188

Sullivan & Strumpf (NSW)

177

Sutton Gallery (VIC)

140

168

P

Maitland Regional Art Gallery (NSW) 168

Parramatta Artists Studios (NSW)

173

Swan Hill Regional Gallery (VIC)

141

Manly Art Gallery (NSW)

Peacock Gallery (NSW)

173

Sydney College of the Arts (SCA)

177

42, 169

Manning Regional Gallery (NSW)

169

Penny Contemporary (TAS)

Manningham Art Gallery (VIC)

133

Perc Tucker Regional Gallery (QLD) 37, 189

TarraWarra Museum of Art (VIC)

March Space (VIC)

133

Perth Instiutute of Contemporary

Tasmanian Museum (TAS)

Martin Browne Contemporary (NSW) 169

Margaret Lawrence Gallery (VIC)

PG Printmaker Gallery (VIC) Philip Bacon Galleries (QLD)

133

The Maud Street

Photo Gallery (QLD)

187

McClelland Sculpture

24, 133

5, 219

Gallery (ACT)

141

Thienny Lee Gallery (NSW)

177

189

Tinning Street Presents (VIC)

142

Tolarno Galleries (VIC)

142

198

TooT Artspace (VIC)

Pine Rivers Art Gallery (QLD)

189

Toowoomba Regional Gallery (QLD)

187

Pinnacles Gallery (QLD)

190

Town Hall Gallery (VIC)

Midland Junction (WA)

219

praxis ARTSPACE (SA)

210

Tuggeranong Arts Centre (ACT)

Mildura Arts Centre (VIC)

133 134

Monash Gallery of Art (VIC)

125, 34

Monash University MADA

Q QDOS Fine Arts (VIC)

Gallery (VIC)

135 135

Gallery (VIC)

190

Art Gallery (TAS)

203

QUT Art Museum (QLD)

190

Mornington Peninsula Regional

135, 138

Queen Victoria Museum and

of Art (VIC)

of Modern Art (GOMA) (QLD)

40 192

31, 143 198

U

Queensland Art Gallery/Gallery

Monash University Museum

205

137

Metro Arts (QLD)

Missing Persons

11, 141

Ten Cubed (VIC)

PhotoAccess Huw Davies

Park + Gallery (VIC)

Arts (PICA) (WA)

T

203

R

Umbrella Studio (QLD)

193

UNSW Galleries (NSW)

178

Urban Cow Studio (SA)

212

UQ Art Museum (QLD)

193

V Victorian Artists’ Society (VIC)

143

Vivien Anderson Gallery (VIC)

143

15, 30, 135

RAFT artspace (NT)

222

Mosman Art Gallery (NSW)

169

ReadingRoom (VIC)

138

Wagner Contemporary (NSW)

179

Mundaring Arts Centre (WA)

219

Redcliffe City Gallery (QLD)

191

Walker Street Gallery (VIC)

145

Red Gallery (VIC)

128

Wallarobba Arts

Red Tree (VIC)

138

Murray Bridge Regional Gallery (SA) 210

Redland Art Gallery (QLD)

191

Wagga Wagga Art Gallery (NSW)

178

Museum & Art Gallery of Northern

Riddoch Art Gallery (SA)

211

Wangaratta Art Gallery (VIC)

145

16, 138

Watson Arts Centre (ACT)

198

138

Western Sydney University

Rochfort Gallery (NSW)

173

Rockhampton Art Gallery (QLD)

192

West End Art Space (VIC)

Roslyn Oxley9 Gallery (NSW)

173

Whitehorse Artspace (VIC)

147

White Rabbit Collection (NSW)

180

Wollongong Art Gallery (NSW)

181

Murray Art Museum Albury

(MAMA) (NSW)

170

Territory (NT)

Museum of Brisbane (QLD)

222

RMIT Gallery (VIC)

188

RMIT Project Space Gallery (VIC)

Museum of Contemporary

Art (NSW)

170

Museum of Old and New Art

(MONA) (TAS)

Muswellbrook Regional (NSW)

203 160, 171

Royal South Australian

N

Society of Arts (SA)

Nanda\Hobbs (NSW)

171

Salamanca Arts Centre (TAS)

National Art School Gallery (NSW)

171

Samstag Museum of Art (SA)

National Gallery of Australia (ACT) 2, 3, 197

Sarah Scout Presents (VIC)

National Gallery of Victoria -

Sauerbier House

The Ian Potter Centre (VIC)

135

National Gallery of Victoria

NGV International (VIC)

211

S

Culture Exchange (SA)

Sawtooth ARI (TAS)

204 14, 212 136

180 147

Y Yering Station Gallery (VIC)

147

Z ZigZag Gallery (WA)

220

204

National Library of Australia

197

S.H. Ervin Gallery (NSW)

National Portrait Gallery (ACT)

198

Shepparton Art Museum (VIC)

172

Side Gallery (QLD)

192

Sofitel Melbourne on Collins (VIC)

139

34, 171

Art Galleries (NSW)

179

212

The Sculptors Society (NSW)

Newcastle Art Gallery (NSW)

and Cultural Centre(VIC)

Wyndham Art Gallery (VIC) 32, 38, 144, 147

137

New England Art Museum (NSW)

W

154 175 13, 139

239

“…these ancestral intersections through time and place really bring the veracity of colonising history into sharp focus.”

— SUE KNEEBONE, ARTIST P. 57

“Through sensors and algorithms, the AuraCam 6000 transforms the heartbeat and body temperature of portrait sitters into hazy, meandering hues…”

— TIARNEY MIEKUS, WRITER P.59

“…he waltzes with the macabre, dancing on the fringes whilst throwing another shrimp on the barbie.”

— EMILIA GALATIS, CUR ATOR P.91

A world-first exhibition.

Only in Melbourne at National Gallery of Victoria.

“I’m interested in the aesthetic of comfort or discomfort, freedom, isolation, assimilation.”

— Atong Atem

artguide.com.au