Cairns Art Gallery | Members Newsletter no.87 | Dec 2022 – May 2023

CAIRNS ART GALLERY

The Gallery is committed to bringing great art to the region and developing new ways of engaging audiences. Through the Gallery magazine we communicate information about what we do, and we are moving to a 6-monthly format so readers around Australia will receive more advance notice about upcoming events.

Over the next six months, our International Partnership Program includes a major exhibition of works by Andy Warhol and Roy Lichtenstein presented in partnership with the National Gallery of Australia, and an exhibition from QAGOMA’s collection that showcases the best and most exciting works from three decades of the Asia Pacific Triennial

Partnerships supporting First Nation artists from across the world include a collaboration with the Sydney Biennale to present an exhibition by Qavavau Manumie, an internationally renowned Inuit artist, drawer, and meticulous printmaker, and a partnership with Photo Australia, to present an exhibition by NY based artist, Martine Gutierrez, a shape-shifting artist who subverts conventional notions of beauty and identity to explore issues of sexism, racism, and transphobia.

In 2023, the Gallery will present a series of solo exhibitions by six regional artists who each received an Artist Fellowship Award supported by

DIRECTOR’S FOREWORD

the Cairns RSL Club. In 2021, Francesca Rosa and Maharlina Gorospe-Lockie each received an Award and will exhibit their new works in March and May respectively.

The Gallery Collection of more than 900 historical and contemporary works explores our place in the world’s tropic zone. It is a major research resource, and with the support of the Australia Council for the Arts, information about contemporary artists from the region, many of whom are represented in the Collection, is available on-line through a web-based platform, the Artist Showcase Program. I commend this new initiative to you as a dynamic living resource.

I hope you will enjoy reading about the activities we have planned over the coming months, and I wish you all a safe and happy festive season.

Andrea May Churcher Director

COVER

Andy WARHOL (artist)

United States of America 1928-1987

Multiples, Inc. (publisher)

Portraits from Artists and Photographs (Self portrait) 1970

offset lithography, synthetic polymer paint

National Gallery of Australia, Kamberri/Canberra

NGA 82.2137.7.H

© Andy Warhol Foundation for the Visual Arts, Inc. ARS/

Copyright Agency, 2022

PAGE 4

Andy WARHOL (artist)

United States of America 1928-1987

Salvatore Silkscreen Company (printer)

Campbell’s Soup II - Cheddar Cheese 1969 screenprint, 88.9 (H) x 58.4 (W) cm (sheet)

National Gallery of Australia, Kamberri/Canberra

Orde Poynton Bequest, 2005

© Andy Warhol Foundation for the Visual Arts, Inc. ARS/Copyright Agency, 2022 2005.281

International/ Partnership Program

Supporting opportunities for our audiences to experience new and challenging art of national and international significance.

ANDY WARHOL / ROY LICHTENSTEIN

AN EXHIBITION PARTNERSHIP BETWEEN THE CAIRNS ART GALLERY AND THE NATIONAL GALLERY OF AUSTRALIA

The names Andy Warhol and Roy Lichtenstein are synonymous with the influential and international pop art revolution that swept the world in the 1960s. Works by these artists are now iconic references to a time when young artists began to revolt against the prevailing art styles of art being taught at art schools and shown in art galleries around the world.

As part of the Cairns Art Gallery’s International Partnership Program, Andy Warhol / Roy Lichtenstein will open in the first half of 2023. The exhibition includes major prints on loan from the National Gallery of Australia, including works from Warhol’s famous Campbell’s Soup II 1969 series, a self-portrait from his Artists and Photographs 1970 series, and Electric chairs 1971 series, and

Lichtenstein’s celebrated works including Nude with blue hair 1993, and …Huh? 1976.

British curator Lawrence Alloway first used the term ‘pop art’ in 1955 to describe a new form of popular art – a movement based on imagery drawn from popular culture, such as Hollywood movies, advertising, product packaging, television, pop music and comic books.

In the mid-1960s, artists in London and a little later in New York, embraced bold, simple, everyday imagery, and vibrant block colours in their work to create slick images using mechanical methods of production so that the medium of the artwork became as important as its ‘message’. In so doing they sought to destroy the divide between high and low, or commercial and fine, art.

United States of America 1923-1997

Nude with blue hair 1993

relief print printed in colour inks from one assembled plate made from one aluminium base plate and nine irregularly shaped plastic plates, one assembled plate made from one Lexan plastic base plate and six irregularly shaped plastic plates, one assembled plate made from one aluminium base plate and three irregularly shaped plastic plates, and one assembled plate made from one Lexan plastic base plate and three irregularly shaped magnesium plates 130.2 (H) x 80.2 (W) cm (comp) 146.6 (H) x 95.4 (W) cm (sheet)

National Gallery of Australia, Canberra

Gift of Kenneth Tyler 2002

© Estate of Roy Lichtenstein/Copyright Agency, 2022 2002.1.70.2

LEFT

Roy LICHTENSTEIN (artist)

ANDY WARHOL / ROY LICHTENSTEIN

In 1962, Andy Warhol began to transition from hand-painted to photo-transferred art. Searching for subjects, a friend suggested to him that he paint something everybody would recognise, ‘like Campbell’s soup’ which resulted in a series of thirty-two canvases, each looking the same but never identical. But it was not until 1968 and 1969 that Warhol broke with all conventions and, using silkscreen printing, a mechanical production, he created series of prints that not only looked the same but were the same, and which effectively removed the presence of the artist’s hand from the creation of the artwork. This raised heated debate around notions of authenticity and ‘real art’. For Warhol, the process of screen-printing allowed him to ‘become a machine’ making art, a concept that a concept that appealed to him greatly and was at the heart of the Pop Art movement.

Along with Warhol’s Campbell’s Soup II- Cheddar Cheese silkscreen print, other works by Warhol in the exhibition include a self-portrait from his famous series of Artists and Photographs, in which the

intensity of the artist’s gaze becomes the gaze of an observer rather than a sitter, and effectively defining him as a celebrity in his own time.

A more sinister work in the exhibition is a multiplestate print, Electric chairs from his Death and Disaster series. The work comprises four different print states of an electric chair based on a press service photograph in 1953 of the electric chair used in Sing Sing prison, New York, to execute two New York citizens, Julius and Ethel Rosenberg for passing confidential information about the atomic bomb to Russia during World War II. The work is extraordinary as it invokes emotions of horror and fascination, yet Warhol’s treatment of the image, turning it into repetitive images, serves to desensitise the viewers response to this otherwise powerful symbol of death and transience of life.

For Roy Lichtenstein, a contemporary of Andy Warhol, Pop Art authorised the use of imitation and appropriation in art. Referencing commercial and popular culture icons, such as Mickey mouse, and using Ben-Day dots and mechanical processes

RIGHT Roy LICHTENSTEIN (artist)

United States of America 1923-1997 ...Huh 1976 screenprint

100.7 (H) x 71.0 (W) cm (comp) 106.0 (H) x 75.5 (W) cm (sheet)

National Gallery of Australia, Canberra Purchased 1980

© Estate of Roy Lichtenstein/Copyright Agency, 2022 1981.1251

ANDY WARHOL / ROY LICHTENSTEIN

of printmaking, Lichtenstein’s work uses cliché and irony to challenge notions of high art in a contemporary world of popular culture. The term Ben Day dots refers to an inexpensive mechanical printing method developed in the late 19th century and named after its inventor, illustrator and printer, Benjamin Henry Day. Using a process of small primary-coloured dots to build up an image, Ben Day dot printing was primarily used in comic books and cartoon strips. They have subsequently become a signature of Lichtenstein’s work where he has used them on a much larger scale to create appropriated images of instantly recognisable images from 1960s comic books and other forms of contemporary culture.

Lichtenstein was accused of copying his sources, but his reply to this accusation was simply, ’My work is actually different from the comic strips in that every mark is really in a different place, however slight the difference seems to some. The difference is often not great, but it is crucial.’

Like cartoonists, Lichtenstein sought to minimise images of complex stories, emotions, and conversations, and collapse them into a single, often collaged image, to engage the viewer instantly and on many levels.

Nude with blue hair 1993 is one of the artist’s most important graphic works on paper and is a key work within the exhibition. The work demonstrates Lichtenstein’s extraordinary ability to experiment with innovative printing methods, enhancing the volume of his cartoon-like female figure and her hair through the application of shading, known as chiaroscuro, that uses contrasts of light and dark tones to achieve a heightened illusion of volume or depth.

Another device employed by the artist was collapsing and/or collaging multiple images to create one single image to fit the layout of a singlepanel comic. His 1976 screenprint, …Huh? three scenes are merged into one. Using commercial devices such as a scaled-down use of colour and flat, smooth outlines, the print depicts a closely

cropped table setting with a cup of coffee at its centre. Two conjoined textual elements hover above the scene, announcing ‘…Huh? I say no.’ and ‘Make sure!’. In so doing the artist conflates two separate conversations into one con-joined text that encourages the viewer to explore possibilities for interpretation of captured random moments of conversation.

Drawn from the National Gallery of Australia’s extensive collection, this exhibition of major prints by Andy Warhol and Roy Lichtenstein is an extraordinary opportunity for Cairns audiences to experience first-hand two of the world’s most famous pop artists of all time.

The presentation of these artworks from Australia’s national collection has been made possible by the generous support of Haymans Electrical and Data Suppliers through the National Gallery of Australia’s Regional Initiatives Program.

23RD BIENNALE OF SYDNEY: RĪVUS

QAVAVAU MANUMIE

Qavavau Manumie became an artist member of the West Baffin Eskimo cooperative studio in Kinngait (formerly Cape Dorset) in 1988, first as a printmaker in lithography and then in stonecut. Qavavau is the latest among the secondgeneration Inuit artists to attract critical acclaim from the contemporary arts audience in the South and internationally.

Qavavau Manumie is a Kinngait (Cape Dorset) based artist in the Qikiqtaaluk Region of Nunavut, Canada. He is known for his intricate compositions in ink and coloured pencil that are often amusing in their depictions of Inuit mythology, Arctic fauna and contemporary experiences of Inuit life. When he was a child, Manumie’s father told him tales

of the Inuralaat, or little people, warning him to keep away if he saw their tracks. Manumie’s drawings sometimes depict the Inuralaat in relation to everyday objects such as a harpoon, tools or a lamp.

Originally presented as part of the 23rd Biennale of Sydney (12 March – 13 June 2022), Manumie’s series of drawings are both literal and surreal in nature with strong environmental reflections.

IMAGE P 11/12

Qavavau MANUMIE

2009

pencil, ink on paper 56 x 76 cm Courtesy the artist & Dorset Fine Arts

ABOVE LEFT

Qavavau MANUMIE Untitled 2009 colour pencil, ink on paper 56 x 76 cm Courtesy the artist & Dorset Fine Arts

LEFT

Qavavau MANUMIE Untitled 2014 colour pencil, ink on paper 56 x 76.5 cm

Courtesy the artist & Dorset Fine Arts

This exhibition is presented by the Biennale of Sydney and Cairns Art Gallery, Cairns Australia, with generous support from the Restart Investment to Sustain and Expand (RISE) Fund –an Australian Government initiative.

ASIA PACIFIC CONTEMPORARY

THREE DECADES OF APT

Asia Pacific Contemporary celebrates the tenth Asia Pacific Triennial of Contemporary Art (APT) presented by Queensland Art Gallery | Gallery of Modern Art (QAGOMA). It includes an exciting selection of contemporary works by artists who have featured in the triennial over the past three decades.

The first APT, held in 1993 was a landmark exhibition and the first of its kind in the world. Its aim was to present contemporary art of Asia and the Pacific, including Australia and New Zealand.

Conceived as a triennial event, APT sought to stimulate cross-cultural dialogues in a geo-political region that was growing in global importance. Riding on the back of the cold war and the beginning of a new information era, social, economic and technological transformations have intensified over subsequent decades. For contemporary artists this has created a vibrant context in which to engage in complex dialogues and juxtapose customary and contemporary practices, cultural encounters and social change.

Asia Pacific Contemporary presents a diversity of works that reflect the APT’s embrace of contemporary art in all its forms, ranging from the ceremonial to the conceptual, and the deeply personal to the resolutely social.

Since its inception, QAGOMA has acquired works from each APT, resulting in a comprehensive and unrivalled collection of internationally significant works by leading artists from throughout the AsiaPacific region dating from the 1980s to the present day.

Asia Pacific Contemporary is a touring exhibition of works from QAGOMAs collection and features 45 artworks by 25 artists from 13 Asian Pacific countries. It includes works by such internationally recognised artists as Dang Thi Khue (Vietnam), Heri Dono (Indonesia), Yang Fudong (China), Tracey Moffatt (Australia), Risham Syed (Pakistan) and Michel Tuffery (Aotearoa New Zealand), along with others from the QAGOMA Collection, in painting, sculpture, works on paper, video and performance.

IMAGE P 17/18

Wen LEE

Born Singapore, 1957

Journey of a yellow man no. 13: Fragmented bidues/ shifting ground (still) 1999

Videotape: 10:30 minutes, colour, stereo

Purchased 2000. Queensland Art Gallery Foundation

© Lee Wen

ABOVE

Tomoko KASHIKI

Born Japan 1982

I am a rock 2012

Synthetic polymer paint, masking tape on linen on plywood 162 x 227.5cm

The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation

Photograph: Natasha Harth, QAGOMA. © Tomoko Kashiki

Performance and music are central elements of art and culture throughout Asia and the Pacific. Lee Wen is a Singapore based performance artist whose work Journey of a yellow man no. 13: Fragmented bodies/shifting ground, 1999 in APT3 resulted in one of the most enduring images of the exhibition series. Yellow Man is Lee Wen’s best-known performance persona and allowed him to interrogate social and cultural norms. Stripping to his underwear, the artist coated himself in yellow paint — an exaggeration of his Chinese-Malay ethnicity — and undertook actions in a variety of spaces, from conventional galleries to city streets. From 1994, Lee Wen staged the Yellow Man’s journeys in a range of international locations (including Brisbane), broadening interpretations of his colouring as he moved between cultural contexts.

Several artists represented in Asia Pacific Contemporary draw on and reference traditional techniques or customary practices. Tomoko Kashiki is a Japanese artist whose work I am a rock 2012 develops an unconventional treatment of nihonga

(traditional Japanese painting). Her beautifully crafted paintings appear fragile, depicting an intimate world of dreams and desire. The women in her paintings are almost always artfully distorted, with elongated limbs curving in graceful yet uncanny arcs, conforming less to the logic of anatomy than to the artist’s aesthetic imperatives.

Zheng Guogu is a conceptual Chinese artist whose studies of qi inform his Visionary transformation series. Qi is the fundamental life force or energy flow of traditional Chinese medicine and martial arts. Zheng’s paintings incorporate geometric and iconographic elements derived from traditional Tibetan Buddhist tangka painting, but his works are distinguished by synthetic-looking hues, while layered imagery and vibrant optical effects replicate the flow of qi

Photograph: Natasha Harth, QAGOMA. © Guogu Zhengi

International/ Partnership Program

Martine Gutierrez is a transdisciplinary American artist who lives and works in Brooklyn, New York. Born in Berkeley, California, in 1989, her mother is a white American and her father is from Guatemala.

For Gutierrez, culture and gender were particularly complex issues because of the prevailing biases and values of the ‘white-centric’ community of Vermont where she grew up.

Language never seemed like a way to clarify who I was… For a long time I have been living fluid concepts of gender with an awareness that the space between the binaries is the only place to find complete freedom.

Martine Gutierrez, Autre Magazine, 2020

After graduating from Rhode Island School of Design in 2012, Gutierrez moved to New York and from 2013 she has worked across social media and filmic platforms to create and produce music videos, billboard campaigns, episodic films, photographs, publications and performance art. She has been described as a shape shifting artist

who subverts conventional notions of beauty and identity to explore issues of sexism, racism, and transphobia.

Works in Gutierrez’s exhibition are from Indigenous Woman 2018, a 124-page satirical fashion magazine in which she starred as editor, model, stylist, and photographer. Works have been selected from three series of self-portraits reproduced in the magazine - Neo-Indeo, Masking and Queer Rage.

In her Neo Indeo studio portraits, Gutierrez is dressed in Guatemalan textiles, adorned with old and contemporary objects. The fabrics belong to her grandmother and reference her Mayan Indian heritage. The process of staging her photographs took her back in time to when she was a child and would dress up in the fabrics and create stories and different identities around the different animals that were intricately woven into the material.

Gutierrez’ Queer Rage series explores issues of transsexual identity, including her own preteen

LEFT

Martine GUTIERREZ

Born Berkeley, CA, USA, 1989

Neo-Indeo, Cheek a Boom p23 from Indigenous Woman 2018

C-print 137.2 x 91.4 cm

Edition of 8

© Martine Gutierrez; courtesy of the artist and RYAN LEE Gallery, New York.

IMAGE P 17/18

Martine GUTIERREZ

Born Berkeley, CA, USA, 1989

Queer Rage, Imagine Life-Size, and I’m Tyra, p66-67 from Indigenous Woman 2018 C-print 106.7 x 160 cm Edition of 8

© Martine Gutierrez; courtesy of the artist and RYAN LEE Gallery, New York.

MARTINE GUTIERREZ

INDIGENOUS WOMAN MAGAZINE

queer rage represented by the handmade muñecas, a type of doll that is commonly seen in markets throughout Mexico and Central America.

The Masking series explores complexities of beauty rituals that involve masking of facial features in such a way that identity is both revealed and hidden. In these images the artist’s natural facial features are obscured and replaced by pieces of exotic fruit and items of jewellery. In so doing the identity changes but the face remains identifiable, just different, raising questions about how facial makeup can both hide and reveal, and what remains once it is removed.

In her own words, Indigenous Woman is a selfdeclared celebration of her Mayan Indian heritage and a navigation of ‘contemporary indigeneity and the ever-evolving self-image.’

Indigenous Woman marries the traditional to the contemporary, the native to the post-colonial, and the marginalized to the mainstream in the pursuit of genuine selfhood, revealing cultural inequities along the way. This is a quest for identity. Of my own specifically, yes, but by digging my pretty, painted nails deeply into the dirt of my own image I am also probing the depths for some understanding of identity as a social construction.

In 2019, works from Indigenous Woman were selected for the prestigious 58th International Art Exhibition at the Venice Biennale. Public response was immediate,

‘…one can’t help but stop in one’s tracks before the work of Martine Gutierrez. The transgender Latinx photographer’s selfportraits challenge gender stereotypes, offer up new visions of pop-cultural icons, and commingle tropes of high fashion and indigenous cultures.

Jean-François Rauzier, Giverny, 2019

RIGHT

Martine GUTIERREZ

Born Berkeley, CA, USA, 1989 Masking, Cocoa Mask, p50 from Indigenous Woman 2018 C-print 50.8 x 40.6 cm

Edition of 8

© Martine Gutierrez; courtesy of the artist and RYAN LEE Gallery, New York.

Artist Fellowship Program

Supporting regional artists with grants of $7,500 to develop a new body of work for a future exhibition. To date, Fellowships have been awarded to Francesca Rosa, Maharlina GorospeLockie, Janet Fieldhouse, Simone Arnol, Jason Wegger, Naomi Hobson, Heather Koowootha, Joel Sam and Daniel Wallwork. Proudly supported by the Cairns RSL Club.

Joel Sam Sui Baidam

Born Thursday Island, Queensland, 1977 Umau Dhoeri Mawa from the Kulba Igilinga (Old Culture) series, 2020 artificial, emu and cassowary feather, boar tusk, foam, acrylic paint, glass, cowrie shell, dowel, seashell, twine, cane, dugong bone, Matchbox Bean nuts seed pods, shell, mother of pearl and raffia 73 x 85 x 21 cm

Purchased Cairns Art Gallery 2021. Commissioned by Cairns Art Gallery

Photo: Michael Marzik

DEVELOPED IN PARTNERSHIP WITH THE CAIRNS RSL CLUB

ARTNOW FNQ is a biennial exhibition that showcases the best and most inspiring art being produced by emerging to established artists in Far North Queensland. Launched in 2015, it is an opportunity for contemporary artists from the region to submit proposals for inclusion of new or recent works in the exhibition at the Gallery. Through an application process, artists are selected by a nationally recognised arts professional working in partnership with the Gallery.

This year, Ellie Buttrose, Curator of Contemporary Australian Art at the Queensland Art Gallery|Gallery of Modern Art, selected 18 artists from more than 60 submissions. In announcing the selected artists, she commended them on pushing the boundaries of contemporary arts practice across a range of mediums.

17 DEC 2022

EXHIBITION OPENING EVENT

Saturday 17 December 5.30 for 6.00pm with Ellie Buttrose, Curator of Contemporary Australian Art, QAGOMA

ARTNOW FNQ is an acquisitive exhibition with a number of works purchased for the Gallery Collection. In a new development, the Gallery’s partnership with the Cairns RSL Club will support the selection of three artists from the exhibition who will each receive a $7,500 Fellowship to produce new works for a future exhibition at the Gallery. RIGHT

FRANCESCA ROSA NOSTALGIA

Francesca Rosa is a photo-media artist who lives and works in Etty Bay, Queensland. Her exhibition Nostalgia, presents a series of new works that explore the lives and personal histories of migrant families, including her own, in the Innisfail region of Queensland. Their stories are traced through family portraits, diaries, archivally sourced images, manipulated and annotated landscapes, and inter-generational oral and video recordings. The resulting works by Rosa resonate with personal stories and compelling authenticity. Nostalgia explores notions of displacement, isolation and depression – experiences shared by many Italian women living away from home in post-World War II, Far North Queensland.

For Rosa, experiencing the aging of her mother in a foreign land is an emotional journey, articulated through her work with the accuracy of a loving daughter. Grief, loneliness and regret remain real and raw memories for her mother, articulated in brief recorded conversations,

After World War II, I migrated to Australia on my own. I didn’t belong.

I married a cane cutter and lived in a cane barrack. I missed my home.

I had my first child and I gave up work.

My sister died young. She had a wonderful laugh….

My partner died from cancer last year. I regret not learning to drive.

Many of my friends no longer visit. They are gone. This exhibition has been supported through a Cairns RSL Club Artist Fellowship Award

LEFT

Francesca ROSA

An Italian Woman (detail) 2022 Giclee print on canvas, polyester lace 127.0 x 101.0 cm

Courtesy of the artist

MAHARLINA GOROSPE-LOCKIE ONCE WAS

Maharlina Gorospe-Lockie was born in Manila, Philippines, in 1969 and moved to Cairns in 2013. A professional anthropologist, she worked in coastal zone management in the Philippines, looking at ways impoverished fishing communities relied on the mangroves and coral reefs for food, income and survival. Her extensive research and knowledge of these practices inform much of her current arts practice.

For Maharlina, the move to Cairns was an opportunity to reconnect with the tropics after several years living in Canberra and Yeppoon and reignited her passion for creating artworks that articulate the fragile yet life-giving properties of tropical coastal environments. She explains, My landscapes are imagined. They are assembled from memories and impressions gleaned through fieldwork, travel and

contemplation… My goal for each painting is to create an alluring image, an image that will bait the viewer, encourage them to look more closely to sense hints of trouble and, ultimately, to reflect on their own feelings and responses.

Once Was tell a story about our changing natural world. Using deceptively appealing colours and textures, the artist challenges the viewer to identify differences between what is gone and what remains in our natural environment. Her work Was Bare 2022 depicts the dying world of coral reefs hidden from view by alluringly draped fishing nets and other foreign matter – ironically the silent agents of their destruction.

This exhibition has been supported through a Cairns RSL Club Artist Fellowship Award

RIGHT

Maharlina GOROSPE-LOCKIE Was Bare 2022 synthetic polymer paint and pastel on canvas 121.8 x 91.4cm

Courtesy of the artist

Artist Showcase Program

Supporting regional artists with grants of $7,500 to develop a new body of work for a future exhibition. To date, Fellowships have been awarded to Francesca Rosa, Maharlina GorospeLockie, Janet Fieldhouse, Simone Arnol, Jason Wegger, Naomi Hobson, Heather Koowootha, Joel Sam and Daniel Wallwork. Proudly supported by the Cairns RSL Club.

ROLAND NANCARROW BIRD

ENCOUNTERS

Birds have long held a fascination for local artist Roland Nancarrow, and some of his earliest memories are of his grandfather’s aviary and a particular cockatoo that was his Pop Stacey’s favourite pet.

While birds are evident in some of his early works, it was not until 2001, while working on a public art commission for the Cleveland Detention Centre that he consciously began to focus on birds in his paintings and sculptures. He attributes this to the experience of working with Aboriginal and Torres Strait Islander people at the facility who incorporated birds in their artworks, as totems and as a cultural reference to homelands.

During the early 2000s, Nancarrow completed several public art works, many of which featured birds, and in 2015 he created a new series of sculptural installations entitled From the Waters that explored aspect of the annual migration of Torres Strait pigeons to Cairns.

Coupled with his fascination for birds, Nancarrow has an enduring passion for the tropics and on a trip to South America he turned his attention to the relationship between tropical birds and plant life. On returning to Cairns, he increasingly studied local birds, their habitats, family relationships and breeding habits. The works in this exhibition are a celebration of the unique species of birds that inhabit the Far North Queensland region, and a commentary on the artist’s deep concern for the effects of global warming on bird populations around the world.

ONLINE COLLECTORS EXHIBITION

In conjunction with the exhibition, selected works will be featured in the online collectors exhibition

LEFT

Roland NANCARROW

No Borders for Migratory Birds 2019 synthetic polymer paint on polyvinyl chloride and wood 215 x 296 x 7 cm

Purchased Cairns Art Gallery Foundation, 2020

Collection Program

Supporting the development and promotion of the Gallery’s Collection of nationally significant works that interpret and reflect the diverse cultures of Far North Queensland and our place in the world’s tropic zone

PATRICIA PICCININI

NO FEAR OF DEPTHS

Patricia Piccinini is an Australian artist who is internationally recognised for her hyperrealistic works that amaze and confound while simultaneously prompting emotions of horror, wonderment and compassion.

Piccinini works across a variety of media and her works are drawn from the real world, but they are manipulated to become creatures that are unlike anything that we can recognise as being real. Her works are informed by research and a desire to understand and give form to ‘unexpected consequences’. She explains,

What interests me is creating stories that reflect what it’s like to be alive today. I am drawn to the complexity that arises when the rational, the emotional and the ethical collide.

As a result of a Gallery initiated research residency in Far North Queensland, Piccinini created a major body of work that explored the specificity and fecundity of tropical life forms in our region.

No Fear of Depths is an extraordinary work from this series that was first exhibited in the Gallery’s Life Clings Closest exhibition in 2019 and was subsequently purchased for the Gallery’s Collection.

No Fear of Depths explores the relationships between the artificial and the natural, humans and the environment, and the relationships within families and how they interact with strangers and ‘difference’.

Piccinini explains that the work is about a girl is transitioning towards adulthood, and the creature who holds her appears to be caught at an evolutionary point between the land and the sea.

‘It is a gentle scene, she says, ‘and it reminds us that we are nurtured by the nature around us.’

LEFT

Patricia PICCININI

Born Freetown, Sierra Leone, 1965

No Fear of Depths 2019 silicone, fibreglass, hair 120 x 110 x 150 cm

Purchased Cairns Art Gallery and Cairns Art Gallery Foundation, 2019 © Patricia Piccinini

GAMU ZAMIYAKAL MASKS, HEADDRESSES AND DANCE MACHINES

Gamu Zamiyakal, in the Kala Kawaw Ya language dialect from Top Western Torres Strait means ornaments/objects worn on the body during dance performances and rituals, including headdresses, masks and dance machines.

Works in the exhibition are from the Gallery’s Collection by renowned Torres Strait Islander artists, including Allson Edrick Tabuai, Alick Tipoti, Dr Ken Thaiday Snr and Obery Sambo. Their works are made using traditional practices and designs that often incorporate contemporary materials. Styles, techniques and materials vary from island to island and are specific to different clan groups.

A Dhoeri (or Dari) is a headdress. It can only be made and worn by men, and is used extensively in dances, rituals and other celebrations including weddings and story-telling performances. Mask making is based on traditional customs and rituals from before the Coming of the Light (Christianity) in 1871. Masks are still made today,

and act as a visual connection between the living and spirit realms during ceremony, and to bring good fortune, protection and abundance.

Masks were often made from Hawksbill Turtle shells, a precious and much sought-after commodity. Mawa (wooden masks) were primarily made in the western Islands and are carved with decorative designs inlaid with pearls and cowrie shell, and adorned with feathers, hairs and other natural materials.

Allson Edrick Tabuai’s Wene-Wenel/Gauguau Mawa (very powerful witchdoctor’s mask) 2001 is a spectacular wooden mask based on traditional designs worn by a Mabaig — a man chosen to be a witchdoctor in times of war. The central carved wooden sagaia (white heron feather) sways with the dancer, while the eyes, nose and tongue are embellished to instil fear.

Born Saibai, Torres Strait, Queensland 1933 Wene-wenel Gaugau Mawa 1998

wood, lawyer cane, cassowary feathers, horse hair, paint, cloth, fibre cord and resin 184 x 90 x 25 cm

Commissioned by Cairns Regional Gallery, 1998

RIGHT Allson Edrick TABUAI

STAGED PHOTOGRAPHY

The Gallery has an extensive collection of photographic works by artists from the region and a selection of these have been brought together for an exhibition that explores concepts of art, artifice and staging.

Photography is often regarded as a ‘snapshot’ capturing a decisive moment in time. However, many contemporary artists construct their photographs, using props, settings and lighting, to create staged images in order to explore their ideas or provoke a particular response in the viewer.

This exhibition explores photographic works by artists in the Collection, including Simone Arnol, Michael Cook, Ezekiel Dick, Naomi Hobson, Charles Page, Christian Thompson and William Yang.

Michael Cook’s 2020 series Livin’ the Dream comprises five black and white photographs which are meticulously staged and choreographed to create an enigmatic narrative around an event, such as a birthday, BBQ or homecoming.

Cook is renowned for his ability to engage audiences in dialogues about what is real and what is imaginary. His photographs combine the imaginary, political and personal, recalling the history of white colonisation and its enduring legacies of dislocation and inequality for Australian Indigenous people.

Charles Page is one of Queensland’s most important documentary photographers. In 2000 he was commissioned by the Cairns Art Gallery to produce a portfolio of photographs that would capture people and places of Far North Queensland. It is an intriguing collection of photographs of the well-known and not so well-known figures of the day. Each of Page’s photographs is carefully staged to reveal the public/private lives of his sitters.

IMAGE P 45/46

Michael COOK

Bidjara

Born Brisbane, 1968 Livin’ the dream (BBQ) from the Livin’ the dream series 2020 inkjet print 120 x 180 cm

Donated through the Australian Government’s Cultural Gifts Program by Michael Cook, 2021

RIGHT Charles PAGE

Born Melbourne, Victoria, 1946

Portrait of Swami 2001

gelatin silver photograph Photograph 34.4 x 51.2 cm

Commissioned by Cairns Regional Gallery, 2001

SHIRLEY MACNAMARA MOURNING FOR LOSS 2021

Shirley Macnamara was born in northwest Queensland and grew up on pastoral properties on the Barkly Tablelands in Queensland and in the Northern Territory. She maintains close ties to her mother’s Country at Camooweal, Indjalandji Dhidhanu, and her late father’s Country at Lake Nash, Alyawarr. Many of the natural material she uses in her sculptural works are found while out mustering.

The Gallery recently acquired an important work by Macnamara Mourning for Loss, which featured in the 2022 exhibition FACELESS: Transforming Identity. It comprises a number of mourning caps, made primarily from spinifex and ochre, which are traditionally worn by women as a sign of loss of a family member or a loved one. Traditionally, the cap is worn to shield the face of the wearer, hiding their emotions of anguish, regret, and sorrow.

For Macnamara, mourning caps are today a metaphor for grief over loss of culture, country, language and identify.

I see them as a mourning for loss of loved ones, including our loved Country. Our sacred sites, our waterways and inland river systems, and our ochre sites are extremely fragile, all sacred and beautiful material that we have to look after. We must look after these places, to ensure that they are not further damaged, destroyed or lost.

Shirley Macnamara, 2021

Writing about Macnamara’s work in the FACELESS publication, Dr Chelsea Watego described the work as a profound statement about the strength of Aboriginal women who know that ‘to be faceless is not by any means to be powerless.’

In 2017, Macnamara was awarded the Wandjuk Marika Memorial Three-Dimensional Award at the Telstra National Aboriginal and Torres Strait Islander Art Awards, and in 2019 she had a retrospective exhibition at the Queensland Art Gallery | Gallery of Modern Art in Brisbane. Her works are represented in most Australian public institutions.

SIMONE ARNOL

CROSS COUNTRY 2022

Simone Arnol is a Gunggandji woman who lives and works in Cairns, Far North Queensland. Through her work she explores the history of missionary control of Aboriginal people in Gunggandji, the country surrounding Yarrabah.

Arnol’s work Cross Country 2022 was recently acquired from the Gallery’s FACELESS: Transforming Identity exhibition. The work comprises digital portraits of three men from Yarrabah, an Anglican mission where Aboriginal people who had been forcibly rounded up from Queensland communities were sent for ‘protection’ and ‘assimilation’. It is in this context that her portraits of Nathan Schrieber, David Mundraby and The Right Reverend Bishop Arthur Malcolm chronicle narratives about the effects of colonisation, and the loss of culture and identity for Aboriginal people.

Nathan Schrieber is a traditional owner who is passionate about keeping culture alive through language. He is seen wearing the Nurrabal (traditional headdress). This is significant

because the wearing of Nurrabal and speaking of languages were forbidden by the missionaries in Yarrabah.

David Mundraby is a respected and knowledgeable Yarrabah Elder. In his portrait he is holding the Yalma (cross boomerang) as a symbolic reference to culture being as important to him as religion.

The third portrait is of Bishop Arthur Malcolm who was born in Yarrabah and who became the first Aboriginal bishop in the Anglican Church of Australia in 1985. His inclusion is important because of his belief that ‘it is through the message of Jesus Christ that we have learned to forgive’.

Together these three portraits speak of the importance of identity, and how it is manifest through strong culture, language, beliefs and traditional knowledge and practices.

IMAGE P 40

Simone ARNOL

Gunggandji Cross Country 2022 digital image 60 x 42 cm

Purchased with funds donated by the Cairns Art Gallery Foundation, 2022 Commissioned by Cairns Art Gallery

IMAGE P 49/50

Shirley MACNAMARA

Indilanji Dhidhanu / Alyewarre

Mourning for Loss 2021

Spinifex, ochre, Gidgee tree ash and archival binder 17.0 x 20.0 cm diameter (each)

Purchased Cairns Art Gallery 2022 Commissioned by Cairns Art Gallery

CAIRNS POTTERS CLUB INC

The Cairns Potters Club was established in 1974 to promote and foster an interest in pottery in the community. The club provides facilities and opportunities for members and associated groups in the region to expand and develop their professional skills through classes, exhibitions, workshops, seminars and commissioned works.

Since 1983, the club has staged numerous exhibitions, including MELTING POT which has been held biennially at the Cairns Art Gallery since 1999. The exhibition is an opportunity to showcase current and emerging trends and developments in the mediums of ceramics and glass.

With new technological advancements, there is an increasing scope for experimentation and the creation of exciting works using new colour palettes and designs that are both functional and decorative.

The Cairns Potters Club gratefully acknowledges the continued support of sponsors who kindly donate awards and prizes that are announced by a guest judge at the opening of the exhibition at the Gallery.

The Cairns Art Society’s annual art exhibition and competition is a much-anticipated event for the many visual artist members in the far north Queensland region.

The Cairns Art Society is one of north Queensland’s oldest and largest community art organisation. It was formed in 1931 to ‘promote an interest in art and where possible help individual artists to achieve their aims’. Over the years its annual exhibition, which is held at the Gallery, has become an important community event.

Each year the exhibition attracts hundreds of submissions from local artists and an independent panel of judges selects the best entries for inclusion in the exhibition.

As in previous years, the 2023 exhibition opening event will include the presentation of several different category awards, as well as a number of acquisitive and non-acquisitive prizes generously provided by local sponsors.

VALE

PETER KINGSTON 1943 - 2022

It is with sadness we record the passing of Peter Kingston, a leading Australian artist who died in September 2022.

A contemporary of Martin Sharp and Brett Whiteley, he was part of the influential, eccentric artists’ mecca the Yellow House that Sharp established in Potts Point in the early 1970s.

However, it is his paintings of the moods and movement of Sydney Harbour, the perpetual ebb and flow of the ferries, human activity, and Sydney Opera House, for which he is best remembered.

What is perhaps not so well known is that from the 1990s Kingston repeatedly visited Cairns and was commissioned to produce works based on his experiences of our region. A passionate conservationist, he was an active supporter of the 2005 Save Hinchinbrook campaign.

The Gallery has 21 works by Kingston, including Galmara, Cardwell, a 2010 study of the home of environmentalist Margaret Thorsborne, which was completed a short time before the devastation of

Cyclone Yasi. Other works include a detailed pen and ink drawing of Wren Cottage 2005, and an endearing image of a curlew in gum boots titled Flood Warden 2001 that references this ungainly bird’s habit of calling when weather conditions are changing, and rain is approaching.

Kingston has been a generous patron of the Gallery, donating works to the Collection and supporting numerous fundraising events.

From 21 January to 5 March 2023 a selection of works by Peter Kingston and Euan Macleod will be present in the Loft Gallery that were produced in response to their travels to Far North Queensland.

LEFT

Peter KINGSTON

Born Sydney, New South Wales, 1943 Wren Cottage 2005 linocut on Japanese Mulberry Awaki paper 30.4 x 30.3 cm

Donated through the Australian Government’s Cultural Gifts Program by Peter Kingston, 2006

CAIRNS ART GALLERY FOUNDATION

Each year the Foundation works closely with the Gallery to stage special events and fundraising activities that support the acquisition of new works for the Gallery’s Permanent Collection. Events coincide with important exhibitions in the Gallery’s annual program.

In June we were thrilled to theme our annual fundraising event around the Archie 100 exhibition. It was a hugely successful and highly entertaining evening, with visiting Archibald-winning artist Wendy Sharpe generously speaking about her life and impressive artistic career. In a wonderfully generous gesture, Wendy donated a work on the night for our fund-raising auction.

In October, Lydia Pearson (of Easton Pearson), shared many personal and revealing stories behind the creation of the gorgeous works in the Easton Pearson Archive in the Pattern and Print exhibition. The night also included cocktails on the Gallery veranda, and gift bags from Rohr Remedy.

As the year draws to a close, I would like to acknowledge the kind generosity of Foundation members and donors who provided funds to support the acquisition of works by Dr Christian Thompson and Simone Arnol for the Gallery’s Permanent Collection: Peter Salmon, Rosemary Goodsall, Cairns Cars (Connie Kang and Alan Renn), Ports North, Chris Morrey, Lea Ovaska, Doug McKinstry, MiHaven, Paul Kamsler, Alive Pharmacy (Trent Twomey), Mark and Sharon Dodge, Roslyn Dwyer, Susan Walsh, Charmaine Saunders, Sarah Coll, Virginia Birt, Margaret Lambert, Robina Cosser, Mary McCarthy, Katie Tracey and Margaret Logan.

As we prepare for an exciting 2023, I would like to thank my fellow Directors on the Board of the Foundation - Lizanne Smith, Georgina Twomey, Virginia Birt, Leah Horstmann and Sarah Mort - as well as the Gallery Director, Andrea May Churcher and her team of highly skilled and inventive staff who are a pleasure to work with.

Lea Ovaska Chair, Cairns Art Gallery Foundation

RIGHT

Lydia Pearson presents an artist talk in Pattern and Print, The Easton Pearson Archive exhibition

Photo: Frei Films

CAIRNS ART GALLERY MEMBERS

SPECIALS

DEC-MAY

Member’s Shopping Weekend

Double your discount: 9, 10, 11 December

Present your membership card to receive a 20% discount on Gallery Shop purchases.

A 10% discount is available to Members year round.

Membership discount is not available on original works of art, fabric, already discounted clearance items or Ray Crooke Collection prints.

Limited

Give the gift of art

As a current member, you will receive a 10% discount when purchasing a Gallery Membership for a friend.

SCHOOL HOLIDAY WORKSHOPS

12 Dec 2022

DIGITAL PORTRAITS

WITH LAURA PRICE, ARTIST

Monday, 12 December 2022

10.00 – 11.30am

Ages 4 – 9 years

$19 members / $23 non-members and

1.00 – 3.00pm Ages 9 – 13 years $22 members / $26 non-members

Create beautiful art using an Ipad and digital platform Procreate. Sketch, draw, paint, shadow a portrait or fashion piece inspired by the work of designers Easton Pearson.

Ipad Pro tablets will be provided for use during the class.

RSVP Via the Gallery website

13 Dec 2022

CHRISTMAS ORNAMENTS

WITH KEELIE NICHOLLS, ARTIST

Tuesday, 13 December 2022

10.00 – 11.30am

Ages 4 – 9 years

$21 members / $25 non-members

Make fun memories that will last a lifetime. Mould, stretch, roll and shape an ornament using Magiclay before decorating with beads and sequins and other bits and bobs.

A keepsake to hang on your Christmas tree for years to come!

All materials provided.

RSVP Via the Gallery website

13 Dec 2022

ORNAMENTAL WALL HANGINGS

WITH KEELIE NICHOLLS, ARTIST

Tuesday, 13 December 2022

1.00 – 3.00pm Ages 9 – 13 years $22 members / $26 non-members

Using hands on techniques including, painting, origami, clay moulding, weaving and threading, students will make a one-of-a-kind wall hanging to express their individuality and brighten the walls of their room.

Participants are encouraged to bring along small treasures to attach to their wall hanging (items such as shells, beads, toy cars, trinkets are ideal)

All materials are provided.

RSVP Via the Gallery website

14 Dec 2022

UP-CYCLED SNOW GLOBES

WITH KEELIE NICHOLLS, ARTIST

Wednesday, 14 December 2022

10.00 – 11.30am Ages 4 – 9 years $19 members / $24 non-members

Create your own sparkling up-cycled snow globe using repurposed materials.

Students are encouraged to bring a small, special character they would like to be a part of their wintery world (must be able to fit in a jar).

All materials provided.

RSVP Via the Gallery website

14 Dec 2022

FESTIVE LANTERNS

WITH KEELIE NICHOLLS, ARTIST

Wednesday, 14 December 2022

1.00 – 3.00pm Ages 9 – 13 years $23 members / $26 non-members

Students will use their imagination to create their own festive landscape by using silhouettes and shapes which will then be shaped, coloured and cut before using a battery operated tea light to make a 3D one-of-a-kind lamp to take home. All materials are provided.

RSVP Via the Gallery website

9 Jan 2023

SCRATCHBOARD ART

WITH AMBER GROSSMANN ARTIST

Monday, 9 January 2023

10.00 – 11.30am Ages 4 – 9 years $22 members / $26 non-members

Try something new in this fun workshop where students will make their own ‘Scratchboard’ artwork.

Scratchboard is a style of gently engraving on dark paint to create a drawing. Scratchboard allows students to try fine lines and textured drawing to achieve a range of results. All materials provided.

RSVP Via the Gallery website

MIXED MEDIA ON CANVAS

WITH AMBER GROSSMANN, ARTIST

Monday, 9 January 2023

1.00 – 3.00pm Ages 9 – 13 years

$24 members / $28 non-members

Explore and discover mixed media, while using creative drawing skills, layering techniques and acrylic mediums to create either a portrait of their favourite animal or an animal in a natural (or fantasy) environment. Finished works will be created on canvas, giving a professional finish. All materials provided.

RSVP Via the Gallery website

KIDS AND CARERS ART CLASS

10 Jan 2023

PAINTING ON RECYCLED TIMBERS

WITH AMBER GROSSMANN, ARTIST

Tuesday, 10 January 2023

10.00 – 11.30am Ages 4 – 9 years

$21 members / $26 non-members

Part painting, part assemblage, be inspired by Sonya Creek’s artwork in the exhibition ARTNOW FNQ and create an eclectic masterpiece limited only by your imagination using acrylic on timber.

All materials provided.

RSVP Via the Gallery website

11 Jan 2023

3D CLAY TILES - REEF THEMED

WITH MONIQUE BURKHEAD, ARTIST

Wednesday, 11 January 2023

10.00 – 11.30am Ages 4 – 9 years $21 members / $26 non members

Create ceramic 3D tiles in the style of ARTNOW FNQ exhibiting artist Monique Burkhead.

Students will be guided through the process of hand-building with air-dry clay to create ceramic tiles featuring 3D coral formations. All materials provided RSVP Via the Gallery website

OCHRE AND EARTH PAINTING ON RECYCLED TIMBERS

WITH AMBER GROSSMANN, ARTIST

Tuesday, 10 January 2023

1.00 – 3.00pm Ages 9 – 13 years

$22 members / $27 non-members

Learn how to create natural paint colours using ground earth, ochre and soil based pigments. Use these unique pigments to paint on recycled timber to create an artwork inspired by ARTNOW FNQ exhibiting artist Sonya Creek.

All materials provided.

RSVP Via the Gallery website

3D CLAY TILES - REEF THEMED

WITH MONIQUE BURKHEAD, ARTIST

Wednesday, 11 January 2023

1.00 – 3.00pm Ages 9 – 13 years

$24 members/$29 non-members

Encouraging creativity and originality, students will be guided through the process of hand-building with clay and create ceramic tiles covered with coral formations inspired by Monique Burkheads’s unique ocean and reef inspired pottery exhibited in the exhibition ARTNOW FNQ

All materials will be provided.

RSVP Via the Gallery website

15 Dec 2022

TWO DAY WORKSHOP

CHEEKY PARROTS

WITH LINDA BATES, CERAMICIST

Thursday,15 December 2022 and

Thursday, 12 January 2023

Morning class: 10.00am – 12.00pm Afternoon class: 1.00 – 3.00pm

$65 members / $90 non-members

Gallery visitors would be familiar with the cute and curious creatures lovingly created by ceramicist Linda Bates under the studio name of Cadaghi.

In this two day class, families will be guided by Linda in the creation of their own small clay sculptures

This class of imagination and whimsy, has been designed for adults and children to work together to create tropical birds in Raku clay.

A great way to make special memories and get creative together, this workshop will run over two sessions.

In session one (15 December, 2022) students will get hands-on in making one to two small clay birds inspired by the beautiful birds of Far North Queensland. Learn easy techniques of working in clay before giving your cheeky parrots expression and personality. Your creations will then experience their first firing ready for glazing.

In session two (12 January, 2023) return to the Gallery for a glazing session, adding colour to finish your birds.

Pieces will require a second firing after glazing.

Price includes one adult and one child attending. Small class size and all materials provided.

RSVP Via the Gallery website

14 Jan 2023

ASSEMBLAGE FAMILY WORKSHOP QUIRKY BIRDS WITH KYLIE BURKE, ARTIST

14 January 2023

10.00am – 2.00pm

$25 members / $35 non-members

Price includes one adult and one child attending

Explore, play and create at our bird-making, assemblage family workshop!

Using recycled, salvaged and found materials to make bird sculptures using simple construction techniques and hand tools.

Exploring art through a variety of materials, this is a fun, casual workshop for kids and adults to work together on making art and memories.

Drop in at any time between 10.00am and 2.00pm and get creative.

Price includes one adult and one adult, additional children $18 for members, $25 for non-members.

RSVP Via the Gallery website

DEC

9-11 MEMBER’S SHOPPING WEEKEND

Member’s receive a 20% discount on shop purchases on presentation of their membership card

More: page 60 12-14 SCHOOL HOLIDAY WORKSHOPS

More: page 61 15

FAMILY WORKSHOP

Cheeky Parrots

2 day ceramics workshop

More: page 64 17 NEW EXHIBITION

ARTNOW FNQ More: page 29

EXHIBITION OPENING EVENT

ARTNOW FNQ

with Ellie Buttrose, Curator of Contemporary Australian Art QAGOMA

RSVP via the Gallery website

More: page 29

COMMUNITY PROGRAM EXHIBITION

Cairns Potters Club

Melting Pot 2022 National Ceramics Exhibition

More: page 54

JAN

9-11 SCHOOL HOLIDAY WORKSHOPS

More: page 62 14

FAMILY WORKSHOP

Assemblage workshop Quirky Birds

More: page 64 15

FINAL DAY

Roland Nancarrow Bird Encounters More: page 38

FINAL DAY

Cairns Potters Club, Melting Pot 2022 National Ceramics Exhibition

More: page 54

MAR 11 NEW EXHIBITION

Francesca Rosa Nostalgia More: page 32

NEW EXHIBITION Andy Warhol / Roy Lichtenstein More: page 6

FEB 18 NEW EXHIBITION

Qavavau Manumie More: page 14 NEW EXHIBITION Asia Pacific Contemporary More: page 17

COLLECTION PROGRAM EXHIBITION

Patricia Piccinini No Fear of Depths More: page 42

COMMUNITY PROGRAM EXHIBITION

Cairns Art Club 74th Annual Art Exhibition More: page 54

APR 22 COLLECTION PROGRAM EXHIBITION

Gamu Zamiyakal

Masks, Headdresses and Dance Machines More: page 43

COLLECTION PROGRAM EXHIBITION Staged Photography More: page 47 MAY 06 NEW EXHIBITION

Maharlina Gorospe-Lockie Once Was More: page 33 22 NEW EXHIBITION

Martine Gutierrez Indigenous Woman Magazine More: page 24

CAIRNS ART GALLERY