Art Almanac September 2018 Issue

Art Almanac September 2018 $6

Genevieve Felix Reynolds Ken Unsworth Amber Boardman

Art Almanac September 2018

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Deadline for October 2018 issue: Friday 31 August, 2018.

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 present ourselves to the world to assert and understand our identity; artists take this feeling and give it form. In very different ways the paintings of Genevieve Felix Reynolds and Amber Boardman consider how something meaningful might come from the Internet.

Kieran Butler’s photography and drag articulates their non-binary self, whereas Tony Albert’s work challenges the aesthetics of recollection and representation of Indigenous peoples. Drawing on life, Julia deVille’s taxidermy and holograms augment overlooked creatures whilst Ken Unsworth stages tension from the inside out.

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 – Saira Krishan

Cover

Genevieve Felix Reynolds, Everything will melt like water, 2018, gouache and acrylic on panel, 75 x 60cm Courtesy the artist and Nicholas Thompson Gallery, Melbourne

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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Sydney Contemporary With over 80 Australian and international galleries participating, Sydney Contemporary presents a manifold of creative talent, current trends and emerging practices – as well as the cross-cultural dialogue they inspire. At Carriageworks from 13 to 16 September, this year’s events include engaging panel discussions, guided tours, educational workshops and an extensive VIP Program, including an exclusive preview on 12 September. The official opening on 13 September is the outset to four days filled with painting, sculpture, sound and ceramics, through to installation, video and performances. Highlights include Jean Dubuffet’s four-metre-high sculpture L’Incivil (1973/2014) and Patricia Piccinini’s The Field (2018) a vast landscape of genetically modified flowers re-imagined for the fair. Art Almanac will participate in a print media stall, please come and say hello. sydneycontemporary.com.au Michaela Davies, Duty, 2014, performance documentation, curated by Performance Space, MCA, 2014 © the artists Photograph: Heidrun Löhr Courtesy the artists and Sydney Contemporary, Sydney

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Bush Women Fremantle Arts Centre

In 1994 the Fremantle Arts Centre staged a special exhibition of artworks by women from the fresh-water country of north-west Western Australia and the Ngaanyatjarra lands of the south-east. With distinct, original styles and personal narratives about living and growing up in the bush, artists such as Paji Honeychild Yankkarr, Daisy Andrews, Queenie McKenzie (Gara-Gara), Tjapartji Kanytjuri Bates, Tjingapa Davies and Pantjiti Mary McLean took their place in the spotlight of the art world. In 2018 the gallery reassembled the original paintings and produced this title, ‘Bush Women’. It is modest in size and has the sentiment of a ‘yearbook’, sharing first person accounts from the artists, curatorial insights via John Kean as well as reproductions of the works and photographs from the 1990s.

Robert Smithson: Time Crystals MUMA in association with Monash University Publishing ‘Then I looked closer.’ – Robert Smithson

‘Time Crystals’ is the first exhibition in Australia to showcase the works of American artist Robert Smithson (1938-1973), known for his radical land art of the 1960s and early 1970s. Its literary companion, a catalogue comprised of sketches, preparatory drawings, correspondence, photographs and handwritten manuscripts including misspellings, grammatical errors and redacted text, provides personal insight, deepened understanding and a new interpretation of Smithson’s practice. The development of his ideas on nonbiological time and entropy, crystallography, science fiction, geography and geology – as well as redefining models of abstraction and challenging art history in his exploration of medium, location and expression – are explored in essays by Amelia Barikin, Chris McAuliffe and Stephen Melville.

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Amber Boardman

@jadefad: a social media feed in paint Eleanor Zeichner

On relocating from her home in Brooklyn, New York, to Sydney’s Northern Beaches, Amber Boardman rediscovered her love of paint. She was drawn to its messy materiality, at odds with its fine art tradition. It seemed an apt medium through which to explore another fascination: the aspirational culture of social media. Rapid image making catalysed by quickly changing fads offered a window into a world curated and monetised for mass consumption. Instagram and YouTube are awash with beauty influencers deftly demonstrating the use of various makeup products, ‘elements of paint in everyday life,’ Boardman explains. ‘@jadefad: a social media feed in paint’ explores the transformative qualities of paint in an interwoven narrative that plays out both in the gallery and on Instagram. The series is buoyed with an absurdist sense of humour, mirrored by Boardman’s confident and gestural brushwork. It tells the story of a fictional social media influencer called Jade whose performative self-care includes yoga, spray-tanning and the KonMari method. In @jadefad; Experiencing some middle aged gravity on the yoga mat today :/ #thatprincesshairtho (2017) Jade’s distorted figure, legs and breasts akimbo, is topped with a mane of flowing blonde hair (visible roots notwithstanding). @jadefad: Oh just casually relaxing on my busted vinyl lawn chair. #blondonlawnchair (2016) satirises the faux-casual posturing that belies the carefully art directed Instagram shot.

When Jade has the revelation that she is a character made of paint (after a big night on the turpentine cocktails), it opens up the possibility of an even greater performance of self-transformation and the expansion of her influence.

There’s a Looney Tunes-esque cartoon logic pervading these works, with the character wrestling the creator for control over her image. As a child Boardman woke up early to cram in cartoons before school, eventually ending up as a commercial animator for Cartoon Network and Comedy Central, skills honed with an MFA from the School of Visual Arts in New York City. The work @jadefad: #renovatedpainting Sooooo @amberboardman tried to paint a portrait of me. Then I 32

Tony Albert Visible

Tristen Harwood Tony Albert, a Girramay, Yidinji and Kuku Yalanji descendent, is the youngest artist to have a major solo exhibition at the Queensland Art Gallery. ‘Visible’ includes a range of work that illustrates the breadth and rigour of his practice, from object-based assemblages to photography, painting, installation and video.

Across Albert’s work there is an assertive engagement with the aesthetics of recollection, representation, and imaginative future rendering. The depth of his practice extends beyond the confines of individual experience (career or personal). It isn’t merely about correcting misrepresentations or returning the gaze; it comprehends the falsity of the entire representational structure operationalised in service of settler-colonialism and poses questions to the settler-grammar that restricts how Aboriginal art is read and written about.

For many, his most readily identifiable works are those that encompass compositions of Aboriginal kitsch objects like ashtrays, decorative boomerangs, tea towels, cutlery and other banal objects decorated with caricatures – often racist invocations of ‘noble savages’, ‘pickaninnies’ and so on.

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Ken Unsworth Truly, Madly Julian Day

As I sit down with Ken Unsworth and sip coffee on his sun-speckled deck I feel I’ve hit the artworld jackpot. Unsworth’s home nestles Sydney Harbour, yet the white-haired former welder from Melbourne transmits a frugal nonchalance. His waterfront garden defiantly obscures the view with carefully planted native shrubs and he punctuates our chat with homemade veggie stew.

Unsworth is one of Australia’s most prolific and uncategorisable artists. Across six decades he has generated a vast body of work incorporating such recurring themes as levitating rocks, automated pianos and cycling skeletons. It echoes minimalism, body art, arte povera and vaudeville in equal measure, yet remains deeply idiosyncratic.

Somehow this complex catalogue has been ordered into key themes for a retrospective at the National Gallery of Victoria (NGV). Surprisingly, it’s Unsworth’s first such show in his birth town.

‘The title is Truly, Madly’ he reveals ‘and it’s been a mad experience.’

The exhibition sprawls across all three levels of the NGV at Federation Square. It mixes older and newer works, including three new commissions, and continues Unsworth’s obsession with ‘the human body, the surrogate body, and the skeletons.’

One work, unites a tattooed angel, a piano and a figure slapping the floor with a cane. Another centres on a 17-foot skeleton with an elongated penis made of blown Plexiglas, surrounded of course by stones. Elsewhere a blackbird persistently pecks at a cast of Unsworth’s body refashioned as St Francis of Assisi.

Despite the mystery and symbolism in his work, Unsworth is frank and down to earth in person.

He aims to make art every day although at 87 years old admits to ‘slowing down a bit’. Whilst he mostly works out of an old factory building in a nearby suburb, he maintains a small studio at home for ‘sitting and scratching my bottom’ and undertaking ‘my other sin of painting, which I keep very secret.’

The extent of this discreet yet long-standing practice is evident in a new monograph by Anthony Bond in collaboration with ARTAND Foundation that dedicates two of its 12 chapters to drawing and painting. Unsworth’s basement studio reveals his latest such work, an allegorical figurative painting recalling early Arthur Boyd. This side of Unsworth might seem surprising compared to his more epic sculptures, installation and performance art.

‘Drawing is a way of thinking,’ he explains, ‘and of expressing those thoughts and putting them into some sort of form. Drawing’s always been essential to my working life. It becomes like an encyclopedia. In fact I can remember every drawing I’ve ever made. It’s a very fluid, flexible, vital sort of activity.

Drawing is contiguous with the body, which is ultimately the key to unlocking Unsworth’s practice. His focus on the body emerged circuitously on a 1971 trip to New York City where he stumbled upon a book about arte povera. ‘I came back to Hobart and started using natural 48

A Body of Work Photography of Adrian Boddy Justin Arts House Museum Until 2 December, 2018 Melbourne

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Systematic Plimsoll Gallery 8 September to 14 October, 2018 Tasmania

Three-hundred images are thematically grouped and displayed across ten TV screens in a visually rich, immersive exhibition of photography by Adrian Boddy. These works, gathered over the course of the artist’s career, depict portraiture, architecture, fauna and landscapes such as Hokkaido winters and Antarctic summers, as well as the arid Australian outback and cool coastlines.

In their entirety, these captured moments provide a pictorial account of Boddy’s life journey as well as a look into the history of the medium.

Curated by Eliza Burke, ‘Systematic’ showcases a group of Australian artists who engage with the creative potential of systems to critique, re-imagine or re-invent their workings. Across sculpture, installation, photography, generative animation, painting and assemblage, these methodical pieces reflect on human and non-human relationships through the material dynamics of engineered connections and intricate componentry. Concepts of organisation, interrelatedness and connectivity are explored through technology and iterative processes, manipulation of materials and forms of perception, and ecological and political histories of ‘the system’.

Rams Head Range, Thredbo, 2006, digital, 300 x 200cm Courtesy the artist and Justin Arts House Museum, Melbourne

Ian Burns, Circle, 2016, fans, latex gloves, table, air, timing system, 165 x 160 x 160cm Courtesy the artist, Anna Schwartz Gallery, Melbourne, and Plimsoll Gallery, Tasmania

THE 1818 PROJECT Newcastle Art Gallery 8 September to 4 November, 2018 New South Wales

No Second Thoughts: Reflections on the Artemis Women’s Art Forum Lawrence Wilson Art Gallery 1 September to 8 December, 2018 Western Australia

‘THE 1818 PROJECT’ deconstructs colonial painting through a contemporary lens. As a springboard to examine cultural histories, identity, and personal stories of migration, loss and diaspora, eight Australian artists create their own narratives in response to original landscape paintings depicting scenes of Newcastle’s Coal River region c.1818, by English convict artist Joseph Lycett (17741825). Abdul-Rahman Abdullah, Shan TurnerCarroll, Dale Collier, Karla Dickens, Fernando do Campo, Lindy Lee, Yhonnie Scarce and Jacqui Stockdale present glass, sculpture, photography, performance, painting, drawing and installation.

Presented by the Cruther’s Collection of Women’s Art, this exhibition of newly commissioned works delivers four artists responses to the Artemis archive which holds correspondence, meeting minutes, exhibition ephemera, artist files and other documentation by the Artemis Women’s Art Forum Inc. (1985-1990), a group who worked towards raising the status of women in the arts. Former Artemis committee members Penny Bovell and Jo Darbyshire, with early career artists Teelah George and Taylor Reudavey examine the history of Western Australian feminist art.

Florey and Fanny, 2011, blown glass, 15 pieces, cotton aprons, from the ‘Target practice’ series exhibited 2011, dimensions variable City of Yarra Council Collection Courtesy the artist, THIS IS NO FANTASY dianne tanzer + nicola stein, Melbourne, and Newcastle Art Gallery, New South Wales

Jo Darbyshire, The Glorious Decline, 2018, oil on canvas, 200 x 200cm © the artist Courtesy the artist and Lawrence Wilson Art Gallery, Western Australia

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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!

Alice Couttoupes awarded the 2018 Eva Breuer Travelling Art Scholarship

The ‘Eva Breuer Travelling Art Scholarship’ is an annual award to support a young Australian female to study and further their arts practice in Paris.

Developed by The Breuer Foundation, in association with the Art Gallery of New South Wales (AGNSW) in memory of Eva Breuer and the contribution she made to Australian Art. The AGNSW have announced Alice Couttoupes as the 2018 recipient. The Sydney artist has been awarded a three-month residency and $25,000 towards living and travel expenses associated with the overseas placement.

space. Control and surveillance of nature was a prominent feature of French formal gardens, and that is what I intend to explore and respond to in my new work.’

‘To date, the majority of my work has explored these ideas within the Australian context, so the opportunity to stay in Paris and expand the scope of my research will be hugely beneficial and rewarding,’ she continues.

The AGNSW also awarded Studio Scholarships at the Cité Internationale des Arts in Paris, to artists Tracey Clement, Sarah Contos, Gregory Hodge, Valerie Kirk, Giselle Stanborough, Alexandra Standen, and Esther Stewart.

BAM Art Prize

Entries close 13 October 2018 The inaugural BAM Art Prize is a $5,000 nonacquisitive award, and includes three highly commended awards. Presented by Byron Arts Magazine (BAM) with the aim of promoting the arts within the Northern Rivers region. The winners will be featured in the BAM summer edition, and the prize is open to all artists nationwide for works in any medium. The finalist exhibition will be held in Byron Bay from 9 to 30 November. byronartsmagazine.com.au

Megalo International Print Prize Entries close 23 September 2018 Megalo Print Studio + Gallery announce the first Megalo International Print Prize with $18,500 on offer. First Prize $10,000, Second Prize $5,000, People’s Choice $1,000 and the Lerida Estate Acquisitive Prize $2,500. The finalist exhibition will be held 16 February to 6 April, 2019. megalo.org

National Indigenous Arts Awards 2019

Alice Couttoupes at work, 2018 recipeint of the Eva Breuer Travelling Art Scholarship Photograph: Tim Darin Courtesy the artist and Art Gallery of New South Wales, Sydney

Couttoupes predominantly works with clay in its vitrified and raw state, with a focus on exploring sociocultural and political ideas that inform our interaction with nature. She explains, ‘In Paris I plan to examine the trope of ‘mastery over nature’ by looking at French formal garden design – such as Versailles – as a socially and culturally symbolic

Expressions of Interest and nominations close 2 October 2018 The National Indigenous Arts Awards celebrate the significant contribution of First Nations artists to the vibrancy of Australian arts, and celebrate the work and achievements of both established and emerging artists. The Australia Council invites nominations from arts and community organisations and individuals for The Red Ochre Award, which recognises two outstanding senior artists – one female and one male.

While Expressions of Interest are invited for The Dreaming Award, which recognises an inspirational young artist aged 18-26 years. This award supports the recipient with the opportunity to create a major body of work through mentoring and partnerships, either nationally or internationally. australiacouncil.gov.au

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Flinders Lane Gallery

137 Flinders Lane, Melbourne 3000.

T (03) 9654-3332. E info@flg.com.au W www.flg.com.au Director: Claire Harris. H Tues-Fri 11.00 to 6.00, Sat 11.00 to 5.00. Please consult website for any opening hours changes. Our extensive stockroom can also be viewed on our website. Sept 4 to 22 Gallery 1: Undercurrents a curated group exhibition. Gallery 2: Present Tense by Margaret Ackland. Sept 25 to Oct 20 Gallery 1 & 2: The Nature of Landscape by Jo Davenport.

Margaret Ackland, Last of the Autumnal Colours, 2018, watercolour on handmade paper, 30 x 30cm Courtesy the artist and Flinders Lane Gallery

fortyfivedownstairs

45 Flinders Lane, Melbourne 3000.

T (03) 9662-9966. E briar@fortyfivedownstairs.com W www.fortyfivedownstairs.com H Tues-Fri 11.00 to 5.00, Sat 12.00 to 4.00. Aug 28 to Sept 8 Hyperrealism and Improvisation painting and drawing by James Yuncken. Also, Melbourne Listening interactive audio installation by Susannah Williams and Warren Armstrong. Sept 11 to 22 ...of script and facture... by Catherine Bainbridge with Two Shanks in collaboration with Daniel Keene (see ad page 89). Also, I am scattering like light painting

by Marion Harper. Sept 25 to Oct 20 Manhattan Dreaming painting and printmaking by Marco Luccio.

Artist talk: Sat Oct 6, 11am to 1pm (see ad page 85).

Southbank Sth Melbourne Australian Centre for Contemporary Art (ACCA)

111 Sturt Street, Southbank 3006.

T (03) 9697-9999. W www.acca.melbourne Free admission. H Tues-Fri 10.00 to 5.00, Sat-Sun 12.00 to 5.00, Mon by appt. To Sept 16 A Lightness of Spirit is the Measure of Happiness – Alec Baker, Benita Clements, Vicki Couzens, Robert Fielding, Jonathan Jones, Peter Mungkuri, Vincent Namatjira, Jimmy Pompey, Yhonnie Scarce, Peter Waples-Crowe, Lisa Waup, Kaylene Whiskey and Tiger Yaltangki. Curated by Hannah Presley. The first exhibition in the Yalingwa series celebrates the significance of family, community and humour in contemporary Aboriginal life. The exhibition features ten new commissions from artists from south-east Australia and beyond, in an exploration of everyday life and experiences of Aboriginal people today.

Country music icons, queer identity, pop-culture and community leadership are referenced, as well as the legacy of ancestors and the importance of coming together to strengthen identity and connection.

Yalingwa is a Victorian Government initiative, developed in partnership between Creative Victoria, ACCA and TarraWarra Museum of Art and designed to support outstanding contemporary Indigenous art and curatorial practice. Sept 28 to Nov 25 Eva Rothschild – the 2018 ACCA International exhibition presents a survey of works by Irish-born, London-based artist Eva Rothschild, ahead of her appearance at the 2019 Venice Biennale where she will represent Ireland.

Shaped by a myriad of influences from minimal art of the 1960s and 70s to classical architecture, spiritualism and pop-culture, Rothschild has an international reputation for sculptural forms that are both striking and spare, as sharp geometric shapes morph into flamboyant, enigmatic compositions.

Presented in association with Melbourne Festival, the exhibition brings together three new sculptural commissions created especially for ACCA’s galleries, alongside recent work spanning the last decade of Rothschild’s diverse yet distinctive practice.

Stephen McLaughlan Gallery

Level 8, Room 16, 37 Swanston Street (cnr Flinders Lane), Melbourne 3000. T 0407-317-323.

W www.stephenmclaughlangallery.com.au Director: Stephen McLaughlan. H Wed-Fri 1.00 to 5.00, Sat 11.00 to 5.00 or by appt. To Sept 8 Emidio Puglielli. South Gallery: Jenny Loft.

Sept 12 to 29 Sheena Mathieson.

Eva Rothschild, Border, 2018, painted concrete, wood, foam, polystyrene, 172 x 242 x 32cm Courtesy the artist, Modern Art, London, and Australian Centre for Contemporary Art

88 Melbourne

Yuill/Crowley

Yellow House, 57-59 Macleay Street, Potts Point 2011. T 0418-634-712.

E yuill_crowley@bigpond.com W www.yuillcrowley.com H Wed-Fri 11.00 to 6.00, Sat 11.00 to 4.30. Sept 6 to Oct 6 this time now – et al.

Redfern Surry Hills Green Square Aboriginal & Pacific Art

1/24 Wellington Street, Waterloo 2017.

T (02) 9699-2211. E info@aboriginalpacificart.com.au W www.aboriginalpacificart.com.au Director: Gabriella Roy (member of ACGA). H Tues-Sat 11.00 to 5.00.

Through Sept Djang in Fibre: From Bim to Form.

Fibre art from Maningrida. See ad page 131.

Artbank, Sydney

222 Young Street, Waterloo 2011. T (02) 9697-6000.

E enquiries@artbank.gov.au W www.artbank.gov.au H Mon-Fri 9.00 to 5.00.

Brett Whiteley Studio

2 Raper Street, Surry Hills 2010. T (02) 9225-1881.

E brettwhiteleystudio@ag.nsw.gov.au W www.brettwhiteley.org Free admission made possible by J.P. Morgan. H The Studio is open to the public Fri-Sun 10.00 to 4.00. The Brett Whiteley Studio is managed by the Art Gallery of New South Wales.

Floria Tosca, Aphrodite, 2018, acrylic on canvas,107 x 83cm Courtesy the artist and Flinders Street Gallery

m2 Gallery

450 Elizabeth Street, Surry Hills W m2gallery.com.au Sept 13 to 17 Unpublished [and rarely seen] Works

by Jeffrey Hamilton – gestural abstract works on paper, collage and stained glass. Thurs-Tues 9am to 6.30pm. www.stainedglass.com.au See ad page 137.

MAY SPACE

409b George Street, Waterloo 2017.

T (02) 9318-1122. E info@mayspace.com.au W www.mayspace.com.au H Tues-Sat 10.00 to 5.00. Sept 5 to 22 Charlie Sheard. Sept 13 to 16 Sydney Contemporary, booth F01: Charlie Sheard.

From Sept 26 Julie Brooke, Kevin McKay and Claire Anna Watson.

Defiance Gallery

270 Devonshire Street, Surry Hills 2010.

T (02) 9557-8483. E lauren@defiancegallery.com W www.defiancegallery.com Directors: Campbell Robertson-Swann and Lauren Harvey. H Tues-Fri 11.00 to 5.00, Sat-Sun 10.00 to 1.00. Sept 23 to Oct 19 (opening Sun Sept 23, 10am-1pm) Six Artists | Seven Days: The AWC Newhaven Exhibition.

Defiance Gallery in conjunction with the Australian Wildlife Conservancy and Lea and Bill Ferris.

See ads inside front cover and page 3.

Flinders Street Gallery

61 Flinders Street, Surry Hills 2010.

T (02) 9380-5663. E info@flindersstreetgallery.com W www.flindersstreetgallery.com H Wed-Sat 11.00 to 6.00, or by appt. Sept 6 to 29 Floria Tosca.

Charlie Sheard, Pure Abstraction [Eldreyik], 2017-2018, oil and acrylic on polyester, 214 x 198cm Courtesy the artist and MAY SPACE

132 Sydney

SASA Gallery

University of South Australia, Level 2 Kaurna Building, cnr Hindley Street and Fenn Place, Adelaide 5000. T (08) 8302-9274.

E sasagallery@unisa.edu.au W www.unisa.edu.au/sasa-gallery H Mon-Fri 11.00 to 5.00. Closed public hols and during exhibition changeovers.

Sister Gallery

26 Sixth Street, Bowden 5007.

E sister.gallery.sister@gmail.com W www.sistergallery.com.au www.facebook.com/sistergallerysister Artist-run gallery and project space Sister Gallery is a Fontanelle Gallery and Studios supported project.

State Library of South Australia North Terrace and Kintore Avenue, Adelaide 5000.

T (08) 8207-7250. W www.slsa.sa.gov.au H Mon-Wed 10.00 to 8.00, Thurs-Sun 10.00 to 5.00. Visit website for exhibition program.

Tandanya – National Aboriginal Cultural Institute 253 Grenfell Street, Adelaide 5000.

T (08) 8224-3200. W www.tandanya.com.au Established in 1989. Australia’s oldest Aboriginalowned and managed multi-arts centre.

Barossa Valley Adelaide Hills Greater Adelaide Barossa Regional Gallery

3 Basedow Road, Tanunda 5352.

T (08) 8563-0849. E info@barossa.sa.gov.au W www.barossagallery.com H Daily 11.00 to 4.00.

Burra Regional Art Gallery

JamFactory at Seppeltsfield

730 Seppeltsfield Road, Seppeltsfield 5355.

T (08) 8562-8149. W www.jamfactory.com.au H Daily 11.00 to 4.00. To Sept 16 FUSE Glass Prize.

Kapunda Community Gallery

67-69 Main Street, Kapunda 5373.

E kcg@kapundagallery.com W www.kapundagallery.com Free entry, wheelchair access. H Mon-Sat 10.00 to 4.00, Sun 10.00 to 3.30. Sept 9 to Oct 21 NorthernVisions – Artsnorth Group.

SA Regional Ascot Theatre Gallery

48 Graves Street, Kadina 5554. T (08) 8821-2404.

W www.coppercoast.sa.gov.au H Mon-Fri 10.00 to 4.00, Sat 10.00 to 12.00.

To Sept 20 Just By Chance by Janette Ireland and Judy Parham. Sept 24 to Oct 18 Art For All.

Belalie Art Gallery

6 Irvine Street, Jamestown 5491. T (08) 8664-0455, 8664-1567. W www.visitjamestown.com.au/belalieart-gallery The modern gallery hosts a vast range of curated exhibitions all year round. At other times the gallery’s own collection is on display.

Millicent Gallery

Civic Centre, Ridge Terrace, Millicent 5280.

T (08) 8733-0903. E library@wattlerange.sa.gov.au W www.wattlerange.sa.gov.au www.facebook.com/MillicentLibraryGallery.

H Tues and Fri 9.00 to 5.30 and 6.30 to 8.30, Wed-Thurs 9.00 to 5.30, Sun 2.00 to 4.00.

Port Pirie Regional Art Gallery

3 Mary Elie Street, Port Pirie 5540. T (08) 86330681. W pprag.org.au H Mon-Fri 9.00 to 5.00, Sat-Sun and public hols 11.00 to 3.00. Closed Good Friday and Christmas Day. To Sept 9 Fibrespace – a forum for exploring textiles as an art. Sept 15 to Oct 28 Photographic Society Competition – amateur and professional travel photographers from around the world.

5-6 Market Street, Burra 5417. T (08) 8892-2411.

W www.burragallery.com H Tues-Sun 1.00 to 4.00.

Aug 30 to Oct 7 Locals by Margaret Walsh. Also, Focus by Barbara Hanrahan.

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Brisbane Andrew Baker Art Dealer

26 Brookes Street, Bowen Hills 4006. T (07) 32522292, 0412-990-356. E info@andrew-baker.com W www.andrew-baker.com H Wed-Sat 10.00 to 5.00, or by appt. Paintings, photographs, prints and sculptures by leading contemporary Australian, Melanesian and Polynesian artists, including: Lincoln Austin, Leonard Brown, Michael Cook, Karla Dickens, Ruki Famé (PNG), Fiona Foley, Simon Gende (PNG), Taloi Havini (Bougainville), Dennis Nona (Torres Strait), Ömie Artists (PNG), Michel Tuffery (New Zealand/Polynesia), Katarina Vesterberg and William Yang. Sept 19 to Oct 20 Apophoria (The way of negation) by Leonard Brown.

Contemporary Art Awards Exhibitions

T 0407-739-871.

E admin@contemporaryartawards.com W www.contemporaryartawards.com H Mon-Sat 10.00 to 5.00. Sept 1 to 29 Evocative by Susannah Paterson.

Edwina Corlette Gallery

2/555 Brunswick Street, New Farm 4005.

T (07) 3358-6555. E gallery@edwinacorlette.com W www.edwinacorlette.com Director: Edwina Corlette.

H Tues-Sat 10.00 to 5.00, or by appt. Sept 18 to Oct 20 Tidelines by Julian Meagher.

FireWorks Gallery

9/31 Thompson Street, Bowen Hills 4006.

T (07) 3216-1250. E info@fireworksgallery.com.au W www.fireworksgallery.com.au H Tues-Fri 10.00 to 6.00, Sat 10.00 to 5.00. Sept 22 to Nov 3 Punch the Clock a group exhibition.

Graydon Gallery

29 Merthyr Road, New Farm 4005.

T 0418-740-467. E graydongallery@gmail.com W www.graydongallery.com.au A contemporary gallery available for short term hire to individual artists/craftsmen or groups to showcase a wide variety of works – painting, sculpture, ceramics, jewellery, woodcraft, bespoke furniture and fashion. Bookings for 2019 are now being taken, call Cath Nicholson: 0418-740-467, or email.

Leonard Brown, Untitled, 2018 Courtesy the artist and Andrew Baker Art Dealer

Jan Manton Art Contemporary Australian + International Art

1/93 Fortescue Street, Spring Hill 4000.

T (07) 3831-3060, 0419-657-768.

E info@janmantonart.com W www.janmantonart.com Director: Jan Manton. H Wed-Fri by appt, Sat 10.00 to 4.00 no appt required. Jan Manton Art has a changing program of leading and emerging contemporary artists. Sept 5 to 29 Agency: Rare Offerings from the Museum of Spent Time by Stephen Hart.

138 Main Street, Montville 4560 07 5442 9211 montart@montart.com.au www.montvilleartgallery.com.au Daily 10.00 to 5.00 Todd Whisson, Mary River, Kenilworth, oil on canvas, framed size 93 x 183cm Queensland 177