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Issue 95 October 2012 trouble is an independent monthly mag for promotion of arts and culture Published by Newstead Press Pty Ltd, ISSN 1449-3926 STAFF: administration Vanessa Boyack - | editorial Steve Proposch - | listings CONTRIBUTORS: Mandy Ord (comic left), Ive Sorocuk, Anita Pettinato, Steve Proposch, Lisa Bowen, Robyn Gibson, Courtney Symes, Neil Boyack, Ben Laycock, Matt BissettJohnson, Jase Harper, Darby Hudson. Find us on Facebook: Subscribe to our website: DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed online from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!



oct 2012



Ive Sorocuk


Anita Pettinato






(54) GREENWISH #10

Russell Fletcher

D.C. Gallin

Steve Proposch


Lisa Bowen


Original spicy flavour ...

Robyn Gibson


Ben Laycock

Courtney Symes


Courtney Symes

COVER: HOLLY DURANT in Salome, Finucane & Smith: Caravan Burlesque at the Ballarat Cabaret Festival, 19 – 20 October. Photo by Paul Dunn READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

Patented No . 83 42 84


November 2 – November 5 Contact us via our website:  or tel: 0421 643 478  


Hunt Club Community Arts Centre 775 Ballarat Road, Deer Park VIC 3023


ca l l f o r ap p li c ati o n s CONTEMPORARY ARTISTS, CURATORS AND COLLECTIVES are invited to submit applications to exhibit as part of the

HUNT CLUB COMMUNITY ARTS CENTRE’ s 2012 exhibition program v isit our website for terms and conditions and application guidelines : www . brimbank . vic . gov . au / arts

a pplications close f riday 16 n ovember 2012

For more information on the Hunt Club Community Arts Centre’s exhibition program please contact: Visual Arts Curator on 9249 4600 or

311 Healesville-Yarra Glen Rd Healesville, Victoria, Australia OPEN 11am - 5pm Tuesday to Sunday


Contemporary Australian artworks engaged with music, sound and voice. Performances by Dylan Martorell, Snawklor, Victor Meertens and Alexis Ensor will be held on the first Sunday of every month at 2.00pm. See website for details.

TWMA presents

Sonic Spheres an evening of live sound performances 7.30pm, WEDNESDAY 3 OCTOBER NORTHCOTE SOCIAL CLUB, 301 High Street, Northcote ($10 Admission)

Dylan Martorell Sound Tracks TarraWarra (work in progress) 2012, mixed media Photo: Lichen Kemp. Courtesy of the artist and Utopian Slumps, Melbourne

PH (03) 5957 3100 ADMISSION $5.00 (pensioners & students free) PRINCIPAL SPONSOR


25 September to 2 December 2012 Adult $12, Conc $8, Child/Gallery Member Free An Art Gallery of Ballarat exhibition

Sarah Maund Telopea speciosissima (detail) 1838 engraving on paper, hand coloured. Collection: Art Gallery of Ballarat. Purchased with funds from the Joe White Bequest, 2010


call for entries

The Wangaratta Art Gallery invites professional artists working in textile media to submit entries for the biennial Wangaratta Contemporary Textile Award 2013 For more information and an entry form contact: Wangaratta Art Gallery p: 03 57220761 e: or go to to download an entry form Entries close: 22 March 2013

Wangaratta Contemporary Textile Award Exhibition Dates: 1 June - 14 July 2013 @ Wangaratta Art Gallery

save erotic Australia by Anita Pettinato


ustralian erotic art is hugely undervalued and under constant threat according Body Politics founders, Fiona Patten and Robbie Swan. In March 2001 Fiona and Robbie opened Australia’s first National Museum of Erotica with a collection that included works by Richard Larter, Brett Whiteley and Charles Blackman. Showing right alongside was the museum’s amazing vibrator collection that includes an early 1890 mechanical buzzer, and the prototype for the first commercial vibe ever made in Australia. Sadly the Museum was “put into mothballs” after displaying the collection for only one year, but that has not stopped it growing. “By the end of 2005 it comprised over 400 individual pieces.” Unlike the many local collections of Europe, Asia and North America, you won’t find anywhere else with a significant collection of Australian eroticism here. The closest thing we have skirting the boundaries of this erogenous genre is MONA – a private collection – described in The Age as: “beholden not to governments, bureaucratic boards, or academia … and free to present art and ideas that public institutions or private museum owners with more polite tastes would not dare touch.” The same newspaper also described MONA as “macabre and ungodly” with perhaps a touch of tongue in its cheek. Yet it is clear that such opinions abound in Australia. Just ask Hazel Dooney, or Bill Henson, or a great many others, who have had exhibitions shut down, or their work banned.

“The collection and archiving of erotic, pornographic and sexual art (and artefacts) is fundamentally different from the collection of non sexual material because the former is a rapidly diminishing resource in the world.” Body Politics -

Such attempts to send our erotic art history as well as its future into decay spring from closed minds, archaic censorship laws and prudish community vigilantes who are an unfortunately loud and obnoxious minority. In my experience the majority values of Australians include sensuality and openness to new experiences for grown-ups. Despite a social history fraught with censorship, at heart we are not prudes. We would prefer to decide for ourselves what does and does not turn us on. We would prefer to have access to all levels of that experience too, both high and low art. So what does the future of Erotic Art in Australia look like? That’s anyone’s guess, but when I look into my crystal ball it tells me we’re on the way to a titillating underground party and you’re all invited! A.P. – < Anita PETTINATO, Seduce Me (detail) 2012, acrylic on canvas, W-100cm x L-160cm.

interview by Steve Proposch

Ballarat Cabaret Russell Fletcher – Doing Danny Kaye Russell Fletcher is one of Melbourne’s most respected comic improvisers, as both host and producer of Spontaneous Broadway and Random Musical for the past few years, and being the only Australian to have appeared on the UK version of Whose Line is it Anyway? In October for the Ballarat Cabaret Festival he is being Danny Kaye for a show of his own making. About Spontaneous Broadway and it’s ‘bucket of dreams’ – I’d love to ask you how having the audience tweeting at you while you’re on stage worked out in practice? I guess at this stage its novelty value, seems like fun – the idea of an audience almost completely anonymously making suggestions to impact the show. On the other hand, we don’t think we can use song-titles from tweeters who aren’t actually at the show. We thought the Melbourne Fringe was the perfect place to experiment with this. Previously there have been satellite hook-ups of two improv companies on opposite sides of the world – complete with live audiences and suggestions flying through the atmosphere to affect foreign simultaneous shows – but for us, if the tweet thing falls flat on its beak, at least we’ll get some laughs out of it. I love pure live performance. Hell I don’t even like working with props. So I haven’t imagined into the future much yet, but I think there is greater electrical interactivity between audience and performance. My only fear is that audiences may lose all of their manners and respect for what’s happening on stage. I was at a funeral the other day when a phone went off during the eulogy, and I thought, what a species of non-present beings we are becoming? I trust a lot in the goodsense of humans, but we are destroying the planet. SOOO as improv. techno experimenters, maybe we are the Terminators of future attention-spans. Eeeek. Danny Kaye was all about improvisation, of course. Many of the performances that made it into movies – such as his Symphony for the Unstrung Tongue that made it into The Secret Life of Walter Mitty – started at parties or were performed before friends and later developed. His wife Sylvia wrote his material but much was added by Kaye, unwritten, on the spot. Your comments ... ? Danny Kaye was always improvising, because that was his job. Keep the crowd. Adapt or perish. As a young “toomler” creating comic chaos around the hotels of the Borscht Belt, then as a variety show MC travelling through Asia in the 1930’s, continued >>

“... you’ll be surprised how often you’ll see a show and think: ‘Oh my God! The bastard! I made that joke up at poker the other night!’”

Russell Fletcher – Doing Danny Kaye / Steve Proposch

> and then as a nightclub act. All comedians have to improvise at some stage to respond to the challenge that is before them. Sylvia came along and structured and refined the best party pieces of Danny’s, and he then became a consistent performer. I believe that if you have a kick-ass super tight set of routines, then you also have a platform to do great unstructured spontaneous moments. I think that was the kind of performer Danny was when he blew the UK away in that post-war period at The London Palladium. That and finally some self-confidence. Going back to the States he was even more confident and he didn’t look back for about ten years. Radio. Movies. Theatre seasons. TV appearances. Licence to fool around. But all the while had great, tight material put together by Sylvia.

What is the thing that inspired you most to write this show about Kaye? The director of Twelve Angry Men – a fantastic tour I did in 2004 with 11 legends of Australian showbiz – suggested it to me in the wings one night just before we went on. He looked at me in the half light and said, “By God Russ! You should do a show about Danny Kaye!” The other 11 jurors looked at me and said, “Mmmm yes Russ you should” So I did. When I was doing my first tour of the show I went to a school reunion and told old friends about the show. They said “My God Russell. You used to do Danny Kaye routines when you were 6 at primary school”.

It’s a tricky one. Doing material that you love, but is not essentially yours. So my favourite bits are actually bits we have created. But the Is there any sense of competition for such public have such a deep love for Danny. The material, or competition for the spotlight, show really takes people back to a different, among performers? more innocent time. I think that’’s what I Not so many parties these days. (Mmmmm like most. That the material is not cynical or kids!) Yes comedians are an extremely negative. And its for such a broad audience. competitive bunch. It depends on the Interestingly, Danny also polarises showbiz occasion and many factors, but if there are people because of his infamous moods. Like any that are always “on”, trying to show off too most genius performers he had his demons. much... its just plain annoying and tiring. In But I like to think that channeling the onstage the right circumstances though they can be Danny is an attempt to try and express what I the best company, because they are always love about comedy and entertainment: that it trying to entertain and get the best out of has a redeeming, warming, inclusive, loving, any situation. If you do come up with a gag uplifting, spontaneous, skillfull silliness that is though, there is some unwritten law which irrepressible, no matter how hard the journey, deems that you must immediately say: “ok I’m or how tough the real world may be. using that in my act”. All my good comedy mates often say: “ok you can have that one”, Russell Fletcher stars in The Danny Kaye Show because they are a generous lot. But you’ll at the Ballarat Cabaret Festival in two shows be surprised how often you’ll see a show and on Sunday 14 October. think: “ oh my god! the bastard! I made that joke up at poker the other night!”

DC Gallin


Kiss the Sky

SET AMONGST THE WAREHOUSES and impromptu dance parties of Cool Britannia era (90s) London, Kiss the Sky is DC Gallin’s debut novel, following the beguiling and uncompromising young Claudia and her colorful friends through their search for music, psychedelia, art, romance and true love at any cost. Who is the best teacher you have ever had? DC: My lover, husband and best friend, because he taught me how to love consistently. And my dad for kicking me out of bed at four in the morning to do my homework – that came in handy when writing a novel. If I asked a good friend of yours what you were good at, what would they say? DC: When asked, my good friend said that I amp up positivity, tell fun stories and make people smile. What do you think would be the best thing about being the opposite gender? DC: The best thing about being the opposite gender … well, then we’re talking sex as far as I’m concerned. Being able to screw women, in the good sense of the word. I try to image how it would feel to enter another human and plant a seed inside them. That must be an awesome turn-on! Do you think its ok to lie? DC: The other week I was stopped by the police, while cycling on the pavement in inner London, and you get fined £200 for doing that. I lied and pretended I had something in my eye, and that I was confused and in pain – damsel in distress mode. I feel all right about that lie, because instead of fining people for cycling on the pavement, they should provide safe cycling paths. ... Haven’t we all lied about our age to get into a club? The odd practical lie to bend (ludicrous) rules is all right on occasion, but if a friend were to lie to me then that would be the worst thing for our friendship. How do you approach important decisions? DC: By sleeping on the possibilities and examining my real feelings, freshfaced, first thing in the morning. Do you believe in the existence of the supernatural? DC: Art and psychedelics have taught me that there are many more layers of reality. Altered consciousness will open windows into the supernatural, unavoidable and just as real as rain pitter-pattering on the roof. Is any religious text important to you? DC: I haven’t immersed myself into any religious text sufficiently, so the answer has to be no. >>

photo by Jeffrey Campbell

continued >>

Social Work / DC Gallin

How do your values differ from those of your family? DC: They don’t, really. We’ve taken the kids out of school to travel the world and come with us to music festivals. We’re not the most ‘grown-up’ parents on the planet, and so the generation gap is not as wide as it is with our own parents. Our children have strong, independent minds of their own, and we share a value system of believing in ourselves. What stays the same in your life, no matter how much other things change? DC: The love for my family and the world, and this total obsession to add something meaningful to it. What do you hope for? DC: I hope that we can get rid of money as the main exchange of energy and replace it with a fairer and more interesting concept. I also hope for individual realisation of responsibility on a massive scale and the ensuing shift of global consciousness with avoidance of violence. What does freedom mean to you? DC: Freedom means that I own my own time and that I can do whatever I choose, whenever, even if that means I have to do some hard slogging work, such as building my own house or writing a novel. What do you think are the most important social issues today? DC: The power of the uniformed forces behind governments, and the lethargy

of the general population caused by brain laundering education, media propaganda and distraction through comfort and consumerism. Politics are dividing the planet and religions are dividing the human tribe. We are, in essence, allowing the spectre of starving children and poverty to be perpetuated through our inertia, supporting warfare, economic exploitation and destruction of the environment. And I think that’s all pretty important. What beliefs do you have that you think will never change? DC: I don’t have beliefs as such and hope that I will always keep changing and retain an open mind, but I believe in natural food, (s)exercise, love, art and expanded consciousness - not necessarily in that order - as the driving forces behind human existence. Have you ever come close to dying? DC: I’ve been in two car accidents that could have been fatal, and what I remember, most clearly, was the calmness and total acceptance of death taking hold the moment of impact. Is there anything you find irresistible? DC: My husband in a certain mood. What do you like most about where you live? DC: The fact that for many months of the year you don’t have to wear clothes and can pick fruit off the trees while watching wild horses roaming the riverbed.

D.C. GALLIN splits her time between London and sunny southern Spain with her husband and four children. A lifelong artist and studio dweller, Gallin is a globetrotter and trailblazer in the truest sense of the words, having lived, sold art, raised children and partied everywhere from Ibiza and London to Goa and Koh Phangan. Kiss The Sky is Gallin’s full-length debut, and is now available in paperback and e-book formats via Amazon worldwide. To learn more please visit,

OURSELVES / Steve Proposch

ALL BY ... OURSELVES If content is King (and Queen) as they say, then video is next in line to the throne. In art as elsewhere the format is booming, evidenced by ACCA’s current exhibition OURSELVES. By Steve Proposch Curated by our grey-haired art guru, Juliana Engberg, OURSELVES is unsurprisingly self-referential, about “the way artists seek to understand, empathise with, mirror and interpret their own persona, or the individuals they portray.” A highlight is the beautiful David Rosetzkydirected A Portrait of Cate Blanchett, in which the actor admits about the characters she plays: “I do see them as people, but they’re not fully formed … I’m quite impartial about them. I sort of forget them.” Other video works in the show include Gillian Wearing’s funny and touching 2 into 1 (1997), featuring a mother and her two sons lip synching to each other’s dubbed interviews. This simple device is so well handled in Wearing’s trademark lo-fi manner that it transcends the trick of it, to become an object of deeper meaning. The two boys swing their legs and fidget as they discuss how: “having children brings out two very extreme emotions in us … love and hate.” Ouch! While the mother in turn repeats one

of the boy’s thoughts: “she looks at things in the shop that are too young … like she thinks a bit too much of herself. I think she’s afraid of getting old.” Ouch-ey wawa pour pouvoir. At the other end of the scale we are reminded of how lucky we are to have our family home safe and well. In 5,000 Feet is the Best, Omer Fast captures a dialogue with a military drone sensor operator, who describes times when his unmanned plane fired at civilians. The drone operator talks about what “Marines like to call the light of God. It’s our lasertargeting marker. It puts out a beam of light, and when troops put on their night vision goggles they just see this light that looks like it’s coming from heaven – whoosh – right on the spot.” (Cue nervous chuckle.) Videos are easily digestible, easy to share, and available on any number of different platforms on the screens that surround our daily lives at home, work, and in the street. OURSELVES reminds us that they are also highly effective tools for studying “the existential ‘us’ present in ‘them’”.

OURSELVES, ACCA, 111 Sturt St, Southbank. 03 9697 9999. 9am to 5pm weekdays, 10am to 6pm weekends. Mondays by appt. Free until 25th November, 2012. < Joao PENALVA, Men Asleep. NEXT SPREAD: Gillian WEARING, 2 into 1 1997, video still.

NOW IN ITS FOURTH YEAR, Hidden: A Rookwood Sculpture Walk invites artists to respond to the 145 year old cemetery and its themes of grief, loss, memory, death, and mourning. I met with curator Cassandra Hard Lawrie, for a tour. By Lisa Bowen Hard Lawrie explained: “The thing about Hidden is that it attracts a different type of work to other outdoor shows, because people are either really attracted to the themes, or not at all. The application standard is really high.” The work is indeed rather quieter than the work shown in Sculptures by the Sea, for example, and the surrounds of Rookwood offer the perfect setting for the reflection these works politely request. There are 36 works in the show, and Cassandra has chosen to spread the exhibition further afield than in previous years – taking the trail into an older section of the cemetery where a canal runs across our path and the headstones are more decrepit, dating back to the Victorian era. Personal highlights of the walk include Thomas C Chung’s I Just Wanted to Say...I Still Remember You, a ring of brightly coloured knitted flowers in tiny bottles, carefully placed in a vacant burial plot under the shade of an ancient tree; Totems by Serena Horton, three highly glazed white ashes urns held aloft by shiny pebble totems; and Kylie Black’s Eulogy, a large book similar in scale to a Church Bible, containing words and imagery of comfort and loss that we are invited to leaf through as we remember those who are no longer with us. Rookwood Cemetery is already inspiring and provokes pause for thought, and the Hidden art installations blend in remarkably with the thousands of graves which also have a sculptural quality to them. It feels as if each installation has been here as long as the graves themselves, and the land has welcomed them, covering them with leaves and allowing them to take root. A walk through the cemetery feels like a game of hide and seek, and the discovery of each artwork offers a unique opportunity to reflect on mortality in a surprising new way. Hidden is part of the Sydney Fringe programme, and is open every day from sunrise to sunset until 14 October -

image: Kylie BLACK, Eulogy 2012

ACTease DATELINE: OCTOBER 2012 by Courtney Symes

In a recent article for Qantas (Sept. 2012), Robyn Archer, creative director of Canberra 100 ( shared her thoughts with Paul Daley, author of Canberra: “I enjoy people who don’t reveal their hand all at once and I’m entranced to dig,” said Archer. “That’s Canberra, absolutely. It’s a city that reveals itself slowly and to enjoy Canberra to the full, you want a guide who lives here. ... if you’ve got a friend to show you around, nobody goes away with a poor impression.” We hope ACTease can be that ‘friend’ as we guide you through some of the highlights of Canberra’s art scene this October. >> image: Jeannie THIB, Sky (detail) 2012, screenprint on kozo paper. After Landscape, Craft ACT, until 20 October - continued

ACTease / Courtney Symes

> Trees are the stars of the show this month at Craft ACT: Craft and Design Centre with two fascinating exhibitions: Urban Forest and After Landscape. “It is only with seasonal highlights of autumn glory or dark cool green in summer that some of the old suburban streets display, that we fully appreciate the legacy of trees,” says Sharon Peoples, Acting Convenor, Museums and Collections Program, The Australian National University. Dianne Firth’s latest exhibition, Urban Forest aspires to draw attention to Canberra’s street trees for two reasons: Firstly, Canberra is about to celebrate her centenary and secondly, many of the original conifers and exotic deciduous trees planted during the 1920s have just about reached the end of their lifecycle. “Living things are constantly re-inventing themselves to survive. In this city, increasing in urban density, there is a need for renewal and reinvention, for re-envisioning the landscape and for bringing a new understanding to pattern recognition,” observes Peoples. This concept is accurately conveyed in Firth’s textile pieces. Two years after two Australian artists engaged on an international exchange project with Canada’s Tree Museum, Craft ACT is providing visitors with an update on the collaboration via an exhibition, After Landscape. Australian artists Bev Hogg and Trish Roan participated in a reciprocal exchange program with four Canadian artists: Anne O’Callaghan, E.J. Lightman, Penelope Stewart, and Jeannie Thib. Both exhibitions run until 20 October.

Dianne FIRTH, Eucalyptus mannifera #1 - #12, 2012, viscose felt, bamboo wadding, cotton, polyester thread.

Members of PhotoAccess are encouraged to exhibit their work in this year’s Hang it yourself 2012 exhibition in the Huw Davies Gallery. PhotoAccess provide the mounts, and then members claim their space and do the rest! This is a great opportunity to discover exciting new works from emerging photographers. Deadline for online member submissions and payments is midnight Friday 5 October. Exhibition runs from 18 October – 4 November.

> Ceretha SKINNER, Australian Flora and Fauna, Megalo Print Studio and Gallery until 13 October -

Ceretha Skinner’s story demonstrates that if you find something you love doing, never give up pursuing it. Skinner believes that “the nogood things that happened to me have pushed me into art – good things can happen and you can build yourself up to be a better role model for your people. It is hard at first, but you need to make a life of your own.” Skinner is a Gumbayngirr woman born in Grafton, NSW. She moved to Canberra in 1999. After fostering a passion for producing fabric designs relating to her culture, Skinner first visited Megalo Print Studio when she moved to Canberra. Battling overwhelming feelings of anxiety and depression at the time, Skinner did not have the confidence to return to the print studio until 2009. Referred to Megalo by a case manager for Job Network, Skinner finally reconnected with the print studio and has since undertaken a mentorship. Australian Flora and Fauna is Skinner’s latest screen-printed textiles exhibition that is a culmination of two year’s work. Skinner’s work explores Australian plants and animals, as well as her own Indigenous heritage and has been developed from pen and ink drawings. The repeated patterns on the lengths of fabric build “on the idea that everything in nature is connected”. Runs until 13 October at Megalo Print Studio and Gallery. The development of technology has changed the way we create portraits. The National Portrait Gallery has embraced these changes with a new portraiture award, the iD Digital Portraiture Award. This inaugural event “reflects the National Portrait Gallery’s commitment to fostering emerging artists between the ages of 18 and 30 years old with an interest in contemporary technology”. This year’s winner, Laura Moore, will receive a $10,000 bursary, an artist residency at the Perth Institute for Contemporary Arts, as well as a media profile and exhibition opportunity at the National Portrait Gallery. >>

ACTease / Courtney Symes

< Benjamin EDOLS and Kathy ELLIOTT, Swift, handblown, ground and polished glass, 19 x 48 x 17cm. Beaver Galleries, 18 October – 15 November.

> Moore’s winning digital self-portrait “addresses the theme of identity, both of self and society” by focusing on the school photograph as “a cultural symbol, a rite of passage and a document of our growth and journey into adulthood”. Dr Christopher Chapman, Senior Curator, National Portrait Gallery says, “Laura Moore’s digital portrait evokes other levels of school day memories. The work is startling, poignant and powerful”. Moore’s work will be featured alongside other entries in the iD2012 exhibition at the National Portrait Gallery until 28 October. It was the accidental death of RAF serviceman No. 406030 on 12 February 1942 at Secret Aerodrome No. 2, Palembang, Indonesia that prompted Katy Mutton’s latest exhibition, Secret Aerodrome No. 2 at CCAS Manuka this month. The exhibition is predominantly comprised of detailed drawings on Kozo (very fine Japanese paper). Mutton builds up her images in layers using ink, pens, receipt book carbon and pencils. “Almost all of my work is pretty time consuming, I like detailed, repetitive mark making. I enjoy that state of mindfulness in the making,” explains Mutton. Mutton is also a fan of the Kozo as “it sucks up ink, absorbing the colours so they become rich and vivid”.

senior interior designer and being a mum. Runs until 7 October. Visit and for more info. With works appearing in most of Australia’s state galleries, as well as the National Gallery of Australia, Parliament House, and Artbank, it is undeniable that Bruno Leti has made a positive contribution to Australian art. With four decades of art practice under his belt, “it is the emotive response that Bruno is able to elicit from the viewer which cements his strength across print-making, book-arts, painting and photography”. In some instances, there is an overlap between Leti’s printmaking and painting through his proficient use of “brushstroke, line, gesture, burning colour and an abstracted surface, enriching our appreciation for his control over these mediums”. Leti’s latest exhibition, Gesture and time (paintings and works on paper) will run at Beaver Galleries from 18 October – 5 November.

Also at Beaver Galleries this month, Benjamin Edols & Kathy Elliott present their latest collaboration in Studio Glass – a collection of glass forms created using hot and cold glass techniques. Inspired by the natural beauty of the shape, colour and texture of fruit, leaves, seed pods and blades of glass, the duo work their glass creations in a two-stage process. These pieces explore “the imaginings of a Whilst in the ‘hot’ stage of production, family trying to come to terms with his [RAF Benjamin blows the glass into the desired serviceman No. 406030] death in an unfamiliar shape. Kathy then polishes and grinds the place and culture,” as well as “the 10 years his pieces in the ‘cold’ finishing part of the glassfather spent corresponding with authorities making process. The pair have been working in an effort to have the missing grave found together since 1993 and their work appears and his son repatriated”. There is also an throughout many Australian and international installation comprised of 3126 small silhouette galleries, including the National Gallery of planes, which represent each of the RAAF Australia, the National Gallery of Victoria, the servicemen without a grave, including a plane American Glass Museum (New Jersey), and for ‘George’, the subject of the works. the Victoria and Albert Museum (London), amongst others. Mutton is an independent visual artist who juggles her art practice with working as a

< Davina ADAMSON, The Atrium Project (detail) 2012. Incinerator Gallery, until 4 November -

DATELINE: OCTOBER 2012 by Courtney Symes

At the recent Seymour Biography Lecture, Professor Jeffrey Meyers offered the audience some insight into his writing process. It generally takes Meyers about six months to write a biography: four months for research and writing, plus two months for reviewing/editing. The key, he revealed, is writing consistently – three pages every day, seven days a week during the first four months. He believes a deadline is important to ensure that you do what you need to get done and move on without tiring of your subject matter. There is much to be gleaned from this approach that can also be applied in other fields, especially art. Many artists work tirelessly to meet the deadline of an exhibition, often juggling the demands of life (family and a full-time job) with their passion. Luckily for us they make it work, and we have plenty to share with you this month. “Nature is hilarious. So many absurd fungi, plants of ridiculous shapes that invert, explode and eat each other. It’s a riot of replication, copulation and death,” says Davina Adamson of her latest body of work for the Atrium Project at Incinerator Gallery until 4 November. Adamson further explains that “Through pseudo-scientific experiment, and invented biological pandemonium my work explores the comedy that is life, with all its monsters and dark swampy corners of our collective psyche I attempt to reintroduce our bodies and our hifalutin tastes back into the hysterical/debauched mess of the natural world”.

Also at Incinerator Gallery until 7 October, the ‘unusual plant’ theme continues with Jodie Goldring’s Dining With Cordyceps. Cordyceps are parasitic fungi that grow into fascinating formations, eventually killing their hosts. Taking over two years to create, this elaborate installation consists of an entire room of dining room furniture that symbolises “rampant consumerism and wastefulness in the home”. The “insidious changes to our domestic environment and consumption habits over the last century” are a shift away from our “domestic thriftiness that curtailed waste,” and has “been replaced by a proliferate society seemingly oblivious to the waste produced Viewers can expect numerous works that by excessive consumption”. It’s intentionally include cool contemporary terrariums ironic that each Cordycep has been slowly constructed from glass and acrylic and filled crafted from recycled materials. Goldring also with curious specimens. Whilst Adamson’s collaborated with artists/skilled basketmakers, exotic works appear delicate and fragile, they Sue Dilley and Barbara Hawkins, who also have a frightening side as they look like assisted with the creation of the table for this they could leap off the paper or out of their intricate project - glass and plastic enclosures to attack. continued >>

> During its heyday, Potter’s Cottage consisted of a renowned gallery, ceramics school, and restaurant. This month, Manningham Art Gallery celebrates the contribution Potters Cottage made to Australian ceramics in an exhibition, Potters Cottage: a tribute. Curated by Grace Cochrane, the exhibition features a beautiful selection of ceramic works from private collections. This is a rare opportunity to view pieces from founding members Elsa Ardern, Phyl Dunn, Art Halpern, Sylvia Halpern, Kate Janeba, Gus McLaren, Reg Preston, and Charles Wilton.

Potters Cottage was established in Warrandyte in 1958, remaining open until 2004. During this time, the cottage became a “prominent and influential feature of the Australian ceramic landscape,” especially for artists including Greg Daly, Alexandra Copeland, John Dermer and Deborah Halpern, whose work is also featured throughout the exhibition. Visitors can enjoy the complete story of the cottage with the inclusion of architectural plans, archival documents, photographs and footage from the cottage’s early days. Runs until 10 November. continued >>

Melburnin’ / Courtney Symes

Preston and Dunn’s studio, 1960s.

Naomi TROSKI, Gyre (detail) 2012, plastic trellis and rope. Dimensions variable, Installation view, Blindside. Image courtesy the artist.

Melburnin’ / Courtney Symes

> Authors, artists and academics are set to converge on TarraWarra Museum of Art (TWMA) for The Landscape Awry on 13-14 October. The two day extravaganza will include presentations and installations focused on “the ways in which we ‘see’ the landscape”. Hosted by TWMA Director, Victoria Lynn and Professor Nikos Papastergiadis from the School of Culture and Communication, University of Melbourne, this symposium is not only an exciting event for the TWMA, but also for the Yarra Valley region as visitors are drawn to the local area for the weekend. Back in Melbourne, TWMA will also present a series of five live sound performances at Northcote Social Club on Weds 3 October, held in conjunction the Biennial 2012: Sonic Spheres exhibition at TWMA. Performances include: A Scratch Ensemble featuring works individually written by the performers, then performed together without conferring beforehand; The Charles Ives Singers who perform ‘old songs deranged’ with improvised instrumentals; The Donkey’s Tail consisting of improvised modern folk music, combined with silence and spoken word; Snawklor featuring visual artists Nathan Gray and Dylan Martorell and drummer Duncan Blachford; Marco Fusinato who is a multi-disciplinary artist who specialises in pushing the guitar to its limits. From 8-11pm, tickets are $10 at the door. The TarraWarra Biennial 2012: Sonic Spheres exhibition will run at TWMA until 9 December 2012. Curated by Victoria Lynn (TWMA Director), the exhibition is “dedicated to showcasing contemporary and innovative Australian art” and “features an assemblage of contemporary Australian artworks engaged with sound, music and voice”.

Counihan Gallery doesn’t fail to disappoint again this month with two impressive exhibitions from Naomi Troski and Caitlin Street. Naomi Troski’s exhibition Riffle interacts with the architecture of the Gallery “and considers our relationship to the environment, be it physical, historical or cultural”. Troski has created a walk-through canopy from rope, plastic and lattice, using translucent materials, scale and repetition to create “a sense of weightlessness while also conveying a notion of infinity”. Exploring the “ways in which we process, filter and respond to information,” Caitlin Street’s latest work, dreamtime uncapitalised -joining our own dots utilises light and water not only as a medium, but also as the theme. Light reflections play with kinetic sculpture and moving image in Street’s 2 min digital video that is designed to be viewed in a darkened, ambient space. Both exhibitions run until 28 October. Dances with Wools at The Gallery at Bayside Arts and Cultural Centre applies a contemporary spin to traditional craft techniques such as knitting and crochet. The exhibition consists of work from artists including Irianna Kannelopoulou, Kate Just and Caroline Love, as well as an installation, Knit, Knot, Net, that “harnesses the sculptural potential of wool”. There is also a collaborative piece, The Dinner Party, “based around the significance of the evening meal” that includes knitted and crochet works from artists and enthusiasts around Melbourne, as well as local students. “Dances with Wools is a celebration of materiality and of a time when making things by hand was not only a labour of love, but a necessity.” Runs until 18 November. www.

1. Paul RYAN, Wild colonial boys (detail) 2012, oil on canvas. Reproduced courtesy of the artist. Winner: 2012 Geelong Contemporary Art Prize, Geelong Gallery, Little Malop Street, Geelong (VIC) until 18 November. - 2. Karleena MITCHELL, ART ATTACK 2012, books, pick wielded to steel rod and base, paint. Height 80cm, width 70cm, depth 40cm. 2012 Woollahra Small Sculpture Prize, Woollahra Council, 536 New South Head Road, Double Bay. (NSW), 27 October â&#x20AC;&#x201C; 11 November -


CHUNKY MOVE, An Act of Now. Concept and Choreography: Anouk Van Dijk; Composition and Sound Design: Marcel Wierckx; Costume Design: Anna Cordingley; Lighting Design: Niklas Pajanti; Dancers: Peter Cseri, Leif Helland, Stephanie Lake, Lauren Langlois, Paea Leach, Alya Manzart, James Pham, Nina Wollny; Artistic Director: Anouk van Dijk.. Sidney Myer Music Bowl, Kings Domain, Melbourne (VIC), 17 â&#x20AC;&#x201C; 27 October at 8pm -


Stephen HALEY, Freedom (detail) 2012, Lightjet photograph. Edition: 5, 30 x 60 cm. Courtesy the artist and Nellie Castan Gallery. Glen Eira City Council Gallery, corner Glen Eira and Hawthorn Roads Caulfield (VIC), until 28 October 2012.

stralian stories with Neil Boyack


rom the very beginning Josephine Rowe set the bar high. Her first officially published piece, In the Boot of Someone’s Car, (appearing in Overland originally) was skilful, dark, and multilayered, and found its way into the monumental once-in-acentury collection Australian Poetry Since 1788, as the closing piece.

The driver takes the corners too fast It hurts less if she goes limp she can’t remember how she got there But she will be there forever From In the Boot of Someone’s Car This is a wonderful achievement for anyone, let alone a writer only just realising the true power of her craft. From there Josephine produced three self-published works of exquisite quality, Asynchrony, East of Here Close to Water, and How a Moth Becomes a Boat, the latter being republished through Hunter publishers. Her great strength as a writer is her ability to be clear about acute detail, all the while respecting and caring for her characters through the silence and space she allows in their environment. Informing this however is what I would call Rowe’s class edge: a lens through which she has seen, tasted, experienced and survived the world thus far. As with any writer, one’s own life experience informs the values, the ethics, and the worldviews that contract and translate narrative, setting, symbol, and metaphor. Many people want to be writers; most won’t get there, simply because they don’t have anything to write about, or their experiences have not equipped them to write. Rowe will succeed because

of the solid foundation she has through her journey, the literary acumen she has absorbed, and through a confidence that comes with going it alone (self-publishing) and succeeding. Good writers, write what they know. When this is done effectively you’ll read work that is influential, rather than mediocre. I would argue that this class edge is what Rowe has built her strong reputation on, both on the page and in her performance and reading. Full of blue-collar or no-collar pathos the characters of her earlier works are aware of their limited freedoms, always surviving in the margins, on the lip of love, trauma, loss, coming up for air, but also absorbing awakenings and surprised by pedestrian epiphanies, invaluable to their owners but humdrum to the world. These people are rough objects, used, and forgiven, and used again, to be forgiven, yet she treats them with reverence. Readers of Rowe care about her characters and what might happen to them. Rowe passes the test of

Josephine Rowe: word-power, class and maturity

vulnerability with ease in her work, something that, I say, is a non-negotiable aspect of writing. You need to put yourself on the page, and allow others access to it: to question, to praise, to rubbish. From Love (How a Moth Becomes a Boat) Outside, the setting sun has turned her father to a featureless silhouette somewhere just to the right of her, watching. When she tries to retrieve this moment from the clutter of early childhood – and she will, over and over again, looking for reasons, warning signs, answers – she will not remember how his face was set. From Feather (East of Here, Close to Water) She watches her boy from the window – how the late morning sun seems to melt on his shoulders and run down his arms and his back as he leans into his work. The wood piles up; red gum logs that split apart as if they were balsa. This boy has seen enough blood. A lifetime’s worth, saliva thick, gone cold in a coffee cup beside his father’s bedside table. Josie’s new collection of stories Tarcutta Wake (UQP) is a departure of sorts from her earlier works. Tarcutta Wake is an exploration into a more mature voice that is subdued, measured, and compact. The rough edges are largely gone, replaced by a subtle, personal intrigue that coincides with finer brush strokes. This collection is a great introduction point for all those who do not yet know Rowe’s work to date. The characters that inhabit Tarcutta Wake aren’t smashing bottles into walls, but writing plays,

Josephine Rowe

and cycling to the beach. They’re recalling spirits and making sense of scrambled situations, or the bleeding obvious, which perhaps they are not yet ready to accept. Stories like Brisbane are a telling blow relayed at an aching emotional pitch. This piece is an appropriate start to the collection as it acts as a bridge from Rowe’s earlier catalogue to her more refined voice. Other highlights are the clever, sharp, Repairs, the effectively rounded Tarcutta Wake, and the penetratingly relevant The Tank. In earlier work Rowe treats men as unseen, unknown, their trails and their motives a destructive mystery, a holy ghost. She treats a teen boy throwing scotch bottles against a wall as a messenger from saints. >>

Stralian Stories / Neil Boyack

I go over to the window on shaky legs and see her from the back, standing out by the road. A blonde in denim pedal pushers and white tennis shoes, standing in the light of the motel sign, like the ghost of 1967. From Brisbane (Tarcutta’s Wake) > In Tarcutta Wake Rowe has drawn her characters and settings with new colours. This change in course is subtle at times, coming from a writer who herself is maturing and searching for her next mountain. Rowe’s concerns are now less entangled with hacked lives, but more interested in unpacking grey areas of relationships, memory, and meaning. From Repairs (Tarcutta Wake) She took the ‘S’ arm off the typewriter so that she wouldn’t be able to spell his name. It would help, she thought. If only in a small stupid way. But she couldn’t spell her own name without an ‘S’, and this was problematic. Her name, and a lot of other names and a lot of other words. Bezt. Regardz. Cheerz. Xincerley. Thankx. People want a piece of Josephine Rowe because she possesses a super-power to filter her work through her experiences, and add her skilful word-craft, much of which was learned through her excellence in poetry and micro-stories. Her work always invites the reader into tough, lonely, sometimes lovely worlds. This ability is rare, and Rowe owns it. Her readers identify with this, or many want to identify with this at least. In Tarcutta Wake long time fans will read a new tone, less desperate, but still well written, low key, and slick, in what is a transitional work. Stay tuned to see where Josie goes next. Tarcutta Wake (University of Queensland Press) RRP $18.95 - Further reading:

Neil Boyack is a writer, poet, social worker, and director of the Newstead Short Story Tattoo. Check and www.


greenwish #10

Zeroing In ... The most inspiring sustainable architecture projects currently happening around the world are utilising technologies – scientific, computer, human/manual, or otherwise – to create buildings that enhance human and community well-being, have minimal or no impact on the planet, and are aesthetically beautiful and uplifting. Zero net energy (ZNE) buildings, also known as zero-energy or net-zero energy buildings (NZEB), have zero net energy consumption and zero carbon emissions annually. Buildings that produce a surplus of energy annually are called “energy-plus” buildings. In the US and Europe, conventional buildings consume approximately 40% of total fossil fuel energy, and contribute significantly to greenhouse gases. ZNE buildings work against this general pattern; some projects also consider the complete construction process and embodied energy of the manufacture of each component of the building in maximising its overall sustainability credentials. Earthship Biotecture is one organisation tackling the issues of climate change, self-sufficiency, community and economy head-on, both in a highly practical and deeply explorative way. Started by architect (or ‘biotect’ as he prefers to call himself) Michael Reynolds soon after he graduated from university in 1969, Earthships (the houses designed by Reynolds) are claimed as “radically sustainable buildings made with recycled materials”. They are “off-the-grid dwellings built from what the rest of society deems garbage (discarded cans, bottles, and tires, among other items). [Reynolds’] radical and unusual structures have received resistance from zoning and code legislations, spurring a continuing struggle to change the building permit process.” Since the 1970s, Reynolds has inspired people to build their own homes based on the six Earthship principles of passive-solar design, self-sufficient energy systems, contained waste treatment, building with natural (indigenous) and recycled materials, water harvesting and food production, and with the view to achieving fully sustainable carbon zero homes.

continued >>

< An Earthship greenhouse with abundant food production, from

Greenwish#10 / Robyn Gibson

Spurred by the global financial crisis, Earthship Biotecture is shifting its focus from buildings to the actual people and process, on a project called EVE: Earthship Village Ecologies in Taos, New Mexico. Through years of lobbying, the Sustainable Development Testing Sites Act was passed in New Mexico in 2007. Via this law, Reynolds is tackling the dominant paradigm of home ownership and debt, and subsequent isolation. According to this paradigm, home ownership shackles people to life-long debt, that often sees them cut off from their family, friends and community through stress, overwork etc. EVE aims to eventually have communities of people living in harmony with their environment and each other, independent of the global economy and its vagaries.

“What we are trying to do here is illustrate that ... the sustenance of people (shelter, water, energy, sewage, food and comfort) should not be subject to an economy.” One project based on hi-tech solutions is the zero net energy ‘BIQ’ house in Hamburg, Germany, for the International Building Exhibition (IBA) in 2013. Designed by Splitterwerk Architects, the house is based on a façade system that uses microalgae both for providing shade and generating renewable energy. The world’s first ‘bio-adaptive façade’ is designed around ‘bio-reactor’ units or panels that contain micoalgae that grow faster in bright sunlight, thereby creating more shade for the building’s interior – and also producing biomass that can be harvested. Simultaneously, the ‘bio-reactors’ capture solar thermal heat that is then used to power the building. Basically, “photosynthesis is driving a dynamic response to the amount of solar shading required, while the micro-algae growing in the glass louvres provide a clean source of renewable energy.” At the same time, a visually stimulating and

living façade is presented to the surrounding environment, having the potential to enliven static or dull urban streetscapes. Technologies and plans for new buildings are great, but with most of us living in existing housing stock, it is crucial to develop simple schemes for the improvement of efficiency of this stock. This housing stock has significant infrastructure and features worth maintaining: they just need work to be more efficient and especially to reach ZNE status. Depending on the climate, it can be very simple and inexpensive to create a ZNE house. A winning project in the Canada Mortgage and Housing Corporation’s (CMHC) Equilibrium Sustainable Housing Demonstration Initiative is a tiny and very common double-storey1940’s post-war veteran’s house in suburban Toronto. The architect, David Fujiwara, developed a list of improvements that resulted in a ZNE house, including maximising insulation, sealing the building envelope well, replacing existing windows, and installing new lighting and other high-efficiency fittings, and systems for generating electricity, heating, cooling and hot water. The aim of the project was to demonstrate that, through careful staging of these improvements, any house can come close to achieving a zero net energy goal; and that 40% of the global carbon footprint that comes from buildings can be taken right out of the equation just by fixing what we’ve already got! Robyn Gibson is a printmaker, and partner in Lifehouse Design, award-winning sustainable building designers in Castlemaine, Central Victoria. Lifehouse Design is currently developing a unique flexible module-based house, called the LiFEHOUSE. IMAGES: top Earthship under construction (EVE project, Taos, New Mexico) – from bottom The ‘BIQ’ zero net energy house, Hamburg, Germany, by Splitterwerk Architects, for the International Building Exhibition, 2013. Image from BPN News,


Now don’t get the wrong idea, we have not ended up on the wrong side of the law. My daughter Rilka read a book called Marching Powder – the story of one Thomas McFadden, a gregarious dark skinned cockney from the East end of London who did end up on the wrong side of the law, on the wrong side of the world, on the wrong side of the very high walls of a notorious Bolivian gaol – but he did end up making the very best of a bad situation. Incarcerated in San Pedro like most of his fellow inmates, for drug running – having foolishly bribed the wrong judge – the entrepreneurial McFadden soon found himself a decent living running tourist tours of the gaol itself. Even going so far as holding lavish dinner parties involving the consumption of copious quantities of cocaine. For a small slice of the action the authorities were prepared to turn a blind eye and could actually be quite helpful pointing the customers in the right direction. It was only when his good friend Rusty Young wrote a bestseller, describing his nefarious exploits in graphic detail that the said authorities saw fit to curtail the lucrative operation before it sullied the good name of The Bolivian Justice Department.

By the time we knocked on the door it was closed to all but bonafide journalists. Rilka, brimming with youthful enthusiasm, was undaunted. We duly applied for entry as an entire family of visiting journalists with a keen interest in unusual forms of social justice. The prison is surrounded by thick stone walls, towering 8 metres over the surrounding slum. Two guards loiter nonchalantly outside the gate, but once we step inside we are on our own. The entire prison is run by the inmates. The government has seen fit to supply water, electricity and one meal per day. For all other requirements the residents must fend for themselves, something they do with great ingenuity. continued >>

words & pics: Ben Laycock

Greetings From San Pedro Prison / Ben Laycock

“Everyone who aspires to a cell of their own and a full belly must find a job. Your cell can be bought on the open market and must be sold when your time is up. The very best cells come with bathrooms and cable TV.” > As soon as we step over the threshold, huddled together in trepidation, a ‘Human Taxi’ who’s job is to find people, runs off and soon reappears with a nice man who offers, in good English, to show us around. As is usually claimed, he was an innocent man wrongly accused. Under his protective wing we are able to wander about the place and meet the locals, all except for one particular dark and dingy section deep in the bowels of the building where it is said the very best cocaine in all of Bolivia is produced. Apparently the children who are forced to live with their unfortunate fathers for want of anywhere else to go, ferry the base into the place inside their satchels and smuggle out the refined product on the way to school.

time is up. The very best cells come with bathrooms and cable TV. To make ends meet one can make things for sale on the outside or sell things from the outside on the inside. The place is a hive of activity. Just imagine 1500 people crammed into an area the size of your average Ikea store, all busily struggling to get by. The courtyards, the verandas and even the rooftops are strewn with washing, drying in the sun. There are cafes and kiosks in every nook and cranny. There are little workshops everywhere making toys and knick-knacks, not to mention more lucrative enterprises. There are hair dressers, TV repairmen and even professional footballers playing for the well-to-do section, but ironically enough there is one area sorely neglected in this autonomous little society: San Pedro is as far from an Australian gaol there is no Department of Justice. Inmates as you can possibly imagine. Here in the are left to sort out their problems in their developed world everything is sanitized, own way. This is not usually pleasant, often digitised, automated, regimented. Every involving knives and producing cadavers. moment of every day is regulated – a perfect Child molesters have a particularly rough environment for creating zombies – and it’s time of it, deliberately sent to San Pedro to even worse inside the prisons. San Pedro is a be dealt with by a bloodthirsty mob in the world unto itself, not unlike an autonomous most gruesome and barbaric manner. state, and a democratic state at that. There are seven sections. Each section elects a In the next Chapter we ride the most leader and a treasurer. Everyone who aspires dangerous road in the world: to a cell of their own and a full belly must ‘El Camino de la Muerte’ – The Death Road find a job. Your cell can be bought on the - open market and must be sold when your

canberra • National Gallery of Australia Now showing – Abstract Expressionism; Abstract Expressionist art is vibrant and still surprising. To make the 100 year anniversaries of the birth of JACKSON POLLOCK and the secondgeneration Abstract Expressionist MORRIS LOUIS the National Gallery is showcasing its holdings of important paintings, drawings and prints. Sydney Long: the Spirit of the land; SYDNEY LONG is Australia’s foremost Art Nouveau painter, whose work is much loved. The poetic charm Long gave to the Australian landscape saw him emerge as one of Australia’s most popular artists. Carol Jerrems: Photographic Artist; CAROL JERREMS’ gritty, poetic and elusive images show people trying to find a new way of life and action in the 1970s. Her images have come to define a decade in Australia’s history and Jerrems was the first contemporary Australian woman photographer to have work acquired by a number of museums including the National Gallery of Australia. Divine Worlds: Indian Painting; this exhibition brings together masterpieces of Indian painting from the collection of the National Gallery of Australia. Open daily 10am - 5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411,


• PhotoAccess Huw Davies Gallery Until 14 October. GEORGE SERRAS: Dharma. 18 October to 4 November, Hang it yourself 2012 PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith ACT. Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm. T: (03) 6295 7810; Image: George Serras, from Dharma exhibition.

cowra • Cowra Regional Art Gallery See our website for this month’s exhibitions. 77 Darling Street Cowra NSW 2794. Tues to Sat 10am - 4pm, Sun 2 - 4pm. Free Admission. Image: G.W. Bot Glyphs: Tree of Life (detail) 2012, watercolour and graphite on colombe paper, 100cm x 100cm. Winner 2012 Calleen Art Award.

rookwood • Hidden: A Rookwood Sculpture Walk 2012 1 September – 14 October 2012 Explore sculpture amongst the graves and be part of a truly enlivening experience! Hidden invites you to explore the biggest working cemetery in the Southern Hemisphere and admire the 39 highly contemplative sculptures that respond to the iconic site. Open sunrise to sunset, starting at the Northern end of Hawthorne Avenue, Rookwood Cemetery. Entry is Free. Catalogue and visitor information available at the Anglican and General Office, Hawthorne Avenue, Rookwood. For more information visit www.hidden.rookwoodcemetery. or call Bethany on (02) 9746 2177

sydney • Art Gallery of New South Wales EUGÈNE ATGET: Paris 1898–1924, until 4 November. FRANCIS BACON: five decades, 17 November 2012 – 17 February 2013. Dobell Prize for Drawing: 20th Anniversary, 30 November 2012 – 9 February 2013. Art Gallery Rd, The Domain, Sydney NSW 2000. T: (02) 9225 1744,

windsor • Hawkesbury Regional Gallery Till 14 October: Northern Impressions – A celebration of Contemporary Printmaking and Strong Women, Strong Painting, Strong Culture. Deerubbin Centre, 1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441 F: (02) 4560 4442; Mon-Fri 10am-4pm Sat & Sun 10am3pm, (Closed Tues and public holidays). Free admission.

• Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: or phone T: (03) 9328 8991 for membership details

devonport • Devonport Regional Gallery Until 28 October. Main Gallery Homage: The Royal Dozen (2008–10) & The Regal Twelve (2004–07). An Australian Centre for Photography touring exhibition. Artist: ALEXIA SINCLAIR. Image: Marie Antoinette - the Extravagant Queen (1755-1793) 2005. The Little Gallery Catching a Mirage. Artist: FERNANDO DO CAMPO. Open Mon - Fri 10am-5pm, Sat 12noon5pm, Sun and Public Holidays 1pm-5pm. 45 Stewart Street, Devonport,Tasmania 7310. E: T: (03) 6424 8296;

hobart • Inka Gallery Inc. Not-for-profit, artists’ run, original contemporary art. Exhibitions three-weekly. Salamanca Place, Hobart. Hours 10am-5pm,T: (03) 6223 3663; www.inkagalleryhobart.

• MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art. Monanism the permanent collection – evolving over time. Current exhibition: Theatre of the World curated by JEAN-HUBERT MARTIN through to 8 April, 2013. More than 350 artworks and objects of curiosity spanning 4,000 years of creativity. Fees: $20/adult; under 18s are free. Spring/Summer opening hours: 10am to 6pm, closed Tuesdays. Food, bars, winery, microbrewery, accommodation, bookshop and library. 655 Main Road Berriedale, Tasmania, 7011. T: (03) 6277 9900,


box hill


• Box Hill Community Arts Centre 25 September – 7 October ANNE SINGH – Across Mind and Space’. 470 Station Street Box Hill t: (03) 9895 8888 Image: Alrassa Artists

• Whitehorse Art Space Until 6 October 2012 Back to the 70s. Reminisce about life in the 1970s at this exhibition featuring photography, artwork from the Ceramics Victoria and Whitehorse Art collections and fashions on loan from the Box Hill and Whitehorse historical societies. Also in the All Nations Foyer The Calligraphic Line presented by the Calligraphy Society of Victoria Inc. Hours: Tues and Fri 10am-3pm, Wed and Thurs 9am-5pm, Saturday noon-4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill VIC 3128, Image: John VOLLER, Keg and eight beakers (detail) c. 1974, stoneware, grey ash glaze over iron oxide. Ceramics Victoria Collection.

brunswick • Counihan Gallery in Brunswick 27 September – 28 October: Riffle, NAOMI TROSKI; joining our own dots . spheres of influence, CAITLIN STREET. Opening Event: Thursday, 27 September 6-8pm. Floor Talk: Saturday 20 October 2.30pm. 233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; E: Image: Naomi Troski, Fosse 2012, plastic trellis, rope, light. Dimensions variable.


bundoora • Bundoora Homestead Art Centre 31 August – 14 October 2012 Time Machine: Sue Ford. SUE FORD (1943-2009) was one of Australia’s most important photographers and filmmakers. Time Machine chronicles a period when photography was charged with political and personal meaning. It provides a great opportunity for audiences to reassess the talent of this important photographer, whose work was at once political, beautiful and elegiac. 7-27 Snake Gully Drive, Bundoora. (Melways 19 G2) T: (03) 9496 1060; http://

burwood • Deakin University Art Gallery Silhouette Australis, JUDY HOLDING, 12 September – 20 October 2012. A solo exhibition of collaged paper silhouettes, artist books, laser cut steel, aluminium and wood sculptures.

Judy Holding Blue Mallee 2012, painted 6mm MDF in 3mm coreten steel base, A/P Ed 30, 30 x 20 x 10 cm. Photographer Tony Fuerie.

Gallery hours 10am-4pm Tuesday to Friday, 1-5pm Saturday. Closed Public Holidays, Free Entry. 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344; F: (03) 9244 5254, E: artgallery@;

deer park • Hunt Club Community Arts Centre Galleries 6 October – 17 November (Foyer Gallery) RAQUEL FURNIER: Imagination: Look twice before you decide (Main Gallery) DAN BARCLAY & MARIA ARTIGAS: Life in Raku. Centre open Mon-Thurs 9am - 7.30pm, Fri 9am - 4.30pm, Sat 9am -12.30pm. Closed Public Holidays. 775 Ballarat Road, Deer Park (Melway 25, F8) T: (03) 9249 4600 E: huntclub@ arts Image: Meredith Thomas, Pelican (detail) acrylic on canvas.

Silhouette Australis Judy Holding

12 September to 20 October 2012 A solo exhibition of work by Judy Holding. Collaged paper silhouettes, artist books, laser cut steel, aluminium and wood sculptures all share a visual language that is a thinking through of Holding’s commitment to the Australian landscape.

Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways Ref 61 B5. T +61 3 9244 5344 F +61 3 9244 5254 E Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry. Gallery closed on public holidays. Please visit for exhibition details. Deakin University CRICOS Provider Code: 00113B

doncaster • Manningham Art Gallery Relocation 5 September – 10 November Potters Cottage: a tribute. In celebration of its relocation to a new exhibition space within Manningham City Square (MC²), Doncaster, Manningham Art Gallery presents an exhibition that pays tribute to the continuing legacy of Potters Cottage in Warrandyte. Fondly remembered by many in the Warrandyte community, Potters Cottage was a prominent and influential feature of the Australian ceramics landscape. Potters Cottage: a tribute features a collection of exemplary and rarely seen works by the founding members of Potters Cottage. Curated by GRACE COCHRANE. MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 47 F1. Open Tuesday to Saturday 11am to 5pm. T: (03) 98409367. E:; www. Free entry. Image: REG PRESTON and PHYL DUNN, 1960s. Courtesy Potters Cottage archives, private collection. Photographer unknown.

east melbourne • The Johnston Collection House Museum and Gallery Fairhall: The Bride, The Ship & The Wardrobe: Romance Was Born Meets William Johnston, with a series of installation works by KATE ROHDE, 2 July – 24 October. LUKE SALES and ANNA PLUNKETT from ROMANCE WAS BORN, one of Australia’s most internationally celebrated fashion houses, will apply their famously quirky design sensibility to William Johnston’s collection for this guided tour. Sales and Plunkett have created themes based on the colours of the rooms and into each theatrically designed space they will introduce examples of their clothing set against the backdrop of Johnston’s extraordinary collection. Gallery: Commanding Splendour: The Duke of Wellington & The Empire Style 2 July – 26 October. Celebrates Wellington and explores the theme of Empire Style as it emerged in England in the early 19th century. This exhibition is to be viewed free of charge in conjunction with all house-museum Tours or Lecture bookings. Bookings essential

fitzroy • Colour Factory Gallery Remnants by ALLAN CHAWNER. Exhibition dates: 5 – 27 October. Opening night: 4 October, 6-8pm. 409 - 429 Gore Street, Fitzroy 3065. T: (03) 9419 8756, F: (03) 9417 5637. Gallery hours: Mon - Fri 10am - 6pm, Sat 1 - 4pm. E: Gallery@

healesville • TarraWarra Museum of Art 5 August – 9 December 2012 TarraWarra Biennial 2012: Sonic Spheres. Curator: VICTORIA LYNN. An assemblage of contemporary Australian artworks engaged with music, sound and voice. The exhibition will include drawings, musical scores, sculptures made from musical instruments, paintings and video. This year, the biennial will include the work of 20 artists and one collaborative groupPerformances by Dylan Martorell, Snawklor, Victor Meertens and Alexis Ensor will be held the first Sunday of every month. 13 – 14 October 2012 TWMA presents The Landscape Awry a two day symposium at TWMA and its surrounds. It features installations and presentations by authors, artists and academics about the ways in which we ‘see’ the landscape. See website for further details. TarraWarra Museum of Art, 311 HealesvilleYarra Glen Road, Healesville. For information and bookings visit Image: Dylan MARTORELL Masuk Angin gamelan robot 2012, mixed media, dimensions variable. Photo: Dylan Martorell. Courtesy of the artist and Utopian Slumps, Melbourne.

langwarrin • McClelland Gallery + Sculpture Park Until 28 October. CLIVE STEPHEN: Sculptor and Awakening Forms: VINCAS JOMANTAS and CLIFFORD LAST. Australia’s leading Sculpture Park and Gallery. 390 McClelland Drive, Langwarrin (Mel. Ref. 103 E3 only 45 min from St Kilda!) T: (03) 9789 1671. Gallery Hours: Tues-Sun 10am-5pm (Entry by donation). McClelland Gallery Café, Tues-Sun 10am-4.30pm. Guided Tours: Wed and Thurs 11am and 2pm, and Sat and Sun by appointment only. Prior bookings highly recommended. E: info@mcclellandgallery. com,

melbourne • BLINDSIDE Until 13 October G1: LIZZY SAMPSON, Consumer Behaviour. G2: ALICE WORMALD, In The Unreal Air. BLINDSIDE, Nicholas Building, 714/37 Swanston St (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne. Hours: Tue to Sat 12-6pm. T: (03) 9650 0093; Image: Alice Wormald, Untitled (3) 2011.

• fortyfivedownstairs 25 September – 6 October Breath of Life by RUMI TAKAMOTO, painting and sculpture; 25 September – 6 October Sweet Oriander by FIONA SWEET and GARTH ORIANDER, photographs from the Malthouse Theatre - the Michael Kantor years; 28 September – 7 October DasSHOKU SHAKE! YUMI UMIUMARE, THEATRE GUMBO, local and international artists in association with Melbourne Fringe Festival, cabaret/theatre; 9 – 20 October Arrested Decay by BILL HAY, painting; 9 – 20 October Stilled Life, new paintings by CATHY DRUMMOND, painting; 12 – 28 October MICHAEL JAMES Manaia presented by fortyfivedownstairs in association with Melbourne Festival and Taki Rua Productions, theatre; 23 October – 3 November Vacancy by ANDREA JENKINS, painting, drawing and sculpture; 23 October – 3 November Name Day by VIOLETA CAPOVSKA, print media. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966 Image: Eddie Perfect, 210x297mm, by Fiona Sweet and Garth Oriander, archival photographic print, 2010.

moonee ponds • Incinerator Gallery Until 21 October. Bilk on Tour. Touring exhibition from BILK GALLERY, showcasing some of Australia’s finest jewellery, metalsmithing and glass blowing. Dining with Cordyceps JODIE GOLDRING. Goldring explores the insidious changes to our domestic environment and consumption habits over the last century. Also DAVINA ADAMSON, both part of The Atrium Project. Call For Entries Fire Works: Art and Design by Bright Young Things. The Incinerator Gallery’s newest art prize for VCE students who live in or go to school in Moonee Valley. $500 cash prizes for best design and best art. For more information and to enter visit our website. Opening hours: Tues to Sun, 10am-4pm. Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: incinerator@, Image courtesy Bilk Gallery.


• ACCA - Australian Centre for Contemporary Art OURSELVES, curated by ACCA’s Artistic Director JULIANA ENGBERG, will include works by leading international artists such as LAURIE ANDERSON, SOPHIE CALLE, BRUCE NAUMAN and GILLIAN WEARING as well as local artists. Highlights include: DAVID ROSETZKY’s stunning video portrait of actor CATE BLANCHETT, OMER FAST’s unnverving film, 5000 feet is the Best, which is based on meetings with a Predator drone sensor operator, RINEKE DIJKSTRA’s I see a Woman Crying (The Weeping Woman) which portrays school groups discussing art works on display at the Tate Liverpool. OURSELVES, 10am to 8pm until October 27th, then normal hours (9am to 5pm weekdays, 10am to 6pm weekends, Mondays by appt) until 25th November, 2012. ACCA, 111 Sturt St, Southbank. 03 9697 9999. Free.

st andrews

• The Baldessin Press and Studio Artists / writers retreats, workshops, studio access etc in tranquil bushland 50 kms from Melbourne. T (03) 97101350, www.


• Sunshine Art Spaces Artist studios, gallery and shop front. Three artists – weaver LIA PA’APA’A, illustrator ASHA FARAH and comic book artist JARROD ELVIN – have been successful in obtaining licences on the studio space located in what was previously a chemist shop. Opposite the studios is a Gallery space, which will feature a exciting program of exhibitions. Open Weds-Fri, 11am-3pm. 2 City Place, Sunshine (Melway 40, H1) T: (03) 9249 4600 E:; www.

upwey • Burrinja Gallery ANDREW CHAPMAN: Nearly A Retrospective. Featuring documentary work, spanning over 40 years, by Victorian photographer Andrew Chapman. Crossing a wide range of subjects and periods the exhibition offers a fascinating insight into Australian social and political life, until 28 October. Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: (03) 9754 8723. W: burrinja. Image: Andrew Chapman, Speed Axe (detail).

wheelers hill • Monash Gallery of Art (MGA) 4 October – 18 November 2012, 2012 William and Winifred Bowness Photography Prize. The Bowness Photography Prize has quickly become Australia’s most coveted photography prize. In 2012, photographers will be competing for $25,000 first prize and $1,000 Crumpler People’s Choice Award. 860 Ferntree Gully Road, Wheelers Hill 3150. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: mga@, Image: Christian Thompson, Danger will come 2012 from the series We bury our own, chromogenic print, 102.0 x 102.0 cm, courtesy of the artist and Gallery Gabrielle Pizzi, Melbourne.

geelong • Geelong Gallery Melrose art pottery, a Bundoora Homestead Art Centre touring exhibition, until 7 October. Geelong region artists program, Marie Antoinette through the Notebook, MARION MANIFOLD until 21 October; 2012 Geelong Contemporary Art Prize, until 18 November. Geelong Gallery, Little Malop Street, Geelong 3220. T: (03) 5229 3645, www.geelonggallery. Free entry. Open daily 10am to 5pm. Closed Christmas Day, Boxing Day and New Year’s Day. Image: Winner - 2012 Geelong Contemporary Art Prize, PAUL RYAN, Wild colonial boys (detail) 2012, oil on canvas. Reproduced courtesy of the artist.




• Art Gallery of Ballarat Capturing Flora: 300 years of Australian Botanical Art, 25 September – 2 December. T: (03) 5320 5858 Free entry. Open daily 9am to 5pm. E:; www. Image: Miss Maund, Telopea speciosissima (detail) 1838, plate 71 from Benjamin Maund’s The Botanist engraving on paper, hand coloured. Collection: Art Gallery of Ballarat. Purchased with funds from the Joe White Bequest, 2010.

• Ballarat Arts Foundation Grants Rounds for emerging artists: 1 – 31 March and 1 – 30 September. Visit Downloads on or T: (03) 5332 4824 or M: 0409 352 268

• Her Majesty’s Ballarat Cabaret Festival, 2012: 20 performers and 40 performances in five spectacular venues Ballarat Cabaret has something for everyone. Whether you are after a good old-fashioned laugh from the amazing catalog of Danny Kaye, some extraordinary music from award –winning artists or something darker, Ballarat Cabaret has it all. Artists are drawn from all across Australia and the world including: JANE BADLER (V, Cluedo); CATHERINE ALCORN and JESSICA O’DONOGHUE from Sydney; MEGAN SHOREY from Brisbane; Parodies Lost from Perth; What is This Thing Called Love from Adelaide; our own home-grown AMIE BRULEE, TRACY BOURNE and CHELSEA GIBB; from Melbourne via Kyneton, WES SNELLING and the Roadworkers; and from Melbourne, GERALDINE QUINN, ANGELA HARDING, NICCI WILKS ... and more Her Majesty’s Theatre, 17 Lydiard Street South, Ballarat. Box Office/Ticket Sales: MajesTix T: (03) 5333 5888 Box Office hours - Monday to Friday, 9.15am - 5pm and one hour prior to performance starting times. • Post Office Gallery Wed 3 – Sat 27 Oct 2012 CAROLINE ASKEW, Hanging Histories. Please join the artist to celebrate the opening of her exhibition on Sat 6 Oct 1.30 – 3.30pm Caroline Askew’s work explores memory and nostalgia through questioning and re-evaluating the place of the handmade and the handcrafted in a world of the mass-produced object within a consumer society. In reworking domestic objects, she also honours the labours and the memory of unknown women, while creating new narratives and new levels of complex meanings. Post Office Gallery, University of Ballarat. Cnr Sturt and Lydiard St Ballarat. VIC. 3350. Mon/ Tue by appt. Wed-Sat 1-4pm. T: (03) 5327 8615, E:; au. Image: Caroline Askew, Hanging Garden 2011 (detail), handcrafted found objects, 200(h) x 400cm(w). Courtesy the artist.

• Radmac Now Showing at the Radmac Gallery throughout October 2012 local artists JENNY HENDERSON showing her photographic skills in black/white and colour covering Cars & Views along with CHRIS AMBRUS with her exhibition of Visionary & Contemporary, range created in acrylics on canvas. Radmac Gallery is pleased to have on display for the first time Damascus College VCE students end of year works (1 – 20 October) followed by the annual display by VCE students from Ballarat Secondary College (22 October – 3 November). Then on display from the 6 – 30 November students from Ballarat Secondary College Junior school. Radmac Gallery, 104 Armstrong Street (Nth) Ballarat 3350. T: (03) 5333 4617 Gallery Hours 8.30am to 5.30pm Mon - Fri, 9am to 12pm Sat. Entry Free. Enrol now for Art Classes, Gallery & Studio Space available.

bendigo • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Plus a small but interesting range of original artwork and photography. Ceramics and etchings by RAY PEARCE, limited edition prints by GEOFF HOCKING now in stock. 75 View Street. E:; T: (03) 5443 0624

• Bendigo Art Gallery Philanthropy: The art of giving, 8 September – 18 November 2012 42 View Street, Bendigo. T: (03) 5434 6088. Image: PETRINA HICKS Emily the Strange (detail) 2011, light jet print. Collection Bendigo Art Gallery. The Gift of Grace and Alec Craig. Courtesy the artist and Stills Gallery.


art * graphic * office and school supplies

*we supply service* 104 Armstrong St North, Ballarat 3350 Phone (03) 5333 4617 Fax (03) 5333 4673 Email

• Community & Cultural Development (CCD) - for arts, festivals and events info at your fingertips. Select Council Services, then Arts Festivals and Events for Events Calendar and Arts Register. The CCD Unit is an initiative of the City of Greater Bendigo. E: au T: (03) 5434 6464

• La Trobe University Visual Arts Centre VAC Gallery: To 21 October RIKI-METISSE MARLOW, LAURA WOODWARD, ERIN MANNING, TONY FALLA, NATHANIEL STERN, and BRYAN CERA. Co-Curators ANDREW GOODMAN and KENT WILSON – Entertaining the Environment. 24 October – 2 December MICHAEL COOK Through My Eyes. Access Gallery: To 7 October CLAYTON TREMLETT – The Unissued Stamps of Australian History. 10 October – 4 November NEIL MATTERSON The Female Body: Revealed and Reviled. 121 View St, Bendigo. T: (03) 5441 8724 W: Image: Michael Cook, Julia Gillard (detail) 2010, Inkjet print on Archival Hahnemuhle cotton paper, 50 x 40 cm. Image courtesy the Artist and dianne tanzer gallery + projects & Andrew Baker Art Dealer

castlemaine • Arts Officer - Jon Harris Community Activity and Culture Unit Mount Alexander Shire Council Jon Harris (Tues, Wed, Thurs, Fri) PO Box 185 Castlemaine 3450. T: (03) 5471 1793, M: 0428 394 577, E:

• Buda Historic Home and Garden A property of national significance. Home of the creative Leviny family from 1863 to 1981, featuring their personal belongings, original furnishings and arts and crafts collection. 1.2 hectares of heritage gardens to wander including plant nursery. 42 Hunter Street, Castlemaine 3450. T/F: (03) 5472 1032, W: Open Wed - Sat 12-5pm, Sun 10am-5pm. Groups by appointment.

• CASPA Castlemaine Contemporary Art Space. Above Stoneman’s Bookroom, Hargraves Street. www. Image: BILL DAVIES, Model Behaviour

• Castlemaine Art Gallery and Historical Museum JOHN BORRACK: Selected Paintings and Drawings 1970 – 2011, 9 September – 28 October. Best known for his lyrically structured paintings, John Borrack’s sensitive interpretation of the Australian landscape balances the needs of technique and theory with clarity of emotional expression. CAGHM, 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: Image: Haasts Bluff NT (detail) 2004/05, watercolour. Collection of the artist.

• Falkner Gallery 6 September – 28 October - Place: JAN McNEILL, oils and watercolours; and As the Crow Flies: DEE GILL, drawings and SARAH ORMONDE, ceramics. 35 Templeton Street, Castlemaine. Hours: 11am-5pm Thurs-Sun T: (03) 5470 5858; E:; W: www. Image: Jan McNeill, Field (detail), oil painting.

• Greengraphics: web and print We design anything, in web or print. Call (03) 5472 5300 or visit

• Lot19 Studios and Artspace We are currently seeking submissions for the annual spring sculpture prize! see the website for details, and for ongoing exhibitions and arts events. Lot19 Langslow Street (up Mcshannags Road) Castlemaine.

• Nunan Gallery New and retrospective art work by BRIAN NUNAN. Be unafraid – come and visit and enjoy. Open Frid. Sat. Sun 10am to 5pm. Nunan Gallery, 40 Campbell Street Castlemaine. T: (03) 5470 6724; E:; Image: Brian Nunan, Kimberley Man.

daylesford & macedon ranges • Daylesford Macedon Ranges Open Studios Inaugural event. 30 artists across the region open their studios on the weekends of 3 - 4, 5 - 6 and 10 - 11 November 2012, 10am - 5pm. Visit the Program Hub (open the same hours). DMROS Group Exhibition in the historic St Paul’s Anglican Church Hall behind St Paul’s Park, Piper Street, Kyneton, to preview the artist’s work before meeting them in their studios in Kyneton, Malmsbury, Woodend, Newham, Carlsruhe, Romsey, Gisbourne, Mt Macedon, Trentham, Wheatsheaf, Hepburn Springs, Dry Diggings, Yandoit and Allendale. Explore, observe, enquire, enjoy their talent, inspiration and discover your inner artist. Ceramics, textiles, metal, art, sculpture, botanical art, oils, mixed media, book arts, gold & silversmithing, glass art, pintmaking, handcrafted photography, mosaics, Archibald nominees, peaceful studios in rural settings. E: info@dmropenstudios; M: 0418 389189 W: Image: Sculptor ASHIKA OSTAPKOWICZ, Embrace Art Studios.

maldon • Maldon Folk Festival 2012 Maldon: The Soul of Folk. Featuring the WHITETOP MOUNTAINEERS from Virginia; Australia’s legendary MARGRET ROADKNIGHT; Melbourne’s CLAYMORE; South Australia’s COUNTRY EXPRESS ... bluegrass, hillbilly swing, harpists, singer-songwriters and more. Maldon’s vintage cafés, pubs and shops are ideal for genuine, earthy roots music. The Maldon Folk Festival stands committed to genuine, hand-made, live music from the soul and heart.

newstead • Dig Café Julienne’s latest exhibition at Dig is watercolour paintings titled PLAY. “Einstein said that ‘Play is the highest form of research’ and I think that sometimes people forget how to play. This exhibition represents the idea that we are never too old to be a child again and to bring a smile to the faces of those around us. When someone looks at my art and they respond to the essence of joy that I hope my work holds, then I think that I have been successful” - Julienne. Closed Monday and Tuesday. Open Wednesday and Thursday 9am-4pm, Friday and Saturday 9am - late, Sunday 9am-4pm. Cnr Lyons and Panmure Streets Newstead. T: (03) 5476 2744; • Gathering Gathering is located in Newstead, 15 minutes from Castlemaine, 25 mins from Daylesford. We stock all original, all Australian, all handmade goods. Perfect for shopping for that special gift or for something for yourself. You can find one of a kind pieces for grownups and kids to wear, adorn yourselves with, and place in your home. It is a space in our community to see hand making at its best. Panmure Street Newstead.

• Karen Pierce Painter, Illustrator, Art Teacher, Community Artist. Quality prints and cards. Old Post Office Studio, 22 Panmure Street Newstead. T: (03) 5476 2459,

woodend • Black Anther Gallery Flute to Flute. TONY STONE and KAREN VAN CUYLENBURG. An exhibition inspired by the poem Bird by PABLO NERUDA. 6 – 28 October 2012. Opening 2pm Saturday 6 October. Black Anther gallery. 42 Anslow St Woodend. Thursday - Sunday 10am - 4pm. T: (03) 54272788; E:

west gippsland • Open Studios West Gippsland Sunday 11 November, 10am - 5pm. a day to meet with artists to browse, buy and learn more about the creative process. A wonderful opportunity to buy original artwork and to meet the creators themselves. This is a self-guided tour and costs only $5 per person (under 18 free). Visit 18 studios! Maps and flyers can be downloaded from For further information please email KERRIE WARREN:


mildura • The Art Vault To 15 October ANDREW SVRTA Signature Rhythm small gallery; CHRISTINA CORDERO Silent Stories main gallery. 17 October – 5 November SOPHIE GRALTON Will you remember me Day & Night; STEPHANIE BOLT here and there. 43 Deakin Avenue, Mildura 3500. T: (03) 5022 0013 E: Gallery Director: Julie Chambers. Wed - Sat 10am to 5pm and Sun - Mon 10am to 2pm. Artists in Residence: Tony Ameneiro; Anna Austin; Stephanie Bolt; Christina Cordero; Sophie Gralton. Image: Sophie Gralton hand me down II (detail) 81(h) x 69(w) cm dry point etching U/S. • Mildura Arts Centre Until 5 October 2012, The Mallee Youth Photo Project (MYPP),Venue: LEAP Project Space, 39 Langtree Avenue, Mildura, Open Tues-Fri: 11am-3pm. Mildura Arts Centre Regional Gallery is closed while the Centre undertakes an exciting redevelopment of Mildura’s arts and cultural precinct. 199 Cureton Avenue, Mildura VIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www. Image credit: DENISE JAMES, Who’s Green Dress? (detail) © Mildura Arts Centre Collection, gift of the artist 2004.

swan hill • Swan Hill Regional Art Gallery IVOR CANTRILL until 14 October, Paintings, Drawings and Prints, 1981-2012. Colour Me Crazy 2012, 2 – 28 October; LESLEY DICKMAN, ‘Salt and the Dress’ 18 October – 25 November; PAUL OSWIN, Matrix, 30 October – 25 November. Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:artgal@; Image by Lesley Dickman.



benalla • Benalla Art Gallery JUDY LORRAINE 15 September to 21 October. Opening hours 10am - 5pm. Benalla Art Gallery, Bridge Street, Benalla, Victoria, 3672. T: (03) 5760 2619; E:; www.

shepparton • Shepparton Art Museum 20 September – 19 November: 2012 Sidney Myer Fund Australian Ceramic Award. 70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E:; Acting Director: Ryan Johnston. Open 7 days, Free Entry.

LAUNCH PARTY Saturday 18 February 2012

wangaratta • Wangaratta Art Gallery 56 Ovens Street Wangaratta. Director: Dianne Mangan, Hours: Mon-Tues 12-5pm; Wed-Fri 10am-5pm, Sat-Sun 1-4pm. T: (03) 5722 0865, F: (03) 5722 2969, E: d.mangan@wangaratta. or; then follow the links to the gallery. Follow us on Facebook. Image: AMANDA HO, Plant, Mineral, Animal 2012, cotton warp, silk stainless seel weft. Image courtesy of the artist. Petite miniatures entry 2012.

• Free arts activities, live music & tours of SAM: 10.00am to 5.00pm • Sir John Longstaff: Portrait of a Lady Exhibition • 2011 Indigenous Ceramic Art Award Exhibition • 6 New Permanent Collection Galleries For more information visit 70 Welsford St, Shepparton, 3630 VIC p 03 5832 9861 f 03 58318480 e

ararat • Ararat Regional Art Gallery Recent Acquisitions - ROBYN DAW, TIM GRESHAM, NEWELL HARRY, LUCY IRVINE, VIRGINIA KAISER, ANNEMIEKE MEIN, NALDA SEARLES, JENNY WATSON, to 22 October. Amongst the trees: works on paper and sculpture by TIM JONES, to 28 October 2012. Town Hall, Vincent Street, Ararat. Mon to Fri 10am-4.30pm, w/ends 12-4pm. Free entry. T: (03) 5352 2836; E: au; Image: Tim Jones, Woods with ladders 1999, wood engraving, ed 35, 9 x 12.5 cm.

horsham • Horsham Regional Art Gallery 12 Oct – 09 Dec: MELISSA POWELL – Aerial Photography. Natimuk based photographer, Powell, documents the seasonal changes of the Wimmera environment. 21 Roberts Ave, Horsham. Tues-Fri 10am-5pm, Sat-Sun 1-4.30pm. T: (03) 5362 2888; E: hrag@;




Trouble magazine released October 2012. Features: Save Erotic Australia by Anita Pettinato, Doing Danny Kaye: Russell Fletcher, Social Work...