Art Almanac May 2019 Issue

Art Almanac May 2019 $6

Madeleine Pfull The National Dan McDonnell

Art Almanac May 2019

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Deadline for June 2019: Wednesday 1 May, 2019.

We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Guringai people of the Eora Nation where Art Almanac has been produced.

The contemporary Australian artists in this issue address dystopia. Our cover artist Madeleine Pfull’s paintings promote choice whereas Darren Sylvester’s survey at the National Gallery of Victoria considers the problem of aspirations that are impossible to gratify. Dan McDonnell’s work interrogates the way we interact with screens. ‘The National 2019: New Australian Art’ and ‘National Anthem’ assess the impact of who is in the driver’s seat when it comes to national identity and personal and cultural myths – and offer voices we all benefit to hear from.

Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Francis 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 T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

Cover

Madeleine Pfull, Sao Lady 1, 2019, oil on linen, 101 x 116cm Sao Lady 2, 2019, oil on linen, 101 x 116cm Courtesy the artist and Chalk Horse, Sydney 5

Celebrating Culture In an effort to break down barriers between Indigenous and non-Indigenous Australians and form relationships of understanding, appreciation and acceptance, Indigenous history, culture and community are highlighted over the next few months with National Reconciliation Week and NAIDOC Week.

We can all enjoy events across the country such as Victoria’s Glen Eira region’s ‘Storytelling Festival’ from 22 June to 7 July, and the exhibition ‘Celebrating Culture: Contemporary Indigenous Art’ at it’s Council Gallery from 2 May to 28 July. The latter, curated by Diane Soumilas, showcases the work of contemporary Indigenous artists Brook Andrew, Tony Albert, Hannah Brontë, Michael Cook, Janet Fieldhouse, Gali Yalkarriwuy Gurruwiwi, Hayley Millar-Baker, Kent Morris, Vincent Namatjira, Wayne Quilliam, James Tylor and Vicki West.

Through paintings, photography, drawings, mixed-media, video and installations themes of identity, colonisation, personal history, community and the diversity and richness of a significant cultural heritage are explored. Tylor’s Un-resettling (Canoe Tree) (2017) will re-explore and restore lost traditional Kaurna dwellings and practices and Cook’s Mother-Bicycle (2016) print focuses on family life and the complexities of the stolen generation; while others dwell on extended issues from social and religious life to cultural adversity and survival.

A free public program includes artist talks with Hayley Millar-Baker and Kent Morris who will discuss their creative practice as well as the works in the exhibition on Friday 28 June at 12pm, and a floor talk by Indigenous photographer and RMIT University Adjunct Professor Wayne Quilliam who will provide insight into Indigenous storytelling as well as his own artmaking on Friday 5 July at 12pm.

James Tylor, Un-resettling (Canoe Tree), 2017, hand coloured photograph, 50 x 50cm Courtesy the artist and Glen Eira City Council Gallery, Melbourne

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Ian North ART | WORK | WORDS

Art Gallery of South Australia

Curators, art historians, a sociologist and a creative writer, each with a close association to artist, writer and museum professional, Ian North, discuss his multifaceted output through a series of essays in ‘ART | WORK | WORDS’. Edited by Maria Zagala, the texts (including contributions from North) discuss his formative experiences, approach to artistic practice and chart the course of his curatorial career. As contemporary artist, North often combines photography and painting. An alluring display of images runs throughout the book, while an illustrated chronology provides a succinct overview of the artist’s journey to date.

Amalia Pica please listen hurry others speak better Sternberg Press

From cardboard reconstructed acoustic radars to marble sculpted hearing aids, Amalia Pica comments on the volume of human communication, and enables a better understanding of new dialogues (and miscommunication) between interspecies. With a focus on shared language and experiences between our closest relatives (for example, apes and chimpanzees), Pica looks towards tools of interaction.

Exhibition photographs and didactic texts, vocabulary lists, lexigrams, musical and performance documentation as well as artefact illustrations provide an anthropological aspect to the publication and support the in-depth research of social models and hierarchies that inform Pica’s artmaking.

Includes written contributions by Aileen Burns & Johan Lundh, Carolin Köchling, Rafael Ortega, Filipa Ramos, Volker Sommer and Eugenio Viola.

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The National Lucy Stranger

‘The National 2019: New Australian Art’ is a series of three biennials that survey Australian art ‘now’. In this second iteration, practices from across Australia are on view at the Museum of Contemporary Art Australia (MCA), Carriageworks and the Art Gallery of New South Wales (AGNSW). Heralded by its dramatic title, ‘The National’ sets a challenge for curators and artists to respond to past and present conceptions of Australia as a ‘nation’.

Evoking the atmosphere of today the AGNSW presents artists creating ephemeral works in response to a world in a state of flux and attempts to bring it into focus. Engaging with the immaterial experience of the digital world, Eliza Hutchison’s colliding images create an overwhelming flood of visual data that defamiliarises the way we see. Nearby the transitory work of Rushdi Anwar, a sculpture of blackened, burnt and crumbling chairs, rises from the ashes. It is a symbol of destruction and renewal, a charged response to the political unrest faced by humanity.

Despite the imperative to capture the moment, ‘The National’ proves that to unpick the present requires conversations that engage directly with the past. At Carriageworks visitors are welcomed

by Utopia (2019), a bright, outlandish sign by Sam Cranstoun appropriating Ken Done’s Australia that marked the entrance to Brisbane’s World Expo in 1988. However unlike Done’s sunny outlook, Cranstoun sets a critical tone, unmasking how ‘Australia’ has been and is mythologised.

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Darren Sylvester

Carve A Future, Devour Everything, Become Something Melissa Pesa

Darren Sylvester’s practice, comprised of staged photography, sculpture, video, installation, performance and music, reflects our interaction with pop culture and consumerism; driven by advertising, fashion references and mass-marketing, and expanded by the limitless reach of the Internet. From medium to medium, scene to scene, Sylvester’s sincere and at times humorous lens looks at our obsession with possession and substitution, within the confines of the banality of everyday life, love and mortality.

Bringing together works spanning his ongoing 20-year career, ‘Darren Sylvester: Carve a Future, Devour Everything, Become Something’ is the Melbourne-based artist’s first major Australian exhibition in a public institution. Held at the National Gallery of Victoria, the retrospective features over 70 works from Sylvester’s oeuvre; 43 hyper-colourful photographs, as well as largescale installation and sculptures presented in the artist’s signature aesthetic of colour saturation and high-gloss finish.

Sylvester explores how we are shaped by branding and what we purchase: our social status, our relationships and values. Our pop-infused lives are depicted in photographs from ‘happy’ teenage girls bonding over a bite of finger-licking KFC, to an American-style gathering where dressing uniformly – in this case, clothing from the Gap – is key to social acceptance. These brands, and others referenced in Sylvester’s works (Adidas, Chanel, IKEA, Cheerios, Subway, 1980s video games, Pokémon and so on), are perennial substitutes that provide only a fleeting moment of satisfaction, security and comfort. In Your first love is your last love (2015) a disconsolate schoolboy sits at the dining table of his well-furnished, upper-class home. The pages of a personal letter appear to be the cause of his upset and the detritus of a fast-food meal the quick-fix to his all-consuming teenage heartbreak; where global issues such as poor health and the use of recyclable products are, at best secondary.

Sylvester’s works deal with issues of mortality. Products are continuously made, overused and then either rebranded or scrapped from the shelves. In the exhibition, a chaise lounge upholstered in a McDonald’s discontinued Filet-O-Fish wrapping alludes to a therapy session where one contemplates existence, change and death, while the replica of a Simmons Suitcase Kit which contained hexagonal-shaped drumheads and used by bands such as New Order in the 1980s was highly researched and meticulously rebuilt, it represents ‘something no longer existing; a ghost of the original.’ Empty promises of a decommissioned aeroplane service Concorde are reconstructed by Sylvester in On holiday (2010) as a symbol of a decadent past; its contents including crystal glasses, Royal Doulton condiment dispensers and other luxuries.

The End (2018) is a digital print that references the end titles of Universal Pictures films. It’s typeface taken from a retro arcade game’s ‘Game Over’ text, the words THE END are a confronting realisation of the world’s current situation, where all products and the emotions they instil can quickly dissolve just as fast as they appear.

For you (2013/19) is a throbbing, coloured dance floor with reflecting walls based on an Yves Saint Laurent makeup compact. The artist asked the French luxury fashion house for a supply of their latest range of lipsticks, eye shadows and foundations. Their colour palette – ‘proven’ to appear 32

I thought I heard a bird Craft ACT Until 11 May, 2019 Australian Capital Territory ‘How can we consciously try to sense the world in a different way?’ asks exhibition curator and artist Raquel Ormella. This group show proposes birdwatching (often called ‘twitching’) as a means to connect with our environment, especially as urbanisation has shifted the relationship between humans and nature. Working in an array of media, artists Ashley Eriksmoen, Fernando do Campo, Madeleine Kelly and Patsy Hely, and a local project by American architect Joyce Hwang manifest ‘I thought I heard a bird’.

Ashley Eriksmoen, Becoming Bird, 2019, salvaged wood furniture, acrylic and milkpaints, dimensions variable Photograph: David Lindesay Courtesy the artist and Craft ACT, Australian Capital Territory

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Warriors for the Environment Boomalli Aboriginal Artists Co-operative Until 2 June, 2019 Sydney

The effects of climate change; drought, floods, rising sea levels and bush fires are nature’s call for action. In ‘Warriors for the Environment’, 30 Aboriginal artists explore how they contribute to caring for country and interpret their environment. Reflecting on traditional and spiritual connections to the land, and from stories passed down by their elders, these artists convey the importance of protecting and being mindful of the depletion of its natural resources.

Blak Douglas, When in Drought Ship Out, 2018, synthetic polymer on canvas, 150 x 150cm Courtesy the artist and Boomalli Aboriginal Artists Co-operative, Sydney

Joe Furlonger: Survey

Cordelia Beresford

Defiance Gallery at Mary Place 5 to 30 May, 2019

Disappointing Doll

Defiance Gallery 8 May to 6 June, 2019 Sydney

Mosman Art Gallery Until 9 June, 2019 Sydney

Spanning from the late 1980s to present day, the artistic career of Joe Furlonger is celebrated in this survey of painting, works on paper and ceramics that oscillate between figuration and abstraction. Major thematic subjects are represented including Furlonger’s bathers, mother and child, animals and circus series. While globetrotting landscape works depict the mountains of China to the central desert of Australia, the Eastern Downs and Darling Downs of Queensland and out to the seascapes of the Capricorn Coast.

Cordelia Beresford examines the historical treatment, or disregard of everyday female experiences, particularly those affected by mental distress. ‘Disappointing Doll’ is a two-channel video work inspired by a photograph of an orphaned child from a Sydney asylum c.1860, and informed by the prose of 20th-century Austrian poet Rainer Maria Rilke suggesting that children use dolls to seek boundaries penetrable only through the growth of self-awareness. Beresford creates a psychological space where women in institutionalised care are surrogates for imagined support systems: mothers, sisters and lovers.

Near Childers, 2017, pigment and PVA binder on paper, 21 x 30cm Courtesy the artist and Defiance Gallery, Sydney

Disappointing Doll, 2019, two-channel HD video installation, stereo sound still 2 Courtesy the artist and Mosman Art Gallery, Sydney

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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!

Katthy Cavaliere Fellowship Recipients

We congratulate the three recipients of the ‘Suspended Moment: Katthy Cavaliere Fellowships’ announced last month by the Australian Centre for Contemporary Art (ACCA), Carriageworks and Museum of New and Old Art (Mona).

Artists Giselle Stanborough and Frances Barrett from New South Wales and Tasmanian-based Sally Rees have each been awarded $100,000 for the development of a new body of work to be presented across individual exhibitions in 2020. The artists were selected from a call out in October 2018, which invited female-identifying artists to submit proposals for an ambitious new project with a focus on installation and performance art practice.

on to Mona from 8 April to 10 August for ‘Crone’, a series of works by Rees comprised of animations, prints and actions. Rees creates a Crone identity as an antidote to the invisibility of ageing women in contemporary society, redefining the female elder as a powerful and transgressive figure.

These fellowships were established in memory of artist Katthy Cavaliere (1972-2012). katthycavaliere.com.au

fortyfivedownstairs Emerging Artist Award

Entries close 20 May 2019 Emerging Australian visual artists are invited to submit works that exemplify innovation and originality across a range of media, from cutting-edge artistic practices to new takes on traditional styles for the 2019 Emerging Artist Award at fortyfivedownstairs, Melbourne, which will be on show from 18 June to 29 June. This award examines developing trends in the contemporary art scene while allowing emerging artists to gain exposure in a professional setting and kick-start their careers. There is $3,000 in prize money for the two submissions that best align with the award criteria. fortyfivedownstairs.com

Hazelhurst Art on Paper Award

Entries close 1 July 2019 The biennial Hazelhurst Art on Paper Award showcases outstanding art created with, on or about paper with no size restrictions. A total of $26,000 in prizes includes a major award of $15,000, the Young and Early Career Artist Award of $5,000, the Friend’s of Hazelhurst Local Artist Award of $5,000 and $1,000 for the People’s Choice Award. The exhibition at Hazelhurst Arts Centre, Sydney will feature a range of paper works and techniques, including drawing, printmaking, photography, sculpture, paper cuts and video from 21 September to 17 November. sutherlandshire.nsw.gov.au

The Lester Prize

Left to right: Sally Rees, Giselle Stanborough and Frances Barrett.

Katthy Cavaliere Fellowship recipients 2019 Photograph: Daniel Boud

The first exhibition ‘Cinopticon’ by Stanborough contemporises Foucault’s theory of the ‘panopticon’, this will be an immersive performance installation where visitors will experience their reflections in new and unpredictable ways, on at Carriageworks from 6 March to 8 June. Next, Barrett will transform ACCA into a space of audition, with a sound and light installation for ‘The future echoes’ from 4 April to 8 June, here the role of the audience as listener is shown to be an urgent mode of political agency. Then

Adult prize closes 5pm, 19 July, and the Youth Award closes 26 July 2019 The Black Swan Prize has been renamed The Lester Prize in of honour leading patron, Richard Lester, whose support has seen the prize become one of Australia’s richest awards for portraiture. The national call for entries for The Lester Prize in its inaugural year are now open. Artists are invited to submit works across two categories: the Black Swan Prize for Portraiture, and the Youth Award for a portrait of a well-known Australian, an Australian they admire, or a self-portrait. The finalists will be on show at the Art Gallery of Western Australia from 9 November to 9 December. lesterprize.com

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Awards ACMD Research Week Art Prize

W www.ivvy.com.au/event/ACMD19/art-prize.html Artists are invited to submit works for the 2019 ACMD Research Week Art Prize, an acquisitive award of $2,000. Artists are asked to respond to the theme ‘art in science, science in art’. Exhibition Aug 1 to 30, with opening night on Tues Aug 6. Visit website for details. Entries close Fri July 19.

Agendo

T (03) 9835-1742. E agendo@cgs.vic.edu.au W www.cgs.vic.edu.au/agendo A $10,000 nonacquisitive prize for young emerging artists (under 35) for painting, works on paper, sculpture, object based and new technologies. Supported by Camberwell Grammar School. Exhibition Aug 8 to 14 at David Williams Gallery. Visit website for details and entry form. Entries close Thurs June 27. See ad page 7.

ANL Maritime Art Prize & Exhibition

E artprize@missiontoseafarers.com.au W www.missiontoseafarers.com.au/art-prize Exploring the theme of ‘the Relationship of Humanity to the Sea’. Offering $27,000 in prize money across traditional, contemporary and emerging categories.

Finalists exhibition Oct 4 to 20. Entries are open Wed May 1 to Fri Aug 30. See ad page 103.

Anne & Gordon Samstag International Visual Arts Scholarships

T (08) 8302-0870. E samstagmuseum@unisa.edu.au W www.unisa.edu.au/samstagmuseum Applications are open for The Anne & Gordon Samstag International Visual Arts Scholarships.

Each scholarship includes – for twelve months of overseas study, a tax-exempt stipend equivalent to US$50,000, plus return airfares and institutional fees.

Applications close Sun June 30.

See ad page 119.

Banyule Award for Works on Paper

E arts@banyule.vic.gov.au W www.banyule.vic.gov.au/WorksOnPaper Entries are open to all artists in Australia for the 2019 Banyule Art Award for Works on Paper.

Artworks should respond to the theme of ‘Threshold’, in consideration of current social, cultural or environmental issues. The prize pool of $13,000 offers a main prize of $10,000. Exhibition Aug 28 to Oct 19. Applications available online.

Entries close Sun June 30. See ad page 81.

Ceramic Break Sculpture Park Sculpture Prize

‘Bondi’, Warialda 2402. T (02) 6729-4147.

W form.jotform.co/81779289306875 Entries are open for this $12,000 acquisitive prize for sculpture. Exhibition Sept 7, 2019 to Jan 31, 2020.

Submissions close Mon July 1.

the churchie national emerging art prize

W www.churchieemergingart.com This award is a non-acquisitive prize for Australian emerging artists working in all media. Artists from across Australia are invited to enter. The overall winner is rewarded a $15,000 cash prize. The finalist exhibition is at Institute of Modern Art, Brisbane from Sept 10 to 21.

Visit website for details. Entries are open Sun 26 May to Sun July 14.

Cossack Art Awards

W cossackartawards.com.au Australia’s most unique regional art prize invites entries from artists to be in the running for $100,000 in prizes. Visit website for details and terms and conditions. Entries close Thurs June 6. See ad page 31.

Du Rietz Art Awards

W gympie.qld.gov.au/DRAA Entries are open for the inaugural Du Rietz Art Awards. There are over $13,000 in prizes on offer. Visit website for entry form and conditions. Exhibition July 24 to Aug 23 at Gympie Regional Gallery, QLD. Entries close 4pm, Fri June 7. See ad page 175.

FAC Open Exhibition

T Enquiries (03) 9784-1896. W www.thefac.com.au Call for entries for the FAC Open Exhibition 2019 invited from Visual Artists, Sculptors, Photographers, Digital & Video Artists, Graphic Designers and Textile and Installation Artists to explore the theme of ‘Women in Art’. Win $1,000 and your own exhibition and opening event at the FAC. Opening Event: Fri Aug 9, 6pm. Entry $16.

Online applications close Sun July 28.

Hazelhurst Art on Paper Award

W www.hazelhurst.com.au Hazelhurst Art on Paper Award showcases outstanding art created with, on or about paper. Total prizes $26,000 including the Major award of $15,000. The finalists exhibition is on from Sept 21 Nov 17 at Hazelhurst Arts Centre.

Visit website for details and to enter online.

Entries close Mon July 1. See ad page 64.

Hornsby Art Prize

W hornsby.nsw.gov.au/artprize Celebrating the tenth anniversary, the Hornsby Art Prize is calling for entries. Prizes worth over $23,000 are on offer.

Visit the website for more information.

Entries close Sat Aug 3. See ad page 119.

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Melbourne

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Lesley Kehoe Galleries

Ground Floor, 101 Collins Street, Melbourne 3000.

T (03) 9671-4311. E gallery@kehoe.com.au W www.kehoe.com.au H Open by appt. To make an appointment, or request an invite to 2019 viewings and events email, or call the gallery.

National Gallery of Victoria The Ian Potter Centre: NGV Australia

Federation Square, cnr Russell and Flinders streets, Melbourne 3000. T (03) 8620-2222.

W www.ngv.vic.gov.au H Daily 10.00 to 5.00.

To June 30 Darren Sylvester: Carve A Future, Devour Everything, Become Something. To July 14 From Bark To Neon. Also, Top Arts 2019. To July 28 Hans and Nora Heysen: Two Generations Of Australian Art. Also, John Wardle Architects: Somewhere Other.

To Aug 18 Rosslynd Piggott: I Sense You But I Cannot See You. To Oct 6 John Dermer: Potter.

Pan Pacific Melbourne

2 Convention Centre Place, South Wharf 3000.

W ozlink.info/exhibitions.html Free entry.

H Open daily/nightly. To May 29 MASTERS OF WATERCOLOUR: The Wonderful World of Watercolour – 15 award-winning artists showcase the skill and discipline of the medium through a range of paintings illustrating the unique way each interprets the light and colour of their chosen subject matter.

Works by Greg Allen, Cynthia Boyle, Julian Bruere, Ted Dansey, Ngaere Donald, Louise Foletta, Andrew Gemmill, Margaret Gurney, Ev Hales, Amanda Hyatt, Jan Martin, Herman Pekel, Clive Sinclair, Ying Tang and Joseph Zbukvic. For enquiries and sales, contact Jacqueline Taylor OAM 0418-357-814.

Joseph Zbukvic, Winter in Yarra Valley, watercolour, 33 x 53cm Courtesy the artist and Pan Pacific Melbourne

RMIT Gallery

Darren Sylvester, To live, 2016, bronze, porcelain, purple sand, dimensions variable © Darren Sylvester Courtesy the artist and National Gallery of Victoria

Neon Parc

1/53 Bourke Street, Melbourne 3000. T (03) 96630911, Also at 15 Tinning Street, Brunswick 3056.

E info@neonparc.com.au W www.neonparc.com.au City: to May 25 I have something to show you by Matilda Davis. Brunswick: May 17 to June 22 Janet Burchill & Jennifer McCamley and Erica McGilchrist.

74 Melbourne

344 Swanston Street, Melbourne 3000.

T (03) 9925-1717. E rmit.gallery@rmit.edu.au W www.rmit.edu.au/rmitgallery Free admission.

Lift access. H Mon-Fri 11.00 to 5.00, Thurs 11.00 to 7.00, Sat 12.00 to 5.00, closed Sun and public hols. Like RMIT Gallery on Facebook.

Follow @RMITGallery on Twitter. To June 1 Bruised: Art Action and Ecology in Asia. When it comes to ways in which artists address ecological issues, actions can be big or small – it’s the action that is important however subtle. Featuring Australian and international artists whose work focuses on environment and social issues in Asia. Artists include Arahmaiani, Alfredo and Isabel Aquilizan, Made Bayak, Yu Fang Chi, Ishan Khosla, Ryoko Kose, Pradyumna Kumar, Pushpa Kumari, Armin Linke, Ly Hoàng Ly, James Nguyen, Sherman Ong, Sarker Protick, Fitri Ranatarya, Mandy Ridley, Khvay Samnang, Gigi Scaria, Lizzy Simpson, Manit Sriwanichpoom, Kawita Vatanajyankur, Tintin Wulia and Bo Zheng. Public programs at RMIT Gallery: Fri May 3, 12.30-1.30pm – Tea & talk with Lizzy Simpson. Thurs May 9, 5.30-6.30pm – Ecology and art action: Alban Mannisi, Yu Fang Chi, Marnie Badham and Tammy Wong Hulbert. Fri May 17, 12.30-1.30pm – Artist talk: Ryoko Kose and James Nguyen. Fri May 24, 12.30-1.30pm – Curators’ talk: Helen Rayment and Thao Nguyen, Marnie Badham and Francis Maravillas. See ad page 23.

Complementing the exhibition, Bruised Food: a living laboratory presents art and events in a working

Kungka mankurrpakunu warrka: The work of three women In association with Papunya Tjupi Arts, Papunya, Northern Territory

11 May – 1 June 2019

1/24 Wellington Street, Waterloo NSW 2017 telephone 612 9699 2211 Tues-Sat 11.00-5.00 email info@aboriginalpacificart.com.au web www.aboriginalpacificart.com.au Image: (Left – Right) Mona Nangala, Charlotte Phillipus Napurrula and Doris Bush Nungarrayi Courtesy the artists and Papunya Tjupi Arts, Papunya, NT

Kylie Caldwell, Carry On Courtesy the artist and Grafton Regional Gallery

Elizabeth Dunn at the studio Photograph: Rhett Hammerton Courtesy Sabbia Gallery, Sydney and Coffs Harbour Regional Gallery

Grafton Regional Gallery

158 Fitzroy Street, Grafton 2460. T (02) 6642-3177.

W www.graftongallery.nsw.gov.au Facebook @graftonregionalgallery Instagram @grafton_regional_gallery H Daily 10.00 to 4.00, closed public hols. May 23 to July 14 Clarence Valley Indigenous Art Award celebrates the vibrancy of our local Aboriginal artists. This is the 7th year of this biennial acquisitive award and is a showcase of artwork by Aboriginal and Torres Strait Islander artists who reside in the Clarence Valley. Also, Battle Scars: Julie Hutchings – a moving exhibition exploring Hutchings Indigenous war time heritage. In 2017 Hutchings was awarded the Yulgilbar Travelling Fellowship. She journeyed to France and Belgium where she visited many war cemeteries, memorials and museums to gather information, photograph and sketch for this exhibition. Also, In search of the Beautiful: Phil Munn explores ancient Japanese woodblock prints and contemporary photography.

Lismore Regional Gallery

11 Rural Street, Lismore 2480. T (02) 6627-4600.

E art.gallery@lismore.nsw.gov.au W www.lismoregallery.org Free admission.

H Tues-Wed and Fri-Sun 10.00 to 4.00, Thurs 10.00 to 6.00. To May 12 Paperbark by Lionel Bawden. To June 16, 2018 Archibald Prize. To June 17 Young Archies. April 27 to June 9 Data Streams by Dan McDonnell. May 18 to June 30 Fighting not Dancing

by Scott Harrower.

Manning Regional Art Gallery

12 Macquarie Street, Taree 2430. T (02) 6592-5455.

E art.gallery@midcoast.nsw.gov.au W mrag.midcoast.nsw.gov.au H Wed-Sat 10.00 to 4.00, Sun 1.00 to 4.00. To June 2 Object Therapy – ADC On Tour: An Australian Design Centre, and YANK, SQUEEZE, BOW by Billy James Crellin.

Retrospect Galleries

52 Jonson Street, Byron Bay 2481.

T (02) 6680-8825. E byron@retrospectgalleries.com W www.retrospectgalleries.com H Daily 9.30 to 5.30.

Cutting-edge collectable art from established and emerging Australian artists and designers.

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