Art Almanac July 2017 $6
Daniel Boyd Tjungunutja Tracey Moffatt
Art Almanac July 2017
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Art is at war with apathy in this issue featuring work spurred on by its social, intellectual and aesthetic impact. Tracey Moffatt and Luke Cornish inspire empathy with hyper-real tableaus. Where as ‘Defying Empire’ fuses material and conceptual priorities creating an ‘urgency and gravity that can’t be denied.’ The personal iconography of Jenny Watson and collective visual narratives in ‘Tjungunutja’ and ‘Sung Into Being’ encourage us to see the world through the eyes of others.
Deadline for August 2017 issue: Friday 30 June, 2017.
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 Editorial Intern – Zachary Klein 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 Daniel Boyd, Untitled (DOC), 2016, oil, charcoal and glue on canvas, 183 x 275cm National Gallery of Australia, Canberra Purchased 2016
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Cairns Indigenous Art Fair CIAF opens on 13 July for its 8th iteration of music, dance and art events showcasing the talents of artists from Queensland’s Aboriginal and Torres Strait Islander peoples, as well as awarding a number of prizes celebrating excellence and innovation in the field. A major group exhibition, with the theme ‘Family Values’, from curator and writer, Hetti Perkins and CIAF’s Artistic Director, Janina Harding, will be on view in Shed 3 of the Cairns Cruise Liner Terminal. Next door viewers will find a rich art market hosting 55 exhibitors, including artists, designers, art centres, collectives and local galleries whose work is distinct with ghostnet weaving, Pormpuraaw, coil pots and ceramics. In parallel to the fair, a solo-show by Daniel Boyd, Greg Semu’s ‘BLOOD RED’ and ‘Lei it on: Lei in contemporary art practice from the Torres Strait Islands’ will be at Cairns Art Gallery. An exhibition of emerging photographic artists at Tank Arts Centre is drawn from practices in Woorabinda and Cairns, and a presentation from Gail Mabo with Umbrella Studios will celebrate 25 years of Mabo. “What many people, especially interstate and overseas visitors don’t understand, is that most of Queensland’s Indigenous artists live and work in very isolated communities of Cape York and the Torres Strait. What CIAF does through its connections with some 13 art centres, is bring everyone together for the benefit of people who would otherwise not be able to experience the cultures,” said Harding. ciaf.com.au Mylene Holroyd, Puffer fish, Wall Piece, 2017, Ghost net artwork from Pormpuraaw, 83 x 167 x 120cm Photograph: Michael Marzik Photography Courtesy the artist
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EuroVisions Featuring 100 rarely seen works by more than 30 leading artists from Europe, ‘EuroVisions: Contemporary Art from the Goldberg Collection’ presents a vibrant cross-section of recent developments in international art. Artists include Ugo Rondinone, Urs Fischer, Sarah Lucas and Rudolf Stingel, as well as Anish Kapoor, Rachel Whiteread, Antony Gormley, Wolfgang Tillmans, Martin Boyce, Mark Leckey, Helen Marten, Alicja Kwade, Danh Vo- and many others. “Each”, says curator Judith Blackall, “pursues highly rigorous, individual practices, with distinctive lines of inquiry… The result is a dynamic, unfettered creative output that incorporates a diversity of approaches.” On display until 5 August at NAS Gallery, Sydney with curated selections to be presented in Melbourne, Canberra, and Bathurst in 2018 and 2019. nas.edu.au Camille Henrot, Melancholic dissolve 2, 2014, printed aluminium, venetian blind, veneered frame, found image, 200 x 132 x 30cm Photograph: Roman März © the artist Courtesy the artist, König Galerie, Berlin and National Art School, Sydney
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Air: Ryan Hoffman Essay by Rebecca Gallo
Images by Peter Morgan Liverpool Street Gallery
Ryan Hoffman’s series Air (2016-17) is the subject of this new art book. Hoffman participates in a genre of painting that explores contrast between photographic representation and painterly application, a subject that has become prevalent with the popularity of the digital image. ‘Air’ explores this unique paradigm with a collection of wallmounted sculptures and two-dimensional paintings that draw colour inspiration from diverse landscapes like Whale Beach and Marrickville in NSW and downtown Los Angeles, USA. The book acts as a medium to express the artist’s conceptual framework, which can also be entered through Rebecca Gallo’s essay; “Air is a refusal of space. A quantifiable assemblage of particles… Everything that appears void is full.”
Remote Avant-Garde: Aboriginal Art Under Occupation Jennifer Loureide Biddle Duke University Press
Since the Intervention, that began in 2007 in the Northern Territory digital media works, sculpture and paintings were created; including work from the Tangentyere artists, Rhonda Unurupa Dick’s experimentation, pieces from the Tjanpi Desert Weavers, the use of yurlpa (ochre) in a contemporary context, the multi-platform art of Yarrenyty Arltere artists and “happenings” in the outback. This book looks closely at new and ongoing practices in a series of ‘micro-histories’ without the airs or definitive promises of a didactic social history or art text. Biddle notes that the windows into these dedicated projects and works of art don’t add to the cumulative cannon of contemporary modern art; “not only do these works fail to comply but they instigate ways of thinking, feeling, being that cannot be readily assimilated.” 30
Tracey Moffatt
My Horizon Kimberley Moulton
“My Horizon can be about one wanting to see beyond where one is. It can mean to have vision. It can mean to project out and exist in the realm of one’s imagination. This is what artists do, this is what I do and this is what saves me” - Tracey Moffatt. As a young Yorta Yorta woman I was at university studying in Melbourne when I came across Tracey Moffatt’s artwork. I was totally absorbed. I loved that it gave me the freedom in connecting to a narrative of whatever I understood it to be, no direction or assertion of fact. This was the first time I saw contemporary art by an Aboriginal woman, art that went beyond ‘traditional’ looking Indigenous art. It was photography and film, sexy and challenging and political in its own way and as the only Aboriginal woman in my class – studying her work was empowering. Fast forward ten years and I am at the 57th Venice Biennale with the Australia Council for the Arts’ ‘First Nations curatorial exchange’ delegation and standing in front of the artist at the inaugural private viewing of ‘My Horizon’ as she makes history as the first solo Aboriginal artist to exhibit in the Australian Pavilion. Moffatt presents two video works Vigil (2016) and The White Ghosts Sailed In (2016) along with two photographic series titled Passage (2016) and Body Remembers (2016). A team of women were the closest to Moffatt in developing this work, dedicated arts leader Naomi Milgrom AO was the 2017 commissioner, and curator Natalie King worked with the artist for over two years. Significantly, for the first time since 1997, there were two Indigenous curators involved, Hannah Presley and Coby Edgar. On the exterior and within the pavilion Vigil depicts Hollywood movie stars peering out their windows in shock, this is cut in by slightly animated media images of the tragic 2010 Christmas Island boat disaster. A dramatic crescendo builds as the images flash faster, the stars looking on in horror with twisted faces and are met with the distorted photographs of boats sinking, people drowning, lives lost. I wondered if the actors were scared that the refugees may make it to shore or were they tormented by their own complacency? Vigil’s message was clear, critically looking at the fear of the so-called ‘boat people’ and the voyeuristic act of doing nothing. 36
Passage takes a dramatic approach with 12 large glossy prints, cinematic in look, and is the first work as you enter into the space. There is no fixed storyline to the compositions which have been shot at a harbour, it might be sunset or sunrise. A thick fog of smoke surrounds the people that appear to be in 1940s dress, a policeman, a dapper man, a woman and baby are the characters that set the scene. In Mother and Baby (2016) we see the woman and child bathed in golden light. Holding the baby, she could be anywhere and anyone, the infant pulls away from her tight grasp. Is she saying goodbye? We see a policeman in Mad Captain (2016) he is screaming with his arms high holding onto rope, perhaps on a ship, looking crazed but almost celebratory. Shadow and light play an important role in this series that evokes a theatric meditation on travel, dispossession and of running and seeking refuge. Body Remembers is a stark contrast to Passage and visually reminiscent of Moffatt’s earlier works. This series of ten large sepia toned photographs feature a central character played by Moffatt, fitted in a 1950s maid’s dress, we only ever see the back of her in a home and the second space a 37
Luke Cornish
Zeros to the left Chloe Mandryk
Luke Cornish, aka ELK, reveals who and what remains on the streets of East Aleppo, Syria. The juxtaposition of rubble, absence of the dayto-day life of communities and children within this apocalyptic landscape is not easy on the eye but urgent to be seen. By combining media (he now uses stencils and aerosol paint with photographic sublimation prints on aluminium) the artist is making a statement to ‘incorporate the personal, to the mechanical witness of the camera.’ His process enables a multi-layered affect that has a photorealistic quality; he uses heat to transfer dye onto his material, the dye becomes gaseous and penetrates the surface of the substrate becoming part of it, unlike a typical printing process. On his most recent trip to Syria he spent time working with 40 kids aged between five and ten, organised with the help of UNICEF, drawing in pencil and texta. In another context he taught stencil art and can-control to children, fun for all involved but the experience drove home the reality that these kids have never known anything but war. So, for Cornish it was “nothing short of life changing… I’m drawn to engage with the world around me. You’re exposed to the horrors of war through the media ad nauseam, so it’s hard not to be affected and want to make a positive impact, how ever small it may be, on people’s lives who are living through this horrible conflict. I believe if art is going to change the world, we need to take it to the people that need it the most.” On the nature of a being a street artist in Syria Cornish recounted, “It’s quite a surreal experience. Painting unsanctioned work on the street usually gets your heart going, add to that soldiers with AK47’s patrolling and the sound of mortars… but the curious crowd of children and bystanders that congregate are usually interested and supportive.” He also painted a portrait of Khaled al Assad (1932-2015) on a roman amphitheatre in the ruins of Palmyra, an ancient city. Khaled was a curator of antiquities who hid the artefacts of his museum, knowing that they would be destroyed by conflict eradicating any signs of culture post AD500, he died protecting these artefacts. The amphitheatre was recently attacked; the artist plainly added, “I’m used to having my work destroyed on the street, blown up is something else.” The exhibition title ‘Zeros to the left’ is inspired by the Arabic phrase ‘sifr il alyessar’, which in mathematics refers to the idea that any leading zero, to the left of a decimal point has no value. 40
Real Blak Tingz
Abstraction:
(Gabi Briggs x Arika Waulu)
Celebrating Australian women abstract artists
The Blak Matriarchy Koorie Heritage Trust Until 30 July, 2017 Melbourne
Gabi Briggs and Arika Waulu reflect on the 1967 referendum 50 years on with a collection of portraits, projections and sculpture – as an expression of resistance, anchored by memory, celebration, critique of power and decolonial imaginings. The artists, “draw our attention to the matriarchal lines of power that have long governed our families and communities, stretching back generations before this country existed and many tens of thousands of years before our invasion and colonisation,” explains Tom Mosby CEO, Koorie Heritage Trust.
Gwen Brooks, 2017, Giclée print (framed), 118.9 x 84.1cm Photograph: James Henry Courtesy the artists and Koorie Heritage Trust, Melbourne
Newcastle Art Gallery Until 23 July, 2017 New South Wales
This exhibition honours a key and often obscured aspect of art history; the contribution of women in the development of Australian abstract art from the 1920s to the present. Featuring paintings, drawings, ceramics and sculpture by 38 artists including Dorrit Black, Grace Crowley, Anne Dangar and Margaret Preston, Yvonne Audette, Inge King, Margo Lewers and Janet Dawson, as well as contemporary artists Virginia Cuppaidge, Elizabeth Coats, Debra Dawes and Melinda Harper. Also, major works by Indigenous artists Emily Kame Kngwarreye and Sally Gabori among others.
Grace Crowley (1890-1979), Painting, 1951, oil on hardboard, 58.4 x 70.6cm Purchased 1969 Courtesy National Gallery of Australia, Australian Capital Territory
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Still in my Mind: Gurindji location, experience and visuality UNSW Galleries Until 29 July, 2017 Sydney
Inspired by the words of Indigenous land rights leader Vincent Lingiari, ‘that land… I still got it on my mind’, this exhibition explores notions of identity, country and the ongoing impact of the Gurindji walk-off in 1966. The industrial strike became a nine-year act of self-determination and helped spark the land rights movement in Australia. ‘Still in my mind’ tells the story of strength and resilience from diverse, yet interlinked, Indigenous perspectives through photographs, video installation, history paintings, digital platforms and archives.
Brenda L. Croft with Rob Nugent, still from Retrac(k)ing country and s(k)in, 2017, 2-channel video installation Courtesy the artist, Stills Gallery, Sydney and Niagara Galleries, Melbourne
Material Politics Institute of Modern Art Until 15 July, 2017 Queensland
‘Material Politics’ brings together recent and newly commissioned works by artists who use readily available materials for more than economical reasons, to embed political perspectives and explore issues of ecology, inequality, surveillance and sovereignty. Their approaches are influenced by the last three decades of rapid socio-economical changes given rise by mobility, digitalisation, colonial legacies and rapid gentrification in Australian cities. Artists include Megan Cope, Keg de Souza, Archie Moore, Gabriella Mangano and Silvana Mangano, Tintin Wulia, Raquel Ormella, and Jemima Wyman and Zach Blas.
Raquel Ormella, ‘I’m worried this will become a slogan’ series, 1999-2009, double-sided banner, sewn wool and felt, 186 x 128cm Photograph: Carl Warner Courtesy the artist, Milani Gallery, Brisbane and Institute of Modern Art, Queensland
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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! Marten Bequest Scholarship Recipients 2017
Twelve Australian artists across the categories of painting, sculpture, acting, architecture, ballet, music, poetry, prose and singing have been named as the recipients of the Marten Bequest scholarships for 2017. Each will receive funds from a total pool of $600,000 to develop their unique practice and establish valuable networks.
technological. While Sam Holt, also NSW-based who received his scholarship for painting, will go to Berlin to establish a studio practice, reconnect with his tutor Valerie Favre and embark on research trips to Japan and India. These scholarships are supported threefold by the legacy of John Chisholm Marten, the Australia Council for the Arts and Perpetual.
Advocate Art Award 2017
Entries close 14 July, 2017 The Central Australian Art Society Inc. of Alice Springs invites local emerging and established artists to submit works in any medium for their major annual exhibition that will take place at Araluen Arts Centre, Northern Territory from 28 July to 13 August. caasinc.wordpress.com
Banyule Award for Works on Paper
Entries close 31 July, 2017 The Banyule Award commends an outstanding contemporary work on paper. This is a $10,000 acquisitive prize with the winning work to become part of the Banyule Art Collection in Victoria. The 2017 award is calling for artworks that respond to the curatorial theme of ‘ebb and flow’. banyule.vic.gov.au
Maritime Art Awards & Exhibition
Entries close Sun 27 Aug, 2017 Submissions are now open for the Maritime Art Awards & Exhibition. This national competition hosted by the Mission to Seafarers, Melbourne promotes excellence in maritime and seafaring subjects in art, and assists in raising the profile of merchant seafarers responsible for transporting more than 90 per cent of world trade. missiontoseafarers.com.au
Aesthetica Art Prize
Marian Tubbs, In Practice: Material Deviance, installation view, Sculpture Center, Long Island New York, 29 January to 27 March, 2017 Courtesy the artist
Entries close 31 August, 2017 The Aesthetica Art Prize offers emerging and established artists the opportunity to showcase their work and engage with audiences on an international platform. There are two awards on offer; Main Art Prize and the Emerging Art Prize. Categories include Photographic & Digital Art; Three Dimensional Design & Sculpture; Painting, Drawing & Mixed Media; and Video, Installation & Performance. aestheticamagazine.com
Marian Tubbs from New South Wales will undertake a residency at Mudhouse in Crete, as well as travel to Athens for documenta 14, and New York for a mentorship to develop skills in digital sculpture with ecologically considered 3D printing to create hybrid objects between the hand-sculpted and the
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Yarra Sculpture Gallery Contemporary Sculptors Association
117 Vere Street, Abbotsford 3067. T (03) 94196177. E yarrasculpturegallery@gmail.com W www.yarrasculpturegallery.com.au Facebook: Yarra Sculpture Gallery: Current Projects. H Thurs-Sun 11.00 to 4.00. YSG is currently hosting Project Time where artists develop ideas in a studio setting. Please check website for opening times, talks and events. See ad page 123.
Brunswick Northcote Arts Project Australia
24 High Street, Northcote 3070. T (03) 9482-4484, F 9482-1852. E info@artsproject.org.au W www.artsproject.org.au H Mon-Fri 9.00 to 5.00, Sat 10.00 to 5.00. For artwork enquiries please contact the gallery. To July 22 Ian Gold Solo. In his first solo exhibition at Arts Project Australia, Gold’s bold layering reveals a penchant for abstract forms and hidden references. Also, Girt by Sea. Drawing upon their knowledge of Australian Art and reflecting upon our unique and diverse culture, the Northcote Penguins curated exhibition Girt by Sea references significant periods of this history. July 29 to Sept 9 (opening Sat July 29, 3-5pm) The Pursuit of Colour is a celebration of freedom in the use of colour. Showcasing digital art, this group exhibition features work from the Arts Project digital program. Curated by Peter Douglas and Ching Yee Ng. Supported by The Calvert – Jones Foundation. Also, My World by Erica Berechree. Berechree’s paintings frequently adopt an elevated standpoint, presenting an aerial view of Earth. My World is Berechree’s first solo exhibition at Arts Project Australia.
Counihan Gallery In Brunswick 233 Sydney Road, Brunswick 3056. T (03) 9389-8622. E counihangallery@moreland.vic.gov.au W www.moreland.vic.gov.au/counihan-gallery Free entry. H Gallery: Wed-Sat 11.00 to 5.00, Sun 1.00 to 5.00. Office: Wed-Sat 11.00 to 5.00. July 7 to 30 (opening Thurs July 6, 6-8pm) The Story So Far... Indigenous works from the Moreland Art Collection. In conjunction with NAIDOC week The Counihan Gallery In Brunswick presents works of over 20 Indigenous artists from the Moreland Art Collection. The exhibition includes the premiere of three new commissions from Destiny Deacon, Dianne Jones and Peter Waples-Crowe. Artists also include Maree Clarke, Fiona Foley, Ben McKeown, Mandy Nicholson and Christian Thompson. Curated by emerging curator Kate ten Buuren, with a written response from researcher, writer and storyteller Genevieve Grieves. The exhibition will be accompanied by a series of free public programs programmed by writer and activist Nayuka Gorrie. Auslan interpreters will be provided for some public programs. Please see our website for details.
Fiona Foley, Nulla 4 eva III, 2009, Ultrachrome print on Hahnemühle pale, 120 x 180cm Courtesy the artist and Niagara Galleries, Melbourne
The Foundling Archive
390a Lygon Street, Brunswick East 3058. T 0431-529-403. E thefoundlingarchive@gmail.com W www.thefoundlingarchive.org.au Social History, Documentation and Sound Gallery.
FILIP TOTH Recent work 9-22 July 2017
sculptures paintings Ian Gold, Owl, 2016, acrylic on paper, 38 x 56cm Courtesy the artist and Arts Project Australia
106 Melbourne
Gallery 5ll Opening Sunday July 9th 4pm-6pm 511 Queensberry St. North Melbourne 3051 Opening hours Filip Toth ‘Anunnaki’ 2015 Tue-Sat 10.00am - 5.00pm 78x25x23 cm, bronze & stone
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Verge Gallery
Jane Foss Russell Plaza, (off City Road), Darlington, University of Sydney 2006. T (02) 9563-6218. E s.mcintyre@usu.edu.au W verge-gallery.net H Tue-Fri 10.00 to 5.00, Sat 11.00 to 4.00. June 29 to July 29 (opening Thurs June 29, 6-8pm) Portraits of Men.
White Rabbit Gallery
30 Balfour Street (near Central Station), Chippendale 2008. T (02) 8399-2867. W www.whiterabbitcollection.org H Wed-Sun 10.00 to 5.00. The Dark Matters – a thrilling meditation on the colour beyond colours in works of light and shadow, ink and paper, yang and yin. Artists include Ai Weiwei, Feng Mengbo, Lin Yan, Li Xiaofei, Yang Yongliang and Xu Zhen.
East Sydney ARO
51 William Street, Darlinghurst 2010. T 0414-946894. E info@arogallery.com W www.arogallery.com June 27 to July 9 (opening Wed June 28, 6-8pm) BOAB by Narelle Cridland. Tues-Fri 12.00 to 6.30, Sat-Sun 12.00 to 5.00. Artist talk: Sat July 8, 3-4pm (see ad page 61). July 12 to 23 New Light recent paintings and prints by Clinton Barker. Weds-Sun 9.00 to 5.00 (see ad page 140).
Jacqueline Balassa, African Tree, Zimbabwe, 2017, gouache on paper, 23.5 x 32.5cm Courtesy the artist and Art Atrium
Arthouse Gallery
66 McLachlan Avenue, Rushcutters Bay 2011. T (02) 9332-1019. E contact@arthousegallery.com.au W www.arthousegallery.com.au H Tues-Fri 9.30 to 6.00, Sat 10.00 to 5.00. To July 8 Hug a Tree, Kiss a Dog by Deborah Halpern. July 26 to Aug 12 The Summer That Was by Robyn Sweaney. Also, Judith Van Heeren.
Robyn Sweaney, Shadows of self, 2017, acrylic on linen, 40 x 50cm Courtesy the artist and Arthouse Gallery
Artspace Narelle Cridland, Colossal Boab, 2017, C-type print on metallic paper with hand etching, 81.28 x 121.92cm Courtesy the artist
Art Atrium
181 Old South Head Road, Bondi Junction 2022. T 0411-138-308. E info@artatrium.com.au W www.artatrium.com.au Director: Simon Chan. H Wed-Fri 12.00 to 6.00, Sat 12.00 to 4.00, or by appt. To July 8 Land Escape by Blak Douglas and Chico Monks. To be opened by Jason Wing. July 12 to 29 (opening Tues July 11, 6-8pm) The Artist as Traveller by Jacqueline Balassa (see ad page 143).
144 Sydney
43-51 Cowper Wharf Road, Woolloomooloo 2011. T (02) 9356-0555. E artspace@artspace.org.au W www.artspace.org.au @ArtspaceSydney. H Gallery: Mon-Fri 11.00 to 5.00, Sat-Sun 11.00 to 6.00. Visit website for exhibition program.
Australian Centre for Photography Project Space gallery
72 Oxford Street, Darlinghurst 2010. T (02) 93320555. E info@acp.org.au W www.acp.org.au Free entry. H Tues-Sat 10.00 to 6.00, closed public hols.
Contemporary Art Tasmania
Sawtooth ARI
Launceston
North West Coast
Academy Gallery
Burnie Regional Art Gallery
27 Tasma Street, North Hobart 7000. T (03) 6231-0445. E info@contemporaryart.org.au W www.contemporaryarttasmania.org H Wed-Sun 12.00 to 5.00. July 22 to Aug 27 SULLUN – Stewart Cole, Andrew Harper, Stephanie Kam, Harriet Kate Morgan, Simon Pericich, Striborg and Matt Warren. Curated by Colin Langridge.
Academy of the Arts, Tasmanian College of the Arts (Inveresk), University of Tasmania, Invermay Road, Inveresk, Launceston 7250. T (03) 6324-4410. E Malcom.Bywaters@utas.edu.au W www.utas.edu.au/tasmanian-college-arts/home Director: Dr Malcom Bywaters. Free admission. H Mon-Fri 9.00 to 5.00, closed weekends and public hols. July 10 to Aug 13 Cool & Collected, curated by Mat Carey.
Queen Victoria Museum and Art Gallery
Art Gallery at 2 Wellington Street, and Museum at 2 Invermay Road, Launceston 7250. T (03) 63233777. W www.qvmag.tas.gov.au H Daily 10.00 to 4.00. Museum: to July 23, 10 Objects, 10 Stories. Art Gallery: to Aug 13 Memento Mori: art medicine & the body.
Lauren Black, Disease and Deity, 2013, pencil on paper, triptych (detail, panel 1), 112 x 77cm (per sheet) Collection: R.A. Rodda Museum of Pathology, University of Tasmania
176 Tasmania
Level 1, 160 Cimitiere Street, Launceston 7250. T (03) 6331-2777. E sawtoothari@gmail.com W www.sawtooth.org.au Director: Paul Eggins Free entry. H Wed-Fri 12.00 to 5.00, Sat 10.00 to 2.00.
Burnie Arts & Function Centre, Wilmot Street, Burnie 7320. T (03) 6430-5875. E gallery@burnie.net W www.burniearts.net H Mon-Fri 10.00 to 4.30, Sat-Sun and public hols 1.30 to 4.00.
Devonport Regional Gallery
45-47 Stewart Street, Devonport 7310. T (03) 6424-8296. E artgallery@devonport.tas.gov.au W www.devonportgallery.com Free entry. H Mon-Fri 10.00 to 5.00, Sat 12.00 to 5.00, Sun and public hols 1.00 to 5.00. July 15 to Aug 27 Past and Present Tense – 20 years of the Robinson Collection. This year marks 90 years since Robert (Bert) Vaudry Robinson established his photographic studio in Devonport in 1927, and 20 years since the first exhibition of the Robinsons’ photographs, Robinson & Son: A Photographic Collection was held at Devonport Regional Gallery. Over the past 20 years, the Robinson Collection has been a source of intrigue, nostalgia and reverence for curators, artists, community members and visitors alike. This survey exhibition revisits two decades of Robinson Collection exhibitions, while marking the beginning of the next chapter of the Robinson archive. The Little Gallery Project Space: Amber KorolukStephenson: Homeland – reflects on Australian identity and possibilities of the Australian landscape. Subverting traditional depictions of the Australian landscape largely associated with the bush and the outback, the artist draws connections between native and introduced species; natural and artificial landscapes, the wild and the tame, the civilised and the non-civilised.
Amber Koroluk-Stephenson, Afloat, 2016, oil on canvas Courtesy the artist and Devonport Regional Gallery