Art Almanac April 2017 $6
Philjames Cementa Peter Maloney
Art Almanac April 2017
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Deadline for May 2017 issue: Tuesday 28 March, 2017.
Art is a way to recognise truths and myths, says Robert Andrew who explores colonialism, dispossession and the third space we occupy when trying to understand the coalescence of the past, present and future. We agree. Why not ask why? The practices of Philjames, Jumaadi, Peter Maloney, the performance artists in ‘Political Acts’, Shigeru Ban and Richard Tipping demonstrate the power of art to challenge ‘the narrative’ by being a question rather than an answer.
Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Mulholland info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Accounts – Penny McCulloch accounts@art-almanac.com.au
Cover Philjames, COOZ, 2017, oil on vintage offset lithograph, 63 x 47cm Photograph: Jenni Carter Courtesy the artist and Galerie pompom, Sydney
T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
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Harmony Art Collective Three-hundred creative young people, both migrants and First Australians, joined forces with four top street artists to explore and celebrate the nuances of identity and personal journeys through art. In the lead up to the show eight workshops were held in Adelaide, Garma, Hobart, Wollongong, Bankstown and other regional locations where the participants, from 15-24 years of age, created new works while being mentored by Brad Eastman (aka Beastman), Kaff-eine, Regan Tamanui (aka Haha) and Ben Frost. The project was inspired by the value of positive discussion around how young people feel about where they’ve come from, where they’re going and belonging. The exhibition is supported by SBS, the Department of Social Services and aMBUSH Gallery and celebrates the ethos of Harmony Day. Showing at the Darling Quarter Theatre Foyer, Sydney until 25 April. Harmony Art Collective Adelaide Workshop Photograph: Billy Zammit Courtesy Harmony Art Collective
Honolulu Biennial, Hawaii This new, multi-site, contemporary visual arts festival will activate various locations within the city of Honolulu until 8 May. Entitled, ‘Middle of Now’ the focus is to highlight the creative practices in our Pacific neighborhood. Curatorial Director Fumio Nanjo and Curator Ngahiraka Mason have invited Vernon Ah Kee, Alfredo and Isabel Aquilizan and Ken + Julia Yonetani from Australia as well as a strong contingent of New Zealand artists including Brett Graham, Yuki Kihara, Fiona Pardington, Lisa Reihana, Greg Semu and John Vea to participate. honolulubiennial.org Ken + Julia Yonetani, Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (Exhibition View), Singapore Biennale © Yonetani, Ken & Julia Courtesy the artists and Mizuma Art Gallery, Singapore
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Jacky Redgate: Mirrors Essays by Robert Leonard and Ann Stephen Power Publications
Jacky Redgate has reinvented her oeuvre over the last two decades by experimenting with a series of photographs, installation and video. These new works engage light and reflection, teasing audiences with a combination of abstraction and what curator Ann Stephen describes as an “autobiographical mask” of mirrors. With text by Stephen, and art writer and curator Robert Leonard, this monograph contextualises Redgate’s work, placing it in a historical framework that invites the reader to discover the ‘sleeve-invading pigs’ of Redgate’s past and view the artist’s work anew.
Khadim Ali Dott Publishing, an imprint of ARTAND Foundation
This gold fabric covered monograph with its richly coloured reproductions of paintings and tapestries by artist Khadim Ali, accompanied by essays from Salima Hashmi, Rachel Kent and Ali himself, tells a compelling narrative of the artist’s homelands of Afghanistan and Pakistan, the perils of the Hazara people fleeing the Taliban, and the development of his artistic practice. Conveying his concern for the ongoing conflict in these lands, and the loss and trauma of persecution the works are detailed with depictions of demon-like figures. Using colour as a form of expression his pieces are made with natural dyes and pigments sourced from Hazarajat. “Sampling from the land is a reminder of the cyclical nature of life”, says Ali.
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The inventive work of Shigeru Ban Tess Maunder Pritzker Prize-winning Japanese architect Shigeru Ban’s first Australian presentation is on view now at Sherman Contemporary Art Foundation (SCAF). For over 20 years, Shigeru Ban has been leading the conversation on global disaster relief architecture. His philosophy is to challenge the conception that architecture is only a glitzy and elite field, instead, throughout his work, he uses architectural methods and design capabilities to engage with some of the most urgent fields of inquiry in the world today; global warming, political conflict, natural disaster and migration. Ban’s practice is driven by an acute sense of curiosity, a paring back to the basics of architecture in combination with a strong connection to the philosophy and ethics surrounding direct community engagement. He is widely recognised for his striking use of materiality, and often his work will feature what is perceived as unconventional materials in disaster relief projects, such as bamboo, fabric, paper, and recycled composites. It is this economy of means that has given the architect much success in winning over the communities that he works for on his disaster relief work. Ban’s experimentation with the provision of emergency shelters began with a response to
refugees fleeing the Rwanda genocide in 1994. Since then, this disaster relief work has extended across the world, responding to disasters in Sri Lanka, Haiti, Japan, Turkey, India, New Zealand, the Philippines, Nepal and more. Ban explains, “It’s not just building; it’s learning the culture and the lifestyle — this is part of the enjoyment of architecture. I love to continue learning and accumulating different cultures — that’s my biggest interest.” Sherman Contemporary’s exhibition, ‘The inventive work of Shigeru Ban: SCAF Projects 34 & 35’ has been in the making for over two years. The project has been enabled through the vision and energy of SCAF Executive Director Dr Gene Sherman, who has been following Ban’s practice for years, likening the breath of his approach to other international artists previously staged at SCAF, such as Ai Weiwei. Sherman offered, “Australia is inevitably part of the globalised world. As a country, strategies and methodologies need to be set in place in order to create sustainable, affordable housing. Too 32
Political Acts: Pioneers of Performance Art in South East Asia Lucy Stranger The old and the new pack a punch in ‘Political Acts’. Whilst performance art has an embedded history across Southeast Asia in music, dance and theatre, established practitioners Dadang Christanto (Indonesia/Australia), Lee Wen (Singapore), Melati Suryodarmo (Indonesia) and Tran Luong (Vietnam), carry a weighty authority, having pioneered provocative performance art over a number of decades. Newcomers Khvay Samnang (Cambodia), Liew Teck Leong (Malaysia) and Moe Satt (Myanmar) are strong examples of the new trajectories that have emerged within the field in the last 15 years. Together the seven leading artists represent its impressive progression – encouraged by a proliferation of festivals in Southeast Asia since the first Nippon International Performance Art Festival (1993). Revealing the interconnections within the art industry in Southeast Asia, ‘Political Acts’ aims to present a dialogue between the artists. Curator, Dr Steven Tonkin outlines, “all of these artists work within performance art, they know each other’s work, there is a network. Bringing together one artist from each country becomes representative of their own culture, but also reveals commonalities between the artists in the way they approach their art.” Displaying video, installation and photographic works, ‘Political Acts’ appreciates the timeline of performance art, presenting a range of earlier and new works from each artist. Dadang Christanto reflects back to the hurt of the 1965 anti-Communist purge in Indonesia in his newly commissioned work Slaughter Tunnel (2015-2017), which immerses the viewer into a narrow U-shaped passageway encased in recycled cardboard and mud. Confronting and evocative, it is an unwavering action by Christanto to expose the truth for the victims of genocide. With the body as a vehicle and a symbol, the artists collectively embrace the physicality of their work, and the physical response it provokes within the audience. In curating the exhibition, Tonkin realised another visual relationship that emerged, stating, “one of the 38
Philjames WARPARTY Chloe Mandryk
Philjames paints in oil on vintage offset lithographs and makes ceramic sculptures. As if in a cry of ‘off with their heads!’ the artist gives historical figures a facelift applying cartoon masks which change and challenge the agency of the image. His discombobulated compositions adapt iconography from pop-culture that are already a little ‘warped’. The trope of the grotesque is turned on its ugly head with cute-as-a-button animations that grow jowls, mutate and like a carnival ‘freak’ amuse and threaten our sense of ease. Philjames’ fine art interventions are similar to what happens in street art, the disobedience encourages us to look twice, often with renewed focus. Why is there power in devotional images and history paintings, and how do you riff off that in your work? It’s like writing a love letter. With history paintings I think events and general life in times past can take on a kind of majesty, which time and distance bestows on many things. So in that case it’s an artist’s impression. The smell of raw sewage and cholera has long vanished. It reminds me of the disclaimer on the old Sea Monkeys comic advertisement which read: “Illustration is fanciful.” What’s your process like from the start to finish of a piece? It really varies, I have heaps of books with ideas and notes that may work for painting or sculpture or something else. In the case of my typical painting I collect the pieces, sometimes I can see straight away how I could reinterpret it, in which case I’ll sketch out the idea then transfer it over and start the painting process. Which generally requires several layers and adjustments as it develops. I source the images from far and wide. How do you select the cartoon characters you transform? Is it tied to their formal qualities or the role they play on screen? This is a weird one, and to go fully into it would take pages. But mostly, character-wise, I’m interested in the yellow characters, Pikachu, 49
Michael Zavros
Emily Floyd
Magic Mike
Icelandic Puffins
Artist Michael Zavros has worked as co-curator with Newcastle Art Gallery to re-contextualise early work, alongside new pieces created for the show which explores male beauty with a tongue in cheek title that refers to both virtuoso painting and ‘magic’ realism as well as a Hollywood blockbuster film about strippers. As a performative element a temporary gymnasium will be placed amongst the artworks. While mirroring society’s obsession with beauty, the show offers “a glimpse of the artist through an inward looking lens”, the gallery suggests.
Social crisis and the role of art are up for discussion in this new installation by Emily Floyd. Last year in Iceland three of the major banks (Glitnir, Landsbanki and Kaupthing) collapsed as a result of corrupt corporations. Uniquely, the state prosecuted those responsible for market manipulation and fraud. Listing each offending company name beside a hand-carved puffin, Floyd encourages the viewer to engage with the issues of our time. Each Puffin is a one-off and rendered in jet-black, expressing a sense of disquiet.
The Sunbather, 2015, oil on canvas, 180 x 180cm Purchased 2016, Newcastle Art Gallery collection Courtesy the artist, Starkwhite, New Zealand and Newcastle Art Gallery, New South Wales
Emily Floyd, Icelandic Puffins, 2017, wood, automotive paint, black oxidised steel Courtesy the artist and Anna Schwartz Gallery, Melbourne
Newcastle Art Gallery Until 28 May, 2017 New South Wales
Anna Schwartz Gallery 8 to 29 April, 2017 Melbourne
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Nancy Downes Between/Beyond Paper Mountain 8 to 23 April, 2017 Western Australia
Nancy Downes uses tactile materials, light and space to create immersive, enveloping works to highlight her interest in the many layers that make us human. ‘Between/ Beyond’ spotlights grief, and how material and movement can transmute this emotion as something that is active and processal. Two large-scale kinetic works impose on the physical space of the audience, moving and contorting rhythmically, informing awareness of the self, and the physical responses to the agony of despair.
Present Absent (detail), 2015, shock cord, felt, Perspex, upholstery nails, gouache, dimensions variable Courtesy the artist and Paper Mountain, Western Australia
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Let’s Talk About Text Artbank, Sydney Until 16 June, 2017 Sydney Contemporary Australian artists come together in this show drawn from the Artbank collection to consider how we look at reading, and read the act of looking. From slogans, to typography, what we might SMS, or the twist and density of your cursive, these artworks all harness text as a pictorial device. Artists include; Eugenia Raskopoulos, Richard Bell, Newell Harry, Clinton Nain, Angela Cavalieri, Thomas Jeppe, Rose Nolan, Emily Floyd, Peter Dudding, John Demos, Alice Lang, Anthony Johnson, Nasim Nasr and Sarah Contos.
Alice Lang, Holy Shit, 2016, marbled paper, acrylic paint and pen on paper, 63 x 50 x 3.5cm Courtesy the artist and Artbank, Sydney
Guirguis New Art Prize Arts Academy Post Office Gallery Until 14 May, 2017 Victoria The 14 Guirguis New Art Prize finalists are all contemporary artists working in ‘new and emerging media’. Viewers can expect engaging pieces across video, sculpture, painting, photography, textiles, installation and sound, which will explore art world and socio-political themes such as illusion and the ‘gaze’, gender, Indigenous culture and traditions, fantasy, fact and fiction. As well as weekly artist talks there will be a forum ‘Disruption & Art’ featuring Abdul Abdullah on Saturday 8 April. The 2017 winner of the third biennial will receive $20,000 and the acquisitive prize will add to the growing FedUni Art Collection.
Carly Fischer, Creating False Memories for a Place That Never Was, Part 2, 2016, installation view, found Australian, Indonesian, African and Polynesian wooden souvenirs, found wooden household objects, pine, Tasmanian oak, balsa, bamboo, MDF, cotton, nylon, rocks, adhesives, acrylic paint and varnishes, and audio soundscape (mixed in collaboration with Mieko Suzuki), dimensions variable Photograph: Matthew Stanton Courtesy the artist and Arts Academy Post Office Gallery, Victoria
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Lydia Wegner Swing
ARC ONE Gallery Until 13 April, 2017 Mebourne
Using everyday materials under tinted flashlights, artist Lydia Wegner’s photographs are at once abstract, but speak to very specific architectural forms. In this series the functional and cheerful pieces, plastics, joins and kinetic elements that make up a playground are under her lens. The effect is an energetic field of colour and texture and celebration of play. Adding another layer of playfulness there will be pastel-toned park benches in the gallery to evoke “a sense of recreational space and activity, welcoming visitors to sit and interact within her own space of diversion.”
Red Mirror Cut, 2017, archival inkjet print, 106 x 71cm Courtesy the artist and ARC ONE Gallery, Melbourne
Artist Opportunities We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs, Exhibition Proposals and more. Enjoy and good luck! The Redlands Konica Minolta Art Prize
This annual prize celebrates both emerging and established artists with an exhibition at the National Art School Gallery (NAS), Sydney to showcase the finalist entries. From each category one winning work is acquired by Redland School for their permanent collection.
Freedman Foundation Travelling Scholarship for Emerging Artists
Applications close 6 May, 2017 Each year the Freedman Foundation offers four $5,000 scholarships that are awarded to emerging artists to help cover the cost of overseas travel to either, undertake formal study, participate in a residency/mentorship program, or undertake informal study for a planned research project. visualarts.net.au
Ballarat International Foto Biennale Martin Kantor Portrait Prize
Applications close 31 May, 2017 The new Ballarat International Foto Biennale Martin Kantor Prize is calling for entries from photographers and photo media artists for the opportunity to have work displayed at the Ballarat International Foto Biennale from 19 August to 17 September. Entries for The Fringe Program are also open, and for the first time the biennale includes the Athletic Club Brewery Ballarat Icons Prize with a focus on the iconic people and landscapes in and around Ballarat. ballaratfoto.org
MPavilion/Art Monthly Australasia Writing Award
Georgina Cue, Aelita, 2016, archival inkjet print, 70.6 x 100cm Courtesy and © the artist
The Prize supports artists across a wide range of media, and initiates mentoring opportunities between the artists. This year’s guest Curator, Callum Morton selected 20 Australian contemporary artists including collectives, Barbara Cleveland, DAMP and A Constructed World and artist duo David Haines and Joyce Hinterding, who each nominated one emerging artist to create a work as part of the emerging artist category. On forging these connections Morton stated that he, “wanted to include people who had a direct connection to a younger generation through their various communities, so that the conversation between the generations might make some sense when assembled together. There are many artists included who teach at a range of tertiary institutions around the country and who have had a significant and continuing influence on successive generations of artists.” On view at NAS Gallery until 20 May. redlands.nsw.edu.au
Applications close 1 July, 2017 Australian writers are invited to submit proposals for an essay that explores one or more aspects of the relationship between art and design. The winning entrant will receive a $3,000 prize to develop the piece to be published in Art Monthly. The writing award is co-presented with MPavilion as part of their annual architecture commission and it hopes to encourage the exploration of interdisciplinary practice within art and design. visualarts.net.au
Castaways Sculpture Awards
Entries close 2 June, 2017 Castaways Sculpture Awards is a non-acquisitive prize for small and large-scale sculptures. Artists are invited to submit works that are weather resistant and have a recycled component. Works will be exhibited on the Rockingham Foreshore in Western Australia. rockingham.wa.gov.au
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RQAS Art Exhibitions at Petrie Terrace Gallery
T (07) 3367-1977. E entries@rqas.com.au W www.rqas.com.au/exhibitions Landscape exhibition entries due May.
WestEnd Art space
185 Rosslyn Street, West Melbourne VIC 3003. W www.westendartspace.com.au WestEnd Art space is calling for artists and curators to apply for the 2017 exhibition program and arts residency. See ad page 82.
Internships & Fellowships Art India Magazine
W www.artindiamag.com As a part of the job, you will learn the process of Publishing the magazine from finish to end.
ArtAsiaPacific, Hong Kong
W www.artasiapacific.com Editorial and design internships for students and recent graduates excited about contemporary art, magazines and learning.
Artsy, United States
W www.artsy.net A fast-paced digital company regularly advertises for editorial, accounts and art marketing positions.
Asia Society, New York
W www.asiasociety.org Across the fields of arts, business, culture, education, and policy, the Society provides insight, generates ideas, and promotes collaboration to address challenges and create a shared future.
Australia Council Fellowships
W www.australiacouncil.gov.au $80,000 support outstanding, established artists’ creative activity and professional development for a period of up to two years.
Chinati Foundation, United States
W www.chinati.org During extended stays at Chinati with stipend and accommodation Education, Conservation and Development interns gain exposure to various aspects of the museum’s daily operations, working closely with staff, resident artists, visiting scholars, architects, and museum professionals.
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Documentary Arts Asia, Thailand
W www.doc-arts.asia This non-profit organisation aims to advance visual literacy and supports documentary artists in Asia. Internships in documentary photo, film, editing, curating, teaching and administration.
Lismore Regional Gallery Volunteers
W www.lismoregallery.org Lismore Regional Gallery seeks volunteers to become involved in aspects of the gallery’s daily operations and exhibition program to learn skills through disciplines in the arts, media, cultural studies and events.
M+ Museum, Hong Kong
W www.westkowloon.hk In the Performing Arts Internship Programme you will work with professional staff, full-time for a period of around six months and gain practical and theoretical training in programming, venue operations as well as technical and productions. Paid and operating on a recurring basis, with openings every year.
Museum of Contemporary Art and Design, Manila
W www.mcadmanila.org.ph Internships in the museum are often fast-paced and the tasks are varied. MCAD is looking for Curatorial, Design and Media applicants.
National Art School, Sydney
W www.nas.edu.au NAS seeks volunteers to work for at least one or two half days each fortnight and commit to the program for 12 months.
National Gallery of Australia, Canberra
W www.nga.gov.au We offer placements in a wide range of functions in a number of areas to provide as broad an experience as possible.
National Library of Australia
W www.nla.gov.au Supports practising writers and artists to develop new work creatively using or inspired by the Library’s collections.
NON Berlin: Asia Contemporary Arts Platform, Germany W www.nonberlin.com Design and PR internship applications are invited to experience working at a dynamic Asian contemporary art platform in the heart of Berlin.
RMIT Project Space/ Spare Room
RMIT Building 94.2, 23-27 Cardigan Street, Carlton 3053. T (03) 9925-4971. W intersect.rmit.edu.au Managed by: RMIT:ART:INTERSECT Free entry, wheelchair access. H Wed-Fri 10.00 to 5.00, Thurs 10.00 to 8.00, Sat 12.00 to 4.00. March 31 to May 11 (opening Thurs March 30, 5-7pm) An Exhibition Celebrating Two Decades of the Australian Print Workshop Collie Print Trust Scholarship for Emerging Victorian Printmakers – with artists Jazmina Cininas, Andrew Gunnell, Carolyn Hawkins, Clare Humphries, Deb Taylor and Jessi Wong. Curated Dr Richard Harding (RMIT University) and Anne Virgo OAM (Australian Print Workshop).
Steps Gallery
62 Lygon Street, Carlton South 3053. T (03) 96503577. W miesf.com.au/steps-gallery To April 4 Here & Now – Angela Abbott, Margaret Cowling, Jennifer Fyfe and Maggie Chiara. Daily 10.00 to 4.00. April 4 to 12, 4 at Steps – Thalia Andrews, Frixos Ioannides, Steve Messinis and Mary Raphael. MonFri 10.00 to 4.00, Sat-Sun 11.00 to 3.00. April 18 to 27 (opening Wed April 19, 6.30-7.30pm) Mysteries of Religion by Grazia Marin. Daily 12.00 to 4.00. See ad page 95.
Fitzroy Collingwood Abbotsford Alcaston Gallery
11 Brunswick Street, Fitzroy 3065. T (03) 94186444 F 9418-6499. E art@alcastongallery.com.au W www.alcastongallery.com.au Director: Beverly Knight (approved to value Aboriginal paintings, ceramics, sculpture, textiles and artefacts for the Cultural Gifts Program) and Marielle Soni. H Tues-Fri 10.00 to 6.00, Sat 11.00 to 5.00 or by appt. April 4 to 22 Pink Terraces by Dean Smith. Also, The Raft of the Tagata Pasifika (People of the Pacific) by Greg Semu.
Australian Galleries
35 Derby Street, Collingwood 3066. T (03) 9417-4303 F 9419-7769. E melbourne@australiangalleries.com W www.australiangalleries.com.au Director: Stuart Purves AM. H Daily 10.00 to 6.00. To April 9 Relics from an inquisition: The Hollywood Ten...plus by Peter Neilson. Also, Around the traps by Michael Fitzjames. April 20 to May 7 Paintings and works on paper from 1984-2017 by Graeme Drendel.
Grazia Marin, Dirty Dancing in the Garden of Eden (detail), 2017, oil, acrylic, pen, 120 x 90cm Courtesy the artist
Graeme Drendel, The bathers, 2011, oil on canvas, 137 x 137cm Courtesy the artist
Melbourne 91
Firstdraft
13-17 Riley Street, Woolloomooloo 2011. E mail@firstdraftgallery.com W www.firstdraftgallery.com An artist run organisation for emerging and experimental art practice.
Frances Keevil Gallery
Bay Village, 28-34 Cross Street, Double Bay 2028. T (02) 9327-2475. E info@franceskeevilgallery.com.au W www.franceskeevilgallery.com.au H Tues-Sat 10.00 to 5.00, Sun 11.00 to 4.00. April 3 to 23 New collections by Isabelle Devos and Sally Hook.
Atong Atem, Paanda, 2015 Courtesy the artist and Australian Centre for Photography
COMA
137 Bayswater Road, Rushcutters Bay 2011. T (02) 8316-3592. E info@comagallery.com W www.comagallery.com H Tues-Fri 10.00 to 6.00, Sat 10.00 to 4.00. April 7 to May 8 Weather for Leather by Jon Pilkington.
Conny Dietzschold Gallery Sydney | Cologne | Hong Kong
Isabelle Devos, Farmhouse, Edwards Lane, 40 x 51cm Courtesy the artist and Frances Keevil Gallery
Gallery 9
9 Darley Street, Darlinghurst 2010. T (02) 9380-9909. E info@gallery9.com.au W www.gallery9.com.au Director: Allan Cooley. Manager: Scott Millington. H Wed-Sat 11.00 to 6.00, Sun-Tues by appt. To April 15 David Ralph, Kristina Tsoulis-Reay and Elaine Campaner. April 19 to May 13 Jake Walker and Julian Hooper.
99 Crown Street, East Sydney 2010. T (02) 96900215. E info@connydietzscholdgallery.com W www.connydietzscholdgallery.com H Wed-Fri 11.00 to 5.00, Sat 11.00 to 4.00 or by appt.
The Cross Art Projects
8 Llankelly Lane (off Orwell Street), Kings Cross 2011. T (02) 9357-2058, 0406-537-933. E info@crossart.com.au W www.crossart.com.au Director: Jo Holder. H Thurs-Sat 11.00 to 6.00. To April 8 Water objects – echoes by Louise Boscacci and Toni Warburton. Artist talk: Sat April 1, 3pm.
Jake Walker, #0019, 2015-17, oil on board, glazed stoneware frame, 30 x 35cm Courtesy the artist and Gallery 9
134 Sydney
Civic Inner North ANCA Gallery
1 Rosevear Place, Dickson 2602. T (02) 62478736. E gallery@anca.net.au W www.anca.net.au H Wed-Sun 12.00 to 5.00. To April 9 ELAPSE – Ruby Aitchison, Cara Johnson and Thomas O’Hara an exhibition of mineral erosion, vegetable degradation and cellulose disintegration. April 12 to 30 (opening Wed April 13, 6pm) Fire and Rain drawings by Sally Blake.
The Front Gallery & Café
Shop 3, 1 Wattle Place, Lyneham 2602. T (02) 6249-8453. E info@frontgallerycafe.com W www.frontgallerycafe.com Visit website for exhibitions.
The Garage
36 Giles Street, Kingston 2604. E info@thegarage.gallery W www.thegarage.gallery The Garage is an independent project presenting exhibitions in non-traditional art spaces across Canberra.
Acton NewActon ANU Drill Hall Gallery
Kingsley Street (off Barry Drive), Acton 2601. T (02) 6125-5832. E dhg@anu.edu.au W dhg.anu.edu.au Director: Terence Maloon. Free admission. H Wed-Sun 10.00 to 5.00. To April 9 Interior Landscapes by Elisabeth Cummings. April 20 to June 8 ANU Art Collection.
ANU School of Art Gallery
105 Childers Street, Acton 2602. T (02) 6125-5841. E sofagallery@anu.edu.au W soa.anu.edu.au H During Main Gallery exhibitions Tues-Fri 10.30 to 5.00, Sat 12.00 to 5.00, closed Sun-Mon and public hols. Thomas O’Hara, Greg’s Pergola, oregon, 40 x 30 x 30cm Courtesy the artist and ANCA Gallery
Canberra Contemporary Art Space, Gormon Arts House
Gorman House Arts Centre, 55 Ainslie Avenue, Braddon 2612. T (02) 6247-0188. E info@ccas. com.au W www.ccas.com.au H Tues-Sat 11.00 to 5.00.
Canberra Museum and Gallery
Cnr London Circuit and Civic Square, Canberra City 2600. T (02) 6207-3968. W www.cmag.com.au H Mon-Fri 10.00 to 5.00, Sat-Sun 12.00 to 4.00.
Craft Act Craft and Design Centre
Level 1, North Building, 180 London Circuit, Canberra 2601. T (02) 6262-9333. E craftact@craftact.org.au W www.craftact.org.au
Foreshore Southside Beaver Galleries
81 Denison Street, Deakin, Canberra 2600. T (02) 6282-5294 . E mail@beavergalleries.com.au W www.beavergalleries.com.au Directors: Martin & Susie Beaver (member of ACGA). H Tues-Fri 10.00 to 5.00, Sat-Sun 9.00 to 5.00. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists. April 27 to May 14 John Pratt works on paper. Also, Prue Venables, Kenji Uranishi and Keiko Matsui porcelain group show.
Australian Capital Territory 159