Art Almanac march 2013

March 2013

Australia’s Monthly Briefing on art $5.00

Eric Bridgeman Theatre of the World Got the Message?

Golden Age of Colour

Exhibition Reviews 1

The Golden Age of Colour Prints Ukiyo-e from the Museum of Fine Arts, Boston

by Jillian Grant ‘The Golden Age of Colour Prints’ draws together an exquisite selection of 96 Japanese prints from the collection of the Museum of Fine Arts in Boston, never before displayed in Australia.

Vivid imagery, technical sophistication and a remarkable affinity with some of the most iconic movements in art history mark the importance of this collection to the art world, and particularly, to the town of Shepparton, who plays host to an exhibition of both national and international significance.

The so-called ‘Golden Age’ of nishiki-e, or colour printing, between 1781 and 1801, is the focal period of Shepparton Art Museum’s display. It is concentrated on the work of those who are historically considered to be three of the most 36

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significant Japanese artists; Torii Kiyonaga, Kitagawa Utamaro and Tōshashūsai Sharaku, as well as a range of their contemporaries, exemplars of the practice of ukiyo-e printing. Ukiyo-e, meaning ‘pictures of the floating world,’ is a genre of woodblock prints and paintings produced in Japan in the period between 17th and 20th centuries. The prints feature such motifs as landscapes, historical folklore, geisha, kabuki and courtesans.

It is difficult not to view this collection through glasses tinted with historical grandeur. The knowledge that you are viewing a moment in art history that was so influential over some of the most significant western art movements to follow is something to consider, all the while appreciating the intrinsic value of this snapshot in time – and a snapshot it was. French Impressionism, Art Nouveau and Pop Art, as well as contemporary manga comics and anime can all claim ukiyo-e ancestry in some form or another. As Manet’s Olympia was scorned for its ‘unfinished’ aesthetic and ‘inappropriate’ subject matter, these prints

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were also considered crude and unsophisticated in their time, for their focus on theatre and pleasure, before becoming wildly popular in Tokyo in the latter part of the 17th century.

So striking in these images is their design aesthetic; the flat plane immediacy of the figures brings into focus the isolated process in which they were created, away from the modelled perfection of the Dutch masters and French baroque. And yet, so much of what was to come is evident in these pictures. Monet once mused that “In the West what we admired most of all was this bold way of cropping images; these people taught us to compose differently”. With minimal strokes, Sharaku is able to capture the intensity of the Actor Ichikawa Omezō as the Manservant Ippei, the animated expression of the figure presenting a powerful lesson in design. Somewhat contrasting are prints such as Toyokuni’s The Chofu Jewel River, with such delicacy and intricacy of line, and dynamic gesture.

To accompany the exhibition, Shepparton will be presenting a series of Japanese-themed artistic workshops, tutorials, talks, tours and tea ceremonies, including a talk by Joan Wright, Conservator of the Museum of Fine Arts, Boston.

A result of Director Kirsten Paisley’s visit to Shepparton’s sister city Toyoake, staging this exhibition is a huge achievement for Shepparton Art Museum, and for Shepparton, who tentatively but enthusiastically, takes its first step onto the international stage.

Shepparton Art Museum 7 March to 2 June, 2013 Victoria 1. Torii Kiyonaga, Actor Segawa Kikunojō III Performing the Lion Dance (Shakkyō), 1789, woodblock print, ink and colour on paper, 37.2 x 24.9cm 2. Katsukawa Shunshō, A Battledore (Hagoita) with a Portrait of Actor Segawa Kikunojō III, 1789, woodblock print, ink and colour on paper, 31.7 x 22cm 3. Utagawa Toyokuni, The Chōfu Jewel River (Chōfu no Tamagawa), 1795-1801, woodblock print, ink and colour on paper, 36.1 x 25cm Courtesy Museum Fine Arts, Boston

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Exhibition Reviews 1

Theatre of the World A MONA and TMAG Collaboration

by Anna Madeleine Visiting the Museum of New and Old Art (MONA) is a museum experience like none other. Descending down the spiral staircase into David Walsh’s creation is like taking a trip into another world: a place where art knows no boundaries, where standard curatorial practice and museum etiquette is disregarded. Instead, viewers are set amongst something of an historical art playground. To navigate, viewers are provided specially programmed iPods, which use GPS technology to identify their location and describes the nearby artworks. The ‘Art Wank’ on the iPods replaces conventional wall plaques thus allowing the viewer to create their own narrative to their experience rather than passively observe.

‘Theatre of the World’, MONA’s current exhibition, is the creation of French curator Jean-Hubert Martin, who was invited by Walsh 38

to trawl through the collection of both MONA and the Tasmanian Museum & Art Gallery (TMAG). The resulting show sits in the heart of the museum, unfolding throughout the depths of the building like a labyrinth of small dark rooms.

Based on Italian philosopher Giulio Camillo’s idea of the ‘Theatre of Memory’ – a theatre of universal knowledge, the exhibition is mystifying, allencompassing, and conceptually challenging.

The non-conformist curatorial style of the exhibition stages the show in rooms organised by subject, rather than ordering the works according to historic movements or chronological order. It appears more as a personal collection of art, as if arranged in an idiosyncratic order of personal experience or taste, and is more about visual poetry than logical progression. In the first few rooms we become aware of this twist: objects are mis-matched in unexpected ways, scattered and juxtaposed contrary to what is considered your regular museum display.

O (between fans) (2006) by Zilvinas Kempinas, is an installation made of a loop of tape suspended

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in between two fans, and sits in amongst an Albert Tucker painting and a video work by William Wegman. The circle hovering in mid air between two opposing forces is suggestive of a tension suspended between the past and future, floating timelessly between two points in space, and to some extent this is how the exhibition makes us feel.

In a small dark nook Jason Shulman’s Candle describing a sphere (2006) burns in the centre of darkness, with a halo that appears to gently move in response to our presence and movement.

Perhaps a time out from the rest of the exhibition, this work is meditative and compelling, and evokes a ritualistic, spellbinding effect that is hard to turn away from.

The most prominent feature of the exhibition acts as an end point to the maze: a room with angled walls on which hangs an array of antique bark cloths from the Pacific, and at each end of the room sits an Egyptian sarcophagus and a bronze figure by Giacometti. Bringing together three opposite corners of the world and their

most precious historic and cultural artifacts, we are enveloped in a perplexing juxtaposition rich with hidden meanings, secret knowledge, and an overwhelming sense of the depth of the past.

‘Theatre of the World’ is astounding in it’s complexity, scope, and uninhibited presentation of some of the most valuable, historic, and confronting artifacts and art in the world today.

It is a lot to take in, and although we might feel relieved when we come up for air from the depths of the museum, it is a show which stays with us, resonating in more subtle ways over time.

MONA Until 8 April, 2013 Tasmania 1. Detail of a Tasmanian Museum & Art Gallery cabinet, with various artworks, artefacts and objects from both the MONA and TMAG collections 2. Duet Room (Various Artworks), including, Zilvinas Kempinas, O (between fans), 2006, magnetic cassette tape and electric fan installation, dimensions variable Photography: Rémi Chauvin. Images courtesy MONA Museum of Old and New Art, Hobart

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Exhibition Reviews 1

Got the Message?

50 years of political posters

by Melissa Pesa ‘Got the Message?’ showcases some 220 confronting and artistically arresting posters created in Australia and internationally relating to historical and contemporary movements engaged with critical social issues of our time such as war, racism, sexism, AIDS, environmental destruction, nuclear proliferation, consumerism, and political leadership. At times humorous, and others heartfelt, this exhibition focuses on how poster design has developed over the decades and the effects posters had on generations.

This exhibition, held at the Art Gallery of Ballarat, surveys the field of social and political posters over the last 50 years, from 1960s protest posters through to contemporary works when the printed word and image is being strongly challenged by new social media. Curator Geoff Wallis said: “The last 50 years have seen a transformation in the way in which the poster has been used as a political weapon.”

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‘Got the Message?’ includes work by internationally renowned artists and designers including Seymour Chwast, Milton Glaser, Paul Rand, Tomi Ungerer, Klaus Staeck, Moichi Umemura, Yossi Lemel, Maciej Urbanic, Lex Drewinski, and Henryk Tomaszewski. There will also be important posters by John Lennon/Yoko Ono, Keith Haring, Robbie Conal, Shepard Fairey and feminist warriors the Guerrilla Girls.

While the exhibition focuses on the 1970s and 80s when Australian poster collectives were tackling the pressing issues of that era, it will also include significant posters from the new generation of Australian graphic designers and artists employing digital technology and other media in their mission to reach the masses. It will include a strong contingent of highly-charged international posters, few of which have been seen in Australia before. There will be large and representative groups of posters relating to the Vietnam War (USA), May 1968 (France), ‘Solidarity’ (Poland), the Chinese Cultural Revolution, and Amnesty International, as well as to more recent outbreaks of dissent such as the Occupy movement.

Photographic documentation of selected posters in situ and a range of other protest media will

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provide an essential backdrop to the exhibition.

The exhibition is supported by a comprehensive illustrated catalogue which explores the essential history and social context in which these images were created and examines the future of the poster, the role of humour and the problematic function of propaganda and ideology.

Among the most challenging posters are a contingent of anti-George W. Bush posters from the time of the Iraq War, witty and often poignant posters dealing with AIDS, and the Art Workers Coalition ‘And babies?’ poster that brought home atrocities by American soldiers during the Vietnam War. There is also plenty of black humour to be found in posters by Australians Deborah Kelly, Therese Ritchie and Carol Porter.

“Wherever possible, photographs of posters in situ will be shown so that viewers gain a better sense of the connections between the posters and the various social and political events that spawned them,” gallery director Gordon Morrison adds.

These posters were designed to hang on street walls, barricades and placards as a form of visual communication demanding attention. A major strength of Australian poster art is its ability to

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mix pop-cultural imagery with a political message with satire, sarcasm, mockery and enigma as a means to reach the Australian populous on topics of national and international concern.

Political posters are supposed to attack the hearts and minds of their viewers, to instill passion and create action. This exhibition allows the viewer to contemplate how little things change, to consider how similar the voices of today are to those from the past. It reminds us that there is something universal and timeless in the struggles that we face. It also demonstrates that artists are uniquely able to facilitate and help us appreciate the transformative power of free expression.

2 March to 4 April, 2013 Art Gallery of Ballarat Victoria 1. Michael Callaghan, Mutate now and avoid the rush, 1970s, screen print 2. Art Chantry (USA), I take one everywhere I take my penis, 1997, offset print 3. Deborah Kelly, Mary, Mary, 2006, digital print 4. Therese Ritchie, Guess who’s coming for dinner?, 1997, digital print Courtesy the artists and Ballarat Regional Art Gallery

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Exhibition Brief 42

George Schwarz Home

Eolo Paul Bottaro Humanising

George Schwarz’s latest Stills exhibition, ‘Home’ encases his audience in his home. Now aged 80, Schwartz is philosophical about the brevity of life, as he returns to his inner sanctum, his youthful past, and his undying romantic musings for his “other half ” Charis.

Drawing on compositions from historical paintings introduced into city streets to reflect on modern urban experience, Bottaro consciously blends the past with the present, depicting contemporary people enacting mythological inspired scenes.

Following a life journey that has covered both geographic ground, crossing Europe, Asia and Australia on motorbike, and covering an expanse of experiences, such as making the infamous ‘art’ film Sex Aids and How to Use Them, this show marks a poetic reflection of his life experiences.

A departure from his widely known representation of Melbourne’s urban underbelly and iconic buildings such as the National Gallery of Victoria, Shrine of Remembrance, and the Royal Exhibition Building, this exhibition marks the commencement of a series of works that introduce Sydney’s various urban environments as the stage for the dramatic figurative narratives the artist creates.

Stills Gallery Until 13 April, 2013 Sydney

Queen Street Gallery 6 to 31 March, 2013 Sydney

Untitled #14, 2012 Courtesy of the artist and Stills Gallery

Joyride - city jam, 2012, four coloured lithograph, ed of 10, 44 x 57cm Courtesy the artist, Queen Street Gallery, Sydney; and James Makin Gallery, Melbourne

Carmen Reid, Robbie Rowlands, Tunni Kraus FALLOW

Ross Manning Volumes

A collaborative project by architect Charles Justin and artists Carmen Reid, Robbie Rowlands, and Tunni Kraus, ‘FALLOW: Between Abandonment and Rebirth’ explores the transformation of a derelict and vandalised house into a unique and temporary art installation.

Brisbane artist Ross Manning is known for his dynamic assemblages, utilising a fusion of low-fi, domestic and high-end technologies. Responding to the specific context of the Perth Institute of Contemporary Arts (PICA), Manning has created a number of spectacular kinetic light installations for this, his latest, exhibition.

The installation explores the hidden life of times of ruin, where buildings can assume a zone accommodating the often marginalised in our society – squatters, vandals, thieves and addicts.

The artists take the building in its ruinous state, with its vandalised fabric, graffiti covered walls and squatter digs and create interventions to and with the building’s content to serve as a commentary on this idea.

‘Volumes’, commissioned jointly by PICA and the Perth International Arts Festival, is curated

by Leigh Robb and sees Manning explore the technical aspect of colour mixing, inspired by Isaac Newton’s Colour Spectrum theory.

Art-House Until 31 March, 2013 Melbourne

PICA Until 7 April, 2013 Perth

Robbie Rowlands, Sorry for the Intrusion, 2012, installation shot Photography: Robbie Rowlands Courtesy the artists

Light Sequence and Spiral (detail), 2012, installation view Photography: Alex Cuffe Courtesy of the artist and Milani Gallery, Brisbane

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Exhibition Brief

Michael Zavros The Prince

Yanni Floros Hostile Takeover

In New York in the late 1970s, Richard Prince’s ‘re-photographs’ of Marlboro cigarette advertising without logos reclaim the iconic hero of the frontier – the American cowboy – from the clutches of commercial advertising. Some 30 years later Queensland artist Michael Zavros’ recent work revisits Prince’s Untitled (cowboy) series.

As far back as Floros can remember, he was always drawing and, as his father served in the army, he had an interest in military weapons and technology.

Spanning more than 15 years of the artist’s practice, this exhibition brings together the Prince/Zavros series of drawings and paintings with recent paintings of interiors, earlier works of men’s fashion drawn from commercial advertising and ‘TV’ paintings. Appropriating photography via painting, Zavros re-presents Princes work to a contemporary audience, for whom the original context of cigarette advertising is redundant.

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In 2009, this led Floros to test himself as to what was the most technical item he could draw, and that was guns; the “duality of it. The genius of the design behind it combined with the irony that it’s one purpose was to kill the thing that made it”, he says.

Working in charcoal (on paper) is the preferred medium for Floros and soon subjects of fire fighters, doctors, and girls in leather jackets with headphones emerged and accompanied the drawings of weapons; guns and knives.

Rockhampton Art Gallery Until 7 April, 2013 Queensland

Scott Livesey Galleries 6 to 28 March, 2013 Melbourne

The Tiger, 2012, oil on canvas, 210 x 170cm Courtesy of the artist and Philip Bacon Galleries, Brisbane

Hostile Takeover, 2013, charcoal on paper, 120 x 85cm Courtesy of the artist and Scott Livesey Galleries

Sally Smart Choreographing Collage

Eric Bridgeman In the Project

Informed by feminist discourses surrounding psychoanalytic theory and the anti-art movements of Dada and Surrealism, Smart has established a unique style of mixed media, incorporating collage, screen printing, drawing and photography to create a distinct cinematic visual style. Her work engages with conceptions of feminine identity from both a contemporary and historical perspective.

Bridgeman’s new exhibition ‘In the Project’ will include a series of video and studio photographic works, the culmination of his 2012 residency at Lethbridge University in Canada. The feature work in the show is Bridgeman’s video diary, filmed over eight weeks and condensed into a compelling five minute clip which traces the development of the work, but rather than a dry documentary, it provides a rich emotional and at times brutal confrontation with the artist.

‘Choreographing Collage’ is an ambitious installation work developed while artist-inresidence at the University of Connecticut. The exhibition includes photographs and collages from her new series, The Pedagogical Puppet Projects, along with new poetic, meditative videos on the nature of movement, dance, and the female figure.

Bridgeman upholds the claim that blackness is a universal experience, never owned by a singular ethnic group. Although conscious of the history of black-face minstrels and the Golliwog, this body of work pays homage to the Black Clown, whom Bridgeman believes has every right to exist as much as any clown of white background.

BREENSPACE 22 February to 23 March, 2013 Sydney

Gallerysmith 14 March to 13 April, 2013 Melbourne

Perform (Hair Movement #1), 2012, synthetic polymer paint on canvas fabric with collage elements, 213 x 117cm Courtesy the artist and BREENSPACE, Sydney

In the Project, 2012, video production still, 5:33mins Courtesy the artist and Gallerysmith

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Exhibition Brief 46

DRIFT Flânerie in contemporary art

Laurie Anderson The Language of the Future

‘DRIFT’ is a multidisciplinary group exhibition about flânerie in contemporary art. The flâneur, famously postulated by the French poet Charles Baudelaire in the late 19th century, was first of all a city stroller and an urban explorer. This historical role has been revived and altered in a post-industrial age. Duquemin and Stäcker have brought together artists in the roles of flâneurs/ flâneuses to transform the narrow street-like interior of Articulate Project Space.

As part of the 2013 Adelaide Festival, revered artist Laurie Anderson is set to astound and delight with an exhibition featuring her work of the last thirty years. Pioneer of the 1970s downtown New York art scene, Laurie Anderson’s experimental work as performance artist, composer, musician, and writer, has seen her become a legendary icon of contemporary art and music – a master storyteller who “elevates exceptional moments from the everyday”.

The exhibition includes multi-channel video installation, sculptures of found materials, urban landscape photography, abstract painting, and digital projection. Artists include: Milein Cosman (UK), Judith Duquemin (Aus), Per Formo (Nor), Marlene Sarroff (Aus), Anke Stäcker (Ger) and Vagner M Whitehead (USA).

This captivating collection features installation works that bookend her career and includes the iconic Duets on Ice – to be performed live by Anderson on the opening evening of Adelaide Festival, Friday 1 March.

Articulate Project Space 28 February to 24 March, 2013 Sydney

Anne & Gordon Samstag Museum of Art 1 March to 19 April, 2013 South Australia

Per Formo, Vision 1, 2010, acrylic on canvas, 190 x 275 cm Courtesy the artist

Duets On Ice, 2011, ongoing, photograph of performance at Centro Cultural Banco do Brasil, violin, ice skates, ice, duration variable Courtesy the artist and Canal Street Communications

Leo Robba Gardens: Inside Shadows

Troy Emery A Solo Exhibition

Leo Robba has a thirty-year-strong obsession with Australia’s landscape. Based in the Blue Mountains as an artist, writer and curator, he has focused fixedly on the picturesque throughout the entirety of his career. His garden paintings examine the cultural and sociological psychology of ‘the façade’; are the exteriors an apt reflection of that which occupies the unseen?

Troy Emery uses high-density foam moulds more commonly utilised by Taxidermists, substituting the pelt for brightly coloured polyester pom poms and tassels. He refers to these sculptures as ‘fake taxidermy’ because they mimic the process of taxidermy without actually producing a real result.

The particular animals he chooses to work with fall between being exotic and easily recognisable.

Robba is recognised for organising and leading art expeditions to remote and iconic destinations such as the Larapinta Trail and through the Flinders Ranges, an experience that informs his current PhD studies at ANU, Canberra.

A tension between decoration and representation is present when looking at animals. Animals can be seen as decorative objects. Pets decorate living spaces, furs decorate the body, animal patterns decorate furniture, taxidermy decorates the museum diorama, and hunting trophies decorate the hunter.

King Street Gallery on William 19 March to 13 April, 2013 Sydney

Gould Galleries Until 30 March, 2013 Melbourne

Dusk, looking through big pines, 2012, oil on canvas, 122cm x 69cm Courtesy the artist and King Street Gallery on William, Sydney

Wild Thing (Lonely Creature), 2012, 36 x 60 x 18cm Courtesy the artist and Gould Galleries, Melbourne

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Exhibition Brief

Karen Hopkins Elements

Ruth Burgess From The Forest

Melbourne-based artist Karen Hopkins explores an appreciation of the Elements: fire, water, earth and air. Through this exhibition Hopkins also expresses human interaction with the elements: an appreciation of their delicate balance and as interconnecting threads of life.

Burgess has been instrumental in developing relationships between Australia and Chinese printmakers. Since her first visit to China in 1988, her practice has been profoundly influenced by China’s painting, calligraphy and Buddism. While the aesthetic qualities of Chinese and Japanese woodcut traditions resonate strongly though her works, they also retain a distinct Australian sensibility and visual iconography of Australian landscape, from living and working immersed in the Australian bush.

Vibrant paintings and small mixed media sculptures are the vessels through which Hopkins explores these elements’ energy, their impact on different environments, and how they create and transform the world.

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The enduring themes evident within Burgess’ distinctive woodcut prints are the spirituality and the immediacy of her bush environment and the interconnectedness of man and nature.

Yering Station Gallery 1 March to April 7, 2013 Victoria

Mosman Art Gallery 16 March to 19 May, 2013 Sydney

Morning mist, 2012, acrylic on canvas 76 x 61cm Courtesy the artist and Yering Station Gallery

Sun, 1989, woodcut, three blocks, four colour printed onto cream Japanese paper, 80.5 x 65.5cm Courtesy the artist and Mosman Art Gallery

Laura Jones With Flowers

Regimes of Value Two Group Exhibitions

Jones paints flowers with an emotion in mind similar to the Japanese notion of “mono no aware”. This can be described as an awareness of the transience of life, heightening the appreciation of the beauty in “things”, and evoking gentle melancholy at their passing. Jones brings cut flowers to her studio from her flower shop day job, responding to them in paint. This is a process of appreciating all phases of the flowers’ life, painting them until they wilt, and then starting again.

Presented across two exhibition spaces ‘Regimes of Value’ is a collection of ephemera and detritus: materials considered unviable, residual and castoff, and their re-purpose as a contemporary art strategy. The resulting works have been viewed as disruptive, transgressive, narratives of sociopolitical dissent, and vehicles of parody and the deployment of kitsch, within the rhetoric of sustainability.

In his catalogue essay for the show, Nicholas Harding says; “Jones takes the lessons learned from her artistic forebears, Matisse, Bonnard and Nolde, and reforges it into her own visual language. There is a succinct affinity with the nature of paint evident in the supple flux of her brushwork.”

A large number of participating artists, which include: Sean Cordeiro & Claire Healy, Elizabeth Gower, Lou Hubbard, Ash Keating, Nicholas Mangan, Rowan McNaught, John Nixon, Louise Paramor, Simon Pericich, Elvis Richardson, Slow Art Collective, Kate Smith, and others.

Maunsell Wickes Gallery 1 to 14 March, 2013 Sydney

The Substation 7 March to 7 April, 2013 Melbourne Margaret Lawrence Gallery 14 March to 13 April, 2013 Western Australia

Slipper Orchid, 2012, oil on canvas, 60 x 50cm Courtesy the artist and Maunsell Wickes Gallery

Ilia Rosli, Brand new, 2012, fruit stickers on potato, 6 x 9cm Courtesy the artist

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Melbourne

• 69 Smith Street Artist-Run Space

(map ref 11-H) 69 Smith Street, Fitzroy 3065.

E info@69smithstreet.com.au W www.69smithstreet.com.au H Wed-Sat 11.00 to 5.00, Sun 12.00 to 5.00. Feb 27 to March 17 And The Big Men Fly by Sarah Hawkins, Nguyen Dinh Hien - works on paper Deborah Salter, Underwards

by Janine Parker, Merryl Key and Yuya Ota, and The Workers Exhibit by 69 Smith Street Volunteers.

March 20 to April 7 Bodily Dialogue by Peter So, Glances: Stolen by Peter Quarry (see ad page 71), and Recent Works by Shelley Vincent.

• Sophie Gannon Gallery

(map ref 17-L) 2 Albert Street, Richmond 3121.

T (03) 9421-0857. E info@sophiegannongallery.com.au W www.sophiegannongallery.com.au H Tues-Sat 11.00 to 5.00 or by appt. March 5 to 23 Future Wool for L’Oreal Melbourne Fashion Festival. March 26 to April 20 Still Point by Kirra Jamison.

• St Kilda Art Supplies Prahran

(map ref 12-T) Level One, 178 High Street, Prahran 3181. T (03) 9939-7095.

W www.stkildaartsupplies.com.au H Mon-Fri 10.00 to 6.00, Sat-Sun 11.00 to 5.00. Various local artists, exhibition notices, artist classified board.

• Stephen McLaughlan Gallery

(map ref 14-E) Level 8, Room 16, 37 Swanston Street (cnr Flinders Lane), Melbourne 3000. T 0407-317-323.

W www.stephenmclaughlangallery.com.au Director: Stephen McLaughlan. H Wed-Fri 1.00 to 5.00, Sat 11.00 to 5.00 or by appt. March 1 to 30 (opening Sat March 2, 2-4pm) Disquiet – Amanda Davies, Sarah Galletta, Emidio Puglielli and Mark Rose.

See ad page 77.

• Steps Gallery

(map ref 11-E) 62 Lygon Street, Carlton South 3053.

T (03) 9650-3577. E mbedford@amieuvic.net W www.miesf.com.au/stepsgallery.htm H Mon-Fri 9.00 to 6.00, Sat 8.00 to 6.00. See ad page 58.

• Steven Print Gallery

(map ref 14-L) 208 Church Street, Richmond 3121.

T (03) 9429-5996 F 9429-1537.

E info@stevenprintgallery.com.au W www.stevenprintgallery.com.au H Open daily.

Original artwork and limited edition prints by Blackman, Olsen, Gardner, Howard Arkley, Lin Onus, John Coburn and Clare Layman. Large range of Australian and overseas prints including contemporary, classic and vintage. Custom framing, art consultancy.

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• Strathdon Community’s 10th Annual Art Exhibition & Sale April 19-21 2013

(map ref I-9) Strathdon Community Centre, 17 Jolimont Road, Forest Hill 3131. T (03) 9845-3105. E ann.chan@ uacvt.org.au W www.strathdon.org.au Opening Fri April 19, 7-9pm with presentations at 8pm, admission $15. Sat April 20, 10-4pm and Sun April 21 noon-4pm, admission $6. Guest artist: Jeff Murphy. Judge: John Dudley. Entries close Fri March 29, 4pm.

• The Substation

1 Market Street, Newport, 3015. T (03) 9391-1110.

E info@thesubstation.org.au W www.thesubstation.org.au H Thurs to Sun, 11.00 to 5.00. March 7 to April 7 Regimes of Value – an exhibition over two venues (see Margaret Lawrence Gallery) curated by Elizabeth Gower, investigating the appropriation of urban detritus and ephemera as a contemporary art strategy. Artists include: Lauren Berkowitz, Ryan Foote, Michael Georgetti, Nathan Gray, Matt Hinkley, Lou Hubbard, Christopher LG Hill, Melanie Irwin, Ash Keating, Nicholas Mangan, Rowan McNaught, John Nixon, Louise Paramor, Simon Pericich, Joshua Petherick, Caroline Phillips, Elvis Richardson, Stuart Ringholt, Ilia Rosli, Julie Shiels, Slow Art Collective, Kate Smith, Charlie Sofo, Masato Takasaka and Alex Vivian. Check website for associated public forums by artists and visiting UK academic and author, Dr Gillian Whiteley.

• Sunshine Art Spaces Studio and Gallery - artist studios, gallery and shop front

2 City Place & 11 Sun Crescent, Sunshine 3020.

T (03) 9249 4600. E artspaces@brimbank.vic.gov.au W www.sunshineartspaces.com.au H Call for opening hours. March 1 to 29 Faith 2 Faith: Art in Public Spaces which explores interfaith dialogue. Open studio: Sat March 9, 11-3pm.

• Sutton Gallery

(map ref 9-G) 254 Brunswick Street, Fitzroy 3065.

T (03) 9416-0727 F 9416-0731.

E art@suttongallery.com.au W www.suttongallery.com.au H Tues-Sat 11.00 to 5.00.

To March 9 Anne Ferran. From March 14 Eugene Carchesio and Rosslynd Piggott.

• Sutton Projects

(map ref 9-G) 230 Young Street, Fitzroy 3065.

T (03) 9416-0727. E art@suttongallery.com.au W www.suttongallery.com.au/projectspace H Fri-Sat 1.00 to 5.00. From March 7 Alex Vivian.