The beautiful, brutal and bold: AGWA 2019

ADVERTISING SUPPLEMENT Published Friday June 28, 2019

JUL-DEC 2019 | FREE BEAUTY IN PERIL PAGE 4

CELEBRATING A BRUTALIST ICON PAGE 11

BILLIONS OF PEOPLE ARE WEARING T-SHIRTS PAGE 17

– Principal Partner, 303 MullenLowe, Singapore Airlines, Alex Hotel, ANNUAL SPONSORS Juniper Estate, Otherside Brewing Co.

Presenting Partner

Principal Partner

Spirits Partner

CONTENTS

Tim Ross.

Introduction to AGWA’s upcoming exhibitions . . . . 3 A delicate natural balance . . . . . . . . . . . . . . . . . . . . 4 WA’s next vanguard: a guide to Pulse events . . . . . . 7 An indelible connection to Country . . . . . . . . . . . . . 8 Breathing Pattern: taking stock with Eveline Kotai . . 9 Culture clash: a clearer picture of WA’s past . . . . . . 10 Perth’s brutalist affinity . . . . . . . . . . . . . . . . . . . . . . 11 Transformation in the 70s. . . . . . . . . . . . . . . . . . . . . 13 Coming up: Pilar Mata Dupont, Sue Ford and more . . 14 WA’s signature art prize continues to grow . . . . . . . . 15 AGWA goes on the road . . . . . . . . . . . . . . . . . . . . . . 16 Culture Juice: the art of the humble T-shirt . . . . . . . 17 Building on our State Art Collection . . . . . . . . . . . . 18 Memberships and guided tours . . . . . . . . . . . . . . . . 19 What’s on at AGWA Jul – Dec 2019 . . . . . . . . . . . . 20

Editor: Louise Allan Writers: Chris Thurmott, Greta Andrews-Taylor, Penny Thomas, Rhys Prka, Sandra Argese Subeditor: Andy Snelling Design: Angelica Rivera

AGWA40 Arrives The AGWA40 season celebrates the 40th anniversary of the 1979 Brutalist building with special exhibitions and events.

Opening on 21 September is the exhibition Perth Brutal: Dreaming in Concrete, exploring the Brutalist architecture of AGWA and its place in the worldwide movement. AGWA and guest speakers profess their love of concrete and brutalism at a day symposium on 2 October.

12 October sees visitors relive the 70s through the exhibition That Seventies Feeling.

On 1 November, join AGWA after-hours for a Gallerywide celebration and special performance by Co3 Australia.

The next day, AGWA welcomes Tim Ross and Kit Warhurst for two special performances of Motel 1979.

AGWA 40 SEASON Celebrating Perth’s Brutalist icon 1979-2019

Advertising: Sharon Elliott 9482 3140 Produced in partnership with The West Australian.

Editorial shared between AGWA and The West Australian.

Artwork by the The West Australian. Ads, images supplied by AGWA.

Cover: Digital manipulation of works including (l t r): Brian Robinson …and meanwhile back on earth the blooms continue to flourish 2013 (detail). Wood, plastic, steel, synthetic polymer paint, feathers, plant fibre and shell, 200 x 350 x 50 cm. State Art Collection, Art Gallery of Western Australia. Purchased through The Leah Jane Cohen Bequest, Art Gallery of Western Australia Foundation, 2014. © Brian Robinson / Copyright Agency. Annie Dorrington Marianthus ringens c1891-1926.

Watercolour, 40.4 x 20.2 cm (sheet). State Art Collection, Art Gallery of Western Australia. Purchased with funds from the Hackett Bequest Fund, 1936. Eva Fernandez Anigozanthos flavidus 2011. Archival inkjet print on Ilford Galerie Pearl paper (laminated),100 x 150 cm, edition AP/6. © the artist. Janet Holmes à Court Collection.

2

Art Gallery of WA

Art Gallery of Western Australia Fritz Kos 1979 (detail).

State Library of Western Australia.

Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia.

(222205PD)

artgallery.wa.gov.au

The bold and the beautiful

By Jessie Stoelwinder Entertainment Reporter, The West Australian

O

ver the past 40 years, myriad artworks have come and gone from the Art Gallery of Western Australia (AGWA).

But one thing has remained steadfast that whole time – Charles Sierakowski’s landmark building.

The Polish-born architect’s brutalist creation has become as much an icon as many of the pieces that have hung on its walls.

And in 2019, AGWA is saluting the 40th anniversary of its home base with a diverse season exploring three key themes: beautiful, brutal and bold.

From historical gems to cult T-shirt fashion, botanical art from respected Perth collector Janet Holmes à Court and the first regional tour for 20 years, the season will push boundaries and encourage visitors to see the world around them through a new lens.

Outgoing AGWA CEO Stefano Carboni said, “My last season here, AGWA40, is typically diverse and showcases what the team do so well: fresh ways of looking at the State Art Collection, a key Indigenous display, two shows which really connect with younger audiences and celebrating design through our magnificent building, now in its 40th year.”

The jewel in the season’s crown will be the exhibition The Botanical: Beauty and Peril.

A collaboration between AGWA and the Janet Holmes à Court Collection, the visual feast will explore not just the stunning forms of the natural world, but the very real threats that mean our botanical wonders may not last for generations to come.

The exhibition was planned long before Holmes à Court stepped up as AGWA Board Chairman late last year, and she says the synergy between the two collections will make for an enchanting display.

“It really is illustrating the abundant beauty of the botanical world, particularly of Western Australia,” she said.

“Because we live in such a biodiversity hotspot, there are tremendous numbers of unique plants and they have always been fascinating to artists. Within my collection and within the collection of the Art Gallery of Western Australia, there are many hundreds of representations of local wildflowers and vegetation that are unique to us, and works that explore the beauty of our botanical inheritance by early explorers.

Because we live in such a biodiversity hotspot, there are tremendous numbers of unique plants and they have always been fascinating to artists.

“The artworks are beautiful, but the environment is also imperilled by what we have done to the country over the last few hundred years. Between land clearing and the processes we have gone through to make it productive for farming, for instance, we have lost many of the wildflowers and vegetation and botanical history we once had.”

Ms Holmes à Court said it was of vital importance for the exhibition to encourage visitors to consider their impact on the natural world.

“Many people who come to the exhibition will be aware of the changes that were wrought on the environment by the arrival of us, the colonial settlers,” she said.

“I think it will raise awareness about the dangers that threaten our

Open 10am-5pm Wed-Mon, closed Tuesdays

William Robinson Fire mountain landscape from The Creation series (series of 5 paintings) 1988 (detail).

Oil on linen, 147.2 x 193 cm each. State Art Collection, Art Gallery of Western Australia. Purchased 1989.

botanical inheritance and hopefully encourage people to care more, notice more, see more.”

The hard edge of The Botanical will flow through to the bolder elements of the coming season.

Perth is Brutal: Dreaming in Concrete will speak to the history of AGWA’s iconic building.

When it opened in October 1979, Sierakowski’s work was boundarypushing and polarising, and Dreaming in Concrete will offer a unique view into how the structure came to be alongside a broader inquiry into brutalist architecture.

The exhibition is a poignant moment for the Perth Cultural Centre as a whole, which is currently undergoing its biggest development in 40 years with the WA Museum project.

In keeping with the theme, Comedian Tim Ross, known for his passion and knowledge around modernist architecture, will treat audiences to his unique take on

Australian life and architecture in the 70s.

Another piece of the puzzle is That Seventies Feeling, which will act as a reappraisal of the vibrant WA and international art scene of the decade of punk and bad haircuts.

The exhibition will be full of surprises and rarely seen works from a time when AGWA took on a surge of works with important political and cultural messages.

A touch of lightness will come from the fourth exhibition in the Culture Juice series, T-shirts right now, which re-frames the humble T-shirt as an important canvas and graphic design icon.

Yes, AGWA’s 40th anniversary season will be beautiful.

But it is the brutal and bold angles that will make it an evocative, thoughtful and disrupting experience.

Art Gallery of WA

3

Striking a balance

By Jessie Stoelwinder Entertainment Reporter, The West Australian

F

lowers are the purest form of beauty there is, but the Art Gallery of Western Australia’s new exhibition isn’t all roses.

Like its name suggests, The Botanical: Beauty and Peril does not simply explore the abundant magnificence of the natural world but also the threats that assail it.

The exhibition represents a significant collaboration between AGWA and the Janet Holmes à Court Collection, with hundreds of works having been carefully considered by curators on both sides for inclusion in the final cut.

The resulting showcase forms a narrative from the early settlers arriving in Australia to the present day and how our conflicted relationship with nature has unfolded.

And it’s quite a story, according to AGWA curator Melissa Harpley and Janet Holmes à Court Collection curators Laetitia Wilson and Megan Schlipalius.

“The botanical is often depicted by beautiful imagery, but I think in a contemporary context it has moved into a darker sphere,” Ms Schlipalius said.

Ms Wilson added, “Nature is this beautiful thing in our minds. We go down south to breathe in the air in the karri forests or go to the beach, but at the same time there is this increasing mass awareness that it is something that is in peril and the beauty we have within reach now is at risk for future generations.”

Gone are the days of art exhibitions that are just about “pretty pictures”, with no social or cultural message.

Ms Wilson believes this would be a short-sighted approach, saying it is important to weave tales through carefully curated collections.

“This exhibition in particular lends itself to a narrative because it really goes from colonial times,” she said.

“It starts with what we are calling the Botanical Arcadia, so that’s the more scientific botanical illustrations, and goes into forested lands.

4

Art Gallery of WA

“You go through the beauty of nature before you hit land use and exploitation and the destruction of nature. You get a darker picture as you go from the beauty to the peril and the artworks tell that story.”

It is not just paintings and illustrations that will be on show, however.

“There’s a strong photographic element from some of the artists,” Ms Schlipalius said.

“There are also early etchings, not just paintings, and there are some beautiful textile pieces being considered too.”

The Botanical: Beauty and Peril will be the first major collaboration between AGWA and the Janet Holmes à Court Collection and is a true passion project for all involved.

Months of work have gone into selecting the perfect pieces from each vault and planning the ideal order through which to communicate the exhibition’s key messages.

“It’s been about trying to strike a balance between the two collections,” Ms Harpley explained.

“We have found there are quite a few synergies in both collections, so we will have works by the same artists. It’s about choosing the best works for the overall balance.

“We are looking to make sure there is an evenness in terms of not having one collection dominating the other when it comes to content.

We also don’t want to try and match works so there is that diversity.”

Of course, each curator has several pieces that hold a special place in their heart.

The process of elimination has been painstaking and, at times, challenging – a testament to the power of the artworks and the irrevocable pull of nature.

“Both AGWA and us at the Janet Holmes à Court Collection have

been quite generous with our lists, so it’s been a very vigorous process to cut it down so it fits in the space,” Ms Wilson said.

“We have highlighted our top picks that just have to go in the exhibitions. There are a few that have missed the cut and you do wish you had room for everything, but it’s a process you need to detach yourself from emotionally and make the best call for the exhibition, rather than your personal taste.”

It made sense the natural world was the foundation for the collaboration, considering the Janet Holmes à Court Collection’s incredible cache of artworks that spoke to the theme.

“We have had a botanical focus for a very long time, so there are more than enough works to be able to do the whole exhibition twice over,” Ms Schlipalius said.

“It’s really about narrowing down what kind of stories we want to tell and the kind of works that

Eva Fernandez Anigozanthos flavidus 2011.

Archival inkjet print on Ilford Galerie Pearl paper (laminated), 100 x 150 cm, edition AP/6. © the artist. Janet Holmes à Court Collection.

artgallery.wa.gov.au

2018 Competition Winner Gary Tate Caladenia longicauda calcigena White Spider Orchid

Jill Churnside Country in bloom 2017 (detail). Synthetic polymer paint on canvas, 87.8 x 166.4 cm (painting) 90.8 x 169 cm (framed). State Art Collection, Art Gallery of Western Australia. Gift of Rio Tinto, 2017.

fit the thematics of the show, rather than simply choosing every piece that has a botanical aspect to it.”

When the exhibition is officially open come July, it is likely to evoke a vast array of thoughts, feelings and questions from the public.

While it was always intended by the curatorial team to be a poignant call to action, they found their objective shifted slightly as they fully immersed themselves in the project.

“In the initial discussions we wanted people to feel a sense of hope; we wanted it to be a positive thing,” Ms Wilson said.

“But that has been completely abandoned. Now it’s more important to us for them to have a sense of realisation about the state of the planet today and a sense of place in terms of where we are here and now. We want to spur people towards action, rather than just hoping for a better future.”

Ms Schlipalius echoes the same sentiment.

“We felt that hope was a bit short-lived and really what we wanted was for people to feel a sense of respect for the places they live,” she said.

“We didn’t want to sugar-coat it and make it into a rosy future. We are in trouble, so this might make people consider what they will do about it.”

By turns immersive, stimulating, moving and inspiring, the exhibition is sure to spark debate.

And it’s not all doom and gloom, Ms Schlipalius emphasised.

“It’s about the fragility of the beautiful natural world,” she said.

“It’s not a one-sided show; there is the dark and the light. I hope people will feel a call to action as opposed to feeling overwhelmed and like the problem is too big. It’s a highly ambitious thing we are trying to do, but I feel we couldn’t have gone any other way when

As part of the 2019 Kings Park Festival, the popular Flowers in Focus amateur photography competition is back!

Upload your best photograph of a magical Western Australian wildflower to kingsparkfestival.com.au for your chance to share in some fantastic prizes from AGWA and Kings Park Botanic Garden.

Entries open 1 June 2019 and the winning works will be on display during the 2019 Kings Park Festival.

Visit kingsparkfestival.com.au for all the details.

dealing with the natural world at this point. We want to do both the artists and the topic justice.”

The Botanical: Beauty and Peril opens on 6 July and forms part of a wider celebration of the botanical world under the banner What on

Earth, with events and exhibitions at Lawrence Wilson Art Gallery (opens May), Midland Junction Arts Centre (August), Mundaring Arts Centre (September) and Kings Park Festival (September).

This exhibition is a collaboration between the Art Gallery of WA and the Janet Holmes à Court Collection.

Conor O’Brien Bushfire 2004 (detail).

Digital print, 3/5, 66.3 x 96.8 cm (image) 71.5 x 102 (sheet). State Art Collection, Art Gallery of Western Australia.

Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2009.

Presenting Partner

Principal Partner

Spirits Partner

Open 10am-5pm Wed-Mon, closed Tuesdays

Art Gallery of WA

5

Creating a culture of change

BOTANICAL PROGRAM & EVENTS

T

Conversations with Rain Workshop The Botanical: Beauty and Peril 1-3pm, Sat 6 Jul | FREE, bookings required

he important environmental messages that arise from The Botanical: Beauty and Peril lend themselves to engaging young audiences through educational activities.

The Art Gallery of Western Australia is partnering with ECU School of Education to offer a new series of early education workshops, Conversations with Rain, which explore young children’s creative responses to weather as a way of understanding our relationship to climate change.

In the exhibition space, audiences will be able to see responses by students from City Beach Primary School to some of the works in the show, gathered as part of a pilot project through HOT (Higher Order Thinking) Art Workshops.

Learning resource Remembering Landscapes: The Solastalgia Deck has resulted from school holiday painting workshops with Esther McDowell/ Yabini Kickett as part of her Artist Activation, Kaalak Minditk Kaalak (Home Sick Home).

AGWA educator Lilly Blue said the environmental aspect of the exhibition lent itself to learning opportunities for young minds.

“Environmental issues are incredibly topical at the moment,” she said.

“Young people are leading the

charge on climate change protests, Greta Thunberg was recently nominated for a Nobel Peace prize at 16 years old and current research indicates young people benefit from engaging more with the natural world.

“The works in the show challenge audiences to ask important questions, reflect on the beauty of nature, and consider the detrimental impact of our actions on the world around us. The arts also provide opportunities for engaging differently with these ideas, and make room for unexpected and imagined solutions to issues that can feel insurmountable.

“The projects make space for intuitive, emotional and poetic learning that is less about acquiring knowledge and more about engaging the senses to create connections and experience the world in more heightened, aware and sensitive ways.”

Ms Blue added it was important to give children’s voices a visible platform in the gallery.

“Art provides opportunities for multiple perspectives, it allows for complexity and ambiguity, it opens thinking and provokes imagination,” she said.

“Creative experiences offer windows into new ways of seeing and invite personal responses, which empowers children and gives them a sense of agency.”

NIKULINSKY NATURALLY Sat 25 May – Sat 17 Aug | FREE Lawrence Wilson Art Gallery lwag.uwa.edu.au WILDFLOWER STATE Sun 25 Aug – Sat 12 Oct | FREE Midland Junction Arts Centre midlandjunctionartscentre.com.au

Join us for the launch of Esther McDowell/ Yabini Kickett’s Artist Activation and hear about her six-month journey and collaboration with AGWA audiences.

Art Access Partner

An all-ages creative exploration of our relationship with rain and the environment through memory, senses and imagination.

In partnership with

Elements of Gin with Archie Rose Distilling Co. Sat 6 Jul | Ticketed

Symposium | Framing Flora: Artists and the Science of Botany 1-4pm, Fri 19 Jul | Art Gallery WA 1-4pm, Sat 20 Jul | Lawrence Wilson Art Gallery (LWAG) $10+bf AGWA Members, LWAG Friends, Concession | $15+bf Public

Join Archie Rose Brand Ambassador Nick Baxter on a whirlwind tour of gin distillation.

Enjoy a G&T on arrival, and immerse yourself in a sensory experience of Archie Rose gin botanicals. Then, finish with a tasting of Archie Rose Signature Dry and Distiller’s Strength Gins.

The wildflower season in Western Australia puts a spotlight on the state’s botanical riches, their special place on Country and the threat humans now pose to them. Hear from the curators, artists and botanists involved in bringing you an array of botanical and environment-themed exhibitions and events in 2019.

AGWA After-Hours | The Botanical: Beauty and Peril 6-7.30pm, Wed 10 Jul $30 AGWA Members | $37.50 Public

Keynote Speaker | Friday

An exclusive after-hours talk and tour.

Includes a glass of Juniper Estate wine on arrival.

Professor Ann Elias

Conversations with Rain School Holiday Workshops for Children and Families A Workshop with Artist Marnie Orr 11am-12.30pm, Wed 10 – Fri 12 and Wed 17 – Fri 19 Jul | $10 per head

Visit artgallery.wa.gov.au for the full program

Come and explore rain through an immersive experience with contemporary artist Marnie Orr. In this workshop participants will engage with creative thinking, movement and art installations.

PEREGRINATIONS OF A CITIZEN BOTANIST Fri 13 Sep – Sun 27 Oct | FREE Mundaring Arts Centre mundaringartscentre.com.au SEEDS, PODS AND POLLEN Fri 13 Sep – Sun 27 Oct | FREE Mundaring Arts Centre mundaringartscentre.com.au

LUSH VALLEY

A series of events and Sun 25 Aug – Sat 12 Oct | FREE exhibitions celebrating Midland Junction Arts Centre Centre the botanical world. midlandjunctionartscentre.com.au

Esther McDowell/Yabini Kickett Kaalak Minditj Kaalak (Home Sick Home) Launch 1-2pm, Sat 13 Jul | FREE

2019 KINGS PARK FESTIVAL Sun 1 Sep – Mon 30 Sep | Free & Ticketed kingsparkfestival.com.au

Professor Stephen Hopper AC Professor of Biodiversity, UWA Albany (CENRM) and School of Biological Sciences.

Keynote Speaker | Saturday Associate Professor, History and Theory of Contemporary Global Art, Department of Art History, University of Sydney.

Symposium Partner

Climate Change Long Table Discussion Artists have a place in climate change action in Australia 3.30-4.45pm, Sat 5 Oct | FREE, bookings required Sharing a provocation instead of food, we invite thought-leaders and involved citizens to a seat at the table to discuss climate change, expanding on themes in the exhibition The Botanical: Beauty and Peril, in which Australian artists document and question human activity and the destruction of the environment.

Imagination Room Visit the Imagination Room during opening hours and contribute to Conversations with Rain, a project exploring poetic responses to weather and our relationship to the environment and climate change.

Imagination Room Partner

6

Art Gallery of WA

artgallery.wa.gov.au

Taking the pulse of WA’s young artists

Y

oung people between the ages of 15 and 21 revel in AGWA Pulse, a year-round program filled with art experiences and events. Created for young people by young people, it provides a canvas for those who want to voice their opinions and artistic expression.

AGWA Pulse Youth Advisory Panel member Ava Hart said Pulse reflected the youth of today and what they were about.

“It’s alive; it’s connected; it’s joyous; it’s radical; it’s meaningful,” she said.

Ms Hart became involved in the panel earlier this year when the initial meeting regarding Pulse took place. Her involvement with the newly launched Pulse and the board itself was driven by her desire to be heard.

“I didn’t feel what I was saying was getting anywhere,” she said. “I didn’t feel like action and change would come from my words even though I knew others felt the same way, and I didn’t feel I was seeing or hearing other young voices speaking, being heard and actually being acknowledged by society.”

AGWA’s ability to assist in this projection of expression was the attraction for Ms Hart.

“This is the platform young people need,” she said.

“To be supported and listened to, and to connect with other likeminded young people as well as the art gallery team – that was when I knew Pulse was going to be a game changer that I needed to be a part of.”

The presence of art in young people’s lives presented an opportunity for them to break out of the mould and let their creativity Principal Partner

Education Partners

soar, according to Ms Hart.

“We are constantly being bombarded by too many people, institutions, politicians and more enforcing rules of outdated systems and telling us how we need to live our lives,” she said.

“But this control we live under is ultimately a killer of creativity. So many schools still aren’t fostering creativity in learning processes.

Copying text books word for word is not learning. Creativity is learning.”

The opportunity for young people to express themselves comes in the form of AGWA Pulse’s headline event, Pulse Perspectives, which was formerly named Year 12 Perspectives.

This is just one of the events that will be taking place within the gallery for young people.

“Our program for Pulse is in the making,” Ms Hart said. “Exciting things are happening and the art gallery team are working their socks off with us as usual to make Pulse as epic as it can be.”

Pulse Perspectives Until Mon 22 July | Free WA’s talented young artists are again celebrated as Year 12 Perspectives becomes Pulse Perspectives to better reflect what this exhibition is about: gauging the pulse of young people who will influence, empower and shape the world we live in.

This year’s exhibition features 46 works by graduating Year 12, 2018 visual arts students from across Western Australia.

The selected works span a variety of subject matter and media, ranging from painting and drawing to sculpture, digital moving images, photography and textiles.

Prominent themes in this year’s display include exploring topics such as international, national and personal political issues, our impact on and neglect of the environment, connections to family, gender politics, cultural hybridity and a deep and astute insight into our being in the world.

Open 10am-5pm Wed-Mon, closed Tuesdays

AGWA Pulse Youth Advisory Panel members – Grace Crogan, Jasmine Wu, Madison Smith, Mia Davis, Madi Mitchell, Heritier Kasanda – at Art Gallery of Western Australia.

AGWA Learning Going beyond the traditional school excursion, AGWA Learning is currently EXHIBITION: Pulse Perspectives undergoing development of 10am-5pm, until Mon 22 July | FREE new programs for various An annual look at the world through some of audiences and has had its WA’s most talented high school artists. name changed from AGWA Education.

PANEL: How do we save the world?

AGWA Learning provides 2-3pm, Sat 3 Aug | FREE for schools, with the Hear what the next generation of decision addition of workshops for makers has to say about climate change. children and families, and ArtBubs for mothers and OPENING DAY: T-shirts right now babies.

Sat 30 Nov | FREE “AGWA Learning makes Young artists explore T-shirt design and its room for challenging influence on youth culture. questions about the role of the arts in society and how gallery spaces can become accessible hubs of dynamic activity and diverse views,” Art Gallery of Western Australia Education and Visitor Experience Officer Lilly Blue said.

“I think audiences are looking for participatory and immersive opportunities where they can contribute to conversations and play a key role in the generation of art and ideas. We are currently doing research and partnering called Kaalak Minditj Kaalak – with schools, arts organisations, Home Sick Home, exploring her universities and community groups experience of homesickness on her to address this need for ongoing own Country/Boodja because nonchange.” endemic species have so drastically Artist Activations are an altered the environment. opportunity for the public to “She is also creating a multicollaborate with an artist, with media work made in collaboration expressions by various generations with AGWA audiences and to create a piece. launching on Saturday 13 July “These residencies are during NAIDOC Week 2019.” connected to our exhibition Ms Blue said more developments program and have been enormously were in the works for AGWA popular during school holidays, Learning. with most of them completely sold “I am currently working on a new out,” Ms Blue said. strategic vision for AGWA Learning “Currently, emerging Noongar that puts artists, audiences and artist Esther McDowell/Yabini ideas at the heart of our practice,” she said.

Kickett is working on a project

PULSE EVENTS

Art Gallery of WA

7

Connection to place on show

WA UNLIMITED WA NOW

“TJYLLYUNGOO/Lance Chadd’s artworks offer a Noongar being, a Noongar knowing and a Noongar hearing of different places as well, so language is really important in the way he constructs the total narrative of his paintings.”

- AGWA Curator of Indigenous Australian and First Nations Arts Carly Lane.

R

eflecting a deepened spirituality and harnessing a devoted connection to Country, TJYLLYUNGOO/Lance Chadd’s eclectic tapestry of work reveals the stories, feelings and emotional connection Bibbulmun Noongar peoples have with Western Australian land.

Born in the South West region of Western Australia, TJYLLYUNGOO/Lance Chadd is a Bibbulmun Noongar/Budimia Yamatji man. He commands attention to Aboriginal spirituality, interconnecting stories and embedding rich cultural links relating to the unity of land, people, animal and plants into every piece he has released.

A senior Noongar artist whose work is on display in the State Art Collection, and last year featured in the dedicated Indigenous art gallery Six Seasons, TJYLLYUNGOO’s work is now on display in the WA Now gallery, which hosts a variety of exhibitions featuring the work of practicing Western Australian artists.

AGWA has taken a dedicated

PROGRAM & EVENTS Curator Talk | WA Now – TJYLLYUNGOO/Lance Chadd 2-3pm, Sat 13 Jul | FREE Meet the artist and hear from Carly Lane, AGWA Curator of Indigenous Australian and First Nations Arts, for an insight into TJYLLYUNGOO/ Lance Chadd’s artistic practice and his WA Now display.

8

Art Gallery of WA

look at TJYLLYUNGOO’s work in the exhibition Ibelongyoubelongwebelong, that presents a series of pieces which reflect the artist’s Aboriginal connection to the Boorongurup (Porongurup Ranges), the oldest granite formation on Earth.

Its sacred meaning and rich significance lies in Boorongurup’s importance as a celebrated place for Bibbulmun Peoples and as the most important Winartj (sacred place) on Country.

Curating and selecting TJYLLYUNGOO’s works for the Ibelongyoubelongwebelong exhibition, AGWA Curator of Indigenous Australian and First Nations Arts Carly Lane said the best word to describe his works was “layered”.

“Lance layers his work depicting the spiritual connection his peoples have with the animals,” she said.

“Plants, insects, all species of life, in their relationship of totemism and creation ancestors.

“We’ve got beautiful landscapes, but we have also got beautiful figures.

There are many references to the animals in Country, and also creation ancestors such as the Waugyl.”

The Waugyl, the all powerful Noongar Rainbow Serpent forms part of Noongar spirituality and holds responsibility for the creation of WA’s Swan and Canning rivers, as well as many other natural waterways and landforms.

Ms Lane said AGWA’s work to harness and focus on TJYLLYUNGOO as a prominent artist not

only in the Bibbulmun Noongar community, but also in Perth, would create powerful waves across the artistic scene in Western Australia.

“It will give visitors cause to reflect and an opportunity to think about how they see or how they feel about our county and connection to place,” she said.

“TJYLLYUNGOO/Lance Chadd’s work does that really well, especially in terms of the range of work that he has.”

His pieces offer viewers an opportunity to reflect on where we belong in our own culture, where we stand and how we respond and interact with all that is around us.

Ibelongyoubelongwebelong is free to attend and currently on display until Monday August 5, 2019.

TJYLLYUNGOO/Lance Chadd Waitj Boorongur 2014 (detail). Acrylic on Belgian linen, 90 X 120 cm. Courtesy of the artist. © TJYLLYUNGOO/Lance Chadd, 2014.

PROGRAM & EVENTS AGWA After-Hours WA Now – Eveline Kotai 6-7.30pm, Wed 21 Aug $30 AGWA Members | $37.50 Public An exclusive after-hours talk and tour with artist Eveline Kotai. Includes a glass of wine on arrival.

Studio Visit WA Now – Eveline Kotai 2-3pm, Sat 7 Sep $50 AGWA Members | $62.50 Public Meet artist Eveline Kotai and see her creative space.

Artist Talk WA Now – Eveline Kotai 2-3pm, Sat 14 Sep | FREE

artgallery.wa.gov.au

Eveline Kotai Breathing Pattern #2 2010.

Acrylic on plywood, 120 x 270 cm.

Courtesy of Art Collective WA.

Finding space to breathe

R

esonating in a world where themes of perpetual motion, transition and continuation emerge, Eveline Kotai’s unequivocal body of work is all about the unexpected.

Astonishing colour combinations, startling patterns and intriguing textures define its character.

Traversing painting, drawing, print and textile mediums, Ms Kotai has spent more than 40 years experimenting with her selfdevised processes. Working with idiosyncratic stitched collages, her recent works reflect a more literal interpretation of material dissolution.

“It began when I used to paint on large canvasses that were stapled to the wall,” she said.

“When I trimmed the work to put on a stretcher I became increasingly intrigued by the scraps on the floor. These jewel-like bits invited further exploration; it was as though they were suggesting a different approach to new beginnings.

“This exploration led to cutting up pre-existing work and stitching pieces of paintings into new creations with nylon thread.”

Inventive and never idle, Ms Kotai’s beautiful, thin and slight brush strokes are trademark, and her constant revisiting of old works forms a crucial thread in her practice.

A student of Buddhist philosophy and focused on meditation, Ms Kotai’s journey is a constant one;

discovering new paths by reworking old works and thus uncovering never-ending sources for new beginnings.

“My studies in Buddhist philosophy have reinforced my already basic understanding of cause and effect, the impermanence of all things and the interconnectedness of all things,” she said.

“The fact my recent paintings reflect these three principles of nature was more or less coincidental, or rather arrived at intuitively from my time in Margaret River observing and

I’m hoping to create a place of contemplation – a ‘breather’ from the excessively intrusive bustle of modern life.

Eveline Kotai in her studio.

Photo by Tanita Seton.

Open 10am-5pm Wed-Mon, closed Tuesdays

documenting the recurring patterns in my natural surroundings as seasons changed and new life was generated.”

Breathing Pattern

“I’m hoping to create a place of contemplation – a ‘breather’ from the excessively intrusive bustle of modern life,” Ms Kotai said.

Stemming from the name of a series of paintings on plywood, Ms Kotai’s Breathing Pattern exhibition will be on show as part of the WA Now series, later this year.

The exhibition will include new and recent work with a variety of media including canvas reconstructions, carpets, stitched compositions and paintings.

Ms Kotai said Breathing Pattern began with first choosing the plywood sheets works would be painted on.

“I spent quite some time choosing three panels that would relate to each other in a way that suggests an aerial view of

the landscape or the horizontal movement of water,” she said.

“Although the pattern contained in the wood is created by an indifferent saw that slices vertically through a tree, it reminds us of the commonality of patterns that appear in various forces of nature.

“Short even strokes painted over the plywood pattern represent the rhythm of breath. I used the three primary colours of the spectrum – red, blue and yellow – to create wide bands in light-to-dark tones.

With each ‘breath’ the pattern and the strokes come together to form a topography that evokes land or sea but also represents the passing of time.”

AGWA Associate Curator of 21st Century Arts Dunja Rmandić said visitors to the exhibition would be enthralled by Ms Kotai’s work.

“There is a consistency to her work, and a subtlety, which is constantly surprising to the viewer,” she said.

“There is a lot of pleasure and intrigue which happens when you have the work in front of you. We will design the show in a way that guides the viewers to her work.”

In May, Art Collective WA released a third monograph on Eveline Kotai’s work. The Breathing Pattern exhibition will be on display from Saturday 17 August, 2019 – Monday 20 January, 2020 and is free to visit.

Art Gallery of WA

9

Capturing a moment in time

S

titched together by stories of present and past, Australia’s historical fabric is rich in substance.

Artists over the centuries have created diverse drawings, sketches and paintings to convey multiple viewpoints and experiences across time. Ultimately, its these pieces which unveil snapshots of the past in the present.

Presenting works from the 1700s to the 1910s, the AGWA Historical gallery celebrates the richness of these pieces.

Two historical works have recently gone on display at the gallery – Cases de la Terre de Lewin (Geographe Bay, WA) by Charles-Alexandre Lesueur and Tom Roberts’ Shearing the Rams, 1890.

AGWA Curator of 19th Century Art Melissa Harpley said AGWA was very keen to ensure these new works were part of a bigger conversation about occupation of land and encounters between cultures.

“It’s about the history of this place, acknowledging it is complex and many-faceted and trying to get a number of voices into the conversation around that,” she said.

A renowned French naturalist and artist, Lesueur was born in 1778 in the French naval town of Le Havre. Due to his artistic ability and training, Lesueur was selected to board French captain Nicolas Baudin’s voyage to Australia from 1800-1804 and to illustrate images of his encounters. Cases de la Terre de Lewin depicts an intriguing encounter between the French and local Noongar people during the expedition, while also capturing life in a Noongar campsite in 1801.

The detailed pen, ink and pencil drawing (which pre-dates the establishment of either the military settlement at Albany in 1826 or the Swan River Colony in 1829) takes place near the Vasse River.

Ms Harpley said it was the second earliest recorded European view of WA. “It is an image that gives precise scientific information about what the landscape looked like and the activities of the local Noongar people,” she said.

10 Art Gallery of WA

Charles-Alexandre Lesueur Cases de la Terre de Lewin (Géographe Bay, W.A.) 1801 (detail).

Pen and ink and graphite on paper, 9.8 x 17.5 cm. State Art Collection, Art Gallery of Western Australia. Purchased 2018.

AGWA purchased the print in 1977 and now owns the 9.8cm by 17.5cm original drawing, which only came to market late last year. From the inclusion of different types of vegetation and the clear depiction of the structure of the huts, to the rendering of the Aboriginal figures hunting birds and fishing, Lesueur has echoed the aesthetic ideals of the landscape in its composition.

Ms Harpley said it offered a look into the mindset of Europeans at the time and the idea there were ships traversing the globe with people trying to gain information about new people, landscapes and environments.

“To be able to give local audiences more stories that are specific to this place is really important,” she said.

“Hopefully, they get a sense of the French artist sitting there doing his detailed sketch and responding to what he’s actually seeing in the moment.”

It is an image that gives precise scientific information about what the landscape looked like and the activities of the local Noongar people.

Ms Harpley said the drawing’s small scale was a reminder of the circumstances of its making.

“Those ships were small – they had to work small for things to be plausible – so that’s why you tend to get beautiful, detailed pencil drawings rather than these big oil paintings, because it just wasn’t feasible,” she said.

The Lesueur work is hanging alongside a work from contemporary Noongar artist Laurel Nannup, called Old Spirit of the Sea, which is a reflection on the arrival of the Duyfken in 1606 from a Noongar perspective.

Touching on Dutch-Australian relations, the piece highlights the first exchanges between the Indigenous and Dutch prior to colonisation.

Also new to the gallery is Tom Roberts’ Shearing the Rams, 1890. On

short-term loan from the National Gallery of Victoria, The work is on display alongside Frederick McCubbin’s Down on His Luck and John Longstaff’s Breaking the News until July 28.

Vividly realistic, this depiction of rural life in a shearing shed in country New South Wales delivers a snapshot into a fleeting, truthful moment. An echo of Australian identity and the economic significance of the wool industry in the late 19th century, the piece traces an interesting figment of history.

“It is about thinking about Australia as a nation,” Ms Harpley said.

“It presents a very masculine view of identity. Roberts manages to bring the aesthetic very effectively into it.

“Even though it is a twodimensional painting, it has a depth, life and animation to it.

“A bit like the drawing, it conveys that close accuracy and scientific observation, but manages to bring it together as a much more evocative and poetic whole, so the painting turns into something that even now, still somewhat represents some vision of the real Australia.” artgallery.wa.gov.au

A bold vision for WA’s emerging love of art

P

erth is a city peppered with brutalist buildings that spawned from the modernist architectural movement between 1950-1970.

Symbolic of modernity and progress, the main building at the Art Gallery of Western Australia is a clear example of the movement, as it conveys powerful shapes, repetition, robust textures, concrete forms and strong bold lines.

Designed by Polish architect Charles Sierakowski, the building opened its doors in 1979 and celebrates its 40th anniversary this year.

Using a hexagonal plan and generous proportions, Mr Sierakowski’s clever design transformed the way the gallery exhibited works and reignited Perth’s appreciation for art.

Prior to this, the gallery was part of a joint institution known collectively as the Public Gallery, Museum and Art Gallery.

AGWA Manager of Curatorial Affairs and Curator of 19th Century Art Melissa Harpley said the former space was much smaller and connected to the museum and library.

“The institution was housed under one roof in a big shared space,” she said. “The key person running the institution at the time was a librarian. As a result, the library received a lot of support – much more than the gallery.”

In 1913 a purpose-built gallery space was added to the museum and still remains today.

“It is a beautiful room and a great example of an early 20th century top-lit gallery space,” Ms

Art Gallery of Western Australia Fritz Kos 1979 (detail). State Library of Western Australia. Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia. (224274PD).

Harpley said.

“It wasn’t until the 1950s that the government separated the gallery from the museum and library, and each individual division began to flourish.”

Although the space became a single institution, the gallery remained part of the museum up until 1979.

Mr Sierakowski’s clever design transformed the way the gallery exhibited works and reignited Perth’s appreciation for art.

“In the late 60s to early 70s, the gallery had an excellent director by the name of Frank Norton who helped raise the profile of the gallery but also made some really interesting acquisitions,” Ms Harpley said.

“He was one of the first gallery directors to think about the work of Aboriginal artists as art, instead of anthropology and ethnography.”

By the 70s the gallery had become constrained and more space was required to display the expanding collection.

“There was no longer enough room to store or display the artworks,” Ms Harpley said.

During the 70s, support for culture and the arts was on the rise across the nation.

“The development of the new

AGWA building coincided with a big cultural building period in Perth,” Ms Harpley said.

“Construction commenced in 1974 and the gallery officially opened its new doors on October 2, 1979.”

With 3500sqm of display space, the unique building was designed around 120-degree angles that created several unusual vistas from across different spaces within the gallery.

Its central features also included the cast concrete spiral staircase.

AGWA Curator of 20th Century Arts Robert Cook said he is drawn to the gallery’s huge void.

“If you are upstairs, there is a cut-away section that lets you look

down to the gallery below,” he said.

“I really love this space because it opens the entire gallery and interacts downwards and upwards.

“As a curator, I like thinking about shows from every angle.”

Mr Cook said the building was a local interpretation of an international architectural phenomenon.

“It is not just a version of international architecture,” he said.

“The building responds to the site and the materials that surround it, including existing architecture.

“The gallery is unique and has an awareness of its sense of place and the vastness of WA and Australia.”

OPEN NIGHT

1 NOVEMBER 2019 | FREE CASH BAR - LIVE MUSIC SPECIAL PERFORMANCE BY CO3 AUSTRALIA

AGWA 40 SEASON

VIEW EXHIBITIONS: PERTH BRUTAL: DREAMING IN CONCRETE THAT SEVENTIES FEELING THE BOTANICAL: BEAUTY AND PERIL TALKS, TOURS AND MORE

Celebrating Perth’s Brutalist icon 1979-2019

11

Fritz Kos Art Gallery of Western Australia 1979. State Library of Western Australia Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia. (224276PD: left) (224277PD: Co3 Australia, Reasonof for Being.WA Photo Michael McLean.

Artright).Gallery Open 10am-5pm Wed-Mon, closed Tuesdays

Perth Brutal: Dreaming

K

nown for its use of functional reinforced concrete and steel, brutalist building designs aim to reclaim truth in structure by returning to basic notions of utility and form.

The architectural movement refers to a post-World War II modernist style and reflects a time that thrived on change.

Notorious for being colossal concrete structures with fortress-like statures, brutalist buildings utilised raw materials that were affordable, durable and versatile.

The main AGWA building, located in Perth’s Cultural Centre, is an example of the stark architectural style.

Developed by Polish-born architect Charles Sierakowski, the building was completed in 1979 and continues to be admired for its strong graphic quality 40 years on.

The iconic structure marked the end of a 10-year building boom in Perth and was driven by the then gallery director, Frank Norton.

The Perth Brutal: Dreaming in Concrete exhibition celebrates the history of the building and uncovers the many layers of development that took place throughout its earlier stages.

AGWA 20th Century Arts Curator Robert Cook said the Perth Brutal: Dreaming in Concrete display would feature images of the building in its construction and early days, along with historical ephemera, such as building models, plans,

diagrams, drawings and early promotional brochures about the structure and its place within the Perth Cultural Centre.

“We will be displaying this exhibition in the design space at the gallery with several images from one of Australia’s pre-eminent architectural photographers, Fritz Kos,” he said.

“Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia, the photographs will give people an understanding of the building’s development from the construction phase through to its completion, but prior to being inhabited, and then just after it opened.”

Holding great significance, Mr Cook said the Fritz Kos images helped bring the building alive as an entity and as a sculpture.

“The work positions the building; you get to see the building empty, showing the space in its primal state,” he said. “The images of the empty building provide a unique perspective that showcases its brutalist nature.

“Fritz Kos wasn’t just documenting the construction, he had a distinct aesthetic and a dramatic perspective on things.”

Perth Brutal: Dreaming in Concrete is free to attend and will run from Saturday September 21, 2019 to Monday February 3, 2020 at the Art Gallery of Western Australia.

in Concrete

Art Gallery of Western Australia from Roe Street 1979.

Photograph by Phil Nadebaum. Reproduced with permission.

Art Gallery of Western Australia Fritz Kos 1979 (detail). State Library of Western Australia.

Sourced from the collections of the State Library of Western Australia and reproduced with the permission of the Library Board of Western Australia. (224276PD).

12

Art Gallery of WA

artgallery.wa.gov.au

PROGRAM & EVENTS Symposium | Perth Brutal: Dreaming in Concrete – AGWA, the Perth Cultural Centre and Brutalist Architecture in Australia 9am-3pm, Wed 2 Oct $12 AGWA Members | $15 Public

Robert Rooney Superknit 2 1970 (detail). Synthetic polymer paint on canvas, 152.5 x 228.5 cm.

State Art Collection, Art Gallery of Western Australia. Purchased 1989. © Robert Rooney 1970.

A new home and the tail end of late modernism

D

riven by a mining boom and economic development, the 70s was a period of great transformation in Perth.

It was the decade of punk, glam-rock, disco, Star Wars, Vietnam, the beginning and end of the Whitlam Government, and a time when Perth started to vibrate with new cultural attractions.

AGWA 20th Century Arts Curator Robert Cook said Perth really started to pump culturally in the 70s.

“In 1979, the gallery opened its doors to a brand new building that demonstrated this cultural transition and buzz,” he said. “The building represented a sense of fluidity and possibility.”

Mr Cook said the concrete building was a structure that held dreams.

“Our first collection at the new building contained several artworks from the 70s period,” he said.

“This latest exhibition, That Seventies Feeling: The Late Modern from Perth, will look back at the period and get people thinking in new ways.”

With its generous proportions, the new building gave the gallery more space to display larger artworks.

“The collection developed in a different way because of the new space,” Mr Cook said. “The exhibition will consider the gallery’s identity during the period in a retrospective way.

“It will have a strong focus on large abstract works that were popular at the time.”

The exhibition aims to uncover a time that Mr Cook described as ‘the late modern’.

“Whether you think the modernist period started with works by Courbet or Manet; this exhibition considers artists working at the tail end of that movement,” Mr Cook said.

“These artists were working in innovative ways that were quiet and subtle.

“The works consolidated the broader theme of modernism in relation to art practices, and the gallery in WA acquired a number of artworks from this period.”

While the artworks may have come from around the world, Mr Cook said there was an interesting element that connected the works to the new building at the time.

“The new building was all about scale and distance, and so were the artworks the gallery was displaying,” he said.

“The works felt, and still feel, very much connected to the space.

“These artworks helped map out the special proportions of the new gallery at the time. The new space allowed people to observe the late modern period by reflecting and reshaping our experiential presence of being here.”

The collection will include large abstract works from the period, along with more innovative conceptual pieces.

“Artists featured include Miriam Stannage, Mike Parr and Brian Blanchflower,” Mr Cook said.

“There will also be some hip new visions

by Robert Rooney, Stephen Shore and Jenny Watson, and late work by modernists such as Howard Hodgkin, Virginia Cuppaidge, Fred Williams and Albert Tucker.”

That Seventies Feeling: The Late Modern from Perth is free to attend and will run from Saturday October 12 to Monday March 2 at the Art Gallery of Western Australia.

Tom Gibbons The end c1972. Synthetic polymer paint on panel, 114 cm (diameter). State Art Collection, Art Gallery of Western Australia.

Purchased 1993.

Open 10am-5pm Wed-Mon, closed Tuesdays

A symposium celebrating the 40th anniversary of the AGWA building and Perth’s early role in brutalist architectural style in Australia. Followed by guided tours of the AGWA building, Perth Brutal: Dreaming in Concrete and the iconic brutalist Curtin University campus.

Speakers: Winthrop Professor, Simon Anderson, University Western Australia Dr Annette Condello, Director of Graduate Research at the School of Architecture and the Built Environment, Curtin University Dr Robert Cook, AGWA Curator of 20th Century Arts Patrick Ford, Senior Architecture Officer, Office of the Government Architect, Perth Melissa Harpley, AGWA Curator of 19th Century Arts/Manager of Collections Andrew Murray, PhD Candidate, Melbourne School of Design, University of Melbourne Dunja Rmandić, AGWA Associate Curator of 21st Century Arts AGWA After-Hours | Perth Brutal: Dreaming in Concrete 6-7.30pm, Wed 9 Oct $30 AGWA Members | $37.50 Public An exclusive after-hours talk and tour with an AGWA curator. Includes a glass of wine on arrival.

Panel | That Seventies Feeling: The Late Modern from Perth 2-3pm, Sat 12 Oct | FREE Join AGWA curators and artists for an exchange about art in the 70s in Perth and how the collection at AGWA reflects the scene at the time.

AGWA After-Hours | That Seventies Feeling: The Late Modern from Perth 6-7.30pm, Wed 23 Oct $30 AGWA Members | $37.50 Public An exclusive after-hours talk and tour with an AGWA curator. Includes a glass of wine on arrival.

Tim Ross Motel 1979 3pm & 7pm, Sat 2 Nov | $55 AGWA Members $59 Concessions | $69 Public Join Tim Ross and Kit Warhurst for their brand new live show, the follow up to their award-winning Man About the House show. Step inside the original condition 1979 brutalist building – Art Gallery WA, for a nostalgic, thought provoking and funny exploration of Australian brutal architecture and holidays of the past.

Art Gallery of WA

13

Also at AGWA in 2019 Screen Space – Pilar Mata Dupont Sat 29 Jun – Mon 30 Sep | FREE Newly acquired work from Pilar Mata Dupont, Undesirable bodies (2018), will feature as part of The Botanical: Beauty and Peril exhibition. Filmed at, and in, Jurndawurrunha – a natural freshwater spring sacred to the Yindjibarndi people of the Pilbara region – the work considers, through poetry of film, introduced ground and underwater plants as a form of colonisation and how contemporary conservation efforts can restore the equilibrium.

Pilar Mata Dupont Undesirable bodies 2018 (detail). Three-channel digital video, sound, colour, 1/5, 16:16 minutes. State Art Collection, Art Gallery of Western Australia.

Purchased 2018 Art Collection, Art Gallery of Western Australia. Purchased 2018.

Wesfarmers Micro Galleries and Rise Sound Gallery – Mark-Making Until 25 Nov | FREE Wesfarmers Micro Galleries and Rise Sound Gallery will present works that look into what mark-making in art can be, from tiny brushstrokes to bold swoops of colour and found materials. Patrick Hartigan’s work Sounds 1-6 in the Rise Sound Gallery and from the AGWA Collection, will investigate what mark-making and sound can be together.

Screen Space – Sue Ford Sat 12 Oct 2019 – Mon 2 Mar 2020 | FREE Part of Sue Ford’s iconic Time series acquired by the gallery, and her video work Faces (1976–1996), will be displayed in Screen Space as a thematic part of the That Seventies Feeling exhibition. Ford’s images of her subjects taken 10, 20 and 30 years apart were a key photographic and a deeply feminist gesture which changed the way Australian photographers saw and conceptualised their work. The photographs and the video will be on display together for the first time since acquisition.

Sue Ford Time series 1 1962-1974 (detail). Silver gelatin photographs, 11 x 8 cm each (6 diptychs). State Art Collection, Art Gallery of Western Australia. Purchased through the TomorrowFund, Art Gallery of Western Australia Foundation, 2015, with the generous donations of: Linda Savage, Susan Adler, Lisa Baker, Tracy Blake, Karen Brown, Catherine Cole, Susan Cullen, Elaine Featherby, Lisa Fini, Alison Gaines, Kathleen Hardie, Anne Holt, Gillian Johnson, y , Joanne J p .

Carmen La Cava,, Heather Lyons, Motteram,, Susan Pass,, Lisa Telford,, Clare Thompson

AGWA Design – Family resemblance Sat 15 June – Mon 9 Sep | FREE A collection display featuring a range of (largely) ceramic works that showcase the way some of the nation’s and world’s best makers create sequences and clusters of objects. These works explore the idea that hand-making is so often about incremental and subtle shifts in focus and form as a style and an artistic approach comes into being over time, and from form to form to form. In this mode we might observe that singular entities in a maker’s output resemble ‘family groupings’.

Ricky Swallow Fig. 2 2009. Jelutong (Dyera costulata), m. State Art Collection, Art Gallery of 82 x 38 x 25 cm. ia. Purchased through the Art Gallery of Western Australia. ia Foundation: TomorrowFund, 2010.

Western Australia

14 Art Gallery of WA

artgallery.wa.gov.au

A continued evolution for WA prize

T

he third richest prize in Australia, the Black Swan Prize for Portraiture has been renamed and rebranded.

Since its establishment by Tina Wilson in 2007, the Prize has benefitted from the generous patronage of Richard (Dick) Lester. His ongoing support and leadership saw him become a Lifetime Patron of the prize in 2018 and the award has now been named after him in recognition.

“I supported the prize because I’m

very interested in art and portraiture in particular, and because I think it’s just a marvellous visual artform that communicates with everybody,” he said. “I feel very humble and am very thankful to have the prize named after me.”

Mr Lester has been a driving force behind the prize’s rise to prominence as a national award.

The Lester Prize Chair John Langoulant said the process of changing of the name had been a

carefully considered one involving branding agency, Block.

“Our team has spent the past 12 months looking at how we can continue our tradition of placing artists and community proudly frontof-centre, and build on our strengths and prestige. We consulted with artists, judges, curators, sponsors and partners about how to grow and evolve the prize while maintaining our focus on celebrating the artists behind the portraits,” he said.

“Those of us who live in the West can attest to the ubiquity of ‘black swans’ – a name that is shared by everything from hummus dip to the State Theatre Company – so finding a name that spoke to our heritage and was ‘ownable’ by the prize was our mission.”

Fundraising in the Arts remains a challenge but The Lester Prize aims to continue its efforts to increase exposure to the broader Australian community and abroad, attract incredible talent, as well as provide real benefit to the artists who join its community.

“We are still as focused as ever on enriching the Arts community in WA and welcoming the best of portraiture to the West – we believe our new brand identity is an important step forward in continuing to stake our place on the national arts calendar,” Mr Langoulant said.

At inception the prize was originally hosted at the Perth Town Hall, moving onto Linton and Kay Galleries before being invited to the Art Gallery of Western Australia in 2016.

Art Gallery of Western Australia Associate Curator of 21st Century Arts Dunja Rmandic said the prize had grown more impressive each year.

“It has branched out and become very much a national prize, so the calibre of artists has been increasing over the past couple of years,” she said.

“I think it’s a good time for the prize to reassess where it wants to go and how it wants to be perceived.”

Submissions are now open with more than 500 artists from across Australia vying for a prize pool of over $70,000 – including the coveted $50,000 Richard Lester Prize for Portraiture, $10,000 Toni Fini Foundation Artist Prize, the $7500 Baldock Family People’s Choice Prize and two Highly Commended Prizes valued at $2500.

Forty finalists’ works will be selected and displayed in AGWA’s Centenary Galleries during The Lester Prize Exhibition Season which runs at various locations around Perth from Saturday 9 November to Monday 9 December. Admission is free.

For more information, visit lesterprize.com

2018 $50,000 Lester Group Prize Winner Antoinette Barbouttis Alexandra 2018 (detail). Charcoal on paper, 11.9 x 84.4 cm.

Courtesy of the artist. Photographed by Simon Strong.

Open 10am-5pm Wed-Mon, closed Tuesdays

Art Gallery of WA

15

Looking at looking at looking: behind the scenes of Freighting Ideas 2019. Photographer: Bo Wong.

Featuring left to right: Graham Miller, Fionn Mulholland, Famous Sharron, Toni Wilkinson.

AGWA coming to a town near you

A

fter two decades, AGWA has hit the road, with the first stop of the Freighting Ideas program, How Did I Get Here?, occurring at Katanning Art Gallery in April.

It will then go to six other regional venues across the state, with the next cab off the ranks being Collie Art Gallery in July.

The exhibitions are being presented in partnership with ART ON THE MOVE, with support from the Regional Exhibition Touring Boost funded by the State Government.

Inspired by the 1980 Talking Heads song Once in a Lifetime, the exhibition brings together 12 key photographic works interwoven with various pieces from the local galleries they will be held in.

The partnership with AGWA has helped to create a new and unique touring model and expand the audience of the gallery’s collection, according to ART ON THE MOVE Executive Director Kim Jameson.

“It is a historic shift of AGWA’s ambition and reflected in their strategy to see things differently.

The exhibition also represent and present the various stories of the state in a new and dynamic way,” she said.

Mrs Jameson said Freighting Ideas was a chance to engage regional audiences and showcase local artists.

“It is a project model that values the development of genuine relationships, really meaningful encounters and community affections,” she said.

“The state exhibition will also be

presented in each regional gallery space alongside selected works from the local art collection. This creates a dialogue between local and state stories.

“So everywhere you go to see the tour, it will be different, as you will see the interplay of the local collection with the AGWA works.”

Exhibition Audience Ambassador Famous Sharron said the opening night at the Katanning Art Gallery had a great reception, continuing her effort to make art more accessible.

“When I was there we did a big opening in Katanning and normally there are a lot of speeches and it could get boring,” she said.

“But it was just fabulous because I was hosting and I’m famous, and we just turned it into a mini The Ellen Show and I was just

interviewing everyone.

“That was just me saying ‘dolls whoever you are you’re welcome, whether you’re coming to look at the art, meet some friends, have some wine or get free cheese, let’s just enjoy ourselves and try something different.”

Famous Sharron said her role as audience ambassador helped her to introduce people, who might have some trepidation about visiting a gallery, to an exhibition space.

“I’m happy to ask the stupid questions about art and get answers for you if I can, although some of those questions are hard to answer and that’s all part of the adventure,” she said.

“As the audience ambassador I’m connecting to people just like me, but less famous.”

Freighting Ideas – How Did I Get Here?

Collie Art Gallery Sat 20 July – Sun 1 Sept Ningaloo Centre, Exmouth Sat 14 Sept – Sun 13 Oct Bunbury Regional Art Galleries Sat 18 Jan – Sun 1 March, 2020 Carnarvon Library & Gallery Sat 16 May – Fri 19 June, 2020 East Pilbara Arts Centre Sat 4 July – Sun 9 Aug, 2020 Geraldton Regional Art Gallery Sat 22 Aug – Sat 12 Sept, 2020

This is an ART ON THE MOVE and Art Gallery of WA touring program developed as part of Freighting Ideas project. This project has been made possible through the Regional Exhibition Touring Boost managed by the Department of Local Government Sport and Cultural Industries, supported by Royalties for Regions and delivered in partnership by ART ON THE MOVE and the Art Gallery of Western Australia.

16 Art Gallery of WA

artgallery.wa.gov.au

The ultimate cotton canvas

H

elmed by Melbournebased curator Eddie Zammit, the fourth installation of AGWA’s Culture Juice series highlights the often overlooked artform of the T-shirt.

Mr Zammit said T-shirts acted as the perfect canvas for a variety of art styles, from illustrations and typography to graphic design and photography, with the exhibition aiming to showcase them all.

With a name derived from the notion that “billions of people are wearing T-shirts right now”, the show is a celebration of the clothing item, its stories and the cultures it represents.

Supported by the expertise of local T-shirt and sneaker collector, and exhibition Co-Curator, Lee Ingram, the show will depict the everyday and broadly pop-cultural item in an art gallery setting, asking visitors to engage with the medium in a new way while considering why it is there in the first place.

For AGWA Curator of 20th Century Arts Robert Cook, a T-shirt is right at home in an art gallery.

“You can tell a history of contemporary design through T-shirts,” he said.

PROGRAM & EVENTS

“Most of the world-famous designers and illustrators have made T-shirts. They are a democratic canvas, everybody wears them.”

Mr Zammit highlighted how the exhibition would offer a glimpse into the history of T-shirts and showcase some iconic designs.

Growing up through the 70s and 80s, it has always been right at the forefront of almost every cultural movement I can think of.

“It is a celebration of T-shirt culture worldwide,” he said. “It is showcasing the graphics on the T-shirts and unfolding the story from the past 100-plus years since they existed.

“The idea of the exhibition is to show how valuable T-shirts are in society.

“This is the fourth major T-shirt exhibition I have personally created, and they have been widely visited by over 200,000-plus people.

“What I think these institutions like AGWA are doing really well is appealing to a younger audience.

“I think that is the goal – getting

AGWA Members’ Sneak Peek | Culture Juice – T-shirts right now 1-5pm, Fri 29 Nov | FREE, AGWA Members exclusive Become an AGWA Member and see Culture Juice – T-shirts right now before it opens to the public.

Super Saturday | Culture Juice – T-shirts right now 10am-5pm, Sat 30 Nov | FREE A day of activities and performances to celebrate the best of T-shirt culture and the key artists, brands and designers from the past thirty years.

AGWA After-Hours | Culture Juice – T-shirts right now 6-7.30pm, Wed 4 Dec | $30 AGWA Members | $37.50 Public An exclusive after-hours talk and tour. Includes a glass of wine on arrival.

Open 10am-5pm Wed-Mon, closed Tuesdays

the cynics off the couch and into a gallery and seeing how they can relate to something themselves.”

For Mr Zammit, the majority of his collection comes from his desire to uncover the stories of the T-shirt.

“I run a publication called T-world, which I’ve been doing since 2006,” he said.

“T-world is an ongoing journal based on personal documentation of the T-shirt movement.

“I was interested in T-shirt graphics because I wanted to uncover the actual story behind the design. I am an Art Director and I am drawn to the most accessible canvas on the planet.”

Mr Zammit’s collection, while mainly representing skate and streetwear cultures, represents a wide variety of styles.

“There will definitely be brands represented,” he said. “I have always been a big fan of the screaming hand from Santa Cruz.

You also can’t talk T-shirts without talking Stüssy.

“My collection of 30 years covers all sorts of genres such as sport, music, parodies and branding.”

The exhibition will also feature pieces from Western Australian institutions, according to Mr Zammit, giving nods to local bands like AC/DC and brands like Butter Goods.

Exhibition Co-Curator Lee Ingram, whose personal collection will also feature, said representing Western Australia in the exhibition was important.

“It is really important, while we have the spotlight, to bring some of these stories out and look at some pivotal moments,” he said.

“I think there is a lot of things happening in Perth – almost every designer in Perth at some stage has put out T-shirts – the real trick is curating and looking at some fun and interesting moments.”

Mr Ingram said the Culture Juice series and, by extension, the T-shirts right now exhibition, reflected modern culture and delved into the stories behind it.

“I personally think the role of

Eddie Zammit. Photo by Nicole Reed.

an art gallery is to reflect culture,” he said.

“In reality, if you have a look at the recent spike in popularity of shows like Pawn Stars and American Pickers, people love hearing these stories that they didn’t realise were attached to everyday objects, which at first glance might seem mundane.

“That is the primary thing – the objects themselves are really just portals to another time, place and story.

“It is almost less about the objects themselves and more about the stories.”

Iconic and well-known T-shirts such as the ‘I love NY’ graphic tee will be on display, with a mix of designs tracing back to the early days of T-shirt history.

“It is such a diverse thing and we are trying to cover and present it almost like a timeline,” Mr Ingram said.

“From historical T-shirts leading up to the current boom in streetwear, we are looking at the rise of counter cultures like skateboarding in the 80s and rave culture in the 90s. All of these were heavily influenced by their graphics and visual aesthetics.”

Mr Ingram said the exhibition was perfectly suited to Perth.

“The thing to remember is Perth loves T-shirts given our great weather,” he said.

“Growing up through the 70s and 80s, it has always been right at the forefront of almost every cultural movement I can think of.

“I think it is something the people of Perth can connect with.”

T-shirts right now will run from Saturday 30 November, 2019 to Monday 13 April, 2020 and is free to attend.

Art Gallery of WA

17

Ensuring a growing collection

T

his year marks the 30th anniversary of the Art Gallery of Western Australia (AGWA) Foundation, which has had an extraordinary impact on the State Art Collection for the gallery.

This impact has been felt most specifically in recent years as the Foundation has accounted for more than 80 per cent of all acquisitions, while throughout its existence it has enabled the acquisition of more than 5000 works to the Collection.

This represents 28 per cent of the entire State Art Collection which, according to the AGWA Foundation Council Chairman Warwick Hemsley, showcases just how significant the Foundation is to the gallery.

More recently the Foundation has been instrumental in raising funds in support of bringing exhibitions to Perth, including A Window on Italy – the Corsini Collection: Masterpieces from Florence and acquiring sensational jewellery featured in Beyond Bling.

Mr Hemsley said the Foundation had also been greatly influential in bringing Aboriginal art acquisitions into the gallery.

This year the Foundation’s annual appeal will raise funds for the acquisition of a major new work

by Christopher Pease titled Reaper.

“This important work by a significant Western Australian artist will add to the many voices, aspirations and lived experiences of Aboriginal and Torres Strait Islander people in the State Art Collection,” Mr Hemsley said.

“The assistance of our community is needed to fortify the ongoing growth, relevance and status of this collection, including the continued representation of Indigenous artists.”

As part of ensuring the ongoing growth of the Foundation, 2018 saw the release of a new initiative called the Next Collective. This new category of membership is designed for young professionals aged between 20 and 40 who share a growing passion for art and an interest in playing an active role in the direction of the state art gallery.

As part of their membership,

18 Art Gallery of WA

Next Collective members make an annual tax-deductible donation to a pooled fund and are invited to a live pitch on where to focus their support, according to Mr Hemsley.

“They decide the outcome by voting what their donations make possible, such as a new acquisition, an education program or an exhibition,” he said.

Designed to ensure the gallery is engaging with people of all age groups, specifically the younger demographic, Mr Hemsley said there was already a keen set of young people who had joined Next Collective.

“This membership provides exclusive viewings and excellent professional and social networking opportunities,” he said.

“We’re looking to build our membership of the Next Collective over the years ahead, as we are with all levels of membership within the Foundation.

“The Foundation is pivotal to AGWA acquisitions and ambitions going forward and we seek to continue to build our body of donors and supporters to the gallery to ensure the State Art Collection is able to be one we can all be proud of.”

AGWA Chairman, Janet Holmes à Court, AC, and AGWA Foundation Chairman, Warwick Hemsley. Desert River Sea installation view at AGWA, 2019. Artwork: Garry Sibosado Aalingoon (Rainbow Serpent) 2018 (detail).

Ochre pigment on engraved pearl shell, thirty-four parts, 182 x 28 cm (overall).

Courtesy the artist. Photo by Rebecca Mansell.

Christopher Pease Reaper 2015 (detail). Oil on muslin on board (42 panels), 168 x 294 cm. Courtesy the artist and Gallerysmith, Melbourne.

Help us celebrate 30 years with an extraordinary acquisition Donate to add an important new work to the State Art Collection.

The Art Gallery of WA Foundation marks its 30th anniversary this year.

Over those three decades of working with our members to build the Collection, we have always made sure not to neglect the moment in which we’re living. The leading edge will one day be seen as defining its era.

In this anniversary year, we’ve identified an innovative Indigenous artist who is most definitely pushing the boundaries.

Postmodern Minang/Noongar artist Christopher Pease appropriates early colonial images to reframe colonial history and race relations in startling ways.

His acclaimed Minang Boodjar series subverts the well-known 1834 colour print Panoramic View of King George’s Sound, Part of the Colony of Swan River, from

drawings by Lieutenant Robert Dale.

In Dale’s image, black and white harmoniously coexist in a romanticised landscape. But we now know that these bucolic scenes hid the tragic violence of the frontier wars.

The hidden story of colonial Western Australia is dramatically unmasked in one of Pease’s most important works to date: Reaper. In epic scale, this highly original artist meticulously recreates a section of the 1834 panorama, then overlays it with the skeletal spectre of death.

With your help, we can mark this milestone year by adding Reaper – and a unique Indigenous voice – to your Collection.

Visit artgallery.wa.gov.au/2019appeal

artgallery.wa.gov.au

An event to remember

F

rom meetings and presentations to product launches, exclusive cocktail parties and formal dinners, The Art Gallery of Western Australia (AGWA) ticks all the right boxes as one of Perth’s most impressive private venue hire destinations.

Whether you’re hosting eight or 800 guests, AGWA can tailor any event to suit your needs while showing diverse and dynamic artworks and exhibitions from Australia and all over the world.

The gallery can provide you and your guests with a unique opportunity to bring

art to life through after-hours private access to exhibitions with guided tours (and/or guest speakers).

From the main function venue of the concourse to its lecture theatre, outdoor terrace, boardrooms and the oldworld charm of the Centenary Ballroom and Courtroom, AGWA has the perfect space to accommodate your next event.

Bookings for the concourse or outdoor terrace for Christmas functions are filling fast.

Phone 9492 6771 to secure your date, and enjoy one of the most engaging venues right in the heart of Northbridge.

Gifts from the gallery shop

F

rom beautiful pieces of art to effervescent objects, expanding your own artistic horizons with a visit to the AGWA Shop is an absolute must. The gallery has collaborated between local and international artists to deliver an outstanding variety of homewares, jewellery, fashion items, art and

design publications and more.

Sourcing and stocking authentic Indigenous products to benefit makers and creators, the AGWA Shop also abides by the Indigenous Art Code.

Remember every gift from the shop is a gift to the gallery, with all proceeds going back to AGWA.

Take a tour There is nothing like a personal interaction to spark the imagination. Whether it’s your first or fifth visit, AGWA’s Gallery Guides bring its diverse collection to life with their insights into the work, era, and artist.

Wesfarmers Arts Guided Tours of the AGWA Collection WA Unlimited 11am and 1pm, Mondays AGWA Contemporary 1pm, Thursdays

AGWA The Collection 1pm, Saturdays and Sundays

AGWA Modern 19201969 1pm, Fridays

Art Snacks 12.30-1pm, Wednesdays and Thursdays

AGWA Historical 11am and 1pm, Wednesdays

Head to artgallery.wa.gov.au to find out more.

Be part of the art AGWA Membership is for everyone.

Become an AGWA Member and enjoy the best the gallery has to offer, including: • Free and discounted admissions for ticketed exhibitions; • Exclusive discounts, events and pre-sales, including discounted dining at the gallery cafe, and discounted shopping at the AGWA Shop; • Subscription to the AGWA Members News, the AGWA Members monthly e-newsletter; • Access to the AGWA Members Lounge, and; • Reciprocal benefits at galleries interstate.

The gallery offers individual, duo, and gift memberships from $60.

Join now at artgallery.wa.gov.au/join-support

AGWA’s Voluntary Gallery Guides are generously supported by the Art Gallery of WA’s Principal Partner – Wesfarmers Arts.

Open 10am-5pm Wed-Mon, closed Tuesdays

Art Gallery of WA

19

WHAT’S ON AT AGWA | JULY – DECEMBER 2019 Freighting Ideas – How Did I Get Here?

Katanning Art Gallery 13/4/19 - 11/5/19 Collie Art Gallery 20/07/19 - 01/09/19 Ningaloo Centre, Exmouth 14/09/19 - 13/10/19 Bunbury Regional Art Galleries 18/01/20 - 01/03/20 Carnarvon Library and Gallery 16/05/20 - 19/06/20 East Pilbara Art Centre 04/07/20 - 09/08/20 Geraldton Regional Art Gallery 22/08/20 - 12/09/20

Micro Galleries – Sky & Garden ongoing AGWA Collection Galleries ongoing

JUNE

AUGUST AGWA Pulse Climate Change Panel Discussion How Do We Save the World?

2-3pm, 3 Aug | FREE, bookings required WA Now – TJYLLYUNGOO/Lance Chadd Until 5 Aug | FREE WA Now – Eveline Kotai 17 Aug – 20 Jan | FREE

Screen Space – Pilar Mata Dupont 29 Jun – 30 Sep | FREE

JULY The Botanical: Beauty and Peril 6 Jul – 4 Nov | FREE Elements of Gin with Archie Rose Distilling Co. 6 Jul | Ticketed, fees apply Conversations with Rain Workshop The Botanical: Beauty and Peril 1-3pm, 6 Jul | FREE, bookings required AGWA After-Hours | The Botanical: Beauty and Peril 6-7.30pm, 10 Jul | Ticketed, fees apply SCHOOL HOLIDAY ACTIVITY

Conversations with Rain Workshops for Children and Families 11am-12.30pm, 10-12, 17-19 Jul | Ticketed, fees apply NAIDOC Week Wesfarmers Arts Walk-in Tours Voluntary Gallery Guides NAIDOC Take Over 11am, 7-14 Jul | Indigenous Australian Art | FREE 1pm, 7-14 Jul | South-West WA Aboriginal Art | FREE NAIDOC Week Esther McDowell/Yabini Kickett Kaalak Minditj Kaalak (Home Sick Home) Launch 1-2pm, 13 Jul | FREE NAIDOC Week Curator Talk | WA Now with TJYLLYUNGOO/Lance Chadd 2-3pm, 13 Jul | FREE SPECIAL EVENT

Symposium | Framing Flora: Artists and the Science of Botany Day 1 – Fri | AGWA 1-4pm, 19 Jul | Ticketed, fees apply Day 2 – Sat | LWAG 1-4pm, 20 Jul | Ticketed, fees apply What On Earth Season 2019

AGWA After-Hours | WA Now – Eveline Kotai 6-7.30pm, 21 Aug | Ticketed, fees apply Charles-Alexandre Lesueur’s Cases de la Terre de Lewin (Géographe Bay, W.A.) 1801 Until 26 Aug | FREE

Studio Tour | Eveline Kotai 2-3pm, 7 Sep | Ticketed, fees apply AGWA & Kings Park Synchronised Botanical Guided Tours and Walks 11am-3pm, Thu, Fri, Sat throughout Sep | FREE, bookings required AGWA Design – Family resemblance Until 9 Sep | FREE Artist Talk | WA Now – Eveline Kotai 2-3pm, 14 Sep | FREE Perth Brutal: Dreaming in Concrete 21 Sep – 3 Feb | FREE

OCTOBER SPECIAL EVENT Symposium | Perth Brutal: Dreaming in Concrete 9am-3pm, 2 Oct | Ticketed, fees apply

Tom Roberts’ Shearing the rams 1890 Until 28 Jul | FREE

AGWA Annual Sponsors

20 Art Gallery of WA

Principal Partner

Information correct at time of printing, subject to change.

@artgallerywa #artgallerywa

artgallery.wa.gov.au

Panel | That Seventies Feeling: The Late Modern from Perth 2-3pm, 12 Oct | FREE Screen Space – Susan Ford 12 Oct – 2 Mar | FREE AGWA After-Hours | That Seventies Feeling: The Late Modern from Perth 6-7.30pm, 23 Oct | Ticketed, fees apply

NOVEMBER SPECIAL EVENT AGWA 40 Night 6-8.30pm, 1 Nov | FREE

Tim Ross Motel 1979 3pm & 7pm, 2 Nov | Ticketed, fees apply Super Saturday | The Lester Prize 10am-5pm, 9 Nov | FREE and ticketed, fees apply

SCHOOL HOLIDAY ACTIVITY Cloud Nine 10.30am, Sat 5, Mon 7, Wed 9 and Thu 10 Oct | $15.50, bookings essential, awesomearts.com

The Lester Prize Opens 9 Nov – 9 Dec | FREE

An immersive choral performance featuring the Giovanni Consort, in partnership with the AWESOME International Arts Festival for Bright Young Things.

Suitable for children aged 7 and up. All welcome.

AGWA Members’ Sneak Peek Culture Juice – T-shirts right now 1-5pm, 29 Nov | AGWA Members-exclusive | FREE

Climate Change Long Table Discussion Artists Have a Place in Climate Change Action in Australia 3.30-4.45pm, 5 Oct | FREE AGWA After-Hours | Perth Brutal: Dreaming in Concrete 6-7.30pm, 9 Oct | Ticketed, fees apply

Pulse Perspectives Until 22 Jul | FREE

The Art Gallery of WA is situated in the vibrant Perth Cultural Centre, bordered by Roe Street, Beaufort Street and William Street.

10am-5pm, Wednesday-Monday. Closed Tuesdays, Good Friday, Anzac Day and Christmas Day. The gallery is free to visit. Voluntary donations can be made upon entry. Special exhibitions may require you to purchase a ticket.

SEPTEMBER

Lawrence Wilson Art Gallery, Mundaring and Midland Junction Art Centres, AGWA and Kings Park

PLAN YOUR VISIT

That Seventies Feeling: The Late Modern from Perth 12 Oct – 2 Mar | FREE

SPECIAL EVENT T-shirts right now Super Saturday 10am-5pm, 30 Nov, 2019 – Sat 13 April, 2020 | FREE

Culture Juice – T-shirts right now Opens 30 Nov – 13 Apr | FREE

DECEMBER AGWA After-Hours | Culture Juice – T-shirts right now 6-7.30pm, 4 Dec | Ticketed, fees apply