Art Almanac June 2019 $6
Angela Casey James Drinkwater Rosslynd Piggott
Art Almanac June 2019
Subscribe Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. To subscribe go to artalmanac.com.au or mymagazines.com.au
Deadline for July 2019: Thursday 30 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.
We follow the lead of highly intuitive artists working across very different fields in this issue. Angela Casey’s photography and sculptural installation reflects her fascination with the mysteries of the world and the human, animal and plant actors upon this stage. This poetic lilt is also a signature of Rosslynd Piggott’s sensitive and temporal pieces. James Drinkwater delights in the doglegged journey we take when we follow our impulses and memory. The artists and archival material curated in ‘Queen’s Land: Blak Portraiture’ meditate on living memory and how it can be expressed and absorbed through image, song and name.
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
Cover
Angela Casey, Hedonism Has Run Out of Credit, 2016, C-type print Courtesy the artist and Queen Victoria Museum and Art Gallery, Tasmania
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
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Dark Mofo ‘Dark Mofo’ takes on Hobart’s wintery nights with a hot program of art, music, feasts, rituals and a symposium weekend; presented by Mona – Museum of Old and New Art within several venues across the city from 6 to 23 June. This year’s theme delves ‘within a forest dark’, a line from Dante Alighieri’s The Divine Comedy where the protagonist begins his descent into Hell before reaching salvation, ‘Dark Mofo’ guides the audience on a similar journey through simulated, mediated and real violence, extinction and the supernatural; showcasing everything from virtual reality, radioactive art, and deafening noise in a lead up to the solstice night, and a return to the light. Festival highlights: ‘A Forest’ is a contemporary ruin of art, noise, performance, and the violent undergrowth of human nature including, but not limited to: Marco Fusinato’s installation performing an intense assault of white light and white noise on the audience. Shilpa Gupta’s thicket of microphones and metal spikes, each piercing a verse whose poet was imprisoned for their words; and the body of Canadian artist Cassils pressed up against the back of a neoclassical male torso carved from ice, which – through body heat – slowly melts away. Additional must-sees are Saeborg’s latex wonderland where a giant, pig gives birth to a litter of scrambling, human-sized piglets while livestock cavorts nearby around an inflatable, technicolour farmyard awaiting their fate in a demented circle of life; while Mona presents ‘cognitive illusions’ where we fail to notice the gorillas hanging about in our midst. Beware! Cassils, Tiresias, 2013 Camera: Alison Kelly Courtesy the artist and Ronald Feldman Fine Arts, New York
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The Word is Art Michael Petry
Thames & Hudson
Essentially this is a book about the ‘death of the book’, as artist and curator Michael Petry addresses concerns with advancing technology and its threat to the written word; he asks what value can text hold in the sphere of visual art? The answer is found, ironically, in Petry’s own text, that words are a principle tool of communication and remain ‘critical, powerful, and central to art.’ With images and text in equal measure, this publication follows the use of the word throughout art history, from ancient Greece to the present with reference to art movements and art forms as well as a focus on contemporary artists who use text and language to highlight pressing global issues: religion, politics, race, and gender.
Desert River Sea: Portraits of the Kimberley Edited by Carly Lane, Emilia Galatis and Stefano Carboni UWA Publishing and Art Gallery of Western Australia
‘Desert River Sea: Portraits of the Kimberley’ charts the progress of a six-year collaboration between the Art Gallery of Western Australia (AGWA) and artists of the Kimberley region. The vision was to strengthen relationships between gallery and artists and to nurture and create a thriving hub for Aboriginal art to flourish locally and internationally. This lead to the creation of an online portal for archiving, professional development for artists and arts workers, and resulted in the recent eponymous exhibition which is documented in this book across a stream of essays by AGWA staff, artists, arts workers and graduates of the leadership program amid a rich display of artworks with each turn of the page. 28
James Drinkwater the sea calls me by name Chloe Mandryk
In speaking with James Drinkwater ahead of a major survey show at Newcastle Art Gallery we explore his porous approach to painting where an intriguing conceptual and material web is crafted, it’s a structure with space for transience, like a dream-catcher. His paintings possess an associative aesthetic that invites the audience to join, or complete an emotional journey. You very eloquently describe your personal relationship with painting as a ‘long eternal conversation with the past’. But, making or creating is generative, so what are you hoping to contribute to this moment, or the future? I’ve always believed that a clear contemporary voice has a deep respect and understanding of the past, the lineage of a well-worn track made by people just like me. So many of my peers have powerful and important political voices, my role however has always been to offer the viewer respite, not the comfortable arm chair that Matisse offered but an opportunity to lose oneself in the echo chambers of their own lives. We really are just entering and exiting a series of theatres, some horrific and some very beautiful. These themes are both old and new, eternal even. You are inspired by a heady combination of memory and intuition. Why do you think this is? When we are intuitive we are guided by our innate self, an unguarded version of us. When I am ‘there’ the channels of memory are opened and somehow physical, as malleable as a slab of clay. Whilst in that space memory and intuition can synthesise. It’s a powerful mode to enter. What is the role of the somatic senses, where ‘even a smell is very visual’ in your painting? Our senses connect us with the physical and allow us to evaluate and ingest our environment. I’m most certainly a sensory animal, heightened at all times I consume both the divine and the ungodly because it’s all happening right in front of us. I’m so thankful for the ancient act of painting because it continues to be paramount as a vehicle for artists to describe the world and their existence within it. Are you interested in verity and the inaccuracy of memory because your mode is abstraction? How did you come to this? With memory we can choose how we want to recall the event. Like sculptors we add or subtract weight to the event, pushing and pulling it until we have it recorded in a way, which suits the now. I personally like when we lose all chronology and order of the experience, when an overwhelming feeling overrides the actuality. In this sense I don’t see my work as abstract rather as recordings of the interior of my life. You always start a painting in a new way and sometimes re-orient a canvas to bring a work to fruition. Are you making a choice to bring automatism into your practice, and how does that paradox fit with the free-flow you’re trying to achieve? In doing something foreign to my practice I’m trying to trick and deceive myself in order to arrive at something new. I like to think I’m composing in a free form manner, ad libbing my way through the terrifying halls of painting. I certainly don’t try and make pictures, I’m riffing with process and the endlessness of the idea of alchemy in the studio. The end result is an artefact of an exercise. That is why it hurts to see them go, because I have learnt so much from them.
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Angela Casey
The Enquiring Light Melissa Pesa
As a literary genre, the Gothic is characterised by ominous settings and macabre environments exploring themes of fear, death and gloom with elements of intimacy and the picturesque; often dictating a particular time and historical period. Central to Tasmania’s cultural landscape, and presented in a new art form, the Gothic anchors the work of Launceston-born multi-media artist, Angela Casey, who depicts the melancholic shadow cast by socio-cultural histories and archive trends in witty yet confronting still life compositions; embracing the spiritualism, religion and science of the Victorian era. Casey’s oeuvre, cast over 25 years, is informed by the original 19th-century artefacts housed within Tasmania’s public and private collections. Enthralled by the potent displays of historical objects and dioramas at the Queen Victoria Museum and Art Gallery (QVMAG) in her youth, she has since explored their hidden histories, shining an enquiring light on their narratives. ‘I recall a wondrous menagerie of curiosities, dinosaurs and portrait paintings that would somehow hold the keys to solving the mysteries of my world,’ says the artist. ‘Gould’s birds in a glass case led to my favourite place, a room filled with taxidermy animals, bugs and spiders. My assessment of that space as a young child gathering experiences was undoubtedly abstract at the time, and now also romanticised by my nostalgic reconstructions as an adult. I have returned to that place repeatedly…, with the belief that there are mysteries of the world still there for me to investigate.’ By interrogating and transforming their initial states through restaged scenarios with contemporary supplements – such as garbage bags, neon signs, yellow and black barricade tape, silver wine cask bladders, jewelled purses and bedazzled, half-eaten fruit – Casey offers an alternative storyline, re-imagined for modern audiences. In an exhibition titled ‘The Enquiring Light’, original 19th-century artefacts, mainly taxidermy native birds and animals housed within the collections of Queen Victoria Museum, Port Arthur,
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Marian Tubbs over-coded
STATION 1 to 29 June, 2019 Melbourne
Elegy for Winter M16 Artspace 13 to 30 June, 2019 Australian Capital Territory
Marian Tubbs investigates the use of overcoding in language and the effect this has on meaning, agency and power. Drawing on various communications from websites, lingo, shorthand, corporate-speak and cryptic messages sent between friends and lovers to instruction manual terminology, she interrogates hidden information and creates new ways of seeing it. The gallery notes that by ‘positioning objects and images in new or fluid contexts, Tubbs challenges contemporary notions of worth and value, and slows down accelerated modes of voyeurism and consumption.’
‘Elegy for Winter’ is a group show from Canberra region artists Luke Aleksandrow, Jacqueline Bradley, Chris Carmody, Denise Ferris, Annika Harding, Ellis Hutch and Shags. Through photography, video, sculpture and painting the artists lament the winter landscape in our changing climate; but there’s no love lost, with commiseration and admiration for Mother Nature expressed. The group have all experienced the territory’s long and erratic cold months, and felt the chill further afield in the Snowy Mountains, New Zealand, Finland and North America.
over-coded, 2019, video still Courtesy the artist and STATION, Melbourne
Ellis Hutch, Lake polish, 2016, still from performance on Lake Haukijärvi Finland Photograph: Annika Harding Courtesy the artist and M16 Artspace, Australian Capital Territory
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Jennifer Joseph For the next 300 years Niagara Galleries 4 to 29 June, 2019 Melbourne
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Nude Flinders Lane Gallery 4 to 22 June, 2019 Melbourne
Faithful to the art of abstraction, Jennifer Joseph’s oeuvre eludes definition or categorisation. She uses a restrained palette and rectilinear form as well as subtle tonal variations and texture – the dense weave of a canvas, overlaid fabric and paint and the grain of exposed wood. In transforming and renewing discarded materials, her constructions are pared back, ‘sometimes creating an imbalance in the geometry of composition’ – ‘reflective of the artist’s belief in the ephemeral nature of human existence,’ says writer Kirsty Grant.
What is a contemporary nude? This exhibition shows it is unchanged in its play with controversy yet remodelled to reflect current issues and discontent with gender identity and inequality, social prejudice and marginalisation, technology and media representation. Meg Cowell, Dagmar Cyrulla, Chelsea Gustafsson, Janne Kearney, Kathrin Longhurst and Michael Simms depict figures in states of undress, with enticing red lips, bare skin and a confronting gaze. We also find expressive falling poses, transient forms, and vulnerable women observed through doors left ajar.
For the next 300 years, 2017, acrylic, black gesso, jute, cotton and wood on unstretched canvas, 146 x 183cm (irregular) Courtesy the artist and Niagara Galleries, Melbourne
Meg Cowell, Wynne, 2014, archival photographic print, 133 x 92cm Courtesy the artist and Flinders Lane 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! Venetian Blind at Venice Biennale
Deakin University has presented a group of creative arts students and researchers with the opportunity to participate in a six-month public art commission, which coincides with the European Cultural Centre’s ‘Personal Structures’ exhibition, in conjunction with the 58th Venice Biennale. The project represents the University’s largest international public art exhibition to date, which sees six teams from 23 researchers and PhD candidates heading to various locations around Venice to each develop a unique public artwork in response to a given place, there will be one presentation for each month of the Biennale, which opened in May.
As each new project unfolds ‘the exhibition will grow to depict specific stories, people and places throughout the city, framed through larger narratives of class, sexuality, colonialism, race, globalisation and political structures,’ says Cross. ‘The artists have an abundance of riches to respond to, and we are interested in that unmediated experience of the city,’ Bishop added. deakin.edu.au
the churchie national emerging art prize
Entries close 14 July 2019 The churchie national emerging art prize is a highly regarded non-acquisitive art award that aims to support, encourage and profile the work of emerging visual artists and is open to all Australian artists over the age of 18. Artists can submit up to three artworks. Prizes include a $15,000 cash prize for the overall winner and a People’s Choice Award. An exhibition of finalists’ works will be held at the Institute of Modern Art, Brisbane from 10 to 21 September. churchieemergingart.com
Paddington Art Prize
Entries close 6pm, 15 September 2019 Artists are invited to enter the Paddington Art Prize, a $30,000 acquisitive prize awarded for a painting inspired by the landscape, now in its 16th year. Prizes include the UNSW Art & Design opportunity for one artist to create a limited edition print and a $3,000 prize for the Honourable Mention. Two artists will be selected for an exhibition at Defiance Gallery, Sydney in 2019 along with a three-week residency at the Nock Art Foundation ‘Giverny’ in New Zealand in 2020. As well as the $1,000 Highly Commended prize, a one-week retreat at Sofala Cottage for one artist and the People’s Choice prize of a $1,000 gift certificate sponsored by Fine Art Imaging. paddingtonartprize.com.au
R & M McGivern Prize
Ezra Pound’s Grave Photograph: David Cross 2018 Courtesy Deakin University, Victoria
Curated by Professor David Cross and Dr Cameron Bishop from Deakin’s School of Communication and Creative Arts, the teams will deliver their responses to the locations, histories and stories of the City with a series of visual art or performance-based works, which will be documented in ‘Venetian Blind’ at the exhibition space housed within the famous Palazzo Bembo until 24 November.
Entries close 5pm, 28 June 2019 The 2019 R & M McGivern Prize invites artists to submit paintings, which respond to this year’s theme ‘Anthropocene’ – the impact of human habitation on the environment. Held every three years the $25,000 acquisitive prize is awarded to an outstanding, original artwork in the medium of oil, acrylic, gouache or watercolour. The finalist exhibition will be showcased across two galleries, ArtSpace at Realm and Maroondah Federation Estate Gallery, from 23 November to 2 February 2020. mcgivernartprize.com
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Fitzroy Collingwood Abbotsford Alcaston Gallery
11 Brunswick Street, Fitzroy 3065. T (03) 9418-6444 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). H Wed-Sat 11.00 to 5.00, or by appt. June 12 to July 13 Nganampa walytja – Our family – Betty Kuntiwa Pumani, Ngupulya Pumani and Marina Pumani Brown.
Australian Galleries Stock Rooms
28 Derby Street, Collingwood 3066. T (03) 9417-2422 F 9417-3433. E melbourne@australiangalleries.com.au W www.australiangalleries.com.au Director: Stuart Purves AM. H Daily 10.00 to 6.00. May 28 to June 16 History Repeats by Geoffrey Ricardo. June 25 to July 14 Chivalry, Myths and Dreaming by Jimmy Rix. Also, Chris Ingham.
Australian Print Workshop
210 Gertrude Street, Fitzroy 3065. T (03) 9419-5466. E auspw@bigpond.com W www.australianprintworkshop.com Director: Anne Virgo OAM. Free entry. H Tues-Sat 10.00 to 5.00. June 1 to 29 Through a glass eye – a suite of 11 original limited edition etchings and lithographs with hand colouring produced by Gracia Haby & Louise Jennison in collaboration with APW Printers. The first in a series of exhibitions resulting from APW’s French Connections project undertaken in 2018.
BlackCat Gallery
95 Johnston Street, Collingwood 3066. T (03) 9913-5833 , 0413-584-829. E info@blackcatgallery.com.au W www.blackcatgallery.com.au H Wed-Sat 12.00 to 5.00, Sun 12.00 to 4.00. June 12 to 23 Elisa Bryant, Joel Morrison, Linda Dacio, Kevela Buttonshaw, Clare Steele and XUF. June 26 to July 7 Alan Todd, Supansa Thongsuk and Rhys Knight.
Brunswick Street Gallery
Betty Kuntiwa Pumani, Antara, 2018, synthetic polymer paint on linen, 189 x 198cm © the artist Courtesy the artist, Mimili Maku Arts, Northern Territory and Alcaston Gallery, Melbourne
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. May 28 to June 16 CHOICE LANGUAGE by Rodney Forbes (see ad page 79). Also, The Tangled Wood by David Frazer. June 25 to July 14 Feather Light by Petrus Spronk. Also, Staring into the middle distance by Peter Neilson.
82 Melbourne
Level 1, 322 Brunswick Street, Fitzroy 3065. T (03) 8596-0173. E info@brunswickstreetgallery.com.au W www.brunswickstreetgallery.com.au H Tues-Sun 10.00 to 6.00.
Chapman & Bailey Gallery
350 Johnston Street, Abbotsford 3067. T (03) 9415-8666 F (03) 9415-8811. E gallery@chapmanbailey.com.au W www.chapmanbailey.com.au H Mon-Fri 10.00 to 5.00, Sat 10.30 to 4.00.
Fox Galleries
79 Langridge Street, Collingwood 3066. T (03) 8560-5487. E info@foxgalleries.com.au W www.foxgalleries.com.au H Tues-Sat 10.00 to 6.00. June 1 to 26 AUDACIOUS by Esther Erlich, and Oddfellows by Jason Moad.
Mornington Peninsula EVERYWHEN Artspace
1/39 Cook Street, Flinders 3929. T 0419-896-473. E info@mccullochandmcculloch.com.au W www.mccullochandmcculloch.com.au H Daily 10.30 to 4.00. Everywhen Artspace features work from the 30+ Aboriginal-owned art centres, gallerists Susan McCulloch and Emily McCulloch Childs represent plus select contemporary Australian art. June 7 to July 2 (opening Sat June 8, 2pm) David Wright: Prints & Paintings. The first exhibition of limited edition hand-painted and monochrome linocuts and original paintings by this leading glass artist whose architectural glass work has gained him an international reputation. Garnered from more than 40 years of extensive travels to some of the most remote regions of Australia as well as the ‘crystal desert’ of Antarctica, Wright’s imagery captures both the majestic beauty and patterns of fragile existence of these diverse lands and the flora and fauna they support. To be opened by critic, artist, author and lecturer Ronald Millar. Artist talk: Sun June 23, 2pm.
Patrice Mahoney, Kelp Vessel, 2015 Courtesy the artist and Frankston Arts Centre and Cube 37 Galleries
Gordon Studio Glassblowers A Working Hot Glass Studio & Gallery
290 Red Hill Road (cnr Dunns Creek Road), Red Hill 3937. T (03) 5989-7073. E mail@gordonstudio.com.au W www.gordonstudio.com.au H Daily 10.00 to 5.00.
Manyung Gallery Flinders
37 Cook Street, Flinders 3929. T (03) 9787-2953. W www.manyunggallery.com.au H Fri-Sun 10.00 to 5.00.
Manyung Gallery Mount Eliza
60 Mt Eliza Way, Mt Eliza 3930. T (03) 9787-2953. W www.manyunggallery.com.au H Tues-Sat 10.00 to 5.00, and first Sun of the month 10.00 to 3.00.
Manyung Gallery Sorrento
113a Ocean Beach Road, Sorrento 3943. T (03) 9787-2953. W www.manyunggallery.com.au H Daily 10.00 to 5.00 (except Wed). David Wright, Evening on the Darling River near Bourke, 2017, hand painted linocut, 47 x 68cm Courtesy the artist and EVERYWHEN Artspace
Frankston Arts Centre and Cube 37 Galleries
27-37 Davey Street, Frankston 3199. T (03) 9784-1896. W www.thefac.com.au Free entry to all galleries. H Tues-Fri 9.00 to 5.00, Sat 9.00 to 2.00. Art After Dark every evening from dusk. To June 15 FAC Mezzanine: Peninsula Grammar: Selected Works. To June 26 Glass Cube Gallery: Liz Walker: Hells Bells. From May 30 (opening Thurs May 30, 6pm) FAC Curved Wall Gallery: Baluk Arts: Our Voice and the Seas. FAC Atrium Gallery: Georgie Puschner: Terra Incognita. Cube Gallery Chisholm: The 9x5 Show.
McClelland Sculpture Park + Gallery
(map ref Melway 103 E3) 390 McClelland Drive, Langwarrin 3910. T (03) 9789-1671. E info@mcclellandgallery.com W www.mcclellandgallery.com Director: Lisa Byrne. H Tues-Sun 10.00 to 5.00.
Merricks House Art Gallery
3460 Frankston – Flinders Road, Merricks 3961. T (03) 5989-8088. E admin@mgwinestore.com.au W www.mgwinestore.com.au H Daily 8.30 to 5.00. Merricks House is located adjacent to Merricks General Wine Store and showcases talent from both the local Mornington Peninsula Region as well as artists from across Australia. Meander through the garden from the café, bistro, cellar door or deck to discover this hidden gem.
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Civic Inner North ANCA Gallery
1 Rosevear Place, Dickson 2602. T (02) 6247-8736. E gallery@anca.net.au W www.anca.net.au H WedSun 12.00 to 5.00. To June 9 From My Mother Unto Me by Kayannie Denigan (Luritja), Leah Brideson (Kamilaroi), Beverly Smith (Muruwari), Cassie Leatham (Taungurung/Wurundjeri), Nadine Lee (Larrakia) and Rebecca Ray (Meriam Mir). Curated by Erin Vink (Ngiyampaa).
Canberra Contemporary Art Space, Gorman Arts Centre
55 Ainslie Avenue, Braddon 2612. T (02) 62470188. 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-Sat 10.00 to 5.00.
Craft ACT Craft + 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 H Tues-Fri 10.00 to 5.00, Sat 12.00 to 4.00.
Nancy Sever Gallery
Gorman Arts Centre, B Hall, cnr Batman and Currong streets, Braddon 2604. T (02) 6182-0055. E nancy.sever@iinet.net.au W www.nancysevergallery.com.au H Wed-Sun 11.00 to 5.00.
ANU School of Art & Design Gallery
Cnr Ellery Cres and Liversidge Street, Acton 2601. T (02) 6125-5841. E sofagallery@anu.edu.au W soad.cass.anu.edu.au/gallery H During Main Gallery exhibitions Tues-Fri 10.30 to 5.00, closed Sat-Mon and public hols. June 20 to July 26 Promised the Moon. The 50th anniversary of the first moon landing on 21 July 2019 AEST is an opportunity to reflect on the ACT’s unique space heritage. Lift-off with panel discussion: Thurs June 27, 6pm. promisedthemoon.net.au
Kambri Australian National University
Building 153, University Avenue, Acton 2601. E concierge.kambri@wdmanagement.com.au W www.kambri.anu.edu.au To June 23 aMBUSH gallery presents While You Were Sleeping – David Cragg, Charlotte Allingham, Jason Wing, Robert Fielding, Noni Cragg, Blak Douglas, Elizabeth Close, Julie Dowling, Warraba Weatherall, Otis Carey, Benita Clements, Michael Cook, Damien Shen, Shane ‘Mankitya’ Kookaburra and Wayne Quilliam.
Nishi Gallery
17 Kendall Lane, Canberra 2601. T (02) 6287-6170. E hello@nishigallery.com.au W nishigallery.com.au @nishigallery. H Wed-Sat 11.00 to 6.30. June 7 to July 27 (opening Fri June 7, 6-8pm) Polar Convergence by Rohan Hutchinson and Philip Samartzis. An exhibition of sound and image works in which the Arctic and Antarctic intersect to form a liminal world where time and space coalesce. Dr Philip Samartzis focuses on the sounds and spaces of the Antarctic continent where volatile weather and extreme climate collide with fragile ecologies and remote settlements. Rohan Hutchinson captures the tonality of the Arctic winter, transforming large-scale pristine landscape images into violent, mutable abstractions. Together, these two bodies of polar research introduce us to the places that operate at the margins of the planet.
Acton 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. June 21 to Aug 11 Ildiko Kovacs: The DNA of Colour.
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Philip Samartzis, Recording a blizzard, Antarctica Photograph: Dan Wilkins Courtesy the artist and Nishi Gallery
Hobart Sullivans Cove Battery Point
Despard Gallery
Art Mob
Handmark Gallery
29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E euan@artmob.com.au W www.artmob.com.au Director: Euan Hills. H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.
Bett Gallery Hobart
Level 1, 65 Murray Street, Hobart 7000. T (03) 6231-6511. E info@bettgallery.com.au W www.bettgallery.com.au Directors: Carol Bett, Emma Bett and Jack Bett . H Mon-Fri 10.00 to 5.30, Sat 10.00 to 4.00. May 31 to June 22 I give you a mountain by Joan Ross. Also, Fall Guy by Lucienne Rickard. June 28 to July 20 New Work by Alexander Okenyo. Also, Recalibrate by Holly Zeinart.
Colville Gallery
91a Salamanca Place, Hobart 7004. T (03) 62244088, 0419-292-626. E info@colvillegallery.com.au W www.colvillegallery.com.au H Daily 10.00 to 5.00. June 14 to July 2 Poetica by Corinne Costello. June 23 to July 2 Patricia Giles.
Level 1, 15 Castray Esplanade, Hobart 7000. T (03) 6223-8266. E hobart@despard-gallery.com.au W www.despard-gallery.com.au H Mon-Fri 10.00 to 6.00, Sat 10.00 to 4.00, Sun 11.00 to 4.00. May 29 to June 23 Tjanpi Desert Weavers together with three Lockhart River Artists. June 26 to July 21 Botanica group show with Penny Burnett, Maggie Jeffries, Lorraine Biggs and Ochre Lawson.
Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193. E Hobart: hobart@handmark.com.au, Evandale: evandale@handmark.com.au W www.handmark.com.au Hobart: June 7 to 24 Eun Ju Cho and Blair Waterfield new paintings and works on paper. June 28 to July 15 Heidi Woodhead new paintings. Evandale: June 2 to July 3 Jock Young new works.
The Henry Jones Art Hotel
25 Hunter Street, Hobart 7000. T (03) 6210-7700. E art@thehenryjones.com W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.
Mona Museum of Old and New Art 655 Main Road, Berriedale, Hobart 7011. T (03) 6277-9900. E info@mona.net.au W www.mona.net.au Visit website for details.
Plimsoll Gallery School of Creative Arts, University of Tasmania
Hunter Street, Hobart 7000. T (03) 6226-4300. E Jane.Barlow@utas.edu.au W www.utas.edu.au/ creative-arts/events/plimsoll-gallery H Daily 12.00 to 5.00 during exhibitions, closed Tues and public hols. Fri 14 to Sun 16 and Fri 21 to Sun 23 June, 6-10pm Panopticon III: The Garden of Earthly Delights – Hieronymus Bosch’s grand allegory of indulgence, sin, revelry and apocalypse, reimagined by art, music, theatre and media students from the University of Tasmania’s School of Creative Arts and Media. Curated by John Vella in collaboration with Asher Warren and Nick Haywood.
Corinne Costello, Yellow Mountain Poem, 2019, oil, acrylic, wax pencil on linen, 122 x 97cm Courtesy the artist and Colville Gallery
Tasmania 151
Adelaide ACE Open
in contemporary art. The half-human, half-animal creature is employed to explore ideas ranging from dual identities, hybridity, race and gender divides, and post-Internet politics.
Lion Arts Centre, North Terrace (West End), Kaurna Yarta 5000. T (08) 8211-7505. E admin@aceopen.art W www.aceopen.art Free admission. H Tues-Sat 11.00 to 4.00. South Australia’s leading organisation for contemporary visual art and artists. To July 20 Daydreamer Wolf by Elyas Alavi. How is it possible to understand the trials and realities of the refugee experience? In this cross-disciplinary exhibition, artist and award-winning poet Elyas Alavi documents his experiences through personal, playful and mythological lenses. Evoking issues of identity, memory, migration and displacement, he offers a deeper understanding of his trials as a Hazara refugee, artist and migrant to Australia.
Jazmina Cininas, Kee-On-Ee was a trail blazer for her kind, 2012 Courtesy the artist and Adelaide Central Gallery
Anne & Gordon Samstag Museum of Art University of South Australia
55 North Terrace, Adelaide 5000. T (08) 8302-0870. E samstagmuseum@unisa.edu.au W www.unisa.edu.au/samstagmuseum Free admission, all welcome. H Tues-Sat 10.00 to 5.00, closed public hols and during exhibition changeover. To July 19 Gallery 1: For Country, for Nation. Gallery 2: Reality in flames: modern Australian art and the Second World War. Gallery 3: Unbound Collective: Sovereign Acts V: CALLING.
Elyas Alavi, Salt and Pomegranate, 2018, pomegranate, salt, neon, light, suicide bomber’s vest dimensions variable Photograph: Christo Crocker Courtesy the artist and ACE Open
Adelaide Central Gallery
7 Mulberry Road, Glenside 5065. T (08) 8299-7300. E info@acsa.sa.edu.au W www.acsa.sa.edu.au H Mon-Tues and Thurs-Fri 9.00 to 5.00, Wed 9.00 to 6.45. After hours by appt. To June 7 Lupercalia – Abdul Abdullah, Elsie-Jayne Beinke, Jazmina Cininas, Susan Flavell and Luke Thurgate. Drawing together an array of local and interstate artists, this new exhibition examines the werewolf as a metaphor
SpecialiSing in Sennelier oil paintS, watercolourS, paStelS, drawing inkS & Belgian linen. alSo Stocking art Spectrum, daniel Smith, archeS, langridge, conte, lukaS pluS many more. 83 Commercial Road, Port Adelaide SA 5015 Ph: (08) 8241 0059 • Fax: (08) 8241 0058 Open: Monday-Friday 8.30-5.00, Saturday 9.00-2.00 sales@portartsupplies.com.au • www.portartsupplies.com.au
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