Art Almanac December 2017/January 2018 Issue

Art Almanac December 2017 - January 2018 $6

Mumu Mike Williams & Willy Muntjantji Martin Fiona Foley Unfinished Business

Art Almanac December 2017 - January 2018

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Deadline for February 2018 issue: Thursday 4 January, 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.

Tjukurpa Kunpu (Strong Law and Culture) on our cover is a call to engage with, and nourish Indigenous culture, history, language and land rights – some of the ideas at the fore in Adelaide’s ‘TARNANTHI’. The image also refers to the effect of power on history and the need to redress wrongs. Through the prescient eyes of artists we look at feminism, colonialism and the twin abilities of technology and mass media to enhance and distort reality.

Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Mulholland info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Accounts – Penny McCulloch accounts@art-almanac.com.au T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au

Cover Mumu Mike Williams, Willy Muntjantji Martin, Pitjantjatjara people, Tjukurpa Kunpu (Strong Law and Culture), 2017, synthetic polymer paint and ink on paper mounted on aluminum Courtesy the artists and Mimili Maku Arts

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The Dutch Golden Age ‘Rembrandt and the Dutch Golden Age: Masterpieces from the Rijksmuseum’ presents a comprehensive overview of Dutch society during the 17th century, from intense portraits and dramatic seascapes to tranquil scenes of domestic life and delicate studies of fruit and flowers.

On show at the Art Gallery of New South Wales until 18 February 2018 with public programs including: ‘Masters of simplicity’ lecture series and ‘Art After Hours: A Dutch Christmas’ featuring performances by the Choir of St James’ King Street on 6 and 13 December, as well as children’s workshops on 3, 6, 13, and 17 December; while ‘Rembrandt Live’ provides a multi-sensory exhibition experience with baroque-inspired, musical performances by the Australian Brandenburg Orchestra on 6, 8-9, 11-12, 15-16, 22-23 January. artgallery.nsw.gov.au Aelbert Jansz van der Schoor, Vanitas still life, c1660–65, oil on canvas, 63.5 x 73cm Courtesy Rijksmuseum of the Netherlands, Amsterdam and Art Gallery of New South Wales, Sydney

Sydney Festival Sydney Festival returns from 6 to 28 January 2018 transforming the city into a stage for pirouettes, puppetry, circus acts, underwater concerts and feminist debates. For art lovers, highlights include; Helen Johnson’s ‘Warm Ties’ addressing the complex colonial relationship between Australia and Britain in a suite of large-scale paintings at Artspace. ‘Tell’ showcases the work of 17 contemporary Aboriginal and Torres Strait Islander artists that reframe Indigeneity at UNSW Galleries. German artist Katharina Grosse transforms Carriageworks with a site-specific installation comprised of concrete, mounds of earth and 8,000 m2 of suspended fabric.

Campbelltown Arts Centre presents New Zealand artist Lisa Reihana’s first Australian survey, ‘Cinemania’, showcasing three decades of film and photography including a 26-metre panoramic video installation from 12 January. sydneyfestival.org.au Helen Johnson, A feast of reason and a flow of sould (recto), 2016, Impotent observer (recto), 2016 and Bad debt (recto), 2016, installation view at Institute of Contemporary Arts, London, 2017 Photograph: Mark Blower Courtesy the artist and Sydney Festival

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Bronwyn Oliver: Strange Things Hannah Fink Piper Press

This long awaited and thoughtful monograph is supported by dedicated research to provide both an art historical and personal window into the life and work of Bronwyn Oliver (19592006). Full-page reproductions and images of lesser-known works sit between the leaves of chronological but thematic chapters about the genesis and gestation of a style that paired material and conceptual opportunities with such poetry. Journal extracts are knitted into the artist’s biography, which offers the unique opportunity to commune with Oliver’s inner voice, as she contemplates her loves, family and displays a formidable and passionate approach to artistic practice.

Gordon Hookey: Summoning Time.

Painting & Politikill Transition in the MURRILAND! Griffith University, Frontier Imaginaries, documenta 14 and Van Abbemuseum

Gordon Hookey’s MURRILAND! (2015-ongoing), is a monumental series of 10-metre long canvases that capture the history of Queensland and the country’s still-prevalent narrative of dispossession from an Indigenous view point. This book demonstrates the range of sources and reference material used

by Hookey, while his trajectory – personal experience as an artist in Australia, the country’s colonial psyche, the politicisation of art, and the need to look at that genre of history painting anew, are discussed in interviews, re-interviews and in-depth conversations with curators Vivian Ziherl and Hendrik Folkerts and anthropologist Johannes Fabian; augmented by Aboriginal historian Michael Aird’s essay and a foldout, panoramic view of the work at its centre.

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TARNANTHI Melissa Pesa In recent decades we have seen an emergence of centralised Indigenous art fairs and festivals as well as a critique of colonialisation and consequently, identity – an extension of self, recontextualised through contemporary art making.

The ‘TARNANTHI Festival of Contemporary Aboriginal and Torres Strait Islander Art’ invites leading Indigenous artists to share personal narratives and shed new light on their practice. Its culmination is a survey exhibition of the same name at the Art Gallery of South Australia (AGSA).

Curated by Nici Cumpston, ‘TARNANTHI’ presents over 40 commissioned pieces by artists and art centre collectives; inhabiting multiple spaces in the gallery, giving insight into the richly diverse practices from as far-east as the Torres Strait to the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands northwest of South Australia and beyond.

In the lower gallery visitors enter into an immersive field of black and white larrakitj (memorial poles), part of the installation, Wanupini, by Nawurapu Wunugmurra from northeast Arnhem Land. The body of works include Mokuy (2017), spirit sculptures displayed along a partially illuminated wall, casting ghostly shadows. Their otherworldly presence offers protection for their people and a warning to others who venture too near.

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Unfinished Business:

Perspectives on art and feminism Chloe Mandryk

As the title implies, there’s still a way to go for gender equality to be universally embraced and put into practice. The Australian Centre For Contemporary Art’s (ACCA) latest exhibition ‘Unfinished Business’ underscores critical but underrepresented practices from Australian artists with newly commissioned, recent work and historic projects on display from sculpture to painting, performance, photography, film as well as documentation of community engagement and cultural activism. As ‘Unfinished Business’ negotiates paths forward it also reflects on intergenerational legacies, inheritances and shifts – concurrently asking and shaping why feminism matters today. We spoke to Artistic Director Max Delaney and ACCA Senior Curator Annika Kristensen who have developed the show in collaboration with leading Australian artists and curators including Paola Balla, Julie Ewington, Vikki McInnes and Elvis Richardson. A handful of films were selected from over four decades and ACCA’s Curator, Public Programs, Anabelle Lacroix, has worked to develop a performance program and series of public events alongside the exhibition. To cap off the air of transparency and unity, a ‘round table’ has been created by artist Emily Floyd with designer Mary Featherston, which will be open to the public and host conversations, workshops, reading groups or performances in response to the exhibition.

You have put a lot of thought into selecting the artists; please describe the process between yourselves and the consulting team?

‘Unfinished Business’ has been put together by a curatorium echoing the polyvocal and collaborative methodologies of the feminist movement. These many voices were important – so as to encompass different generational, cultural and political concerns. Each curator brought to the table a diverse group of artists for consideration, resulting in an ensemble that could only have come from the meeting of many minds. It is important to stress that the exhibition is not intended as a survey. Rather, as the title might suggest, it is itself ‘unfinished business’ – and we hope that it prompts further discussion, debate, publications and perhaps other exhibitions in its wake.

There are more than 50 practices on show from students and recent graduates to established, senior practitioners who fit into a broader contemporary art context. Why do you think they are leaders in this realm?

Many contributors have had a sustained engagement with feminism throughout their careers – as artists, writers, curators and theorists – and have been influential to their peers.

In the process of putting together the exhibition, we asked several artists to point to Australian artists or artworks that had been important to them. A community of artists was 40

Hyper Real Elli Walsh A colossal, naked pregnant woman stands on the gallery floor, looking utterly exhausted from the weight in her womb. There is a faint sheen of sweat glistening on her brow and with lips parted she’s on the cusp of an infinite, weary sigh. Viewed front on, the exaggerated size of the 252cm tall woman forces her burdensome belly upon the spectator as we imagine the baby concealed within.

Yet such imaginings are checked by the suspicion that beneath her plastic stomach is nothing but a hollow space. Here, Ron Mueck’s sculpture Pregnant Woman (2002) breaches the borders between the real and the unreal, and this is the kind of subversive verisimilitude signature to the National Gallery of Australia’s (NGA) summer exhibition.

Featuring over 50 artworks by 32 Australian and international artists, ‘Hyper Real’ traces the artistic genome of hyperrealism since the early 1970s. Confronting the viewer with a horde of human homologues that appear ‘more human than human’ like Blade Runner replicants, the anthropocentric presentation unsettles our psychic equilibrium in ways that echo Sigmund Freud’s speculations about the uncanny, where distinguishing between fantasy and reality is famously problematic.

The genre’s forefather, American artist Duane Hanson, is represented in the show with his mimetic sculpture Woman with a laundry basket (1974), an ultra-realistic life-sized figure that appears to have accidentally timetravelled into the gallery space during a mundane, domestic task.

Meanwhile, in Sun Yuan & Peng Yu’s Old people’s home (2008), a gang of withered, senile world leaders sluggishly roll about the gallery in their electric wheelchairs, crashing into each other at random. Their arbitration between fibreglass and flesh carves out an intermediary zone where binaries collapse; human and inhuman, animation and inertia, the natural and the artificial. This destabilising mimicry is continued in Marc Quinn’s ongoing self-portrait, an encased frozen head comprising litres of the artist’s own blood. Recast every few years to trace Quinn’s aging, this abject ‘death mask’ crystalises the proximity between life and lifelessness haunting human existence.

‘Hyper Real’ is part of a travelling exhibition that has already been shown in Spain, Mexico and Denmark, yet its NGA iteration has 46

Lauren Black Memento Mori + A Complex Beauty Art Gallery of Ballarat Until 28 January, 2018 Victoria

Lauren Black considers the inner sanctum of the human body across two related exhibitions titled ‘Memento Mori’ and ‘A Complex Beauty’. Juxtaposing themes reflect on life and death in a display of new works inspired by traditional Chinese medicine, and a suite of anatomical drawings derived from the artist’s investigation of internal organs and tissue specimens from museum collections. These intricate studies are presented in portrait style, detailing varying states of internal disease, energised by the artist in their new incarnations.

Scene I, 2016, digital print on paper, gouache, cotton gauze, paper size 1.15 x 77cm, overall size variable x 88cm Courtesy the artist and Art Gallery of Ballarat, Victoria

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Angela & Hossein Valamanesh New Work

GAGPROJECTS | Greenaway Art Gallery Until 22 December, 2017 South Australia

New works by South-Australian duo Angela and Hossein Valamanesh are informed by imagery that stems from the natural world.

Inspired by scientific illustrations, Angela’s works are populated by animal, vegetable and mineral as well as microbes, bacteria, pathogens and spores. Hossein uses branches, seeds, foliage, bark, wood, earth, ladders and found objects from domestic life in refined compositions creating a sense of place informed by cultural history and personal memory.

Angela Valamanesh, The space between things: Remembering Mary Delany 2, 2016, acrylic paint and various papers on board, 124 x 102cm Courtesy the artist and GAGPROJECTS | Greenaway Art Gallery, South Australia

Rosemary Laing TarraWarra Museum of Art 2 December to 11 February, 2018 Melbourne

Moving Histories // Future Projections Mosman Art Gallery Until 21 January, 2018 Sydney

Rosemary Laing has been working with photo-based media since the 1980s. For this exhibition she presents 28 large-scale works from ten series, made over 30 years that explore human engagement with the landscape, drawing on themes of colonisation, political boundaries and man-made and natural environments which resonate with Australian cultural and historical sites. Laing says, ‘The arrival of people, throughout history, shifts what happens in the land, challenging those who have left their elsewhere, and disrupting the continuum of their destination-place.’

Turning the camera on themselves, artists Mikala Dwyer and Justene Williams, Amala Groom, Deborah Kelly, Kate Blackmore and Jacinta Tobin, Joan Ross, Soda_Jerk, Angelica Mesiti and Caroline Garcia have created screen-based works to uncover invisible pasts, forgotten narratives and repressed memories – a reminder that history is fractured by race, class and gender. The artists take up ‘the role of historian, archivist and archaeologist, using the camera and the screen to excavate historical materials and reanimate archives,’ say curators Diana Smith and Kelly Doley.

Drapery and wattle, 2017, from the series ‘Buddens’, archival pigment print, 100 x 152.6cm Collection of Sally Dan-Cuthbert Art Consultant © Rosemary Laing Courtesy Tolarno Galleries, Melbourne and TarraWarra Museum of Art, Melbourne

Amala Groom, The Invisibility of Blackness (still), 2014, singlechannel digital video, 47 seconds, filmed by Liz Warning 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!

Melbourne Prize for Urban Sculpture 2017 Winners

The ‘Melbourne Prize for Urban Sculpture’ maintains a focus on public work with the aim of enriching our urban environments. Congratulations go out to the six 2017 finalists including, Sarah crowEST, Laresa Kosloff, Bridie Lunney, Sibling Architecture, Daniel von Sturmer and Susan Jacobs who each received $4,000, and von Sturmer who has taken out the major prize of $60,000 for his light-based installation Electric Light (facts/figures/Federation Square) (2017), which is on view nightly from 8.30pm at Federation Square, Melbourne. Also to Emma Anna, the recipient of the new $10,000 ‘Public Artwork Design Concept Award 2017 – Crafting a City of Literature’ prize for her winning design concept The Elocwean Rainbow (2017) and the finalists including Catherine Clover, Sue Buchanan and Eli Giannini, Matthew Harding and Louise Lavarack, and to Bridie Lunney, who has won the ‘Professional Development Award 2017’ for her work Fold, (2017) which has earned her a cash prize of $10,000 and a professional practice residency at the Norma Redpath Studio in Carlton.

transform our public spaces, and inspire, even create, debate. This year’s ‘Melbourne Prize for Urban Sculpture’ celebrates the role sculpture plays in public life, and honours artists whose creativity and vision are reimagining the urban environment.’

Alice Prize

Entries close 31 January 2018 The 40th Alice Prize is an award for contemporary Australian art offering a prize pool of $40,000, presented by the Alice Springs Art Foundation. Artists from around Australia are invited to enter works in any medium for this national acquisitive award. aliceprize.com

The Gallipoli Art Prize 2018

Entries due 11 to 14 March 2018 The Gallipoli Art Prize is an annual acquisitive award with a prize pool of $20,000 open to Australian (and other eligible) artists to enter one original work made in oil, acrylic, watercolour or mixed media.

The prize is awarded to the work that best depicts the spirit of the Gallipoli Club’s creed, which can be found on the website. See ad page 16. gallipoli.com.au

Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA)

Entries close 16 March 2018 The 2018 call for entries is now open for the Telstra NATSIAAs, the longest running award dedicated to Indigenous art in Australia, which is now heading into its 35th iteration. Submissions are invited from Aboriginal and Torres Strait Islander artists from regional and urban areas across the country to submit one original work not previously exhibited or made available for sale, in either traditional or contemporary media. All awards are non-acquisitive. magnt.net.au

Darwin Festival

Applications close 18 December 2017 ‘Darwin Festival’ to be held from 9 to 26 August 2018 is calling Northern Territory artists to submit proposals to be part of the festival. Local artists, companies and arts workers with either a concept, work in progress or finished project are invited to apply. Collaborations with artists, youth and community projects across all art forms are invited. darwinfestival.org.au

Bridie Lunney, Fold, 2017, Professional Development Award Winner Courtesy the artist and Melbourne Prize Trust, Victoria

Reflecting on the awards, Minister for Creative Industries Martin Foley MP says, ‘Our urban sculptures commemorate and cajole, and connect with people of all ages and walks of life. They Art & Industry 61

National Gallery of Victoria NGV International

180 St Kilda Road, Melbourne 3004. T (03) 86202222. W www.ngv.vic.gov.au H Daily 10.00 to 5.00.

To March, 2018 The Language of Ornament. Dec 15 to April 15, 2018 NGV Triennial. Through Dec to April, 2018 NGV Architecture Commission.

Carlton Nth Melbourne Bridget McDonnell Gallery Carlton

130 Faraday Street, Carlton 3053.

T (03) 9347-1700. E bmcdgallery@bigpond.com W www.bridgetmcdonnellgallery.com.au H Tues-Sat 11.00 to 5.00, or by appt.

The Dax Centre

Rear of 30 Royal Parade, Parkville 3010.

T (03) 9035-6258. E info@daxcentre.org W www.daxcentre.org Entry by donation.

H Wed-Fri 12.00 to 5.00 or by appt. The Dax Centre exhibits selections of works from the Cunningham Dax Collection, all of which are created by people with lived experience of mental illness or psychological trauma.

Gallery Voltaire

Zanele Muholi, Ntozakhe II, (Parktown), 2016, from the ‘Somnyama Ngonyama’ series 2015-16, gelatin silver photograph, 110 x 82cm Courtesy National Gallery of Victoria, Melbourne, Bowness Family Fund for Photography, 2017

14 Raglan Street, North Melbourne 3051.

T (03) 9326-3006. E gallery@voltaire.net.au W www.voltaire.net.au Directors: Lindsay Saddington and Sunari Sooriaaratchi. H Wed-Sun 11.00 to 6.00 or by appt. Nov 29 to Dec 10 (opening Wed Nov 29, 7-9pm) If You Know How To Get Here, Come by Tomo Campbell. From Dec 16 (opening Sat Dec 16, 5-7pm) Perspectives by Cathy Yarwood.

Temperance Hall

199 Napier Street, South Melbourne 3000.

W www.multiculturalarts.com.au H Wed-Sun 12.00 to 5.00. Dec 13 to 17 (opening Tues Dec 12, 6-8pm) Filipino Queerness – a photographic exhibition.

See ad page 9.

York St Art Gallery

Level 1, 216 York Street, South Melbourne 3205.

T 0450-955-467. E jaanz551@gmail.com W www.yorkstreetartgallery.com H Tues-Fri 11.00 to 3.00, after hours by appt. Facebook: Lynn Jaanz Art Studio. Works by international artist Lynn Jaanz. www.lynnjaanz.jaanz.com.au

Tomo Campbell, Sad, Sappy, Sucker, 2017, oil on canvas Courtesy the artist and Gallery Voltaire

Gallerysmith

170-174 Abbotsford Street, North Melbourne 3051.

T (03) 9329-1860. E marita@gallerysmith.com.au W www.gallerysmith.com.au H Tues-Sat 11.00 to 5.00.

88 Melbourne

CBD The Rocks Art Gallery of New South Wales (AGNSW)

Art Gallery Road, Sydney 2000. T (02) 9225-1744, 1800-679-278. W www.artgallery.nsw.gov.au Admission charges apply to some exhibitions.

H Daily 10.00 to 5.00. Art After Hours: Wed to 9pm. To Jan 7, 2018 Passion and procession: art of the Philippines. To Feb 4, 2018 Mikala Dwyer: a shape of thought. To Feb 18, 2018 Rembrandt and the Dutch golden age: masterpieces from the Rijksmuseum (see ad page 7). To March 4, 2018 Robert Mapplethorpe: the perfect medium.

Crawford Gallery

Level 1, Dymocks Building, 428 George Street, Sydney 2000. T 0422-144-688.

E art@crawfordgallery.com.au W www.crawfordgallery.com.au H Wed-Fri 11.00 to 5.00. To Dec 5 Between Certainty and Chance by Sarah Robson. Dec 7 to 22 After Morandi – Robin Wallace-Crabbe, Diana Watson, Patrick Faulkner, Jules Forth, Frannie Deane, Don Rankin, Kim Saville, Simon Wheeldon and Robert Malherbe.

Each artist responds to Morandi’s celebrated still-life arrangements with 40 x 40cm works, in a variety of media.

Robin Wallace-Crabbe, Still Life Discovered by the Dog, 2017, mixed media on board, 40 x 40cm Courtesy the artist and Crawford Gallery

Gaffa Gallery Robert Mapplethorpe, Self-portrait, 1980 Jointly acquired by the Los Angeles County Museum of Art and The J Paul Getty Trust Partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by The J Paul Getty Trust and the David Geffen Foundation. © Robert Mapplethorpe Foundation

The Art of Dr. Seuss presented by Harvey Galleries, QVB

Queen Victoria Building , Level 2, 33-35 / 455 George Street, Sydney 2000. T (02) 9261-0275.

E drseuss@harveygalleries.com.au W www.harveygalleries.com.au H Mon-Wed 10.00 to 6.00, Thurs 10.00 to 8.00, Fri-Sat 10.00 to 6.00, Sun 11.00 to 5.00. Authorised editions from the Seuss Estate.

Level 1, 281 Clarence Street, Sydney CBD 2000.

T (02) 9283-4273. W www.gaffa.com.au H Mon-Fri 10.00 to 6.00, Sat 11.00 to 5.00. Closed Sun and public hols. Gaffa is an independent creative precinct, artist-run in attitude and execution. Dec 7 to 18 (opening Thurs Dec 7, 6-8pm) Takeaway by Jewellery and Metalsmiths Guild of Australia. Also, Grimsby: Platform 2 by Des Harris, and Two-thirds Abstract – Alex Karaconji, Shannon Smith and Laura Sutton.

Jan 18 to 29, 2018 (opening Thurs Jan 18, 6-8pm) Nature Morte by Monica Renaud, and Betwixt and Between by Jennifer Brady.

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Fremantle Aboriginart Indigenous Fine Art Gallery

6 Elder Place, Fremantle 6160. T 0403-012-615.

E billgreen@aboriginart.com.au W www.aboriginart.com.au Director: Bill Green.

H Open 6 days 10.00 to 4.00, closed Tues.

Artitja Fine Art

South Fremantle, 6162. T (08) 9336-7787, 0418-900-954. E info@artitja.com.au W www.artitja.com.au Directors: Anna Kanaris and Arthur Clarke. H By appt. Call or email to view art in a relaxed environment. Artitja Fine Art holds up to four external exhibitions a year, details of which can be found on their website. Recipients: Outstanding Cultural Enterprise award 2017 Fremantle Business Awards. Jan 5 to 28, 2018 The Summer Show: Art + Objects – to be held at Earlywork: 330 South Terrace, South Fremantle – a showcase exhibition of Indigenous fine art and objects from remote art centre communities.

Fremantle Arts Centre

1 Finnerty Street, Fremantle 6160.

T (08) 9432-9555. E fac@fremantle.wa.gov.au W www.fac.org.au Free entry. H Daily 10.00 to 5.00. To Jan 28, 2018 In Cahoots: artists collaborate across Country – an expansive exhibition of significant, bold new works which are the result of 18 months of artists’ residencies in remote and regional Aboriginal art centres across Australia.

Artists from six key Aboriginal art centres have invited leading independent artists – both Aboriginal and non-Aboriginal – from around the country to work with them. Featuring sculptural works, installations, photographic prints and films, In Cahoots reveals the most exciting collaborations happening across Country today.

Heathcote Museum and Gallery

Swan House, Heathcote Cultural Centre, 58 Duncraig Road, Applecross 6153. T (08) 9364-5666.

E Heathcote@melville.wa.gov.au W www.heathcotewa.com/heathcotegallery H Tues-Fri 10.00 to 3.00, Sat-Sun 12.00 to 4.00. Dec 2 to Jan 14, 2018 (opening Fri Dec 1, 6-8pm) Goolugadup - Kal-ya-gul by Sandra Hill – Goolugadup - Kalya-gul’ (In English language this means - “Place of children - always; ever; continually.” ‘Goolugadup’ is the Noongar name for Point Heathcote and it means ‘place of children’). See ad page 4.

Japingka Gallery

47 High Street, Fremantle 6160. T (08) 9335-8265.

E japingka@iinet.net.au W JapingkaAboriginalArt.com H Open daily. To Dec 20 Spinifex Arts Project – 20th Anniversary. Through Jan 2018 Works from the Stockroom. Gallery closed Dec 25 and re-opens Jan 3, 2018.

Candy Nelson, Nakamarra, 152 x 122cm Courtesy the artist and and Artitja Fine Art

Myrtle Pennington, Ilkurwara, 2017, acrylic on linen, 60 x 74cm Courtesy the artist and Japingka Gallery

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Godinymayin Yijard Rivers Arts and Cultural Centre

Stuart Highway, Katherine East 0850.

T (08) 8972-3751. E director@gyracc.org.au W www.gyracc.org.au H Tues-Fri 10.00 to 5.00, Sat 10.00 to 3.00. To Dec 9 Injalak Fabric aDressed – Injalak Arts in West Arnhem Land invited designers, dressmakers and students to create fashion garments with Injalak Arts fabrics. This exhibition is a selection of 20 garments from the Get It On project.

Darwin ANKAAA The Association of Northern, Kimberley and Arnhem Aboriginal Artists

Frog Hollow Centre for the Arts, 56 McMinn Street, Darwin 0801. T (08) 8981-6134.

E info@ankaaa.org.au W www.ankaaa.org.au Working together to keep art, country and culture strong since 1987. Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA).

Charles Darwin University Art Gallery

Ground Floor, Building Orange 12, Casuarina Campus, Darwin 0909. T (08) 8946-6621.

W www.cdu.edu.au/artgallery H Wed-Fri 10.00 to 4.00, Sat 10.00 to 2.00. Visit our website for programs, events and holiday closure dates.

To Feb 17, 2018 Colin Holt: a survey.

Museum and Art Gallery of the Northern Territory (MAGNT)

19 Conacher Street, The Gardens, Darwin 0820.

T (08) 8999-8264. E info@magnt.net.au W www.magnt.net.au Free entry. H Mon-Fri 9.00 to 5.00, Sat-Sun 10.00 to 5.00. To Jan 14, 2018 A Frontier Journey: Photographs by Otto Tschirn 1915-18. To Feb 4, 2018 A Ticket To Paradise? – delves into the rich diversity of the nation’s migrants and their experiences, and looks at the Australian government’s ambitious promotional campaigns following World War II. To Feb 18, 2018 Tjunguṉtja: from having come together.

180 Northern Territory

David Corby Tjapaltjarri, Ngaliya Warlpiri 1940-1980, Untitled (Bushfire Dreaming associated with Warlugulong), 1972, synthetic polymer paint on Masonite Courtesy the Collection of the Museum and Art Gallery of the Northern Territory

Northern Centre for Contemporary Art (NCCA)

Vimy Lane, Parap 0820. T (08) 8981-5368.

W nccart.com.au H Wed-Fri 10.00 to 4.00, Sat 10.00 to 2.00 or by appt. Closed public hols. The Northern Centre for Contemporary Art delivers leading local, national and international contemporary art to Darwin. Dec 2 to Jan 6, 2018 Boxset: Through My Eyes by Jenny Ashby. Feb 24 to March 24, 2018 (opening Fri Feb 23, 6pm) retrospective of international group exhibition – in June/July 2015 NCCA ran its second Artists’ Camp in the Top End for Indonesian artists. Five Balinese artists and one Balibased Javanese artist spent time in a number of Top End and Central Desert locations. The body of work produced is an interpretation of the NT landscape and Balinese culture.