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C OV ER S T ORY Gregory Hodge on the pleasures of slow looking PLUS How art found its culinary appetite
PLUS Chasing rainbows with Amanda Bell
Inside this issue A Note from the Editor
Shadow Hunting: James Tylor
Neha Kale
Steve Dow
PR EV IEW
Bhenji Ra: Birradali Dancing on the Horizon
Josephine Mead You Are Here Too [The Redo]
STU DIO
Consuelo Cavaniglia
Jane O’Sullivan F E AT U R E
Surface Tensions: Gregory Hodge
Barnaby Smith
Sally Gearon
Residue + Response: 5th Tamworth Textile Triennial
Claire G. Coleman
Josephine Mead Of Counting and Devotion
Briony Downes Joan Ross: Those trees came back to me in my dreams
Sally Gearon Frida Kahlo: In her own image
Giselle Au-Nhien Nguyen Form and feeling
Sally Gearon Parrtjima
Barnaby Smith Know My Name: Kee, Jackson and Delaunay
Giselle Au-Nhien Nguyen Pmara nurnaka nurna lhamala relhe ingkwia nurnaka nurna mapa-lela. (Country visiting with all of our old people.)
Briony Downes F E AT U R E
Mystery Road: Zanny Begg
Jo Higgins
Light Work: Amanda Bell
Sites Unseen: Théo Mercier
Briony Downes COMMENT
Across the Table
Lee Tran Lam F E AT U R E
Through the Looking Glass: Dale Chihuly
Neha Kale Creature Comforts
Giselle Au-Nhien Nguyen Flight Patterns: Sorawit Songsataya
Amelia Winata Narrative Flow: Latai Taumoepeau
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Shireen Taweel, Pilgrimage of a Hajjonaut 2024–25 (production still) three-channel video. Courtesy of the artist and STATION, Australia. Image: Spencer Reid. The artist acknowledges this work was filmed on the land of the Karajarri People. Australia is a land of the Aboriginal and Torres Strait Islander People. Sovereignty was never ceded.
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A Note From the Editor March/April 2025
We’re all familiar with the adage that food brings us together. But I’ve become interested in the ways that what we eat can reflect our shared values as well as what sets us apart. Art, of course, has long grappled with this contradiction: think of the way a Dutch still life—lavish arrangements of grapes and figs and oysters—also hint at the colonial trade routes that helped ferry the produce to the table. As food critic Lee Tran Lam finds out in her incisive essay, which features artwork by Gemma Leslie commissioned especially for this issue, artists and chefs are drawing on this historical legacy. They are using food to challenge art world barriers while sparking conversations beyond them. If you are tuned into the news cycle, it can be difficult to think past the problems of the present. But the artists in this edition of Art Guide excavate the materials of the past to shed light on this current moment in original and refreshing ways. For example, Zanny Begg, whose dazzling installations have long been steeped in social history, is making new work informed by the women’s refuges of ‘70s Sydney. Elsewhere, the rising Badimia Yamatji and Yued Noongar artist Amanda Bell—the subject of a poignant profile by author and poet Claire G. Coleman—playfully unsettles the foundations of the Perth Institute of Contemporary Arts with a new commission that acts as a form of “loving protest”. In a world where perceptions have become more important than reality, I believe that there’s value in looking beyond the surface. In this issue, writer Briony Downes interviews the French sculptor Théo Mercier, whose installations—fashioned out of sand—show us how landscapes can articulate buried stories and register seismic change. And Sally Gearon writes on the work of Gregory Hodge, whose ravishing abstract paintings have increasingly embraced figuration—proof of the new energy that embarking on a new direction can spark. We hope you enjoy this issue. Neha Kale Acting Editor-in-chief, Art Guide Australia
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Madeline Walling CONTRIBUTORS ISSUE #154
Claire G. Coleman, Steve Dow, Briony Downes, Rayleen Forester, Sally Gearon, Jo Higgins, Neha Kale, Lee Tran Lam, Gemma Leslie, Josephine Mead, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Barnaby Smith, Hamish Ta-mé, Amelia Winata
Art Guide Australia Wurundjeri Country, 43-47 Simpson Street, Northcote, Victoria 3070 Phone: 03 7044 9750 artguide.com.au Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. This magazine contains Traditional place names within Australia sourced by AIATSIS Pathways or provided by galleries and museums. Please contact Art Guide at info@ artguide.com.au if you wish to provide feedback. PAPER
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Cover artist: Gregory Hodge.
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b a c k Gregory Hodge, Evening, 2024, acrylic on linen, 160 x 230 cm.
f r o n t Gregory Hodge, In Bloom II, 2024, acrylic on linen, 230 x 160 cm.
images courtesy the artist and sullivan+strumpf. photogr aph: gregory copitet
Art Guide Australia is an independent bimonthly publication produced by Print Ideas. ISSN: 091 091 593
Issue 154 Contributors
C L A I R E G . C O L E M A N is a multi-award-
winning Noongar novelist, essayist and poet. Originally from Western Australia, she lives and works in Naarm.
S T E V E D OW is a Melbourne-born, Sydney-based
arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.
B R I O N Y D OW N E S is an arts writer based in
Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University.
R AY L E E N F O R E S T E R is a Tarntanya (Adelaide)
based arts worker and writer. Rayleen’s curatorial interests focus on cross-cultural engagement through contemporary and experimental art practices. She has written for national publications including Artlink, un magazine, Memo Review, and is a founding member of South Australian artist run initiatives FELTspace and fine print magazine. Rayleen is currently associate curator at Adelaide Contemporary Experimental.
S A L LY G E A R O N is the assistant editor at Art Guide
Australia. Based in Melbourne/Naarm, she has a background in art history and book publishing.
J O H I G G I N S is an arts writer, museum worker
and researcher living on unceded Bidjigal and Gadigal Country in Sydney. She has written for publications including Artlink, ABC Arts, The Sydney Morning Herald and Art Collector.
N E H A K A L E is a writer, journalist and critic who has
been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian. She is the former editor of VAULT and current acting editor-in-chief of Art Guide Australia.
L E E T R A N L A M is a freelance journalist based
in Sydney/Eora. She’s written for various publications, including The Guardian, Gourmet Traveller, Good Food and Gastro Obscura. She hosts the Powerhouse Museum’s Culinary Archive podcast and created SBS’s awardwinning show, Should You Really Eat That? A Sydney cafe once named a sandwich after her.
G E M M A L E S L I E is an Australian artist based in
Melbourne. Her work is largely inspired by the simple pleasures of everyday homescapes, with a particular focus on food. Working primarily in paint mediums, her style is imbued with playful simplicity, characterised by organic silhouettes, vibrant colour, and naïve still-life scenes.
J O S E P H I N E M E A D is a visual artist,
writer & curator, living and working on Wurundjeri woi wurrung Country.
G I S E L L E AU - N H I E N N G U Y E N is a
Vietnamese-Australian writer and critic based in Melbourne/Naarm.
J A N E O ’ S U L L I VA N is an independent art writer.
She has contributed to VAULT, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog, and is also a former editor of Art Collector.
B A R N A B Y S M I T H is a critic, poet and musician
currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.
H A M I S H TA- M É is an established commercial
photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.
A M E L I A W I N ATA is a Melbourne/Naarm-based
writer and curator. She is an editor at Memo Review and was most recently curator at Gertrude Contemporary. She holds a PhD in Art History from the University of Melbourne.
Previews W R ITERS
Briony Downes, Sally Gearon, Josephine Mead, Giselle Au-Nhien Nguyen and Barnaby Smith.
Perth/Boorloo Bhenji Ra: Biraddali Dancing on the Horizon Perth Institute of Contemporary Art On now—30 March
For Biraddali Dancing on the Horizon at Perth Institute of Contemporary Arts (PICA), Australian-Filipina artist Bhenji Ra presents a single-channel video of a performative conversation with teacher and collaborator, Tausug Bhenji Ra, Biraddali Dancing on the Horizon, 2024, video still. courtesy the artist. elder Sitti Airia Sangkula Askalani Obeso. Obeso is a photogr aph: david mesa. cultural bearer of the pre-Islamic dance form pangalay, which is indigenous to the Tausug and Bajau peoples from the Sulu Archipelago and Sabah in the Philippines. Ra explains, “in 2018 I went south to visit family. Pangalay is active through new waves of decolonial understanding and I’d always wanted to learn. I needed someone to teach me and my relatives said, ‘you don’t need a teacher, we have a family member…’ So, I met Sitti. I’d dreamt about pangalay—the gestures, already in my body, echoed how I intuitively move.” This is an allegory for Indigenous knowledges carried by the strength of past generations. Biraddali Dancing on the Horizon is grounded in critical research through film archives that document traditional dance. Ra shot the work on a 16mm Bolex camera—an intentional choice, echoing the machines used to produce this archival footage. In these films women are cast as subjects through a colonial lens. The Bolex symbolises this history. In the work, Ra reclaims the camera as an anti-colonial tool, re-inserting her people into new narratives, as equal parts director and sovereign-subject. As a trans artist, Ra’s queerness is central to the work. “Queerness, previously demonised in the Philippines, has been deeply othered and never archived as what it actually is—something sacred, necessary and connected to kinship,” Ra explains. The film shows Tausug women adorning Ra, and trans girls preparing Ra for baptism. Bridging these worlds together, Ra is creating “a future where these worlds are aligned”. — J O S E P H I N E M E A D
r ight Bhenji Ra, Biraddali Dancing on the Horizon, 2024, video stills. courtesy the artist. photogr aph: david mesa.
Brisbane/Meanjin You Are Here Too [The Redo] Institute of Modern Art 12 April—29 June
The exhibition You Are Here, held at Brisbane’s Institute of Modern Art in 1992, stands as one of the most significant shows in the history of queer Australian art. Bringing together the work of 11 gay male artists working across Yangamini, Mapurtiti Nonga, installation view, 2024. sculpture, painting and photography, it gave an unprececourtesy of unsw galleries. photogr aphjacquie dented platform to queer representation amid the AIDS/ manning. HIV crisis of the time. Something of a redux, You Are Here Too is both homage to, and expansion of, that original exhibition 33 years on, featuring a range of contemporary queer artists. With the blessing of the 1992 curators, Scott Redford and Luke Roberts, curators KINK, a crossdisciplinary art collective, have produced a show that, they say, “looks urgently at threads that take the same impulse of Scott and Luke’s, [depicting] the complexities of gay life, and updating it to a more inclusive queer place.” “This was an exhibition that still felt rich and also felt ready to be reappraised,” the collective adds. “We wanted to look at how queer sex and desire is being imaged, embodied and expressed by today’s artists in this context—and to look at who had been left out of the original exhibition. It was time to ask: what is queer desire now?” KINK, whose research focus is on the history of Australian LGBTQIA+ art, have taken particular care to explore how queer sexuality intersects with issues of work and labour, politics, public spaces, nightlife and more. Additionally, a crucial updating of You Are Here pertains to First Nations identity and the trans experience. “We think the exhibition will illustrate the incredible diversity of queer expression in this country currently—how creativity is being applied to ask vital questions about Australian life, and queer Australia’s central place within this.” — B A R N A B Y S M I T H
Sydney/Eora Residue + Response: 5th Tamworth Textile Triennial Manly Art Gallery & Museum 21 February–6 April
Conceived in 2023, the 5th Tamworth Textile Triennial: Residue + Response has been re-staged at Manly Art Gallery & Museum for 2025. The Triennial, which showcases 25 diverse artworks, considers what Sybil Orr, Beachhead, (detail), 2023, silk, calico, contemporary textiles can be. Bridget Guthrie, director linen, cotton and wool threads, hand stitched. of Tamworth Regional Gallery (TRG) acknowledges this iteration was born from the question: “what different voices need to be heard?” First Nations Curator Dr Carol McGregor took an artist-focused approach, ensuring ample time for making and engaging in deep conversation with all artists. McGregor, who wanted the Triennial to consider social changes, explains her, “curatorial premise began with exploring residues of change, asking each artist: has there been a shift in where you, or we, place ourselves as a result of recent global/local events?” As part of the exhibition, five established artists supported five emerging artists. This enabled vibrant partnerships, such as that between Paula do Prado and Tamara Burlando. Their installation, Meet me by the river (2023), draws together
their respective Huarpe and Charrúa ancestors. Deeply grounded in place, the work was created in connection with their shared ancestral waterways, the De la Plata and Uruguay rivers, as well as the lands and waterways on which they live and created the work: the heath swamps of Gadigal Country, Calala on Kamilaroi/ Gomeroi Country and Lerhe Mparntwe on Arrernte Country. A key artist in the exhibition, synonymous with the profound textile legacy of TRG, is Sybil Orr—a Tamworth local who inspired McGregor. Orr has repurposed materials from past works created in the 1970s to produce Beachhead (2023). Beachhead is a cautionary tale that speaks to our ongoing human complicity within the threat of the climate crisis. “Textiles are part of everyday life,” McGregor notes. “By elevating textiles conceptually, coupled with expertise through making, the medium becomes accessible in new ways.” Residue and Response presents textiles as a medium ripe for critical current and future enquiry. — J O S E P H I N E M E A D
Melbourne/Naarm Of Counting and Devotion Wanda Gillespie Craft Victoria 6 March—26 April
Wanda Gillespie, Sage, 2024. image courtesy the artist.
For artist Wanda Gillespie, any item crafted by hand can become a sacred object. “In my opinion, an object hand-crafted with care and focused intention using natural materials like wood—a once living, breathing entity with deep time traces left through its rings— elevates its energetic qualities and makes it worthy of devotion,” she says. Using the rounded form of the bead as her focus point, Gillespie creates wood sculptures that reflect on the intersection of value (both personal and monetary) and the sacred. Beads used in counting tools like the abacus and rosary prayer beads, are of special interest to Gillespie, and much of her new work was developed during a recent residency at the Victorian Woodworkers Association. “I became especially inspired by ornately carved rosary beads from the Netherlands and France. Some of these beads have human faces carved on them, sometimes saints, but more often as memento mori terminal beads for the rosary. At the same time, I’m also drawn to the simplicity of the unadorned rounded bead from prayer beads.” In Of Counting and Devotion, which shows at Craft Victoria’s Vitrine Gallery, finely crafted wooden structures reminiscent of ancient artefacts and abaci feature beads of varied sizes, advancing their potential use beyond the mathematical to also include the measurement of nature and the spiritual. In larger work, delicate human figures partially emerge from gnarled slices of wood. Imperfections like the timber burl have become a characteristic Gillespie seeks out for the “expressive, softer sculptural form” this gives her work. Spalting in timber is also a new feature she has begun working with. “It’s a process where timber has grown fungus that leaves dark line markings. It has an interesting effect and highlights the sense of history and time in the timber that I’m so drawn to.” — B R I O N Y D OW N E S
Canberra/Ngambri Joan Ross: Those trees came back to me in my dreams National Portrait Gallery On now—27 April
Joan Ross has long used her multidisciplinary practice— which spans drawing, painting, collage, printmaking, sculpture, video animation and installation—to explore the enduring legacy of colonialism in Australia, and how colonial systems are entrenched in our museums and collections. Vibrant scenes of flora and neon are used to attract a viewer, before quickly revealing a sinister world of Indigenous exploitation and environmental degradation. Joan Ross: Those trees came back to me in my dreams, the artist’s latest exhibition at the National Portrait Gallery (NPG), is a retrospective of sorts, Joan Ross, Those trees came back to me in showing significant works from throughout her career. my dreams, 2024, hand-painted digital print But it also takes key pieces from the NPG collection, on paper. collection of n.smith gallery, contextualising historic works within the narrative gadigal country/ sydney. of colonialism that Ross is challenging. “It’s a brave exhibition for them to put on,” she says, “because I don’t pull my punches in terms of criticism of collections and museums”. The exhibition is curated collaboratively with Ross, Emma Kindred and Coby Edgar, a Larrakia curator who provides a First Nations perspectives on the works. Included in the show is M’lady Ikebana from 2015, in which a colonial woman clad in Ross’s signature fluorescent yellow makes ikebana from branches reappropriated from a John Glover painting. “But there’s Aboriginal people still in the trees,” says Ross. “She’s doing it with total disregard and total disrespect.” Also included is the Possession series from 2022, in which colourful scenes of picturesque landscapes surround a central model advertising a new perfume, ‘Possession’, for the colonial consumer. “Landscape is a softer way to talk to people, to engage them rather than becoming hostile,” Ross says. “But in a way, I am quite hostile. I’m dogged about it. I don’t like things thrown in my face either, so if a work can hold all the issues I want it to, but I can do it in a playful way, that’s what I’ll do.” — S A L LY G E A R O N
Bendigo/ Dja Dja Wurrung Country Frida Kahlo: In her own image Bendigo Art Gallery 15 March—25 July
Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray. © nickolas mur ay photo archives.
Frida Kahlo is one of the most mythologised figures in the world, enshrined in pop culture as a bright, colourful icon. But the Mexican artist’s life was much more complicated than that. “It’s inevitable that you get such a top-level story for somebody who has ascended to this demigod status,” says Lauren Ellis, curatorial manager at Bendigo Art Gallery. Frida Kahlo: In her own image takes the audience deeper into the artist’s life with her personal photographs, clothing and objects, borrowed from Casa Azul, Kahlo’s house museum in Mexico.
Joan Ross, M’lady Ikebana, 2015, hand-painted digital print on paper. courtesy of the artist.
“Colour was really something that she lived, as well as put on canvas,” Ellis says. “How she dressed and styled herself and constructed her home, and the way that she posed for and collaborated with photographers, and her politics. These things were so interlinked with her painting and drawing practice.” Kahlo’s disability, often erased in pop-cultural reimaginings, is evident in the exhibition through orthopedic corsets and aides. “She drew inspiration and material from her disability, but she also really stamped her creativity onto the world of medication and medical intervention in a way that is quite modern about retaining your agency,” Ellis says. The exhibition features several of Kahlo’s original drawings, some of which have never travelled to Australia before—but the focus is primarily on objects that reveal the complex and fascinating person behind the art. “The photographs of her are the viral thing, more than her artworks,” Ellis says. “She styled this completely mesmerising silhouette and adorned herself so carefully and used colour pattern composition with such skill to really control the gaze of the viewer, and her gaze back to you.” — G I S E L L E AU - N H I E N N G U Y E N
Perth/Boorloo Form and feeling: artists’ studies of the twentieth century Art Gallery of Western Australia On now—4 May
In 1938, during a low point in his life following divorce and eviction, the English painter Stanley Spencer embarked on his Christ in the Wilderness series, planning to create 40 paintings depicting, “how Christ may have spent each day, the great adventure all by himself with leaves and trees and mud and rabbits and rocks, just as I was having among two chairs, a bed, a fireplace and a table.” He only finished eight paintings, and started a ninth, but created many preparatory sketches, drawing in a gridded Frank Auerbach, Looking towards Mornington pentimento style. Crescent Station, Night, c1972-c1973, pencil and All nine paintings, as well as the drawings and coloured pencil on cartridge paper, 22.5 x 22.5 cm. sketches, are showing at the Art Gallery of Western the state art collection, the art gallery of Australia (AGWA) in Form and feeling: artists’ studies western austr alia. gift of fr ank auerbach, 1974. © fr ank auerbach 1974. of the twentieth century. The exhibition focuses on early 20th-century modern British and Australian painters—Spencer, William Dobell, Russell Drysdale, and Frank Auerbach among them—drawn from AGWA’s state art collection. But the intention is to reveal the artist’s process. All paintings are shown alongside preparatory sketches and drawings, systematically creating a narrative of how a painting comes to be. “We narrowed our focus to drawings specifically, and paintings as the finished product, so we could look at the centrality of drawing to artistic practice, historically,” says curator Karl Sagrabb. “We’re hoping to encourage audiences to see how the different artists approach problems of composition, figure studies, and how they progress their visual thinking and creative approach.” And the approaches vary greatly. While Spencer’s grids appear methodical and regimented, Auerbach’s sketches for Looking towards Mornington Crescent Station, Night, (1972-1973) have an almost feverish quality, conveying more of an idea than a strict composition to follow. “It’s such a fabulous, vibrant work that I’m really excited to show,” says Sagrabb, adding that, “Putting all these works together, putting all the studies together [allows us to] look at the whole picture.” — S A L LY G E A R O N
Alice Springs/Mparntwe Parrtjima – A Festival in Light Alice Springs Desert Park 4—13 April
The theme for the 10th iteration of Parrtjima, the Aboriginal festival of light that takes place annually in the Northern Territory, is ‘timelessness’. As with last year’s ‘interconnectedness’, the concept might seem broad, but in the hands of curator Rhoda Roberts AO, it Parrtjima MacDonnell Ranges Light Show. resonates with profound meaning and impact as it reflects Indigenous culture and beliefs: both ancient knowledge and contemporary concerns. “Timelessness is not about measuring time but about understanding our place in the web of life and the cycles of the Earth, where everything is interconnected and eternal,” says Roberts. “[It is] time as understood in the Dreaming concepts—past, present and future. Aboriginal teaching of time is that it’s cyclical, endless and intertwined with the land, ancestors and the natural world.” Roberts says the theme will be explored through light via “digital animation, physical fabrications and interpretation inspired by the design and kinetic styles … that have shaped us.” As with previous years, major installations will include the vast MacDonnell Ranges Light Show (which lights up two kilometres of the ranges), and Grounded, a showcase of animated projections by emerging Arrernte/Central Australian artists. Several other new installations will debut this year. Beyond the visual art, for the first time Darwin Symphony Orchestra will perform at Parrtjima, while also on the music bill are Aboriginal performers Troy Cassar-Daley and DEM MOB, the first hip-hop group to rap in Pitjantjatjara language. Another key component is live comedy. And with ‘timelessness’ pervasive across all sections of the festival, the theme not only celebrates Arrernte custom and tradition, but is also designed to foster inclusivity and accessibility. “The theme provides a bridge between Aboriginal culture and a broader audience, sparking conversations about the oldest living cultures in the world,” says Roberts. “While it’s important not to make the theme too complex, it serves to highlight truths and stories that are often overlooked or misunderstood.” — B A R N A B Y S M I T H
Canberra/Ngambri Know My Name: Kee, Jackson and Delaunay National Gallery of Australia Ongoing from 22 March
Linda Jackson, Kata Tjuta Uluru (Olga Ayers Rock), jacket top and skirt, 1981, design 1980. national gallery of austr alia, canberr a/k amberri, purchased 1981 © linda jackson/copyright agency.
The bright, distinctive patterns of Jenny Kee and Linda Jackson’s designs are a pioneering part of Australian fashion history. The creative partners took inspiration from figures such as Sonia Delaunay, the French artist and designer who co-founded Orphism, a movement that revolved around light and colour, with her husband Robert. “The importance of Sonia to the development story of these two artists was really pivotal, and is something that hasn’t been looked at in isolation,” says Simeran Maxwell, the National Gallery of Australia’s Associate Curator of Australian Art. “She’s one of the very first people who promoted early art fashion, which was something that was key to Linda and Jenny’s career—this idea that fashion is more than just clothes.”
Delaunay’s work, including prints and textiles, will be shown alongside Kee and Jackson’s to highlight this enduring influence. The show focuses on the early part of Kee and Jackson’s career, from the mid-70s to the early 80s, drawing from their archives. There was so much material to work with that in November, another iteration of the show will be installed. “[Delaunay is] so well-known for her very colourful geometric patterns, but she also did this series of black-and-white designs,” Maxwell says. “The first one is this riot of colour, and the second is slightly more monochromatic. It’ll show them in a different light.” Through the presentation of the show, Maxwell subverts the way in which influences are examined. “We’ll be showing Jenny and Linda’s work in the showcases in the front, and then behind them we’ll be showing Sonia’s,” she says. “I like the idea of interpreting international artists through the lens of Australian artists, rather than the opposite way, where we compare the Australian to the international as lesser.” — G I S E L L E AU - N H I E N N G U Y E N
Hobart/Nipaluna Pmara nurnaka nurna lhamala relhe ingkwia nurnaka nurna mapa-lela. (Country visiting with all of our old people.) Bett Gallery 14 March—5 April
Using a hand coil pinch technique, the pots created by the Hermannsburg Potters of Western Arrarnta in Central Australia illustrate the lived histories of the artists and their surrounding Country. Crafted from terracotta clay and ceramic underglazes, each generously rounded vessel is covered with paintings of life in the desert and topped with figurative sculptures of people, animals and bush tucker adorning the lids. Featuring work by seven artists including senior Hermannsburg ceramicists Judith Inkamala and Anita Ratara, and emerging artists, Andrea Rontji and Alizha Panangka Coulthard, curator Emma Bett says this new collection of pots follows on from a previous exhibition themed around bush foods, to bring the vibrancy of the desert into the gallery space. Wildlife, native flora and community life are all depicted in their signature vivid colours, deepened by terracotta’s earthy grit. “What stands out to me about their work is the way each pot expresses the individual hand of the maker,” Bett explains. “The work is filled with such imagination, humour and insights into contemporary life.” Partly inspired by the watercolour landscape paintings of Albert Namatjira, the creative traditions of Hermannsburg are maintained by four founding members who continue to mentor new and emerging artists. With their focus on visual storytelling and skill sharing reiterated in a recent artist statement, “We know how to teach our young ones because our old people taught us,” many of the potters are mothers and daughters. The culturally significant outcome of passing down skills and knowledge from generation to generation, each pot encapsulates the experience of the artist and their strong matriarchal lineage, tenderly highlighting the rich diversity of life and community found on Country. — B R I O N Y D OW N E S
Hermannsburg Potters, Thepa Ntjarra Inthurra (Too Many Birds), 2023. image courtesy of bett gallery.
r ight Hermannsburg Potters, Thepa Ntjaarra Inthurra (Too Many Birds), 2023. image courtesy of bett gallery.
W R ITER
Jo Higgins
Mystery Road Buoyed by rich feminist histories, the multifaceted work of Zanny Begg reveals the possibility of paths not taken and the way age-old legacies persist.
r ight Zanny Begg: The Beehive, installation view, UNSW Galleries, 5 January–23 February, 2019. photograph: zan wimberley. courtesy the artist and unsw galleries.
“When I go digging, I really dig—and then I just keep on digging. You often end up in quite interesting places.” — Z A N N Y BE G G
Before Zanny Begg was a video installation artist, curator and gallery director, she was an activist and a feminist. “Some of the earliest campaigns I got involved with were anti-apartheid,” Begg recalls. “I used to jump on the train after school to go to meetings in the city.” Lived experiences closer to home shaped a personal investment in the feminist movement and this intertwining of art and activism, with a focus on female-centred storytelling, has informed the award-winning artist’s practice for nearly 20 years. “I just always had this engagement and involvement with questioning how the world is and why it’s like that. My interests in art and activism are so entwined because I think they’re both about questioning the status quo and thinking about new ways of looking at or being in the world.” Begg’s Museums & Galleries NSW touring exhibition, These Stories Will Be Different, opens at the Western Plains Cultural Centre in Dubbo in early March. By the time it arrives at The Condensery Somerset Regional Art Gallery in Queensland in September it will have travelled to a dozen regional venues across the country since 2022. These Stories will be Different presents three of Begg’s most significant recent works: The City of Ladies (2017), winner of the 2021 Established Artist Residency Blake Prize Stories of Kannagi (2019), and The Beehive (2018), which explores the unsolved 1975 murder of the still-missing Sydney activist and environmentalist Juanita Nielsen. “I feel like Juanita’s ghost haunts Sydney and in any conversation about gentrification, inevitably her name comes up,” says Begg, who first encountered her story during the development of There Goes The Neighbourhood, her 2009 collaborative exhibition with artist Keg de Souza for Sydney’s Performance Space. “There’s a really direct throughline from that exhibition to The Beehive. There Goes The Neighbourhood was exploring gentrification and what was happening in Redfern, where I lived at the time, but it was through researching that exhibition that I came across the story of Juanita Nielsen.” Research is a huge part of Begg’s practice and the artist and curator, who also holds a PhD in art theory, enjoys the unravelling that it inevitably provokes.
“When I go digging, I really dig— and then I just keep on digging,” she explains. “You often end up in quite interesting places.” The Beehive was made possible through ACMI’s inaugural artist film commission and was first shown at UNSW Galleries as part of the 2018 Sydney Festival. Like The City of Ladies, which Begg made in collaboration with filmmaker Elise McLeod during a Cité Residency in Paris in 2016, The Beehive employs an algorithmic structure that offers viewers any one of 1,344 possible versions of the story of Nielsen’s murder and disappearance. This was a modest proposition considering that The City of Ladies contains some 300,000 variations within its 20-minute duration. But acknowledging this multiplicity of perspectives, iterations and narratives is central to Begg’s own activism and understanding of feminism’s own complexities. For Begg, part of the joy of the exhibition’s regional tour has been the opportunity to visit so many of the galleries for openings and public programs. “The conversations I’ve had with people right across regional NSW have just really blown me away,” she says. “You make these works, and you hope that you find your audience and so it’s been nice to be in a position to see it connect with different audiences across Australia.” Begg is well-placed to understand regional audiences. In August 2024 she was appointed Director of Shoalhaven Regional Gallery on the south coast of New South Wales. “A lot of artists live in Nowra and there’s a really strong First Nations community. It’s a beautiful part of the world that has been through a lot with bushfires and storms… I feel like that creates a huge opportunity for the gallery to be a place where community can make great art and can meet and connect.” Begg intends to continue with her own artistic practice while leading the Gallery. “I feel like there’s a reciprocity and a growth between the two roles.” The connections between community-building, activism and artmaking continue for Begg. She is also working towards a new solo exhibition at UTS Gallery in June. Elsie (and Minnie), which explores the social and political history around Elsie, the city’s first women’s refuge, in Glebe, continues another thread of research
Zanny Begg: These Stories Will Be Different, installation view, Plimsoll Gallery, University of Tasmania, 10 December 2022–29 January 2023. unsw galleries and museums & galleries of nsw touring exhibition. courtesy the artist and plimsoll gallery.
that links back to Nielsen, both in its explorations of gentrification and the refuge movement as well as the ongoing epidemic of gendered violence. The 1970s refuge movement was established by women’s liberation activists, including now-UTS Professor Dr Anne Summers, and was a response to the needs of women and children escaping domestic violence. Had it not been for that same era’s green bans, Elsie, which began as a squat run by volunteers, would have been razed for a new freeway through the city, leaving vulnerable women and children with nowhere to go. The continued financial and material precarity of these shelters today, amid an escalating national crisis of domestic violence, has only galvanised Begg’s artistic and political agenda. “A lot of the activists I spoke to for The Beehive were also involved in Elsie, which is how [this new work] started,” Begg explains. “Making this work, it’s been so inspiring to learn from those early feminists but also heartbreaking to know that everything they fought for, we still need to fight for.”
Zanny Begg: These Stories Will be Different Western Plains Cultural Centre (Dubbo/Wiradjuri Country) 8 March—25 May The Condensery – Somerset Regional Art Gallery (Toogoolawah/Waka Waka, Barunggam and Yuggera Countries) 20 September—30 November
Elsie (and Minnie)
UTS Gallery (Sydney/Eora) 17 June—5 September
Shadow Hunting The quietly evocative work of James Tylor reimagines imperial legacies and illuminates a hidden past.
At age 12, in the late 1990s, James Tylor learned to carve. His stepfather, a Barkindji man, taught him to make clubs and spears at the old Menindee government mission in far western New South Wales, long since handed back to Indigenous people once forced to live there. But their relationship was fraught: besides imparting cultural knowhow when camping, hunting and fishing together, he says his stepdad could be violent. Tylor, born in Mildura in 1986, was living on the Barka-Darling River with his mother Christine, a proud anti-war, environmental and Indigenous rights activist of Nunga (Kaurna Miyurna) descent, whose traditional lands include the Adelaide plains. In recent decades, Kaurna language is being reawakened after colonisation’s decimation. The connection between language and cultural knowledge—and the gaps in the historical records—would centre Tylor’s later artmaking, using artisanal photographic processes and traditional toolmaking. Tylor’s late father, Peter, was of Māori (Te Arawa) lineage, and there are also English, Scottish, Irish, Dutch and Norwegian forebears across his family tree. Tylor moved from Menindee with his mother to Derby in the West Australian Kimberley, spending most of his teenage years in a melting pot of cultures, although his best mates were the Nunga kids
W R ITER
Steve Dow
from South Australia, who shared a secret tongue: “We would speak in Nunga language with each other so other kids didn’t know what we were saying.” While Tylor had grown up learning Barkindji, learning Nunga was key given Kaurna comes from the same language family. He has since done language courses and read the Kaurna dictionary. “It’s a revived language, so there are still only five fluent speakers,” he tells Art Guide Australia from Canberra, where he is co-parenting his young son, whom he gave a Kaurna middle name. Grappling with the language’s conjugations and prepositions remains tough, although his email signature is peppered with positive Kaurna phrases such as Niina marni (Hello, are you good) and the informal paitya! (‘great, thanks’, or ‘deadly’). At school in Derby, Tylor began to learn photography, a step directly influencing his later ambition to become a photographer. But first, he trained and worked as a carpenter, between 2003 and 2008, first in Australia, then in Denmark because his then partner was Danish. “I decided to do something more meaningful,” he recalls. It was the time of the Iraq war, and he toyed with an unrealised ambition to become a photojournalist of Middle East conflicts. “In the end, I decided there were more issues here in Australia I’d rather be engaged with.”
James Tylor: Turrangka…in the shadows, installation view, Centre for Contemporary Photography, 22 September–17 November 2023. unsw galleries touring exhibition. courtesy the artist and centre for contemporary photography.
James Tylor: Turrangka…in the shadows, installation view, UNSW Galleries, 12 May–23 July 2023. unsw galleries touring exhibition. photogr aph: jacquie manning. courtesy the artist and unsw galleries.
“These 19th-century processes seemed an ideal way to capture the seen and unseen in the Australian story.” — J A M E S T Y L OR
Kaurna man James Tylor in his studio, work in progress, Canberra/Kamberri, 2021. image courtesy & copyright the artist.
left James Tylor, (Deleted scenes) From an untouched landscape #14, 2013, inkjet print on Hahnemühle paper with hole removed to a black velvet void, 50 x 50 cm. courtesy the artist, vivien anderson gallery, melbourne, gagprojects | greenaway art gallery, adelaide and n.smith gallery, sydney. copyright the artist.
In Adelaide, he gained a bachelor of arts (photography) in 2011 and a masters in visual arts and design in 2013—with an honours in fine arts (photography) in Tasmania in between. During his undergraduate phase, he had the opportunity to learn the painstaking old photographic processes of daguerreotype, which involves using an antiquated, accordion-like bellows camera, and delicate silver plates, as well as hand tinting. These 19th-century processes seemed an ideal way to capture the seen and unseen in the Australian story. Tylor’s 10-year touring retrospective is called Turrangka … in the Shadows, curated by Leigh Robb. He is perhaps best known for his 2013 series From an untouched landscape, including his carefully arranged black-and-white photographs of landscapes on his Country, into which large round and rectangular holes have been cut to reveal an “absolute black shadow” of velvet backing. These symbolise gaps in the historical record, the result of the systemic removal of Indigenous people from Country, including children being stolen and placed on missions, forced to lose their language and converted to Christianity. The photographs are interspersed with his Kaurna objects, mostly in painted wood, some in stone. Tylor’s lineage is complex. His maternal great-great grandmother, for instance, was a domestic servant to a white family whose own daughter was then adopted into that family. “My great grandmother was related to the family because of someone in the family having sex with a servant [his great-great grandmother]. So, I’m related both to that family as well as the Aboriginal servant.” How does he reconcile that history? “It’s so far back now, I don’t even really think about it. Servitude is not a very nice practice, but it’s the backbone of South Australia, really.” Does he think of the servitude as slavery? “Of course. The UN says it’s slavery.” Tylor, who turns 40 next year, says his past decade’s work “feels rounded and complete”. He will likely continue with photography a few more years, then try something different, but is unsure what that will comprise. “I’m open to anything,” he says.
Turrangka … in The Shadows James Tylor Mornington Peninsula Regional Gallery (Mornington Peninsula/Bunurong Country) 29 March—25 May John Curtin Gallery (Perth/Boorloo) 3 July—14 September
Studio
Consuelo Cavaniglia
Consuelo Cavaniglia’s solo exhibition at the Chau Chak Wing Museum, seeing through you, began with a conversation about the Austrian-born Danish artist Lily Greenham. Her Study in visual perception (1962-67) was a simple optical experiment, with small tiles of paper under coloured lights. Like Greenham, Cavaniglia has also been thinking about perception. Her recent glass works play with apertures, shadows, reflections and transparencies. Nothing is fixed, and how you experience things depends on where you stand. Her current exhibition takes this idea even further, leading viewers to consider their relationship to the museum as well. Cavaniglia works out of a sunny studio in an industrial area of Sydney’s inner west but often travels to the Canberra Glassworks. In seeing through you, new works are set in dialogue with Greenham’s study, Martha Boto’s Diagonal labyrinth (1965), historical glass vessels, and an array of optical lenses and scientific instruments. The exhibition also flows out into the museum, with vinyl transfers on the glass balustrades and wall labels that elevated the voices of women working in the building. For a short period, there was also a coloured skylight that cast the museum in a new light.
AS TOLD TO
Jane O’Sullivan
PHOTOGR A PH Y BY
Hamish Ta-mé
“I don’t want the question to be, how is it made? I want it to be, what does it do? I want to make the workings plain, more evident. Nothing is hidden.”
— C ONSU EL O C AVA N IGLI A
PROJ EC TS
C O N S U E L O C AVA N I G L I A : Working with a collection,
you’re so aware of things being hidden, in the first instance, just because of the nature of the storage space. One of the first things I wanted to look at was the glass in the antiquities collection. Then I went through the lenses and optical instruments in the scientific collection. I was thinking about the idea of framing and how framing relates to perception. Lenses. Apertures. It’s about how you look, and what you look through. I was thinking, what if you were to look behind the walls and into the museum? Museums have complicated histories embedded in how they function. It’s difficult ground, and I think artists are great people to contest that. Lily Greenham’s Study in visual perception led to thinking about other women artists in the collection also working with light and colour, there aren’t many. I wanted to include Martha Boto too, because of the way she thought about movement and things being in flux. Earlier projects already had me thinking about being in conversation with other artists. Sometimes when I feel a bit lost, I listen to artists talk or look at their work, just to find my way again through their hands. Women artists and women’s voices, especially, bring me back to where I want to be and reset my thinking. But I was thinking about being in conversation with the people who were in the building too.
The cleaners, the maintenance staff, the security staff, the conservators, the people behind the scenes. The wall labels giving their perspectives became another device to frame the collection and the building and the space. I wanted something that was a question, or an invitation to look in a different way. PROCE SS
C O N S U E L O C AVA N I G L I A : I don’t want the question
to be, how is it made? I want it to be, what does it do? I want to make the workings plain, more evident. Nothing is hidden. Maybe it’s the state of the world but I’ve also been thinking a lot about the sustainability of my practice and how I deal with materials. At the Canberra Glassworks, where I make my glass work, they’ve got a box of offcuts under a table. I’ve been looking at the processes and going, well, this normally would have gone into a scrap pile, but it can be something else. When I’ve been at the Canberra Glassworks, I’ve also found interesting glass that has been just sitting in their storage. Either people didn’t want the colour, or it’s an unknown entity. No one was sure how the glass would behave. Some of it is just incredible. For me, it’s a chance to try things, but it’s taken a little while to figure out. Now I’m starting to understand how to actually work with this glass. I’m starting to become a little bit more technical with handmade glass.
P L AC E
C O N S U E L O C AVA N I G L I A : We’re rebuilding the studio
right now to put in better storage. We’ve got to do a clean out. I share the studio with Brendan Van Hek and often, a lot of the stuff we have in the studio ends up going to sydenham international, the experimental art space we run, to become supports for somebody else’s work. There’s a fluidity between the studio and syndenham international. I also want to have another look at a bunch of earlier glass stuff that didn’t work out. I make pretty strange things sometimes, because I’m trying things or I’m being a bit loose with process. When I go back to the Canberra Glassworks this year, I want to chop up or crush failed works, re-using them, and really lean into the texture. I just want to try things out. It’s often that fine line when something is maybe aesthetically challenging, but it kind of works too. I’ve been experimenting with firing pebbled frit [a type of ceramic glass] in the kiln.
I really like the fact that the sheets are so precarious and lacy and barely holding together. You can only just see through them. I’ve also been thinking about going back to some earlier tests I made with piles of very thin cut glass strips, building three dimensionally, and others where I used powdered glass to build texture. For my solo exhibition with STATION later this year, I’d also like to keep working with gilding and plate glass, which I have been using for many years, working with the quality of plate glass as a material that is both transparent and reflective. It allows you to look through and then look back at yourself as well.
Consuelo Cavaniglia: seeing through you Chau Chak Wing Museum (Sydney/Eora) On now—23 March
Surface Tensions The quietly evocative new paintings of Gregory Hodge are a lesson in the places where abstraction and figuration intersect.
I get the sense from Gregory Hodge’s latest series of paintings that they have been waiting to emerge for some time. The artist was once synonymous with bold abstraction, his signature gestural strokes exhibiting in galleries across the country and featuring on the cover of Amber Creswell Bell’s Australian Abstract (published by Thames and Hudson Australia in 2023). But in his latest show at Sullivan+Strumpf in Sydney, Hodge describes how, “For the first time in a long time, it’s a show that isn’t about abstraction. For the first time there’s been a real progression in the work. They’re much more related to imagery and figurative painting, representational painting.” The scenes are often personal: interiors of his home in France, featuring stacked bookshelves and potted plants, glimpses into family life. In Evening (2024), Hodge’s wife, fellow Australian artist Clare Thackway, reclines serenely, eyes closed, possibly sleeping. Cubby (2024) takes place in a wooded area, children building a fortress from sticks. “They allude to a loose narrative,” he says. “They don’t necessarily have any personal reading, but they’re loosely bound to a personal allegory.” The feeling I get of slow emergence has been built through his work over the last few years. What were once pieces of pure gestural abstraction became expressive strokes laid over figurative scenescapes that were hidden behind, which became the scenes themselves, finally revealed to us in their entirety.
W R ITER
Sally Gearon
“Abstraction acted almost like an interruption of the narrative,” he says. “It was like a duality of things happening at once on the surface. And these feel much more laid bare. The images are much more open.” Hodge agrees that the change has been happening, gradually, for some time. “I haven’t shown a body of work this big that’s all figurative before, but it hasn’t been a huge leap, it’s been a slow progression,” he says. “And I do see this relationship between abstraction and representational painting in my practice staying bound. I don’t see it as one or the other. It’s something that I feel I can move across fluidly and happily.” What remains present, even heightened, is the textural quality that has long permeated much of his work. Hodge has been building textures in paint to varying degrees for some time, but his recent focus has been on creating the essence of fabric. Living and working in France and two residencies at the Cité Internationale des Arts has contributed to an interest in French tapestries and 19th-century painters interested in texture and light, such as Pierre Bonnard and Édouard Vuillard.
r ight Gregory Hodge, Bloom II, 2024, acrylic on linen, 230 x 160 cm. photograph: gregory copitet.
“Even though they look like tapestries, they’re not bound to the rules of what a tapestry might look like. I love that about painting, that you can work out systems and rules and then break those rules to make these new things.” — GR E G OR Y HOD GE
r ight below
Gregory Hodge in the studio, 2024. photogr aph: gregory copitet. Gregory Hodge, Evening, 2024, acrylic on linen, 160 x 230 cm. photogr aph: gregory copitet.
But the process of creating paintings that evoke tapestries is, Hodge maintains, a purely painterly fixation. “While the interest in tapestries was a really important part of the research I was doing here, I feel like the new paintings are circling back into a conversation about painting.” It was an effort in problem solving—starting with bright bases and layering translucent paint with specially adapted tools and brushes to create a woven effect. “Even though they look like tapestries, they’re not bound to the rules of what a tapestry might look like. I love that about painting, that you can work out systems and rules and then break those rules to make these new things.” There are still glimpses of abstraction, references to what came before. Bloom II (2024) is a scene of floral abundance. It could be plucked from a flower market or florist exterior, baskets and pots on the ground suggesting a root in representation. But scattered throughout are the familiar sweeps of paint, those expressive gestures again. Once they would have dominated over the scene, masking most of the backdrop, but here they simply nestle between marigolds and fall lightly from roses, retreating slightly but not abandoned.
It has the slight reminiscence of earlier forays into collage, which Hodge acknowledges, “is a really important link with the abstract paintings and what I’m doing now.” Abstraction can often be something projected onto art when the viewer doesn’t perceive what the artist might. Hodge describes always feeling his abstract paintings to be “bound to something concrete, whether that be a physical collage that I would make first, or a digital collage. And so there was a kind of mimicry or a sense of illusions. They were always referencing some sense of reality.” It takes time to fully appreciate a painting. To evaluate a scene, match the signifiers, find everything that has been built in, and then perhaps build in your own motifs. “You don’t get everything from one time, you don’t see it all at once,” Hodge says. “They’re the antithesis of a fast-paced moving image. What I love about painting is that it’s about slowing an audience down.”
Gregory Hodge
Sullivan+Strumpf (Sydney/Eora) 27 February—29 March
W R ITER Claire G. Coleman
Light Work Amanda Bell’s poignant new commission for the Perth Institute of Contemporary Arts transforms the heaviness of history and unsettles hierarchies of place.
Amanda Bell, Warniny Ngaangk – Stitching My Mother, Stitching My Son, 2024, text, video with audio, cloth, lamps, teabags, dye, wire. courtesy of the artist.
“The sound is to articulate, in some sense, the pain and fracturing of boodjar suffering under the weight of the building and the ‘building and all it represents meeting boodjar’.” — CL A I R E G . C OLEM A N
The weight of every building in the colony sits heavily on the land, weighing down Country already deeply wounded by the digging of foundations, by the clearing of space, by the construction of structures. Like many of us, the Badimia Yamatji and Yued Noongar artist Amanda Bell took a long winding path before becoming an artist, living a storied life before trying to tell those stories, transitioning into an art career at an age considered too late by some. Although I would not consider her old, she says to me, when we speak over Zoom, “I’m at the start of old, that’s how I see myself at 59”. Coming to art relatively late is not common for mainstream artists but is surprisingly normal for Indigenous artists. Many of our greatest artists like Sally Gabori, Rover Thomas, Paddy Bedford and Emily Kame Kngwarreye waited until they were elders before making their first works of art; delivering in that way art containing wisdom greater than younger artists possess. Bell worked for years as a social worker but found it too limiting, wanted to express her understandable and perfectly reasonable anger at colonisation. “I used to be a social worker and work in mental health, now I’ve come out of that there’s a freedom.” So now Bell is making art infused with the power of all the wisdom she gained from her working life. She doesn’t like making artist’s statements, preferring poetry, and is not the greatest fan of doing interviews. “The reason I’m a visual artist is I’ve spent many years toiling away at the public service going to meeting after fricking meeting speaking and speaking and talking and it’s very tiring, so that’s kinda why I am doing visual arts,” she tells me. F = m * a: five ways to make a rainbow, her new installation for the Perth Institute of Contemporary Art is the third annual Judy Wheeler Commission, a series of works that respond to PICA’s history. It engages with the site as a form of loving protest, respecting the building while protesting its very existence. “I was interested in what happens when those bricks in the building collide with the Earth, collide on boodjar,” she says. Boodjar is the Noongar word for Country, and encompasses all that Country is to Noongar people, the land itself and the stories on that land. While the building is imposing and imposed upon Country, sitting upon it like a weight, crushing the land below it, Bell’s art is light. She explains, “I wanted everything to rest lightly on the building because I wanted it to be the antithesis of force”, both figuratively and literally, making no, or minimal and reversible, changes to the building. This is in stark contrast to the complete destruction of the sacred land on which it was built.
Amanda Bell, …and the crow are we, 2023, installation view, KANANGOOR/Shimmer, Lawrence Wilson Art Gallery, 2023. photogr aph: illk a k photogr aphy. courtesy of the artist.
So, “the idea was to make rainbows in the building,” she says. Rainbows are structures made of light itself, paintings crafted by sunlight, by physics, by photons, beautiful but insubstantial. Made of light they sit lightly, having a powerful presence despite their insubstantiality. Working with the entire building gives the artist scope for a larger intervention. “There’s an audio component as you ascend the stairs that will come up from the floorboards that I’m hoping is just uncomfortable,” she says. The sound is to articulate, in some sense, the pain and fracturing of boodjar suffering under the weight of the building and the “building and all it represents meeting boodjar”. The work is both site-specific and, in a way, durational, existing in and engaging with the site for an entire year. “I have a whole year to add to it, as the seasons and the sun changes what might not work well in summer; when you get more sun through that building, because of where it’s placed, it might work in winter,” she says. “There’s always hope that it can be added to or changed in some way through the seasons.” It’s important to engage with institutions at the very level of buildings themselves, to remember that historic buildings were built on this continent without the approval of the real owners of the land. Now they are respected more than ancient sacred sites. There’s an uproar when heritage buildings are destroyed or modified, not when a sacred site is completely obliterated by mining. There are laws protecting old buildings while the world’s oldest art, at Burrup Peninsula in the Pilbara, is at risk. As Bell says, “I haven’t been doing this stuff that long, but I have always wanted to speak about these things, and I’ve never just been able to find a way.” That is part of the power of art, to speak loudly when nobody wants to listen; to tell the unpalatable stories in powerful and beautiful ways. In the end there is one important thing that Amanda Bell and I have in common; something she says to me, something I understand right into my bones, “I’m only in the arts, fundamentally, to be part of change.” That is why I personally became a writer and artist, to be part of changing culture for the better. Being able to do that is a part of art to the bones.
F = m * a: five ways to make a rainbow Amanda Bell Perth Institute of Contemporary Arts (Perth/Boorloo) On now—21 December
SITE S U NSEEN
Equal parts monumental and fleeting, the sand sculptures of French artist Théo Mercier chart the histories—beyond our lines of vision—that a landscape reveals and conceals.
W R ITER
Briony Downes
Théo Mercier, Gut city punch, 2023, French Pavillon, Prague Quadrennial 2023, VUE D’ENSEMBLE. photogr aph: ondrej pribyl.
Théo Mercier, Skinless, 2024. photogr aph: erwan fichou.
Sand is a material French artist Théo Mercier knows well. Creating life-size sculptures of industrial machinery, furniture, architectural ruins and animals, Mercier uses only sand and water to realise immense and intricate scenes of urban decay and contemporary relics. Exhibiting for the first time in Australia at Tasmania/Lutruwita’s Museum of Old and New Art (Mona), in MIRRORSCAPE Mercier explores how we process sites of trauma and disaster. He describes his sand sculptures as “the landscape of catastrophes”. As his fifth sand sculpture following recent exhibitions in Europe, MIRRORSCAPE features trucks and cars upturned, their torsos and mechanical debris appearing as though brutally swept away in a landslide or tsunami, until they have come to rest in the corner of the Round House (once occupied by Mona’s library), all their chaotic movements frozen in time. Mimicking the forms and textures of local sites displaying geological erosion, Mercier’s scene of destruction remains stilled of all movement like a stone. “The idea is to capture an epic catastrophic movement,” Mercier explains. “It could be mud flow, or landfill—something in between movement and stillness that looks like it just happened, like a visual seen on the news or a fossil from an archaeological site.”
Théo Mercier, An Endless Summer, 2023, exhibition view, Villa Médici Rome, Italy. photogr aph: erwan fichou.
“This idea of constant transformation and mutation is important in my work.” TH É O M ERCI ER
For Mercier, sand is both a poetic and political material. The popular view of sand is one of childhood memories of sandcastles and beach holidays. Yet Mercier shows us that sand has a darker side—one that speaks to ownership and privilege. He points out that a metropolis like Dubai, despite its proximity to the desert, must import sand from Polynesia to create the huge amounts of building materials needed for its expanding cityscape. “One landscape is destroyed to create another,” Mercier says. “This idea of constant transformation and mutation is important in my work.” For MIRRORSCAPE, the sand has been collected from the north of Tasmania and at the project’s end, will be returned there. “It’s a bright, white sand from the mountains. It’s a good sand to sculpt because the grain is thin and there is still a lot of clay in it.” The history of the landscape is important to note in a colonised country like Australia. Mona itself is built into solid sandstone and sits on a peninsula surrounded by the estuaries of the Derwent River (Timtumili minanya). Ancient shell middens are tucked into its shores, built up over hundreds of years by the site’s traditional owners, the Mouheneenner people. The destruction and re-construction of land connects deeply to Tasmania/Lutruwita and Australia where land has been stolen from Aboriginal and Torres Strait Islander people and never ceded. This history feeds into Mercier’s underlying query—how and why does a landscape change over time? As he puts it, “What we work with is behind the scenes of sand. It’s dark, political and economical and nothing to do with childhood, beaches or vacations.” MIRRORSCAPE marks the first time Mercier has presented a single sand sculpture. Usually working with multiple pieces in exhibitions that often include a performance element, here his work will remain behind glass to preserve its longevity. “Sand interests me as it has contradiction,” he says. “It’s something you cannot really reach, cannot grab, but it’s also something that’s super solid.” To begin each sculpture, Mercier and his team mechanically compact large amounts of sand and water into concrete-like blocks. The tools used to craft the details are often everyday objects, serendipitously found, like forks or odd
pieces of plastic. “I love these imaginary tools as they create something so specific to the finished piece.” Textures and shapes are informed by the chaotic forms of landfill and natural structures worn away by erosion. Mercier has previously worked with waste destined for recycling, antique dinnerware, stone, household appliances and classical sculptures. An aura of spectacle and theatricality is always evident (Mercier is also a stage director) and his work is visually composed to embody a sense of grandeur. This was recently evident in Skinless (2024), where three performers interacted with an apocalyptic landscape entirely constructed from stacks of compressed cardboard and aluminium waste. In other projects, objects like fossilised trees, architectural ruins and furniture have also been rendered in sand, always connecting back to the place they are exhibited. “When a sculpture is made, there is an expectation you can install, deinstall, sell, buy, keep all this. With a sand work like MIRRORSCAPE, you cannot move that sculpture. It will be visible here only in this museum at this time and it’s always made on site. It will never be somewhere else. We try to create a specific story regarding the place where we are showing it.” Sharing the ground level of Mona’s Round House with Mercier’s MIRRORSCAPE is Sternenfall / Shevirath ha Kelim (Falling Stars / The Breaking of the Vessels) (2007), Anselm Kiefer’s towering configuration of books made from slowly disintegrating lead and glass. Also in proximity is Hiroshima in Tasmania, The Archive of the Future (2010) by Masao Okabe and Chihiro Minato, where a line of rectangular stones has been transplanted from the Ujina railway station in Hiroshima, Japan (destroyed by the atomic bomb in 1945) to Mona. Each installation asks the viewer to consider how we process and retain trauma on a global and personal level. The presence of Mercier’s temporary sand structures in this space completes a trifecta of work unearthing elements of a shifting landscape of history, objects and knowledge.
Théo Mercier: MIRRORSCAPE Museum of Old and New Art (Hobart/Nipaluna) On now—16 February 2026
ACROSS
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Lee Tran Lam
THE TA BLE
illustr ation by Gemma Leslie.
Artists have long been consumed with what we eat, seen appetites as a metaphor for nourishment and vulnerability. But as Lee Tran Lam finds out, the new wave of collaborations between the worlds of art and food signals a growing cultural desire to break down barriers—and forge new connections in unexpected ways. A hunter hangs off a ladder, hoping to plunder the wild bees’ nest above them. This acrobatic act—depicted 7500 years ago in a Spanish cave painting—reminds us of food and art’s historic connections. The world’s oldest beer recipe was carved into Sumerian clay nearly four millennia ago, while Australian Indigenous rock art ranges from a 17,000-year-old kangaroo depiction in the Kimberley, to cattle that escaped the First Fleet, immortalised on sandstone walls in Bull Cave, Sydney. Centuries before traditional galleries were established, humans were telling stories about how they eat. And appetites are pushing art beyond conventional spaces today—leading to culinary walking tours, live cooking demonstrations, recipe swaps and pantry-inspired discussions. It’s a trend that Claire Lefebvre backs, especially as white cube galleries can intimidate people. “I’m still scared of [them and] I’ve been doing this like 20-25 years!” says the Melbourne-based artist, who has exhibited across Australia and won the RMIT Alumni Award in 2014. With private galleries located in affluent suburbs, exhibitions with sizeable entrance fees and shows that cater to big-budget art collectors, some cultural institutions can feel elitist or alienating. But food “draws a lot of people in”, Lefebvre says. She demonstrates this with What Artists Eat, which comprises a podcast, recipe library and live events. Run with Zoltan Fecso, an artist who also stages Hungarian culinary pop-ups, it celebrates creators who use food in fascinating ways, such as Fred Mora of Long Prawn art collective. His grandfather Georges was known as Monsieur Mayonnaise during the French Resistance: Georges smuggled documents in baguettes, hidden under mayonnaise dollops. Gestapo officers wouldn’t inspect the condiment-rich sandwiches thoroughly (it messed up their uniforms), so Georges saved many children during World War II by moving papers across checkpoints this way. “For that reason, mayonnaise is very dear to me. I always try and teach people how to make it on my grandfather’s birthday,” Mora explained on the podcast.
“Centuries before traditional galleries were established, humans were telling stories about how they eat.” — L E E T R A N L A M
Claire Lefebvre & Zoltan Fecso.
Libby Haines, Table Manners.
Georges Mora’s mayonnaise recipe can be found on the What Artists Eat site. Although people mightn’t know Monsieur Mayonnaise by his French Resistance alias, they may recognise Georges as a prominent gallerist who was also married to Melbourne artist Mirka Mora. Their grandson Fred connects art and food well beyond stereotypical exhibition-opening cheese platters. His Long Prawn collective has collaborated with various cultural institutions, such as Melbourne Design Week walking tours (involving dim sum and Indigenous foodways) for the National Gallery of Victoria. Long Prawn also worked with the Melbourne-based architecture platform MPavilion to stage events such as Hot Bonnet Cooking in 2021, which maximised car-engine heat to prep “baked beans a la highway” and Frugal Lunchroom in 2023, which fed uni students ramen brewed with campus leftovers. Self-described ‘gastro-architects’ Playte also resourcefully marries appetites and art. Last year, this group of food sculptors created a bread garden for a London deli and presented a traditional Māori Hangi featuring spring-green bouquets for Melbourne Fringe’s Cooked: Seasoning The Grill party. Fecso recalls Playte’s event where attendees sketched displayed produce. “After you drew them, the ingredients were then cooked into a meal you ate.” Bringing food into a gallery can trigger responses far beyond the frame. Libby Haines’ Table Manners did this at Melbourne’s A-N Studio last spring. “She’d made candelabras out of meringue and this huge cabbage sculpture,” Lefebvre says. “At the end of the night, she’s like, ‘Oh my God, it’s going to be warm overnight. There’s going to be people in here tomorrow and it’s going to smell terrible!’” Luckily, “nothing fermented”—unlike Dieter Roth’s Staple Cheese (A Race) which was exhibited at Eugenia Butler’s Los Angeles gallery in 1970. The artist’s 37 suitcases of rotting cheese succumbed to flies and maggots and was shut down by health inspectors. Throughout history, artists have showcased meals spectacularly (in 1941, Gala and Salvador Dali staged a surrealist dinner party where frogs jumped from trays and fish were presented within satin slippers) and in contemplative keys (see 17th-century Dutch still life paintings). In the past, Australian artists—Mirka Mora in Melbourne, John Olsen in Sydney—were known for their involvement with restaurants. But more recently, there’s been a hunger for confronting tough issues through consumption. Hobart’s Museum of Old and New Art (Mona) has generated headlines about food waste by serving pig’s eye margaritas in 2018 and presenting its Eat The Problem invasive species cookbook and exhibition in 2019.
“What would our ancestors think of us being here, talking about them, their food and what they’ve passed down?”
Mona’s lawsuit-attracting Ladies Lounge installation in 2024 also sparked media coverage – this time about gender inequality. Indigenous chef Chris Jordan has addressed climate change at Brisbane’s Gallery of Modern Art. In 2022, his catering company Three Little Birds presented dishes like Bleached Coral, formed from crystal bread, smoked roe taramasalata and tapioca crisps. At 2024’s Biennale of Sydney, he conducted a native foods workshop, where partici— Z OLTA N F E C S O pants interacted with curry myrtle leaves and native ginger pods and were served a namas dish inspired by Torres Strait Island Elder and climate change activist Aunty Rose Elu. Justine Youssef has also used food to explore difficult topics. At Meet Me At The Table at Sydney’s Western Terrace last year, she demonstrated an ancestral rosewater-making process from her family’s village in the mountains of Lebanon. The performance is based on an earlier work, an other’s Wurud (2017). Instead of distilling rosewater with flowers native to Lebanon, as is tradition, she uses what’s available in Australia: introduced species that “subjugate native land and imitate British pastoral fields”, Youssef says. Participants were served knafeh desserts made with rosewater and the “next artist presented similarly on food and occupation”. When she staged an earlier iteration of this work at Sydney’s 4A Contemporary Asian Art, the program featured a Lebanese breakfast—a chance to discuss the artwork with olives, labne and za’atar manoushe. During one performance, Youssef noticed the gallery’s increasingly floral fragrance and people detecting rose in their wine. “Our lungs and our bodies would be filled with this scent, with each breath that we take,” she says, “It became a very potent metaphor for the … insidiousness of colonial power structures, just how they impede every aspect of life and you can’t see them.” Youssef says it’s “instinctive and intuitive” for her to work with food, given her family’s background as farmers from a Lebanese village. “We didn’t grow up with classical paintings or anything on our walls. For us, food was our means of communication and storytelling.” Chef Xinyi Lim works in a similar way: during the pandemic, she mailed sourdough starters to help unite people during COVID lockdowns. Today, she’s program manager for Vitocco Kitchen at Sydney’s Powerhouse Museum. The demonstration kitchen at Powerhouse Parramatta will be completed in 2026, so her events currently happen offsite: at farms, restaurants, markets and shops. Like Art Gallery of NSW incorporating Soul of Chinatown walking tours into its Cao Fei: My City is Yours exhibition, she thinks this attracts more diverse demographics.
Justine Youssef, An other’s wurud, live performance at BLINDSIDE, 2018. photogr aph: keelan o’hehir.
Justine Youssef, Somewhat Eternal, install at ACE, Kuarna Womens Art Collective. photogr aph: sam roberts.
Justine Youssef, With the toughest care, the most economical tenderness, 2022. (Blessed Milk Thistle plant distillation). photogr aph: hyun lee.
“Museums have realised they’ll reach a limited audience if all they do is provide a box for artworks to hang,” she says. Different approaches are needed, as “[n]on-white artists and curators are underrepresented in the Australian art industry,” Stephanie Beaupark and Aneshka Mora stated in The Conversation in July. The University of Wollongong academics also quoted Diversity Arts Australia’s 2018 Shifting the Balance report, which showed that “in the visual arts, craft and design sector, 89% of leadership positions were held by people who identify as Anglo-Celtic”. Interactive events can help attract people typically overlooked by the art scene: Lim hopes to draw in migrant communities from Western Sydney with her upcoming program. It could showcase a tofu-maker from the Vietnamese-Chinese community in Cabramatta, Italian cheese producers, or shops and butchers beloved in the Arabic community. “Food is something everyone relates to and it’s very personal,” she says. Lefebvre believes a post-lockdown hunger for connection has spurred this rise in art and food collaborations. “It creates community,” she says. Gemma Leslie’s Pantry Study achieved this last winter: the exhibition celebrated multicultural kitchen shelves the artist depicted across Melbourne (including Fecso’s Hungarian pantry of pickles, paprika, Unicum liqueur, capsicums and sauerkraut). The North Gallery show included a discussion panel of people whose shelves were featured: Fecso, as well as Jaclyn Crupi, Kira Hosking and Adriana Bradica Watson, talked about staples from their respective Hungarian, Italian, Japanese and Croatian heritages. “We cried,” Lefebvre admits. “What would our ancestors think of us being here, talking about them, their food and what they’ve passed down?” Fecso says. “It’s pretty amazing that … the food they had to fight so hard to preserve when they came to this country is still being talked about and being passed on by their grandchildren or children. It was a very, very special thing.” It’s reminder of how food provokes people via art—and will continue to do so for generations. “I love that it will never get old,” Lefebvre says.
Xinyi Lim, A shard of dried sourdough starter, Start the Spread, 2020.
Through the Looking Glass
The glass sculptures of Dale Chihuly speak to the power and pitfalls of visual pleasure in an increasingly contested world.
Dale Chihuly, Niijima Floats, 2024, Adelaide Botanic Garden, Adelaide, Australia. © 2024 chihuly studio. all rights reserved. photogr aph: nathaniel willson.
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Neha Kale
Dale Chihuly, Ethereal Spring Persians, 2022, 6 x 21 x 12 in. adelaide botanic garden, adelaide, austr alia, installed 2024. © 2022 chihuly studio. all rights reserved. photogr aph: nathaniel willson.
To step into the Palm House, at the Adelaide Botanic Gardens, is to become cloistered from the outside world. To enter the realm of Edenic fantasy. The structure, built in 1877, was conceived by Richard Schomburgk, a German botanist who arrived in South Australia after studying tropical plants in the rainforest of what was then known as British Guiana: the fern, the orchid, and his favourite, the waterlily. When I visit, one hot January afternoon, the tropical plants have been replaced by Madagascan shrubs. But through the intricate ironwork panes, which are a rich cobalt-blue, shafts of dappled light bounce off the stone grotto, the rare desert succulents, the glass chandelier that dangles from the ceiling like a pair of Medusa’s heads, their forms dancing and unfurling. Around me, women in sun hats crane their necks to get a better look. Preteens, on school holidays, break free of their parents’ grip, gazing up in baffled awe, as if trying to decipher the object’s origins—is it a transplant from outer space, a creature from their comic books, something stranger altogether? The chandelier commands the Palm House, unites us in the collective act of looking, even when we’re not quite sure what we’ve found. The object, of course, is Glacier Ice and Lapis Chandelier (2024), a new work, commissioned especially for the Palm House, as part of Chihuly
in the Botanic Garden. It’s the first-ever Southern Hemisphere presentation of a ‘Garden Cycle’ exhibition—a series of shows, that have unfolded everywhere from Chicago’s Garfield Park to the New York Botanical Garden to London’s Kew Gardens—by the legendary American sculptor Dale Chihuly. Chihuly was born in Tacoma, Washington in 1941. He studied under Murano glassblowers in Venice. He mentored a generation of glass artists—including those from Adelaide, who show their work at Gathering Light, an elegant exhibition at the Jam Factory—at his famous Pilchuck School. He’s credited with elevating glass from craft to the realm of contemporary art and across the 15 works placed, in ‘episodes’, around the Botanic Gardens, the material ripples and wriggles and writhes. Cattails and Copper Birch Reeds (2024), which is the unearthly shade of burning flames, emerges from beds of kangaroo paw. Fiori Boat (2018), a lavish explosion of lines and bulbs and orbs hovers over a lake, a wild cacophony that strangely makes me want to be still, to take in the expanse of trees and sky, to study the water’s surface. “The love of the medium has to do a lot with his obsession with colour and light and form,” says Rhianna Pezzaniti, the exhibition’s producer. She is leading me around the Bicentennial Conservatory where lush lowland plants play host to nine smaller
“Fiori Boat (2018), a lavish explosion of lines and bulbs and orbs hovers over a lake, a wild cacophony that strangely makes me want to be still, to take in the expanse of trees and sky, to study the water’s surface.” — N EH A K A LE
Dale Chihuly, Glacier Ice and Lapis Chandelier, 2024, 11 x 5½ x 5½ in. adelaide botanic garden, adelaide, austr alia, installed 2024. © 2022 chihuly studio. all rights reserved. photogr aph: nathaniel willson.
Chihuly works: red-and-black nods to Sturt’s desert peas, trumpet flowers with petals mottled blue and purple. “He is well-known for pushing the medium itself. How far can you blow glass, how big can you make it, how much colour can you add to it? How can you stretch it and twist it and fuse it?” Glass, of course, is quite literally the stuff of barriers. To make sculptures out of glass can be demanding and dangerous and expensive. The Chihuly Studio, a 2300-square metre space in Washington, employs 60 assistants. During the Renaissance, Venetian glass was a luxury commodity, collected by the ruling class. When I visit, an Adelaide philanthropist has purchased Glacier Ice and Lapis Chandelier as a gift to the State and the value of the donation is $800,000. But glass is also unpredictable and fragile, prone to warping and breaking. Spending time with the works, I started thinking about Chihuly’s backstory. Visited glasshouses with his mother as a child. Lost his father and brother within a year of each other. Lost the vision in his left eye in a 1976 car accident after which he assembled a team to realise his creations and stopped blowing glass altogether. There are questions critics level at Chihuly: can art be good if it embraces spectacle? If it’s made by other hands? If all people want to do is look at it? Botanic gardens were conceived as pleasure palaces, where the upper class convened to admire plants from different places. In the Museum of Economic Botany, next to the Chihuly giftshop, seed displays—cocoa, cotton— are symbols of colonial trade routes. Nearby, Kainka Wirra, an area that once included a eucalyptus forest and possible body of water, home to Chihuly’s Float Boat and Nijima Floats (2012-19), was named and recognised for its cultural significance by a Kaurna elder. The following week, I line up, back in Sydney, to see a rare corpse flower bloom. What does it mean, I think, to observe the ephemeral, to take pleasure in the way that light passes through glass in spaces that are both a refuge from the wider world—and proof of all the ways that world is contested? By day, I’m mesmerised by Ethereal Spring Persians (2022), a cluster of glass flowers atop a bed of waterlilies. When I return at night, I don’t notice the sculpture as much as the movement of their petals, that they are no longer open, and I am grateful for the way Chihuly’s works have given me the unexpected gift of attention.
Chihuly in the Botanic Garden
Adelaide Botanic Garden (Adelaide/Kaurna Country) On now—29 April
Creature Comforts Cats & Dogs, now showing at the National Gallery of Victoria, explores the ways that the relationships we share with our pets are a source of strangeness and intimacy. But for Giselle Au-Nhien Nguyen, it’s also an exercise in the power of seeing and being seen.
There is a small creature who lives in my house. I care for him daily: food morning and night, water, medication, litter, play. I know him more intimately than anyone else in the world, yet we don’t speak the same language. Sometimes his yowling frustrates me: what does that mean, I ask, and he yowls back, as though that answers the question. It does. It doesn’t. I wonder if, in another life, he would have been something else. His life as we both know it now is a pattern that goes, predictably, as such: eat, sleep, play, sleep, eat, sleep. But there is a wildness in him, sometimes: the pattern can be interspersed with random attacks, his pupils dilating, his claws appearing like weapons. I wonder if he thinks I am prey, or if he doesn’t think of me very much at all. There are moments of peace: me lying on my bed, staring at the ceiling, or reading, or watching TV, his full weight on my chest as he purrs and licks himself clean. Or me doing anything, really, and him just being there. It’s clearly an experience that has existed for as long as humans and cats have shared a domestic space, no matter the cultural context. In Ishikawa Toraji’s 1934 colour woodblock Leisure time, a fully nude woman sits and reads a magazine; her skin rubs against a calico cat, who faces the other way, similarly comfortable. It’s an intimate, familiar scene; there is no need for language.
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Giselle Au-Nhien Nguyen
There are moments of violence. When I first adopted him, more than a decade ago, I quickly became afraid of him, his unpredictability. I would sometimes hide in my room, crying, unsure of how to help him or myself. Scratch marks flowed like red rivers down my neck. I laugh with bewildered recognition at Richard Bosman’s sugarlift etching Revenge of the Cat (1983), a two-panel work. In the first, a man holds his hand up to a cat who looks poised to strike. It’s futile, of course: in the second, the animal is in motion, teeth bared, as the man turns away in fear. The streaks on his cheek match his body and the windows; are they tears, or just patterns? There are moments of observation, mostly from a distance, sometimes completely undetected. I wonder how many times he can see me when I can’t see him, when his big eyes glow in the dark and stare at me. Or when he is asleep, and I gaze upon him like a detailed work of art. We live on the first floor of an apartment facing a main street, and my sister says her dream is to drive past and see him on the balcony, like those cats who live in terrace houses and sit at the window, looking out at the world. John Williams’ silver photograph Untitled (1974) reminds me of this: three little fuzzy faces in a window, though it’s not clear if I’m looking in at them, or they are looking out at me. Or in mutually observing one another, are we both seeing something different from each vantage point?
Grace Cossington Smith, Quaker girl, 1915, oil on canvas, 67 x 51.6 cm. national gallery of victoria, melbourne presented by the national gallery society of victoria, 1967. © estate of gr ace cossington smith.
Théophile-Alexandre Steinlen, Poster for the Company of the Black Cat (Prochainement la très illustre Compagnie du Chat Noir), 1896, colour lithograph, 61.9 x 40 cm. national gallery of victoria, melbourne purchased, ngv foundation, 2022.
“There are moments of observation, mostly from a distance, sometimes completely undetected. I wonder how many times he can see me when I can’t see him, when his big eyes glow in the dark and stare at me.” — GISEL L E AU -N H I EN NGU Y EN
When I ask the question of another life for my cat, what he would or could have been, what I mean is complex and ultimately unknowable. Would he have been a working cat, if I was a working woman in that way: a little assistant at my feet while I physically toiled all day? Or, if cats had never been domesticated in the way they are, would he have had his own life somewhere outside of here, walking the streets and the greenery with no agenda, no plan, just a cat and the big, wide world? Or would he not have existed at all, outside of this? I care for him as I would for the biological children I have decided I will most likely not have; in turn, he cares for me in his own way, simply by being there and both witnessing and experiencing our small domestic world together. It is a symbiotic relationship that I suspect is becoming increasingly important as everything else in the world splinters, wars rage, screens explode with cheap imitations of real life.
Yet the strangeness never quite dissipates. Near the end of the exhibition, my eye is caught by something moving, and I startle when I turn around and see a black cat waving at me, its paw up, down, up, down, up, down, up, down. Greatest Hits Untitled (2012) installs electronic components into a real, taxidermied cat so that it is stuck in this state of unreality forever: up, down, up, down, up. I think I’m at peace with my relationship with my cat one day becoming a memory, rather than subjecting him to a fate like that. He is not human, but he brings out the humanity in me.
Cats & Dogs
National Gallery of Victoria — The Ian Potter Centre: NGV Australia (Melbourne/Naarm) On now—20 July
Flight Patterns Shaped by the movement between histories and cultures, the work of Thaiborn, New Zealand/Aotearoa-raised artist Sorawit Songsataya draws on mystery and plurality as a means of knowing the world.
Inside the dark cavernous womb of Australian Centre for Contemporary Art’s main gallery, one will currently encounter Sorawit Songsataya’s Unnamed Islands (2023) as part of The Charge That Binds curated by Shelley McSpedden. Devoid of narrative, the video is intoxicating as it takes the viewer on a trip-like experience through time and space, across past and present and various geographical locations. It presents as both a dream-like hallucination and a science-fiction drenched virtual reality. Here, luminescent krill-like creatures flit around upon a black backdrop, while footage of a white bird manipulated post-production, give off an uneasy air of military surveillance. Installed on an enormous screen that sits directly on the gallery floor, Unnamed Islands is, despite its formal qualities, focused on the very real nesting habits of the kōtuku, otherwise known as the white heron or Eastern egret. Filmed at Waitangiroto Nature Reserve in New Zealand/Aotearoa, this is just one of the kōtuku’s natural habitats—at other times of the year they can be seen across Asia and the Pacific, including Thailand, Songsataya’s other home outside of Aotearoa/New Zealand. The water creatures, I later learn, have been 3D scanned from foraminiferas by Foraminarium Laboratory Group, an Oregon State University research lab, which Songsataya explains were “once a marine organism, which died and accumulated on the seafloor to become limestone, to become land.” Meanwhile, a trance-like soundtrack that includes a khim—a traditional Thai instrument— hums along with the video.
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Amelia Winata
The images that Songsataya depict have multiple meanings across various cultures. “There is a sense of duality here or realms of occupations (bird/sky with fish/forams/water) but also of possible plurality, entanglement and the unknown beyond,” they tell me. Watching Unnamed Islands, one becomes acutely aware of the multiple layers in each scene that represent Songsataya’s tireless research. “The white heron, to certain Māori hapū, accompanies the dead to the ‘leaping place’ where their spirits depart. In Southeast Asia, the motif of the bird can be seen on the surfaces of ancient Bronze Age drums associated with ritual ceremonies and funerals. So here one subject matter becomes many other things to many other people [and] cultures. Filming them at their only birthing and nesting site in Aotearoa, while understanding their many spiritual connotations, is a way for me to explore and expand the duration between birthing and the process of death.” Songsataya moved to New Zealand from Chiang Rai, Thailand, in 2001. Since then, they have exhibited extensively, both locally and internationally and have undertaken several prestigious residencies. In 2024 alone, they exhibited in the Busan Biennale, had a major exhibition at the Govett-Brewster Art Gallery in New Plymouth, another solo at commercial gallery Robert Heald Gallery in Wellington, and undertook a residency at the Singapore Art Museum. r ight Sorawit Songsataya, Unnamed Islands 2023, installation view, Australian Centre for Contemporary Art, Melbourne. courtesy of the artist. photograph: andrew curtis.
Sorawit Songstaya, Unnamed Makers, installation view, 2023, two-channel 4K video, duration 11 min 37 sec. courtesy of the artist.
“The white heron, to certain Māori hapū, accompanies the dead to the ‘leaping place’ where their spirits depart. In Southeast Asia, the motif of the bird can be seen on the surfaces of ancient Bronze Age drums associated with ritual ceremonies and funerals. So here one subject matter becomes many other things to many other people [and] cultures.” — S OR AW I T S ONG S ATAYA
They are currently exhibiting again in Melbourne, this time in a group exhibition titled Image Economies at Monash University Museum of Art (MUMA), touted as “a timely reappraisal of how the digital, networked world permeates our offline lives.” In the exhibition, Songsataya is exhibiting a video titled Unnamed Makers (2023) that represents 3D reconstructions of snuff bottles from the Christchurch Art Gallery collection, as well as Ban Chiang and Japanese Jōmon pottery that the artist filmed in their respective countries. Of Unnamed Makers, Songsataya says “I was trying to unlearn the separation between handmade objects and computer-generated works (3D printing, scanning). All objects in the video were made by someone we know nothing or very little about, and I’m fascinated by all the things that contribute to that process and duration of unknowability.” In addition to seeking it out in their work, Songsataya is also drawn to the unknown in their day to day life. Recently, they have temporarily relocated to Bangkok from Auckland. Songsataya was born in Thailand, but in Chiang Mai (not to be confused with nearby Chiang Rai), a sleepy city in the north of Thailand surrounded by forest, it is a far cry from the intense metropolis of Bangkok. Now in Bangkok, they have signed a one-year lease on a two-storey townhouse. They plan to live and establish a studio upstairs. In New Zealand, Songsataya relied upon a lot of other paid work to make ends meet, which left little time for their actual practice. But this new set up allows Songsataya to focus more on research and artwork production. “Plus, Thailand and Southeast Asia are incredibly rich in cultural knowledge,
especially in the areas where my research is heading around forms of audibility and inaudibility,” says Songsataya. They will investigate non-Western musical instrument making techniques as well as sedge-weaving (a traditional craft technique used to make household items) in their grandmother’s hometown. Forever thinking about next steps, Songsataya has plans for collaborating with artists in Bangkok. “Me and a dear friend who is Māori hope to establish an artist-led research residency on material culture here in Thailand and Southeast Asia, prioritising Pasifika and Māori artists and researchers,” Songsataya tells me. I ask if they ever tire of being so busy and having multiple projects on the go at once. But the answer is a resounding no. “I am doing what I love—exploring ideas, changes, and conversations through art—and am very privileged and cared for to have creative outlets [and] spaces to showcase and execute those ideas.”
The Charge That Binds
Australian Centre for Contemporary Art (Melbourne/Naarm) On now—16 March
Image Economies
Monash University Museum of Art (Melbourne/Naarm) On now—17 April
Narrative Flow Existing in the space between ritual, performance and ceremony, the bodycentred work of Latai Taumoepeau rewrites the stories that shape our perception of Oceania—while using ancient traditions to tackle our most urgent modern concerns. W R ITER
Rayleen Forester
r ight Caption
Latai Taumoepeau, Deep Communion sung in minor (ArchipelaGO, THIS IS NOT A DRILL), 2024, exhibition view of Re-Stor(y)ing Oceania, Ocean Space, Venice. co-commissioned by tba21–academy and artspace, and produced in partnership with ogr torino. photogr aph: giacomo cosua.
Latai Taumoepeau, Deep Communion sung in minor (ArchipelaGO, THIS IS NOT A DRILL), 2024, exhibition view of Re-Stor(y)ing Oceania, Ocean Space, Venice. co-commissioned by tba21–academy and artspace, and produced in partnership with ogr torino. photogr aph: giacomo cosua.
I remember the day clearly; a strong arctic wind had hit Venice on preview night of Re-Stor(y)ing Oceania at Ocean Space, Chiesa di San Lorenzo. The blistering cold had forced tourists to shuffle quickly through narrow walkways, the ocean’s waves crashing in chorus against the algae-stained walls from previous flooding. It was a sight to behold—the heady theatre of this ancient island along with the liveness of the ocean in constant discourse with the history and vitality of this foreign culture. When interviewing Latai Taumoepeau, we spent a lot of time talking about Venice and how important this project was to its artists and the curator. “All of our values aligned,” she says. “We had the opportunity to imagine what is necessary and embrace the unknown on so many levels.” Re-Stor(y)ing Oceania is curated by Bougainvillean artist Taloi Havini and includes a sculptural installation by Wāhine architect Elisapeta Hinemoa Heta. Led by an ancestral call and response and attuned to the generational teachings of Indigenous elders on climate and the ocean’s sea floor, Re-Stor(y)ing Oceania subverts the colonial extraction and exploitation of Islander resources. Taumoepeau’s contribution Deep Communion sung in minor (ArchipelaGO, THIS IS NOT A DRILL) (2024) is a multifaceted work bridging Tonga, Venice and the deep oceans between. First staged in the ethereal cathedral where Vivaldi once composed, Taumoepeau’s remarkable work addresses
environmentalism, activism, ancestral storytelling and collaboration. Now, in front of the waters of Gadigal Country in Sydney’s Artspace, the piece has been extended to embrace the site’s waterside view and provide a deeper connection with the ocean floor addressed by the artist’s work. Taumoepeau’s longstanding practice brings many artforms together and centres a Tongan worldview through body-led performance, social and community activation and spectacle. By foregrounding the growing impacts of climate change on the Pacific Islands and her ancestral bond to the oceanic history she is a part of, Taumoepeau persuasively, yet gently, highlights disproportionate impacts on Islander communities. Exploring the rising disparities of labour when facing ecological challenges, Taumoepeau highlights the vulnerability of our neighbouring communities who are exhibiting the most striking and dangerous signs of climate change brought on largely by the West. Housed in an interactive arena, Deep Communion sung in minor (ArchipelaGO, THIS IS NOT A DRILL) is an ode, testimonial and durational prayer. It uses sound, rowing machines and a stadium-like installation to summon Islander culture and protocol. Here, Taumoepeau engages performers, students, sports teams and the general public to bear witness and participate in an ancient call initiated by the communal action of rowing. An audio recording of a ceremonial song fills the space, triggered by the motion created by the machines.
“The invitation to stand and paddle is simple but charged with a sense of existential participatory action. It is a moment to reflect on an opportunity, or perhaps, a responsibility to learn from alternative forms of knowledge systems including those in the Pacific and Global South.” — R AY L E E N F OR E S T ER
While sitting on a pew-like grandstand, I watched a group of young people from Venice’s local basketball team follow the artist out onto ‘the field’. Wearing their team’s uniform players arranged themselves onto the machines and followed Taumoepeau’s whistle and timer. Audience members sat transfixed on the ethereal and imaginative space that was created. I watched as players coordinated themselves to the sounds of the choir, tentatively taking turns to keep the machines in constant movement while Taumoepeau sings and performs me’e-tu’u-paki, a cultural dance that references the act of paddling. Echoing the movements of the Italian gondola rowers outside the walls of the Chiesa di San Lorenzo, the synchronicity of ideas at play—labour, athleticism, and faith as Taumoepeau states, “moves the spectacle into a shared/relational space; an embodiment”. Taumoepeau presents this work as an action to defend the ocean, and an offering of service. The invitation to stand and paddle is simple but charged with a sense of existential participatory action. It is a moment to reflect on an opportunity, or perhaps, a responsibility to learn from alternative forms of knowledge systems including those in the Pacific and Global South. Community engagement and collaborative work regularly appears in Taumoepeau’s practice. She cites the video installation War Dance of the Final Frontier (2018) at the art space Vitalstatistix in Port
Adelaide (another waterside venue) and Refuge (2017) an interdisciplinary project at Arts House Melbourne, as prominent works that formed her interest in deep-sea mining practices and the intersections of athleticism, engineering and performance art. For Refuge, Taumoepeau constructed a bicycle that manually powered a freezing plate to create a single ice cube. War Dance of the Final Frontier explored a mythical oceanic battle between a collective body and a climate centurion monster. Simultaneously, across return visits to Tonga, Taumoepeau watched the quick uprise of the now bankrupt Canadian mining company Nautilus Minerals take hold of her local environment and begin their expansive experiment across the ocean floor. Taumoepeau amplifies the experience of song, ritual and spectatorship and, in doing so, highlights the extensive exploitation and extractive practices used across Pacific nations. Her work dissects the anthropological gaze and deconstructs the hierarchy that shapes Oceania’s relationship to the West. By composing a new function within an ancient practice, Taumoepeau builds important and lasting universal connections.
Re-Stor(y)ing Oceania Artspace (Sydney/Eora) On now—6 April
bhartgallery.com.au
BHENJI RA Biraddali Dancing on the Horizon
7 February → 30 March Our exhibitions are always free PICA Screen Space
Bhenji Ra Biraddali Dancing on the Horizon 2024 video still. Courtesy of the artist.
pica.org.au
PRICK! Needlework Now 20 February - 10 May 2025
Maggie Baxter Aaron Billings Jayeeta Chatterjee Carly Tarkari Dodd Melinda Harper Michelle Hamer Talitha Kennedy Octora Louise Rippert Gurjeet Singh Louise Saxton Mien Thao Tran Kasia Tons Lisa Walker Curated by Helen Rayment
Open Tuesday to Saturday. Free entry.
Kasia Tons, Tarpaulin diary, 2018. Courtesy of MARS and the artist.
rmitgallery.com
THE 2025 ALASTAIR SWAYN LEGACY EXHIBITION 25 FEBRUARY – 12 APRIL RMIT DESIGN HUB GALLERY PLANCK TIME QUECTOSECON D RONTOSECOND YOCTOSECOND JIFFY (PHYS I CS) ZEPTOSECOND
5.39×1 0 − 4 4 S 10−30 S 10−27 S 10−24 S 3×10−2 4 S 10−21 S
THE AMOUNT OF TIME LIGHT TAKES TO TRAVEL ONE PLANCK LENGTH. ONE NONILLIONTH OF A SECOND. ONE OCTILLIONTH OF A SECOND. ONE SEPTILLIONTH OF A SECOND. THE AMOUNT OF TIME LIGHT TAKES TO TRAVEL ONE FERMI (ABOUT THE SIZE OF A NUCLEON) IN A VACUUM. ONE SEXTILLIONTH OF A SECOND. TIME MEASUREMENT SCALE OF THE NIST AND JILA STRONTIUM ATOMIC CLOCK. SMALLEST FRAGMENT OF TIME CURRENTLY MEASURABLE IS 247 ZEPTOSECONDS. ONE QUINTILLIONTH OF A SECOND. ONE QUADRILLIONTH OF A SECOND. PULSE TIME ON FASTEST LASERS. TIME UNIT USED FOR SEDIMENTATION RATES (USUALLY OF PROTEINS). ONE TRILLIONTH OF A SECOND. ONE BILLIONTH OF A SECOND. TIME FOR MOLECULES TO FLUORESCE. 10 NANOSECONDS, ALSO A CASUAL TERM FOR A SHORT PERIOD OF TIME. ONE MILLIONTH OF A SECOND. SYMBOL IS S ONE THOUSANDTH OF A SECOND. SHORTEST TIME UNIT USED ON STOPWATCHES. USED TO MEASURE THE TIME BETWEEN ALTERNATING POWER CYCLES. ALSO A CASUAL TERM FOR A SHORT PERIOD OF TIME. ONE HUNDREDTH OF A SECOND. ONE TENTH OF A SECOND. BASE UNIT FOR TIME. TEN SECONDS (ONE SIXTH OF A MINUTE)
ATTOSECOND FEMTOSECOND SVEDBERG PICOSECOND NANOSECOND SHAKE MICROSECOND MILLISECOND JIFFY (ELEC TRONICS)
10−18 S 10−15 S 10−13 S 10−12 S 10−9 S 10−8 S 10−6 S 10−3 S ~10−3 S
CENTISECOND DECISECOND SECOND DECASECOND MINUTE HECTOSECOND MILLIDAY MOMENT
10−2 S 10−1 S 1 S 10 S 60 S 100 S 1/1000 D 1/40 S O L A R H O U R
KILOSECOND HOUR DAY WEEK MEGASECOND FORTNIGHT LUNAR MONTH MONTH QUARANTINE
103 S 60 MIN 24 H 7 D 106 S 2 WEEK S 27 D 4 H 4 8 M I N 28–31 D 40 D
SEMESTER LUNAR YEAR YEAR COMMON YEAR TROPICAL YE AR GREGORIAN Y EAR SIDEREAL YE AR LEAP YEAR OLYMPIAD
18 WEE K S 354.37 D 12 MO 365 D 365 D 5 H 4 8 M I N A V E R A G E . 365 D 5 H 4 9 M I N A V E R A G E . 365 D 6 H 9 M I N 366 D 4 YR A QUADRENNIUM (PLURAL: QUADRENNIA OR QUADRENNIUMS) IS ALSO A PERIOD OF FOUR YEARS, MOST COMMONLY USED IN REFERENCE TO THE FOUR-YEAR PERIOD BETWEEN EACH OLYMPIC GAMES.[7] IT IS ALSO USED IN REFERENCE TO THE FOUR-YEAR INTERVAL BETWEEN LEAP YEARS, FOR EXAMPLE WHEN WISHING FRIENDS AND FAMILY A “HAPPY QUADRENNIUM” ON FEBRUARY 29. 5 YR IN EARLY ROMAN TIMES, THE INTERVAL BETWEEN CENSUSES. 10 YR 15 YR INTERVAL FOR TAXATION ASSESSMENTS (ROMAN EMPIRE). 109 S ABOUT 31.7 YEARS. 50 YR 100 YR 1000 Y R ALSO CALLED “KILOANNUM”. 2,148 A N D T W O T H I R D S O F A Y E A R A UNIT USED IN ASTROLOGY, EACH OF THEM REPRESENT A STAR SIGN 1012 S 106 YR ALSO CALLED “MEGAYEAR.” 1,000 MILLENNIA (PLURAL OF MILLENNIUM), OR 1 MILLION YEARS (IN GEOLOGY, ABBREVIATED AS MA). 1015 S ABOUT 31,709,791 YEARS. 2.3×10 8 Y R THE AMOUNT OF TIME IT TAKES THE SOLAR SYSTEM TO ORBIT THE CENTER OF THE MILKY WAY GALAXY (APPROX 230,000,000 YEARS). 10 TIM E S T H E L E N G T H O F T H E P R E V I O U S C O S M O L O G I C A L D E C A D E , W I T H C D 1 B E G I N N I N G E I T H E R 1 0 S E C O N D S O R 1 0 Y E A R S A F T E R T H E BIG BANG, DEPENDING ON THE DEFINITION. 109 YR ALSO REFERS TO AN INDEFINITE PERIOD OF TIME, OTHERWISE IS 1,000,000,000 YEARS. 4.32×1 0 9 Y R USED IN HINDU MYTHOLOGY. ABOUT 4,320,000,000 YEARS. 1018 S ABOUT 31,709,791,983 YEARS. APPROXIMATELY 2.3 TIMES THE CURRENT AGE OF THE UNIVERSE. 1021 S ABOUT 31,709,791,983,764 YEARS. 1024 S ABOUT 31,709,791,983,764,586 YEARS. 1027 S ABOUT 31,709,791,983,764,586,504 YEARS. 1030 S ABOUT 31,709,791,983,764,586,504,312 YEARS.
DEEP TIME REAL TIME
LUSTRUM DECADE INDICTION GIGASECOND JUBILEE CENTURY MILLENNIUM AGE TERASECOND MEGAANNUM
PETASECOND GALACTIC YE AR COSMOLOGICA L DECADE EON KALPA EXASECOND ZETTASECOND YOTTASECOND RONNASECOND QUETTASECON D
ALSO MARKETED AS A “.BEAT” BY THE SWATCH CORPORATION. MEDIEVAL UNIT OF TIME USED BY ASTRONOMERS TO COMPUTE ASTRONOMICAL MOVEMENTS, LENGTH VARIES WITH THE SEASON.[4] ALSO COLLOQUIALLY REFERS TO A BRIEF PERIOD OF TIME. ABOUT 17 MINUTES.
LONGEST UNIT USED ON STOPWATCHES AND COUNTDOWNS. HISTORICALLY SOMETIMES ALSO CALLED “SENNIGHT”. ABOUT 11.6 DAYS. 14 DAYS VARIOUS DEFINITIONS OF LUNAR MONTH EXIST; SOMETIMES ALSO CALLED A “LUNATION.” OCCASIONALLY CALCULATED AS 30 DAYS. TO RETAIN IN OBLIGATORY ISOLATION OR SEPARATION, AS A SANITARY MEASURE TO PREVENT THE SPREAD OF CONTAGIOUS DISEASE. HISTORICALLY IT MEANT TO BE ISOLATED FOR 40 DAYS. FROM MIDDLE ENGLISH Q U A R E N T I N E , F R O M I T A L I A N Q U A R A N T I N A ( “ F O R T Y D A Y S ” ) , T H E P E R I O D V E N E T I A N S C U S T O M A R I L Y K E P -T S H I -P S FROM PLAGUE-RIDDEN COUNTRIES WAITING OFF PORT, FROM QUARANTA (“FORTY”), FROM LATIN QUADRAGINTA. A DIVISION OF THE ACADEMIC YEAR. LITERALLY “SIX MONTHS”, ALSO USED IN THIS SENSE.
IT’S LATE SUMMER ART GUIDE IS PUBLISHED IT’S THE 21ST CENTURY IN THE MEGHALAYAN SUB-EPOCH IT’S THE QUATERNARY PERIOD IT’S DEEP TIME
IN 2025 BIMESTRIALLY OF THE 3RD MILLENNIUM OF THE HOLOCENE OF THE CENOZOIC ERA REAL TIME
THE EXHIBITION WILL EXIST FOR 4,428,000 SECONDS THE EXHIBITION WILL OPEN FROM FEB. 25TH TO APR. 17TH
designhub.rmit.edu.au
dlancontemporary.com.au
IAN WELLS BLOCKED April 4 - 26, 2025
Five Walls Gallery Level 1 / 119 Hopkins St. Footscray | www.fivewalls.com.au | info@fivewalls.com.au | (03) 9043 6704 image: IAN WELLS, Then, 2023, distemper, oil paint and metal point on gesso board, 37 x 50.7 cm
fivewalls.com.au
THINKING TOGETHER Exchanges with the natural world 1 March – 8 June 2025 Introducing major new commissions by contemporary artists Robert Andrew, Alfredo and Isabel Aquilizan and Keg de Souza, presented alongside video works by Sorawit Songsataya and Tina Stefanou, and large scale paintings by the Martu communities of central Western Australia.
bundanon.com.au Alfredo & Isabel Aquilizan, DWELL/IN/PLACE, 2024, Dresden State Art Collections, Children’s Biennale PLANET UTOPIA, photo: Oliver Killig
bundanon.com.au
mcclelland.org.au
METROPOLIS 22 MARCH – 26 APRIL
MIA BOE • SAMRAING CHEA • MICHAEL CAMAKARIS DIENA GEORGETTI • JORDAN HALSALL • MATTHEW HARRIS LEI LEI KUNG • SAMMI-JO MATTA • STEVEN PERRETTE GAVIN PORTER • CATHY STAUGHTON DARREN SYLVESTER • TERRY WILLIAMS CURATED BY AMELIA WINATA ARTWORK: Samraing Chea Pods Over the Water 2023 (detail) © Copyright the artist, Represented by Arts Project Australia, Melbourne
artsproject.org.au
20 FEBRUARY – 18 APRIL Jemima Wyman, Untitled, 2002, Synthetic polymer paint and ink on canvas, (detail) Artbank Collection purchased 2002. Artbank Melbourne, 18–24 Down Street, Collingwood artbank.gov.au
artbank.gov.au
Tully Moore How do you like them apples? 29 March - 1 June 2025 Tully Moore, the artist, 2024, oil on canvas, 75 x 60cm,
mgnsw.org.au
Nasha Gallery
Kien Situ 11 – 27 April, 2025
nasha.com.au
L1 215 Thomas Street Haymarket, Sydney nasha.com.au
info@nasha.com.au
jacobhoernergalleries.com
15 March – 13 July 2025 Bendigo exclusive Bendigo International Collections
Image: Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray © Nickolas Muray Photo Archives. © 2025 Banco de Mexico Diego Rivera & Frida Kahlo Museums Trust. Av. 5 de Mayo No. 20, col. Center, alc. Cuauhtemoc, cp 06000, Mexico City.
bendigoregion.com.au/bendigo-art-gallery
@bendigoartgallery
NILOUFAR LOVEGROVE
NILOUFAR LOVEGROVE CYPRESS GROWING SEASON CYPRESS GROWING SEASON 8 March – 26 April 8 March – 26 April
Whitehorse Artspace Whitehorse Artspace Box Box Hill Hill Town HallHall Town 1022 Whitehorse Rd,Rd, 1022 Whitehorse Box Box Hill Hill VICVIC
Opening Hours: Opening Hours: Tues – Fri 10am – 4pm, Tues – Fri 10am – 4pm, Sat 12pm – 4pm Sat 12pm – 4pm creativewhitehorse.vic.gov.au
museumsvictoria.com.au/immigrationmuseum
gallerysmith.com.au
LAUNCH / SATURDAY
08
MARCH / 4 to 6 PM 01 MARCH / 06 APRIL
KRIS COAD unbound...
STOCKROOM
98 Piper St, Kyneton 03 5422 3215 info@stockroom.space www.stockroom.space journey… porcelain and Chamotte clay stool 45 x 120 x 30cm
stockroom.space
1–30 March 2025
Lucy Allinson, Darcey Bella Arnold, Matthew Bird & Charity Edwards, Richard Collopy, Nicholas Currie, DarkQuiet (Madeleine Flynn, Tim Humphrey & Jenny Hector), Naomi Eller, Carly Fischer, James Geurts, Natasha Johns-Messenger, Anne-Marie May, John Meade, Kerrie Poliness, Jen Valender, Chaohui Xie, Yusi Zang Curated by Simon Lawrie
This project has been assisted by the Australian Government through the Festivals Australia program, Regional Arts Fund, Visit Victoria, and Surf Coast Events. Lorne Sculpture Biennale acknowledges the Gadubanud of the Eastern Maar Peoples as the traditional custodians of the land on which we exhibit. We pay respect to their Elders past and present.
www.lornesculpture.com lornesculpture.com
Araluen Arts Centre 24 April 15 June 2025
24 April 15 June 2025
ARCHIBALD PRIZE 2024
Packing Room Prize 2024 winner, Matt Adnate Rhythms of heritage (detail) © the artist araluenartscentre.nt.gov.au
The Artists of the National Library of Australia series showcases the Library’s extensive pictures collection. Each of the four volumes feature over 60 striking images by the artist, including some of their most iconic works. Images: Ellis Rowan, Pandorea pandorana (Andrews) Steenis, family Bignoniaceae, c.1892, nla.obj-138818866; Wolfgang Sievers, [People walking down the front steps of the] Savoy Plaza Hotel [at night], Spencer Street, Melbourne, Victoria, 1965, nla.obj-161030937; Harold Cazneaux, Pergola pattern, 1931, nla.obj-140189575; Olive Cotton, Seed head, nla.obj-136353607.
library.gov.au
hbrg.com.au
deakin.edu.au
samuseum.sa.gov.au
TIME AND PLACE BRUCE MUNRO Saturday 1 March – Sunday 4 May Mildura Arts Centre Time and Place is a physical visualisation of how we recall and often interpret memories and moments. The works in this exhibition have been developed and inspired by Munro’s travels to Mildura. Munro’s Trail of Lights opens in Mildura in April 2025.
Image: 34° 6’ 40.22” S 141° 54’ 31.23” Time and Place: Murray River, Australia, 12th October 2019 © Bruce Munro. Paper, Photographic dots and frame.
milduraartscentre.com.au milduraartscentre.com.au
17 NOVEMBER 2024 – 30 MARCH 2025 mhm.org.au/underground mhm.org.au/underground
MARTYN THOMPSON HISTORY: THE PARAPHERNALIA OF MY INTERIOR LIFE Now showing at Canberra Glassworks 16 Jan to 23 Mar 2025
open Wed to Sun 10am to 4pm 11 Wentworth Ave Kingston ACT 2604 w canberraglassworks.com t 02 6260 7005
Courtesy of Martyn Thompson
Tom Fereday + Katie-Ann Houghton
Aidan Hartshorn
Will Lynes + Bronte Cormican-Jones
3 Apr to 8 Jun 2025
19 Jun to 10 Aug 2025
21 Aug to 26 Oct 2025
canberraglassworks.com
CO
S ER
MISSION M
CIR
Art Guide FPA.indd 2
Artwork: Shannon Toth Desire Production 2025.
CLE
ima.org.au
12/2/25 10:00 am
lintonandkay.com.au
The Tom Malone Glass Art Prize 2024
Sabrina Dowling-Giudici, ‘Phyto’ 2024, Frit wafer alternating clear and crystal opal, vitrigraph formed murine inserts, hand cut chips, multiple firing, sand blasted and soft Dremel ground, photo Anton Blume.
6–30 March Winner announced 6 March Cottesloe
Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au
Finalists: Laurel Kohut, Denise Pepper, Erin Conron, Drew Spangenberg, Scott Chaseling, Jason Sims, Nick Mount, Jeffrey Sarmiento, Rita Kellaway, Eliana Della Flora, Mel Douglas, Sabrina Dowling- Giudici, Jessica Loughlin, Kevin Gordon, Jessica Murtagh, Brenda Page, Gabriella Bisetto
West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au
Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au
lintonandkay.com.au
Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au
Tensile Connections onespace.com.au @onespace_au
7 March - 5 April 2025
25A Bouquet St South Brisbane Q 4101 Australia
Sonja Carmichael Elisa Jane Carmichael Niloufar Lovegrove Elysha Rei
07 3846 0642 info@onespace.com.au Elysha Rei, Swamp cypress bonsai (detail), 2022, hand cut polymer paper, 100 x 70cm. Image: Louis Lim. Courtesy of the artist and The Condensery.
onespace.com.au
Ken Done (b. 1940) Chinamans in Summer 1987, oil on canvas, 104 x 182 cm. Courtesy of Ken Done Gallery
rmoa.com.au
Wollongong Art Gallery New 2025 program Karla Dickens: Rise and Fall 15 March – 1 June Seeing Things 22 March – 3 August Teo Treloar: A Void A Maze 5 April – 29 June Patrick Pound: Dream Vitrine 17 May – 16 November Greetings from Wollongong 14 June – 31 August Adriana Māhanga Lear Fafangu: To Awaken 5 July – 7 September Mitch Cairns: Restless Legs 6 September – 30 November Wollongong Art Prize 6 December 2025 – 1 March 2026 Free entry to every exhibition. Come See. Image: Karla Dickens, Rise and Fall, 2024 (detail), c-type photograph. Courtesy of the artist and STATION.
Find out more at wollongongartgallery.au Open Tues–Fri 10am–5pm, weekends 12-4pm 46 Burelli St, Wollongong
wollongongartgallery.au
ipswichartgallery.qld.gov.au
ANDRÉ PIGUET 22 MARCH – 26 APRIL 2025 STATION I SYDNEY
— GADIGAL / SYDNEY 91 CAMPBELL STREET SURRY HILLS NEW SOUTH WALES 2010 AUSTRALIA P: +61 2 9055 4688 NAARM / MELBOURNE 9 ELLIS STREET SOUTH YARRA VICTORIA 3141 AUSTRALIA P: +61 3 9826 2470 — POST@STATIONGALLERY.COM STATIONGALLERY.COM
stationgallery.com
artbyfarquhar.com.au
6TH TAMWORTH TEXTILE TRIENNIAL EXPRESSIONS OF INTEREST Opens: 10am, Wed 5 March 2025 Closes: 5pm, Mon 5 May 2025 The 6th Tamworth Textile Triennial will launch in 2026 at Tamworth Regional Gallery before embarking on a two-year tour across Australia. Curated by artist Blake Griffiths, this prestigious exhibition invites Expressions of Interest from both emerging and established artists looking to showcase their textile-based artworks.
Visit: tamworth.nsw.gov.au/6th-triennial
Liz Williamson (1949-2024), Shadows of the wardrobe (Detail), 2011 and 2023
tamworthregionalgallery.com.au/6th-triennial
For the first time, 9 ancestral woven objects, held in the Australian Museum collection, will return to Country. These historic pieces will stand alongside newly commissioned works by contemporary Bundjalung, Yaegl, Gumbaynggirr, and Kamilaroi (Gamilaroi) artists, who have drawn from their great grandmothers’ wisdom to breathe new life into ancient weaving traditions.
TWEED REGIONAL GALLERY 22 February – 27 April 2025
An Arts Northern Rivers touring exhibition. This project was made possible by the Indigenous Visual Arts Industry Support Program, the NSW Government through Create NSW, the Dobell Exhibition Grant Program, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW, and the Australian Government Regional Arts Fund.
The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.
Open Wed – Sun | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |
gallery.tweed.nsw.gov.au
tweedregionalgallery
30 August – 23 November 2025
Image: 2023 Award Winner Zoë VENESS I Wreath 2023 I Neckpiece: archival paper, stainless-steel cable, sterling-silver tubing 42 x 42 x 4cm I Toowoomba Regional Art Gallery – Toowoomba City Collection 2417 I Purchased 2023 with funds donated by Toowoomba Gallery Society Inc., 2018. I © Zoë Veness
tr.qld.gov.au/trag
Entries close 2 May 2025 To enter -www.tr.qld.gov.au/trag 2025 Awards are: Excellence Award
$6000
Innovation Award
$4000
Student Award
$2000
Selected works are eligible for acquisition by Toowoomba Regional Art Gallery.
Toowoomba Regional Art Gallery 531 Ruthven Street, Toowoomba QLD 4350. P 07 4688 6652 E art@tr.qld.gov.au W www.tr.qld.gov.au/trag I FREE ENTRY Gallery opening hours are available on the website.
TRC_0225_National_Art_Journal
Contemporary Wearables Biennial Jewellery Award and Exhibition is proudly supported by Toowoomba Regional Council, Haymans Electrical and Queensland Art Gallery | Gallery of Modern Art
thehiveoceangrove.com.au
thehiveoceangrove.com.au
Personal Interweaver, Carbon_Dating Project Team, 2022, mixed media interactive sculpture: video, audio, grass card provocations, timber, glass, acrylic, mirror, digital frame, pen, grass seed, metal, headphones. Video and tech design Image: Personal Interweaver, Carbon_Dating Project Team by Keith Armstrong, sound design by Luke Lickfold, Grass Card provocations by Daniele Constance, object design interactive sculpture: video, audio, grass card provocations and construction by donna davis. Photograph by donna davis
mirror, digital frame, pen, grass seed, metal, headphones. Vid Keith Armstrong, sound design by Luke Lickfold, Grass Card Constance, object design and construction by donna davis. Pho
m, 2022, mixed media s, timber, glass, acrylic, deo and tech design by provocations by Daniele otograph by donna davis
Carbon_Dating presents and shares knowledge and stories and incorporates various contemporary art forms responding to Queensland Indigenous grasses. The artists present multiple mediums, including sculpture, weaving, textiles, photography, new media, film and performance-related artworks. Featuring Artists: Keith Armstrong, Liz Capelin, Daniele Constance, Hilary Coulter, donna davis, Merinda Davis, Mia Hacker, Andrea Higgins, Luke Lickford, Jason Murphy, Kilagi Nielsen, Sasha Parlett, Melissa Stannard, Delissa Walker and Pipier Weller.
Opening Event & Artist Forum Saturday, March 15, 9.30am Featuring artists Keith Armstrong, donna davis, Koa artist and co-curator Jo-Anne Driessens, grazier and environmental advocate Jody Brown and the Lake Eyre Basin Rangers.
Entry is free, RSVPs are essential for the launch & Saturday program: info@qfom.com.au or call 07 4658 3737
QANTAS FOUNDERS MUSEUM Sir Hudson Fysh Drive, Longreach QLD Phone: 07 4658 3737 www.qfom.com.au qfom.com.au
New Releases
Vivienne Binns: On and through the Surface
Collective Movements: First Nations Collectives, Collaborations and Creative Practices from Across Australia
Retain, Repair, Reinvest: Ascot Vale Estate Volume 1
Imagining a Real Australia Stephen Zagala
Yhonnie Scarce: The Light of Day
Auto-Photo: A Life in Portraits
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A–Z Exhibitions
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MARCH/APRIL 2025
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ACAE Gallery
Ararat Gallery TAMA
www.acaearts.com.au
www.araratgallerytama.com.au
Wurundjeri Country, Australasian Cultural Arts Exchange, 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information.
82 Vincent Street, Djab Wurrung Country, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm.
ACAE Gallery is a cultural venture presenting artworks and exhibitions by contemporary Australian and Asian artists. Our bilingual service, delivered in English and Mandarin, offers access to a range of artworks and public programs.
Alcaston Gallery www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thu 12pm–6pm or by appointment. See our website for latest information. Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.
Fernando do Campo, Escarapela Capricorniana (Amparo), 2024, acrylic on canvas, school uniforms and Surf Live Saving uniforms, lanyards, metal medals, thread, plywood. Courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney. Photograph: Shan Turner-Carroll. Until 22 June Siblings Fernando do Campo
Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Wathaurong Country, Ballarat, VIC 3350 [Map 1] 03 5320 5858
tribute to another introduced plant to the Australian landscape, the lotus, and reflects upon its significance to First Nations communities. In her video Lee steps through the preparation and cooking of lotus root or “gwoyarr-ma” in the language of the Gulumerridjin (Larrakia) people. In the billabongs and fresh waterways of northern Australia the lotus flower grows side by side with native lilies, as living proof of historical trade relationships with Southeast Asia via seafaring Makasar traders. The edible roots of the lotus are a staple source of nourishment, along with other parts of the plant including stem and seeds. gwoyarr-ma is presented with thanks to the artist and MARS Gallery, Melbourne. The 2025 Art Screen program has been devised by guest curator Madeleine Sherburn. 15 March—15 June Next Gen 2025 Discover the issues, ideas and causes that are inspiring our next generation of young artists. Next Gen 2025 showcases some of the best of the work created by students from Government, Catholic and Independent schools from Ballarat, and the South Western Victorian region in 2024. The work represented is by students who have just completed VCE studies in: Art Creative Practice, Art Making and Exhibiting, Media, Visual Communication Design, Product Design and Technology, and students who have created design or art projects as part of the VCE Vocational Major (formerly VCAL). This annual showcase of VCE artworks gives Gallery visitors insights into the world of young people today by showing extraordinary works which reveal their vision, ideas and skills. Next Gen 2025 will be on show at the Art Gallery of Ballarat’s new offsite space, Backspace Gallery, at 43 Mair St, Ballarat.
Artbank Melbourne www.artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Fri, 10am–4pm or by appointment for all leasing requirements.
Jenna Lee. Until 31 March gwoyarr-ma Jenna Lee Presented on Art Screen to coincide with Ballarat’s annual Begonia Festival, Jenna Lee’s gwoyarr-ma 2023 pays 132
Tomislav Nikolic, Love, 2007-08 from the series YOU …, synthetic polymer paint and marble dust on paper. Artbank Collection, purchased 2008.
VICTORIA 20 February—18 April Love, yellow
Artpuff
Love, yellow presents a selection of works from the Artbank Collection which explore the tonal range of a singular colour and the impact colour has in shaping our perception. Inspired by Tomsilav Nikolic’s Love, a bright yellow monochromatic work on paper that is part of a series of works, each titled according to the artists ‘individual and subjective approach to colour’s effect’. This work both introduces and summarises the exhibition and the relationship between art and the viewer and our own personal observation, based on colour.
www.artpuff.com.au
ARC ONE Gallery www.arcone.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm. See our website for latest information.
Adele Wilkes, Soft Fascination, (detail), 2024.
Dja Dja Wurrung Country, Studio 38, The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm. Open public holidays. See our website for latest information.
is a digital installation incorporating audio-visual field recordings of a uniquely fascinating sub-tropical garden ecology to consider non-human intelligence, synaesthesia, multisensory experiences, and deep listening practices. The use of specialised recording equipment (such as microphones that can record the internal resonance of trees or water) allows us to perceive this world beyond the limitations of our ordinary abilities, expanding our senses to enhance our ecological connectedness, empathy, attention, and even devotion towards the nonhuman.
Melissa Proposch, She’s nervous on backroads, 2025, (from the series The Unforeseen, 1-11), photocopy transfer on board, 20 cm rondel.
5 March—12 April Crystalline Echoes Cyrus Tang
Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Photo: Max Mackinnon .Courtesy Kaylene Whiskey and Iwantja Arts. 24 March–18 May Between the Details: Video Art from the ACMI Collection Kaylene Whiskey, Jason Phu, Deborah Kelly, Zanny Begg, David Rosetzky and Christian Thompson
20 March—6 April Everything You Need to Know About The Unforeseen Melissa Proposch Opening celebration Friday 21 March, 5pm–7pm. 10 April—27 April Further Fauxfacts Ingmar Apinis Opening celebration Friday 11 April, 5pm–7pm.
Showcasing six moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program. Robert Owen, Study for Gleam from the Iris series, 1991-2024, synthetic polymer paint on canvas, 61 x 61 cm. 16 April—31 May Re-Vision Robert Owen
ArtSpace at Realm www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. See our website for latest information. Until 9 March Soft Fascination Adele Wilkes Soft Fascination by artist Adele Wilkes
Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. By remixing or rearranging footage they build different rhythms and moods, create hilarious juxtapositions or shed new light on cultural cliches and presumed histories. The works in this exhibition all demonstrate an irrepressible desire to bring deep themes to the surface with humour and an incredible attention to detail. ACMI’s collection has a rich, 75-year history from its inception as the State Film Centre in 1946. Since its incarnation as ACMI in the early 2000s, the collection has expanded to include artworks and experimental film. ACMI now holds a significant archive of complex, time-based media works and videogames, as well as an ever-expanding repository of digitised content and born-digital material. This is an ACMI touring exhibition.
Martin Lee, Blue Moonlite, Giclée print on cotton rag, 56.5 x 73.5 cm framed, 42 x 59.4 cm unframed. Limited edition of 5. 10 April—27 April Moonlite makes Camp Martin Lee Opening celebration Friday 11 April, 5pm–7pm. 133
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Arts Project Australia www.artsproject.org.au Wurundjeri Country, Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm. Arts Project Australia is a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice. For 50 years, we have been recognised and celebrated for the quality of the work produced by the artists in our studio which is exhibited in our gallery and around the world and represented in multiple public and private collections.
Izabela Pluta, Ocean Current 1, 2019, (detail). Courtesy the artist and Gallery Sally Dan Cuthbert, Sydney. Practices Research Network, Jack Green, Alicia Frankovich, Francis Carmody, Mel O’Callaghan, Tita Salina and Irwan Ahmett, Megan Cope and Brooke Wandin, Brett Graham, Izabela Pluta, Emilija Škarnulytė, Sorawit Songsataya. Curator, Shelley McSpedden . The Charge That Binds celebrates the dynamism, vitality and power of natural phenomena and the more-than human world, reminding us of what is at stake at a time of ecological emergency.
Samraing Chea, Pods Over the Water, 2023. Pencil on paper, 19 x 28 cm. 22 March – 26 April Metropolis Mia Boe, Michael Camakaris, Samraing Chea, Diena Georgetti, Jordan Halsall, Matthew Harris, Lei Lei Kung, SammiJo Matta, Steven Perrette, Gavin Porter, Cathy Staughton, Darren Sylvester, and Terry Williams. The future city—a speculative urban metropolis shaped by science and technology—was a widely explored theme during the twentieth century. However, very few of these megacities ever came to fruition, and even fewer of those realised models were successful. Although certain elements of the metropolis did come to fruition and continue into the current day. Looking back upon the concept of the future city, there are numerous disconnects between what was proposed and what came to be.
Australian Centre for Contemporary Art (ACCA) www.acca.melbourne Wurundjeri Woi-wurrung Country, 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm. Until 16 March The Charge That Binds Zheng Bo, Climate Aware Creative 134
The Charge That Binds adopts a collective curatorial model, with oversight from a curatorial advisory group including Dr Michelle Antoinette, academic and lecturer in Modern and Contemporary Asian Art, Monash University; Professor Brian Martin, artist and Director of Wominjeka Djeembana Indigenous Research Lab; Professor Peta Rake, Director of University of Queensland Art Museum; and Professor Naomi Stead, Director of the Design and Creative Practice Enabling Capability Platform, RMIT University.
and multisensory experience of film beyond vision. The exhibition continues Stefanou’s interest in the voice as medium; co-creative collaboration, communal gathering and breaking bread; and solidary between humans and animals. Her work is also known to challenge institutions of power and capitalism, embedding the commons – from the planetary to the everyday – and her diasporic, working-class ethic within her work and practice. Tina Stefanou is a Greek-Australian visual artist, performer, researcher, and filmmaker. With a background as a vocalist, she works undisciplined, with and across a diverse range of mediums, practices, approaches and labours: an embodied practice that she calls voice in the expanded field. Stefanou has performed, presented, published and exhibited locally and internationally including most recently in the 2023 Melbourne Now exhibition at the National Gallery of Victoria and the 2024 Adelaide Biennial of Contemporary Art. Stefanou was the recipient of the 68th Blake Prize (Emerging Artist Category) and is a PhD candidate in Fine Arts at the Victorian College of the Arts, University of Melbourne.
Australian Galleries www.australiangalleries.com.au 28 & 35 Derby Street, Woiwurung Country, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm. See our website for latest information.
Tina Stefanou, You Can’t See Speed, (still) 2025, commissioned by Australian Centre for Contemporary Art. Courtesy the artist. 4 April—9 June You Can’t See Speed Tina Stefanou A major solo exhibition by GreekAustralian artist Tina Stefanou, You Can’t See Speed features a new collaborative commission with blind motorcycle mechanic and rider Matthew Cassar, and surveys the artists’ diverse interests in experimental forms of performance, film, sculpture, ethnographic research and socially engaged practice. Continuing ACCA’s history of highlighting Australian artists at critical moments in their practice, Tina Stefanou: You Can’t See Speed attends to the interconnected
John Anderson, Slice of Life, 2025, oil on linen, 50 x 40 cm. 4 March—22 March John Anderson 4 March—22 March Graham Fransella 4 March—22 March Rodney Forbes and Glenn Morgan 1 April—26 April Wayne Viney
VICTORIA
Australian Tapestry Workshop (ATW) www.austapestry.com.au Wurundjeri and Bunurong Country, 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm. The Australian Tapestry Workshop produce handwoven tapestries designed by contemporary artists. Our open studio space, bespoke dye lab and galleries are a creative hub for engagement with tapestry, textiles and contemporary art.
Hugh Foster, Coastal Flora Beaumaris, watercolour, 80 x 61 cm. Courtesy of the artist. Australia and Flinders Ranges, including studies of Melbourne’s Bayside coast.
Sam Octigan. 24 April—18 May Sam Octigan
Bayside Gallery www.bayside.vic.gov.au/gallery Boonwurrung Country, Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm.
Amy Martin, Cake, 2024, collagraph, ed. 1 of 2, 30 x 42 cm. Courtesy of Bayley Arts. 9 April—23 April Around the table A group exhibition celebrating food and community. The exhibition coincides with the launch of the Bayley Arts cookbook project.
Hannah Hall, Spark, 2024, cotton, ceriops bark dye, recycled glass beads and thread, 61 x 45.5 cm. 13 February—24 May Slow Colour Katja Beckman Ojala (SWE), Hannah Hall (VIC), Shao Chi Lin (CAN), Jahnne Pasco-White (NSW), Yolanda Scholz Vinall (VIC), Jessika Spencer (Wiradjuri), Yoko Ozawa (VIC)
Backwoods Gallery www.backwoods.gallery Level 1, 25 Easey Street, Collingwood, VIC 3066 [Map 3] 03 9041 3606 Thu to Sun 12noon–6pm. See our website for latest information.
Bayley Arts www.bayleyarts.com.au
Bayside Gallery will be closed until 9 May due to building works, and reopening with the Bayside Painting Prize.
Beechworth Contemporary Artspace www.beechworthcontemporary.com.au 89 Ford Street, Beechworth, VIC 3747 [Map 4] 0421 072 098 Fri to Mon 10am–4pm or by appointment. Beechworth Contemporary Art Space is an independent commercial gallery exhibiting an eclectic variety of art and design primarily created in Regional Victoria and NSW border towns on the lands of the Wavaroo, Dhudhuroa, Yorta Yorta and Wiradjuri Peoples. Group collections and solo exhibitions are carefully curated by owner/artist and Beechworth local Nina Machielse Hunt.
Bunurong Country, 1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 9am–4pm, Sat by appointment. Closed public holidays. See our website for latest information. 15 March—25 March Hugh Foster: An Artists Journey Bayley Arts is delighted to feature watercolours by local artist Hugh Foster spanning the artist’s career. The exhibition follows Foster’s personal journey from discovering his passion for water colour to seeking the rich ochres and enduring beauty of the Australian bush. Inspired by artists Albert Namatjira and David Taylor, the exhibition documents the artists travels to the Pilbara, Central
Benjamin Knock. 12 March—13 April Senectus Tempus Benjamin Knock
Photo of Katheryn Leopoldseder by Sarah Purcell. 135
ar t g ui d e .c o m . au Beechworth Contemporary continued... 11 April—12 May LINK: Contemporary Jewellery Design This dynamic exhibition presents work by Katheryn Leopoldseder, Sally Howes, Marcus Foley, Dr Jan Donaldson, Robyn Barrow and Taro IIyama.
28 February—27 April Simeon Ayres: A Cartography of the Heart country… a courtship of belonging
Each of the exhibiting artists have developed a unique approach to jewellery design through the use of traditional and non- traditional jewellery materials.
Simeon Ayres’ practice is defined by landscapes that are aerial, map-like in perspective, while also encompassing more traditional and pictorial depictions. His work is an attempt to understand the animate world – a world that he sees as both alive and intelligent. He looks for the landscape’s hidden voice, its language, its liminality and its magic.
LINK will invite audiences to reconsider what jewellery and wearable art is and can be.
7 March—23 March SHOWCASE: 2024 Art and Design student exhibition
Benalla Art Gallery
The artistic talents of Benalla and North East Victorian senior Art and Design students are celebrated as part of the annual SHOWCASE exhibition.
www.benallaartgallery.com.au Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 Wed to Mon 10am–5pm, closed Tue.
www.brunswickstreetgallery. com.au Wurundjeri Woi-wurrung Country, 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sat 10am–5pm, Sunday 11am–4pm.
14 March—10 April Felicity Pasztaleniec: Nature’s Everlastings – A journey through dried florals Felicity Pasztaleniec showcases a selection of dried flower and foliage wall hangings, bespoke wreaths and floral feature pieces in the Gallery Shop throughout March and April. Focusing particularly on Australian native plants, all items prioritise environmental consciousness by using materials that are reusable, recyclable, or compostable.
Bendigo Art Gallery www.bendigoartgallery.com.au
Yvonne Audette, Harbour lights, Cantata series 1968-69, oil on composition board 75.4 x 90.9 cm. Gift of Yvonne Audette, 2005. Benalla Art Gallery Collection © Yvonne Audette / Copyright Agency 2022.
Brunswick Street Gallery
42 View Street, Djadjawurung Country, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. See our website for latest information.
TEO, Firm Feet, Solid Ground, 2024, synthetic polymer, pastel, recycled raw cotton, 32 x 24 cm. 6 March—23 March Opening event, Friday 7 March, 6pm–8pm. The Sense of a Landscape Carsten Segerlund Frederiksen Free Spirit, Trauma, and Economy Aden Senycia Tread Softly, This Earthen Place TEO
14 June 2024—29 June Nocturne: Benalla Art Gallery Collection
Australian Altitude Peter Harlow
Spanning all media, this exhibition explores multiple interpretations of the theme ‘nocturne’, specifically focussing on the scenes, sounds, and movements ‘of the night’.
What We Might Indiana Williams Instant Relief: The Power of Two Printmakers Kirstin Lowe & Natasha Davis Belonging Daniel Pap
Frida Kahlo in blue satin blouse, 1939, photograph by Nickolas Muray. © Nickolas Muray Photo Archives.
Simeon Ayres, Storm Country, the Source of the Sevens Creek,2024, ink and watercolour on paper. 136
15 March—13 July Frida Kahlo: In her own image
Isobel Kingswell, Escapee, 2024, oil on linen, 91 x 122 x 40 cm.
VICTORIA 27 March—13 April Opening event, Friday 14 April, 6pm–8pm. The Infinite Between Shannon Syme We See Eye to Eye Ponce A Delph Some place better than this Annie Forster Man Dancing In An Emu Mask And One Blue Stocking Brendan Parkes Read between the lines Sarah Stewart
Until 9 March FROCK A WHANAUNGATANGA May our Frock, greet your Frock Pacific Sisters Immerse yourself in Pacific kinship, ritual, and activism with the Pacific Sisters through vibrant art and workshops. Experience a Pasifika catwalk and lounge honouring Moana Peoples arts practice, showcasing intricate handmade garments, treasured cultural items from the collection of Museums Victoria and a series of public adornment workshops, sure to leave you feeling fierce and fabulous! Nau mai haere mai!
Alanah Ellen Brand, Amber-rose Hulme, Dagmar Cyrulla, Emma Jennings, Jac Grantford, Janne Kearney, Liz Gridley, Lee Machelak, Sarah Anthony, and Vicki Sullivan, as well as Kathrin Longhurst, Kelly Maree, Yvonne East, and Desiree Crossing.
Sunkissed Shores: A Colour filled Journey Ira Mitchell Translate Isobel Kingswell
Bundoora Homestead Art Centre www.arts.darebin.vic.gov.au/ bundoorahomestead
22—23 March, 10am to 5pm 29—30 March, 10am to 5pm Dandenong Ranges Open Studios 2025
Woiwurung Country, 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Fri 11am–4pm, Sat 10am–4pm.
The Netherlands, Flowerpiece, late 17th century, oil on canvas, 70.4 x 54.6 cm. National Gallery of Victoria, Melbourne. Gift of Mr Norton E. Grimwade in memory of his wife Mrs Norton E. Grimwade, 1945.
Immerse yourself in the vibrant art scene of the Dandenong Ranges during Open Studios weekends. Step inside the creative sanctuaries of over 42 talented artists and witness the magic of art-making through workshops, demonstrations, and special events. Explore the picturesque landscapes and charming mountain villages while discovering one-of-a-kind artworks available for purchase directly from the creators. .
29 March—20 July Floribunda A1 Darebin Art Salon opening event, 2023. Photograph: Keelan O’Hehir. 1 March—24 May A1 Darebin Art Salon 2025
Bunjil Place Gallery www.bunjilplace.com.au Bunurong/Boonwurrung Country, 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm.
Floribunda is a major partnership between the National Gallery of Victoria and Bunjil Place. Latin for many-flowering, and a hybrid of ‘flower’ and ‘abundance’, Floribunda is an intoxic ating larger-thanlife mashup of floral imagery, design and motif drawn exclusively from the NGV Collection. Through its ‘Wunderkammer’ style of display, this exhibition celebrates and reimagines the nature and significance of one of Australia’s most important collections.
Burrinja www.burrinja.org.au Cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sun 10am–4pm. 1 February—9 March Women Painting Women
Pacific Sisters, FROCK A WHANAUNGATANGA, installation view, Bunjil Place Gallery, 2024. Photograph: Christian Capurro.
Women Painting Women is a major exhibition that celebrates realist portraiture painting. This fourth instalment features award-winning female painters from Victoria, New South Wales and Western Australia, including
Wade Keighley, A Lo Maximo, 2024, acrylic and posca on canvas. 29 March—11 May Outside of Me Leticia Hodson and Wade Keighley This exhibition by mother and son, Leticia Hodson and Wade Keighley, represent a significant time in their relationship where the parent steps back while their child’s unique artistic voice steps forward. Wade (13yo) was born with Down syndrome and works intuitively and expressively in contrast to Leticia’s narrative portraiture of her son at work. 137
An Artback NT exhibition
ceramics from the central desert Touring Nationally
Central Goldfields Art Gallery Maryborough VIC 22 February 2025 - 22 June 2025 Bunbury Regional Art Gallery WA 6 September 2025 –18 January 2026 Geraldton Regional Art Gallery WA 7 February - 5 April 2026 Devonport Regional Gallery TAS 29 May 2026 – 25 July 2026 Midpul Art Gallery at Charles Darwin University 07 October 2026 – 3 February 2027
This project has been assisted by the Australian Government's Visions of Australia program.
artbacknt.com.au
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VICTORIA
Buxton Contemporary
Cascade Art Gallery
www.buxtoncontemporary.com
www.cascadeart.com.au
Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information.
Dja Dja Wurrung Country, The Church, 1A Fountain Street, Maldon, VIC 3463 [Map 1] 0408 844 152 Thu to Sun 10am–5pm. Open public holidays and by appointment.
Caelene Nee Glen Art Advisory and Gallery
10 April—4 May This Place Gabrielle Martin Painting exhibition by celebrated artist, Gabrielle Martin. Several portraits included alongside reflective paintings of the artists local environment. These paintings are sustained meditations on place and connection.
Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm.
www.caeleneneeglen.com Bunurong Country, 143 Martin Street, Brighton, VIC 3186 0437 776 903 Tue to Fri 11am–6pm, Sat 10am–5pm, See our website for latest information. Art collection services for individuals, businesses and corporate spaces. Beautiful Brighton gallery space available to hire as event space with catering and beverage packages: suit private social events, acoustic recitals, small weddings and corporate presentations. John Wlseley, Treecreepers of the Banyena River, Ed: 30 varied, 2024, etching with watercolour and woodcut and Chine-collé, 47 x 35.5 cm. Images Courtesy: Ian Hill – Photographer. 6 March—6 April The Magnificent Return of Bilbies, Bettongs and Hare Wallabies to Newhaven— New Prints and Paintings John Wolseley Wolseley uses a myriad of printing processes to explore the ‘deep dwellings’ and habitat of Australia’s unique native creatures – bilbies, bettongs, tree creepers and a plethora of insects and flora.
Ron Robertson-Swann, Rising Green, 1970, acrylic on linen, 304.5 x 248 cm. 11 March—29 March Ron Robertson-Swann: Illusion and Gravity – 1960s and 70s painting and sculpture from the artist’s collection
Ellie Young, Stanczyk, handcrafted four-colour carbon transfer photograph. 13 March—30 March Harlequinade Solo show by Ellie Young Opening celebration Thursday 13 March, 6pm–8pm. All welcome. 3 April—19 April Metal Elemental series exhibition group show. Opening celebration Thursday 3 April, 6pm–8pm. All welcome. Select Saturdays during 2025 Cultural immersion dinner parties with Meishan. Photography exhibition, four-course vegan dining, organic tea tasting, guqin performance. Enquire with Caelene now to book your seat at the table. Artists, applications are now open for the 2025/26 exhibition program, for details and applications see: caeleneneeglen.com.au/apply.
Gabrielle Martin, Railway Embankment with Blackwood Thicket, 2024, oil on linen, 76.5 x 56 cm. Images courtesy: Ian Hill – Photographer.
Yvonne Audette, Fixed Point, 1972, oil on plywood, 120.5 x 85.5 cm. 5 April—26 April Yvonne Audette 139
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Convent Gallery, Daylesford www.conventgallery.com.au Djadjawurung Country, 7 Daly Street, Daylesford, VIC 3460 [Map 1] 03 5348 3211 Thu to Mon, 10am–4pm. 6 February—31 March Angeline Bartholomeusz Angeline is a self-taught artist. After a successful career as a scientist, Angeline took up art in 2012. Artwork for Angeline is painting snapshots of memories and trying to evoke memories and emotion in others. From the start, Angeline chose to paint on a dark burnt umber background, which becomes an integral part of the painting and a distinctive colour palette for her artwork.
Lucia Dohrmann, 48 Overlapping Circles – Warp, 2025. Photograph: Claire Armstrong.
Cecilia Sordi Campos, Alegria # 8, 2024, mixed media, dimensions variable. © Cecilia Sordi Campos. that examines how we understand, experience and cultivate joy in our everyday lives, the way that this transforms with different stages of womanhood and experiences of ecstatic connection with the human and the more-than-human world of nature. Alongside our examination of joy is the exploration of its intersection with pleasure. More specifically, the action of reclaiming pleasure as a way of challenging wrongful stereotypes of womanhood and creating freedom and space for joy to happen.
Brian Nash, acrylic on canvas. 6 February—31 March Brian Nash Beloved local artist is back at The Convent after sell-out shows in 2022 and 2024. Brian Nash, born in Melbourne, is a self-taught artist. He has been painting professionally since the early 70’s. Since moving to Daylesford in 2000 Brian has found much inspiration in many subjects of the region including such icons as: The Convent gallery, The Boathouse, Lake Daylesford, Jubilee Lake and many other buildings of note. The beautiful landscapes, filled with that very special light, also regularly appear in his works.
correspondences
At the heart of the project is a proposition. Joy is a form of resistance —an action, practice or method of being cultivated in search of a greater purpose, entangled with others and the natural world, and often, but not always, brought into focus by what we have suffered. Presented in three parts, Inciting Joy features the music, performance and community-singing practice of Samoan/ Indian future soul artist Tiana Khasi and the video, poetry and mixed-media works of Brazilian visual artist, writer and researcher Cecilia Sordi Campos. Alongside the exhibitions, communitymaking and a range of events are planned. For further information, visit our website.
Craft Victoria
www.correspondences.work
www.craft.org.au
Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Wed, Thu, Fri & Sat 10am–5pm Mon/Tues by appoint. Open late one Friday each month until 8.30 pm. Closed public holidays.
Wurundjeri Country, Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.
2 March—31 May Inciting Joy Featuring Cecilia Sordi Campos and Tiana Khasi Inciting Joy is a collaborative residency 140
15 March—3 May Old School Lucia Dohrmann, Marta Figueiredo, Inari Kiuru, Camille Laddawan, Aunty Glenda Nicholls (Wadi Wadi, Yorta Yorta, Ngarrindgeri), Danielle Thiris
Old School is a contemporary response to the heritage and legacies of craft practice, featuring the work of six diverse practitioners. This exhibition supports artist-led research and inquiry referencing the past and a wide range of inspiration – from personal heritage and traditions to visual material, and the transfer of knowledge and skills. Each artist’s engagement with history and approach to their chosen medium is unique, offering valuable insights into their individual journeys as skilled makers and storytellers. Accompanying the exhibition will be a curated ‘Reading Room’ drawn from Craft’s Library archive. 6 March—26 April Trees and Animals Stephen Benwell and Raphy Trees and Animals features the works of Victorian-based ceramic sculptural artists Stephen Benwell and Raphy. This exhibition is an exploration of form, using trees and animals as experimental subjects. A series of Benwell’s iconic tree sculptures are accompanied by a variety of animal sculptures created by Raphy. Together, their works weave a narrative of interdependence between the strong, sturdy and reliable tree and the wild, unpredictable and playful animal.
Deakin University Art Gallery www.deakin.edu.au/art-collection Wurundjeri Country Melbourne Burwood Library, Building V, 221 Burwood Hwy, Burwood, VIC 3125 [Map 4] Visit deakin.edu.au/library for library opening times. Visit deakin.be/artgallery for latest information. 12 February—4 April 50 Years of Collecting This survey of the University’s Art Collection has been compiled in celebration of Deakin University’s 50 year anniversary. The exhibition takes audiences on a journey through our 50 years of collecting. Pieces are displayed marking significant milestones alongside new acquisitions,
VICTORIA a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique style using traditional and contemporary methods.
Deanne Gilson, Karringalabil Bundjil Murrup, Manna Gum Tree (The Creation, Tree of Knowledge), 2020, ochre and acrylic on linen, 90 x 100 x 3cm. Deakin University, Art Collection, Purchase, 2021. Image © copyright and, courtesy of the artist. allowing visitors to explore not only the collection’s origins, but also its ongoing development and reflect on the shifting trends in contemporary Australian art.
D’Lan Contemporary www.dlancontemporary.com.au 40 Exhibition Street, Melbourne/ Naarm, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.
each piece is unique, but each is alike: carefully conceived, beautifully crafted and sincerely passed on.”
East Gippsland Art Gallery www.eastgippslandartgallery. org.au GunaiKurnai Country, 2 Nicholson Street, Bairnsdale, VIC 3875 [Map 1] 03 5153 1988 Tue to Fri 10am–4pm, Sat 10am–2pm, closed public holidays. Free admission.
Fibre exhibition installation. Until 20 March Fibre Fibre showcases the diverse artistic expressions of First Nations artists from the City of Greater Bendigo region. These artists blend traditional and non-traditional techniques, including cordage, coiling, traditional and contemporary weaving, and the storing and dyeing of plant fibres, to create unique fibre art pieces. Early April Our new exhibition is coming! More information via the website, visit djaadjuwima.com.au.
e.g.etal www.egetal.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, 150 Little Collins Street, Melbourne, VIC 3000 [Map 2] 03 9639 5111 Mon to Sat, 10am–5pm. Timothy Cook, born 1958 Tiwi language Kulama 2020, locally sourced ochres on linen 120 x 150 cm. © Timothy Cook/ Copyright Agency, 2025. 28 February—11 April Timothy Cook | Japarra amantiya Japilinga: Moon and Stars
Pip Hoy, Abandon, as in to indulge, (detail), 1728 hand-cut fabric dots on cotton fabric. 31 January—22 March Third International Art Textile Biennale ast Gippsland Art Gallery is proud to E host Fibre Arts Australia’s Third International Art Textile Biennale, a vibrant showcase of innovative artworks by 39 artists representing 10 countries. Fibre Arts Australia and its founder, Glenys Mann are committed to developing this significant award, and an original vision that art textile practitioners continue to expand, grow and inspire. The Third International Art Textile Biennale will travel throughout regional galleries for a season of 20 months.
Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au Bendigo Visitor Centre, 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–4.30pm, except Christmas Day. See our website for latest information. Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is
Pearl Ring #8 in 18ct Yellow Gold featuring a baroque, one-of-a-kind South Sea Pearl by Laura Eyles. e.g.etal is a Melbourne gallery that represents and supports Australia’s thriving contemporary jewellery design movement. Celebrating 25 years as a Victorian icon, e.g.etal maintains a passionate commitment to contemporary jewellery, bringing world-class jewellery design to collectors worldwide. At e.g.etal Linda Shaw, Visage, oil on canvas.
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Fusing influences of the art world with the poetics of fine jewellery making. Established 2007. blackfinch.com.au | @blackfinch_jewellery 142
blackfinch.com.au
VICTORIA East Gippsland Art Gallery continued... 28 March—3 May Visage Linda Shaw “Much of my work blurs the line between figuration and abstraction. I am very interested in what happens at that intersection.” - Linda Shaw, 2025. Special opening event 5.30 pm, Friday 28 March. All welcome. Free. 28 March—3 May Spirited Objects Kathy Luxford-Carr “Spirit within objects comes from the artist. It flows ethereally through their hands, by thought and senses. It seems to be taken in by the objects they make, paint or carve.” - Kathy Luxford-Carr, 2025. Special Opening Event 5.30 pm, Friday 28 March. All welcome. Free.
Everywhen Art www.everywhenart.com.au
works by Ernabella Arts’ Janice Stanley and a range of other women artists the McCullochs have written on and exhibited over many decades. 4 April—27 April At home with art Paintings, barks, ceramics and sculptures by First Nations artists from 6 regions.
Federation University Post Office Gallery www.federation.edu.au/pogallery Wadawurrung and Dja Dja Wurrung Country, Post Office Gallery, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 See our website for days/hours open, Tue by appointment. See our website for latest information.
Bunurong Country, Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318 Fri to Sun, 11am–4pm. See our website for latest information.
Kim Percy, Oscillation of Disclosure, 2025 digital print 120 x 120 cm. Courtesy the artist. paintings, photographs, videos, and digital works, focus on the nexus of creativity and academic research through the lens of dyslexic thinking. By examining connections between dyslexia and creativity, Percy not only highlights typical dyslexic strengths, such as pattern recognition, visual-spatial awareness and problem-solving but also exposes the misunderstood neurodiverse coping mechanism of concealment and masking. A unique body of work, that illuminates the real and lived experience of dyslexia, Percy also expresses the personal challenge of late diagnosis and its impact on artistic expression, while offering new ways to consider and understand cognitive difference. Kim Percy is supported by an Australian Government Research Training Program (RTP) Stipend and RTP Fee-Offset Scholarship through Federation University Australia.
Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au Deborah Klein, Red Gown, 2003 oil pastel on paper H90 x W74.5 cm Courtesy the artist Collection: Federation University. Until 14 March Reveal: Works from the Permanent Collection
Janice Stanley, Pantu (Salt Lake), 2024, 148 x 99 cm. 8 March—30 March Women Celebrating Women In 2003, mother and daughter writers, publishers and gallerists Susan and Emily McCulloch were encouraged to work together in art writing, publishing and subsequently establish a gallery, by Anmatyere artists the late Barbara Weir and her daughter Charmaine Pwerle. In tribute to Weir, Pwerle and other women artists and in celebration of International Women’s Day 2025, Women Celebrating Women features Charmaine Pwerle, Caroline Ngwarreye, Emily Pwerle and other painters of the Utopia region, new
Federation University’s Cultural Collection includes the Historical Collection, alongside Art Collection of over 2000 high-quality works of art featuring many renowned Australian artists, as well as the work of staff and students associated with Federation University and its predecessor institutions. Featuring Deborah Klein, Robert Jacks, Leslie Dumbrell, Lyn Onus, Dean Bowen, Wendy Stavrianos and others, this exhibition celebrates significant Australian artists work that traces unseen relationships and draws on diverse lived experiences while responding to a myriad subjects and ideas.
Wurundjeri Woi-wurrung Country, Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission. 14 March—12 April Colour Working/Working Colour Josef Albers, Peter Atkins, courtesy of Tolarno Gallery, Anna Finlayson, courtesy of Sarah Scout Presents, Minaal Lawn, courtesy of the artist, Taree Mackenzie, courtesy of Neon Parc, David Serisier, courtesy of Liverpool Street Gallery.
29 March—19 April Visualising The Invisible Kim Percy
Colour Working/ Working Colour draws attention to the functionality of colour. Referencing colour charts and the process of colour sampling, the paintings, video, sculpture, prints and collages can be considered as systematic arrangements of colour that allude to an infinite range of possibilities.
A multidisciplinary artist with a thirty-year career in the visual arts, Kim Percy’s exhibition and series of new
18 April—24 May Wreck Lucienne Rickard 143
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GALLERY JONES 67 GLEN EIRA RD RIPPONLEA VIC 3185 Image: Gavin Green, courtesy of Milieu
galleryjones.com.au
Morocco and More 26 March to 27 April – Meet the artist 29 March, 2pm to 5pm
Left: The Conductor, oil on canvas, 76 x 51cm. Centre: Ladies of Rabat, mixed medium on paper, framed, 92 x 62cm. Right: The Great Australian Landscape, oil on canvas, 121 x 91cm.
The exciting new Gallery of Orange, NSW, Featuring recent work by Hank Spirek. 241 Lords Place, Orange NSW 2800 0483 535 7220 artworkorange.com.au Info@artworkorange.com.au hankspirekart.com 144
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VICTORIA Fiona and Sidney Myer Gallery continued... The epic drawing and erasure performance Wreck is the most ambitious project of Lucienne Rickard’s 23-year career. Rickard has a long relationship with Shearwaters, a group of bird species under threat. In recent years she has been photographing the dead bodies washed up on the shores of Tasmania. Wreck can be understood as a memorial to the endangered Shearwaters. Rickard lovingly and meticulously draws Shearwaters and then responding to the horror of their current situation, erases the drawings.
Five Walls Gallery & Projects www.fivewalls.com.au Level 1 / 119 Hopkins Street, Footscray, VIC 3011 [Map 4] 03 904 36704 Wed to Sat 12pm–5pm or by appointment.
Ian Wells, Blocked, 2024, water colour and silver point on gesso panel, 87 x 87 cm.
Flinders Lane Gallery
4 April—26 April Blocked Ian Wells
www.flg.com.au Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Country, Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition.
4 April—26 April Beauty and Foreboding Adrian Corke 4 April—26 April On Paper Mark Wingrave and Liz Bodey 4 April—26 April Mulooning Louise Blyton Keisuke Matsuura, Jiba pek15, 2020, magnet, acrylic on canvas, 63 x 53 x 5 cm. 7 March—29 March Minimal \ Reductive (cont’) Curated by Aaron Martin
Michael Gromm, Jackie Chan is seventy and no longer jumps off buildings, 2024, acrylic on linen, 97 x 87 cm. 4 March—29 March Summer bummer summer Michael Gromm
Rosie Hastie, Untitled, 2025, constructed photograph, 63 x 100 cm. 1 April—26 April Untitled Monuments Rosie Hastie 1 April—26 April Correlations: From the Past to the Present Michelle Molinari
Minimal \ Reductive (cont’) is the second iteration of Minimal \ Reductive, which first launched in February 2025. This exhibition is part of a larger series of minimalismfocused shows initiated by art collector and Justin Art House Museum (JAHM) Director Charles Justin, planned for 2025—including presentations at JAHM and Charles Nodrum Gallery. The series highlights the diverse interpretations of minimalism across different contexts. At Five Walls Gallery, Minimal \ Reductive examines the enduring legacy of Minimalism and Post-Minimalism in painting, photography, and sculpture. Featuring twelve contemporary artists from Australia, China, Germany, Japan, and New Zealand, the exhibition explores reductive art through a range of material and conceptual approaches. Rather than treating reduction as a purely formal exercise, the participating artists embrace it as a fluid, dynamic process—one that intertwines restraint with experimentation. Their works invite dialogue, positioning reduction not as an endpoint but as a means of exploring perception, colour, form, space, and time. In doing so, the exhibition expands the discourse around minimalism and reductivism, reaffirming their relevance and adaptability in contemporary art. 7 March—29 March Third Space Cathy Muhling and Nanou Dupuis 7 March—29 March Intermission Kate Stewart (2024 Five Walls RMIT Graduate Award recipient)
fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Woiwurung Country, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–7pm, Sat 12pm–4pm. See our website for latest information.
James Bryans, Monument Valley I, 2017, pigment ink print on archival cotton rag paper, 28 x 28 cm. 4 March—15 March Inside/ Outside (U.S.A) James Bryans 4 March—15 March Still Alexandra Lewisohn 18 March—29 March Noctum John Mezzini 145
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VICTORIA fortyfivedownstairs continued...
Bakri Mahmoud, Melbourne’s Movement for Palestine, 2024. 12 February—22 March Revolution and Joy Angelita Biscotti, Bakri Mahmoud, Rasyiddin Faizal, Sangblek
Frankston Arts Centre www.thefac.com.au Dan Withey, Your Labour is No Longer Required, acrylic on board, 36 x 28 cm. Simon Leah, Untitled, aluminium, acrylic, ink, various sizes, 2024. 18 March—29 March SuperNatural Grace Knight, Charlotte Ivey, Simon Leah and Lana Daubermann 1 April—12 April FUCK LOSS KILL Mark Chew
Fox Galleries www.foxgalleries.com.au Woiwurung Country, 63 Wellington Street, Collingwood, 3066 [Map 3] 1300 278 829 Mon to Sun 10am–6pm. See our website for latest information.
17 April—11 May Dan Withey
Footscray Community Arts
Bunurong Country, 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm. See our website for latest information.
www.footscrayarts.com Woiwurung Country, 45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information.
Julian Kingma, Steven Heathcote, 2007, type C photograph on paper. © Julian Kingma. 7 February—26 April DANCER A National Portrait Gallery touring exhibition From letting loose in the lounge room to enthralling audiences on stage, this exhibition captures the experience of lives lived through dance. Drawn from the National Portrait Gallery collection and incorporating the work of contemporary photographers, Dancer reflects the freedom and joy of dance and its power to connect.
David Asher-Brook, Southern Cross and Snake at Twilight, (detail), oil and enamel on linen, 63 x 87 cm. 20 March—13 April David Asher-Brook
Sim Chi Yin, The Suitcase Is A Little Bit Rotten, 2023, UV print on glass, light box, replica vintage stand, glass plate: 30.5 x 23 cm, stand: 33.5 x 26.3, x 60 cm. Courtesy Sim Chi Yin and Zilberman Gallery, Berlin/Istanbul/Miami. Photograph: South Ho. 4 February—22 March Chronotopia Sim Chi Yin
7 February—26 April Sea Lion Sisters Bronwyn Kidd A collaboration with choreographer Carol Brown which delves into essential womanhood to bring to the surface those profound strands of connection and interdependence between women, particularly sisters, as expressed through corporeal delight. 147
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VICTORIA
Gallery Elysium
by women artists who were central to the development of Australian printmaking in the first half of the twentieth century. Several of these artists travelled and studied abroad, returning to Australia with first-hand experiences of European modernism and new approaches to printmaking that resonated locally.
www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn, VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only. See our website for latest information.
Gertrude www.gertrude.org.au
Antonio Muratore, Trevi Moonlight, oil on canvas, 91 x 183 cm. 1 March—31 March Works from the stockroom Various artists
Roger Kemp, Relativity, 1972, etching; edition of 20. Geelong Gallery, Gift of Anthony Scott through the Australian Government’s Cultural Gifts Program, 2024, © Estate of Roger Kemp. Photograph: Andrew Curtis. Roger Kemp is a leading figure of the Australian avant-garde whose early forays into abstraction and experimental modes of expression established him as one of the great modern painters of his generation. While living and working in London between 1970 and 1972, Kemp was encouraged to explore printmaking by Australian artist Arthur Boyd. It was at this time that Kemp began to translate his distinctive ‘all-over’ technique from painting into the printed medium by building up a density of etched lines until tone, texture and space emerged. By the mid-1970s Kemp’s abstractions incorporated highly activated and airier spatial fields as his visual language achieved maturity.
Hani Isac, Dawn of Discovery, 122 x 122 cm. 1 April—31 April The Group Show Various Gallery Artists
Geelong Gallery www.geelonggallery.org.au Wadawurrung Country, 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Open daily 10am–5pm. Until 11 March A People’s Press—Noel Counihan Melbourne-born artist Noel Counihan (1913–1986) maintained a personal and artistic commitment to political and social justice throughout a lifetime punctuated by some of the most challenging and defining events of the twentieth century including the Great Depression, World War II and the Vietnam War. This exhibition looks at Counihan’s collective approach to printmaking. 22 February—18 May Roger Kemp—Sequence
Yvonne Audette, Moving squares, 1959, gouache and ink on paper. Proposed gift of the artist. © the artist. 22 February—18 May Yvonne Audette—Observation and Experience Yvonne Audette is one of Australia’s most important artists whose work across seven decades reveals a lifelong commitment to abstract painting that is lyrical, meditative, and pictorially dynamic. This exhibition brings together a number of Audette’s exceptional abstract works and juxtaposes them against a fascinating selection of tenderly observed figurative drawings and paintings made in Spain at the beginning of a decade in which Audette lived and worked in Europe. 15 March—18 May Modern Lives—Prints by Australian Women Artists 1900s–1960s This exhibition presents a selection of prints from the Colin Holden Collection
Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tue to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm. See our website for latest information.
Robyn Stacey, Ice, 1989. Courtesy of the artist and Darren Knight Gallery, Sydney. 8 February—23 March Gertrude Contemporary: A Fictional Retrospective: Gertrude’s First Decade 1985-1995 Howard Arkley, Hany Armanious, Stephen Bram, Angela Brennan, Sandra Bridie, Janet Burchill, Jon Campbell, Tony Clark, Brett Colquhoun, Destiny Deacon, Mikala Dwyer, Carolyn Eskdale, Diena Georgetti, Matthys Gerber, Michael Graf, Melinda Harper, Gail Hastings, Raafat Ishak, David Jolly, Mathew Jones, Rosemary Laing, Anne-Marie May, Elizabeth Newman, Rose Nolan, David Noonan, Louise Paramor, Rosslynd Piggott, Vivienne Shark LeWitt, Nike Savvas, Robyn Stacey, Kathy Temin, Anne Zahalka and Constance Zikos. Curated by Sue Cramer and Emma Nixon. 12 April—8 June Gertrude Contemporary 1964, 1969, 1977, 1995, 2000, 2005, 2025 Curated by Helen Hughes & Spiros Panigirakis. Including Mutlu Çerkez, Damiano Bertoli and Masato Takasaka. 31 January—1 March Gertrude Glasshouse: Glasshouse Stonehouse 2025: Oh Chenaud! Michelle Ussher and Alex Pittendrigh 7 March—12 April Gertrude Glasshouse: Georgia Morgan 26 April—31 May Gertrude Glasshouse: Chunxiao Qu
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VICTORIA
Gallerysmith
Until 9 March International Baccalaureate Visual Arts exhibition
www.gallerysmith.com.au
Until 9 March Tight Knit: The Fabric of Connection Shaked Gozlan
40 Porter Street, Prahran, VIC 3181 [Map 6] 03 9008 4592 Tue to Fri, 11am–5pm, Sat, 10am–5pm. See our website for latest information.
14 March—6 April Thread – Tangles/detangles Naarm Textile Collective 14 March—6 April Emigrabilia Setareh Hosseini
27 February—22 March River Bound Catherine Nelson
10 April—18 May From Inspiration to Creation Glen Eira Cheltenham Art Group
27 February—22 March Abundant Kate Nielsen
10 April—18 May Tyranny of Distance Meyrick Kaminski
Haydens Janet Beckhouse, Portsea Rockpool, 2013, stoneware with slip and glaze, 99 x 40 x 40 cm. Collection Gippsland Art Gallery, donated by Ronald Hood, 2023. © The estate of the artist. 8 March—18 May Gifted 3
27 March—19 April Shimmer Tim Allen
www.hellenic.org.au Wurundjeri Woi-Wurrung Country, 280 William Street, Melbourne VIC 3000 [Map 2] 03 8615 9016 Open daily 10am–4pm. See our website for latest information.
Peter Wegner, Mollie Jeffrey, 2018, pencil and wax on paper, 62.7 x 47.9 cm. Courtesy of the artist. © The artist. Clare Brodie, Radiance 6, 2024, matt vinyl paint on canvas, 153 x 137 cm.
8 March—18 May Peter Wegner: Centenarians
24 April—17 May Radiance Clare Brodie
Until 18 May Borun & Tuk Gallery
www.gippslandartgallery.com Gunaikurnai Country, Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm. See our website for latest information.
1/10-12 Moreland Road, Brunswick East, Naarm, VIC 3057 [Map 3] Fri & Sat 12noon–5pm. See our website for latest information.
Hellenic Museum
Tim Allen, Out and Back, 2024, oil on linen, 112 x 137 cm.
Gippsland Art Gallery
www.haydens.gallery
Until 18 May The Art of Annemieke Mein
Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm.
Installation view of Michael Zavros: Gods and Monsters, Gallery of Modern Art, Children’s Art Centre, Brisbane, 2023. Photograph: Joe Ruckli. © QAGOMA. Until 27 April Michael Zavros: Gods and Monsters Discover the magic of Greek mythology in an interactive, family-friendly exhibition where kids can create their own hero identities and explore mythical tales, through vibrant animation and illustration. Australian artist Michael Zavros explores his Greek-Cypriot heritage through his work. One way he does this is by adding a modern twist to tales from Greek mythology. The characters and stories created by the ancient Greeks to explain the world around them included many gods, goddesses, heroes and monsters who each had their own 151
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BEN STORCH BEN STORCH WAVE FORM
Feb 23 - March 15 WAVE FORM Feb 23 - March 15 Sculpture and Metaphysical Explorations Sculpture and Metaphysical Explorations
QDOS FINE ARTS, Lorne
www.qdosarts.com
QDOS FINE ARTS, Lorne
www.qdosarts.com qdosarts.com
VICTORIA Hellenic Museum continued... characteristics and associated symbols. In this interactive exhibition, Michael invites children to learn about a selection of characters from Greek mythology through an animation inspired by ancient Greek pottery. Children can also create their own digital ‘hero’ identity by capturing a side profile silhouette of their face, then choosing their character’s features, accessories and animal motif. Michael Zavros: Gods and Monsters is a Queensland Art Gallery | Gallery of Modern Art Children’s Art Centre Project, developed in collaboration with Michael Zavros.
Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Wurundjeri Country Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm.
4 April—27 April Margaret Delahunty Spencer and Mary van den Broek
Horsham Regional Art Gallery www.horshamtownhall.com.au Wotjobaluk, Jaadwa, Jadawadjali, Wergaia (Were-guy-ya) and Jupagulk Country, 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. Situated in the big sky country of the Wimmera, the Horsham Regional Art Gallery continues to surprise its first time (and repeat) visitors with the quality of its rotating displays from the permanent collection and its schedule of self-curated and touring exhibitions.
Hyphen — Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. See our website for latest information.
Sally M Nangala Mulda and Marlene Rubuntja, Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023, (video still). 14 February—11 May Two Girls From Amoonguna Sally M Nangala Mulda and Marlene Rubuntja
26 October 2024—23 March Molto Bello: Icons of Modern Italian Design Curators: Kendrah Morgan and Laura Lantieri
Incinerator Gallery
Molto Bello showcases some of the most significant achievements in the history of twentieth-century Italian design spanning the sixty year period from the first Milan Design Triennale in the 1930s to the Memphis Group of the 1980s.
180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm. See our website for latest information.
www.incineratorgallery.com.au
The Hive Gallery www.thehiveoceangrove.com.au Wadawurrung Country 41 Smithton Grove, Ocean Grove, VIC 3226 0417 116 216 Fri to Sun, 10am–4pm, or by appointment. See our website for latest information.
Glenn England, 2024, Seed Bank #1, stoneware, 27 x 13.5 cm. 7 March—30 March Germinate Annual Group Ceramics Exhibition.
Simon Fisher, The golden birds, 2018 mixed media on canvas, 100 x 134 cm. Courtesy the artist. 15 February—18 May Simon Fisher: From red earth and big sky The first major solo exhibition Minyip artist Simon Fisher (born 1955) to be held in a public gallery and is the chronicling of one man’s prolific creativity, spanning the world across diverse landscapes, life experiences, travels and influences. Profoundly fascinating and a lifetime in the making, Simon Fisher: From red earth and big sky is the artist’s life and artistic journey, inextricably enmeshed. Fisher’s practice blurs the lines between fine art, artistic exploration and a bowerbird-like drive to collect and archive. His curiosity and technical proficiency, honed through years of professional work across the art, theatre and architecture industries has led to explorations of painting, sculpture, collage, photography and new media including virtual reality, all included in this major retrospective exhibition. “This is the central dichotomy I will deal with for decades’ the artist writes ‘formalism versus art as a diary of a life, art practice versus making to bring sense to chaos”.
Tom Denize, Tipping an Oyster 2023, MDF, inkjet print, wrought iron lace, oyster shell. Documentation by Sophie Spence.
1 February—30 March CHTHONIC CHORUS Anchi Lin (Ciwas Tahos), Amias Hanley and Devika Bilimoria, Jazz Money, Patrick McDavitt, Ramesh Mario Nithiyendran, Ri Kallady, Shan Turner-Carroll, S.J Norman, Tarik Ahlip, and Tom Denize. Participating in Midsumma Festival’s 2025 153
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VICTORIA Incinerator Gallery continued...
Grants Program and Public Record Office Victoria, supported by the Victorian Government through the Community Support Fund.
keynote program ‘Midsumma Presents’, this exhibition unfolds as an imagined archaeological site, where queer theory unsettles normative, binary views of the past. CHTHONIC CHORUS digs into layers of strata and memory to radically rethink and critique colonial constructs of place, language, time, gender, sexuality, identity, and ecological relations.
Jewish Museum of Australia www.jewishmuseum.com.au Boonwurrung Country, 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish & public holidays.
1 February—30 March From Things Flow What They Call Time John Brooks This exhibition traces the history of textiles, from the earliest evidence of woven structures recorded as clay imprints, to diagrams of weaving equipment inscribed on earthenware. John Brooks’ textile practice explores the entanglements between ancient weaving technologies, material experimentation, and tangential processes of invention.
Mike Parr, Untitled Self Portrait, No 1, 1988, from the Banyule Art Collection. 2 April—27 April Treasures from the Banyule Art Collection Come to Art Gallery 275 to view a curated selection of highlights from the Banyule Art Collection. These artworks have been acquired over many years, and represent some of the greatest contemporary Australian artists of the last five decades.
Keiran Butler, a gift of cherry guavas and hibiscus flowers, 2025. 1 February—30 March A Gift of Cherry Guavas and Hibiscus Flowers: Part 1 Keiran Butler This exhibition reflects on the complexities of gift economies within cultural, environmental, familial, generational, and queer contexts. The work functions as a meditation on gifts as both acts of love letters and survival strategies, posing them as provocations for deeper reflection.
Encompassing a range of mediums and subject matter, this exhibition proudly showcases the variety, depth and excellence of Australian art. Please note that Art Gallery 275 operates with restricted hours, please check the website for opening hours prior to visiting.
31 October 2024—16 March A Secret Chord JMA Collection and various artists.
1 February—8 June Mother’s Little Helpers Karla Dickens This exhibition, presented across three billboards located at Incinerator Gallery, reflects a growing rebellion over the silence and inaction of our country’s powerbrokers and general populace towards climate change. These photographs highlight a rebellion often dismissed as inconvenient and calls for protest only taking place through conventional means. Karla Dickens is a Lismore-based Wiradjuri artist. Her multidisciplinary practice brings a dark humour to her unflinching interrogation of subjects such as race, gender and injustice.
Ivanhoe Library & Cultural Hub www.banyule.vic.gov.au/ILCH Wurundjeri Woi-wurrung Country, 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222
George Dreyfus playing the bassoon, c1980, Melbourne. Reproduced with permission of the Jewish Museum of Australia. © George Dreyfus.
Kelli Lundberg Art www.kellilundberg.art Yuki with object, photo by Diamond Valley Photographic Society. 17 March—6 April Homeland Stories by Yarra Plenty Regional Library
545 Mornington-Tyabb Road, Moorooduc, 3933 VIC [Map 1] Mon 10am–4pm, Tues closed, Weds to Sat 10am–4pm, Sun 11am–3pm.
Harmony Week is a celebration of Australia’s rich and culturally diverse communities, focusing on inclusiveness, respect and belonging for all Australians, regardless of cultural or linguistic background, united by a set of core Australian values. This exhibition is a partnership between Yarra Plenty Regional Library and Banyule Council, showcasing Australian multiculturalism, and the successful integration of migrants into our community. Homeland: Treasured Objects from Afar celebrates these diverse stories and reveals treasured objects each participant brought with them from their homeland. Yarra Plenty Regional Library gratefully acknowledges the Local History
Robert Delves, 3 Figures, 2024, ceramic and glaze colourants, 52h x 65w x 40d cm. 155
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Kelli Lundberg Art continued... 26 February—6 April Mimesis Robert Delves
www.diggins.com.au
Carolyn Cardinet, Rainbow Shorelines, 2024. Bayley Arts. 28 March—10 May Plastic Problems Bayley Arts artists and environmental activist and artist Carolyn Cardinet.
Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–5pm. Other times by appointment. See our website for latest information. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.
La Trobe Art Institute www.latrobe.edu.au/art-institute John Gibson, Australia, 2024, oil on board, 121.9 x 101.6 cm. 9 April—18 May Still(life) Group Show New works by Thornton Walker, John Gibson and Lorraine Biggs.
121 View Street, Djadjawurung Country, Bendigo, VIC 3550 [Map 8] 03 5444 7272 Tue to Fri, 10am–5pm, Sat and Sun 12noon–5pm, Mon by appointment. See our website for latest information.
Kingston Arts
G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale, VIC 3195 Wed to Sat 11am–4pm, Sat 12pm–5pm. Free admission. See our website for latest information.
March/April Helen S. Tiernan Informed by Indigenous understandings of land, sea and sky, as well as her European art education, Helen’s recent paintings focus on abstraction; rhythmic gestures that shift our focus from the real to the unreal.
www.kingstonarts.com.au Boonwurrung Country, G1 & G2 Artspaces Kingston Arts Centre, 979-985 Nepean Highway Moorabbin, VIC 3189 [Map 4] 03 9556 4440 Mon to Fri 10am–4.30pm, Sat 11am – 4pm. Free admission.
Helen S. Tiernan, Not Actual, 2024, oil on canvas, 102 x 153 cm, signed lower right.
Alex Martinis Roe and Gladys Kalichini, Mnemonic Rituals, 2024, 4K video, 15:03. 19 February–11 May Storytelling Liberation Alex Martinis Roe in collaboration with Katerina Teaiwa, ASKI Contemporary Social History Archives, Gladys Kalichini, Alexandra Juhasz, Andre Ortega and Diana Betanzos. Supported by curator Amelia Wallin.
Latrobe Regional Gallery www.latroberegionalgallery.com Gunaikurnai Nation, 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm.
Until July Magnify: Artists in Residence 7 March—12 April Artz Blitz Open entry prize exhibition. Award ceremony and exhibition opening Thursday 6 March.
Sanjin Smitran, Cyclovita, 2024, animation (still). 6 March—19 April Cyclovita Sanjin Smitran
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Renee Cosgrave and Merryn Lloyd, Merryn Then Renee, 2011. Photograph: Adam John Cullen. 22 January–20 July Much like cooking a meal Biannual façade commission Renee Cosgrave and Merryn Lloyd
Artwork by Chelsoe Leinberger of Life Skils Victoria. 6 December 2024—23 March Art for All Exhibition International Day of People with Disability is celebrated on 3 December each year. To help celebrate this event, Latrobe Regional Gallery is holding the Art for All Exhibition to highlight and celebrate the
VICTORIA diverse talents of people with disability and Creative Venues are holding the interactive workshop. This exhibition is part of Latrobe Regional Gallery’s community art exhibitions, showcasing the work of artists in our community and beyond at LRG. The exhibition will showcase 2-dimensional artworks, such as drawings, paintings, photography, screen prints and poetry and sculptural objects like ceramics, glass or mixed media designs. Latrobe City recognises the importance of celebrating art and culture as it enriches lives and communities and encourages social inclusion.
Linden New Art www.lindenarts.org
Lennox St. Gallery www.lennoxst.gallery Wurundjeri Woiwurrung Country, 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm. See our website for latest information. 5 March—30 March Last of the summer blue Group exhibition 2 April—27 April Vanishing Point Louis Pratt
Bunurong Boon Wurrung Country, 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tue to Sun 11am–4pm. See our website for latest information.
Luke Cornish, Urban ex 2 April—27 April Urban Fusion Luke Cornish and Cristoff Domergue
Since bipotaim—the Torres Strait Creole word meaning ‘before time’— oral histories have been one of the main ways that Indigenous people have ensured that important traditional knowledge is not lost. For Teho Ropeyarn, of the Angkamuthi and Yadhaykanu clans which settled Injinoo in Western Cape York, that vehicle for the safeguarding of tradition is printmaking. Ropeyarn’s prints, brought to life with energetic design and colour, demonstrate an intimate understanding of the natural world. They convey a knowledge of specific land and waters, in Ropeyarn’s words “from the inside out’. Further, he says ‘the stories embedded in these prints are not just about place—they are about family, belonging, and continuity.” Printmaking has become synonymous with the art of the Indigenous people of the Torres Strait and far north Queensland. The processes of this contemporary medium echo age-old traditions of carving, etching and incising patterns onto ritual and trade objects which were used throughout the islands of the Pacific. Modern technologies and innovation have changed the cultural landscape of printmaking in the region as it has everywhere in the world. Ropeyarn is at the vanguard of this art form, exploring its potential in expanded spatial practice, and demonstrating that tradition is not static, it is shifting and dynamic, and evolves in order to survive.
McClelland Gallery + Sculpture Park
Manningham Art Gallery
www.mcclelland.org.au
www.manningham.vic.gov.au/ gallery
Bunurong Country, 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm.
Wurundjeri Country, Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm. Manningham Art Gallery presents an eclectic and innovative yearly exhibition program, workshops and events committed to supporting local and regional artists, as well as touring shows from across Australia. It is an engaging and creative space welcoming everyone, connecting all ages and backgrounds.
Bernhard Sachs, Kontaminierte Vererbungsdialektik Lidice, Süd Australien 1929, 10:54am 1997 / Reworked 2:13am 2004 / Reworked 4:57am 2020 / Reworked 5:08am 2021, mixed media on paper, masking tape, 136 x 110 cm. 15 February—18 May Bernhard Sachs: After History Bernhard Sachs (1954-2022)
Image courtesy of the artist Jessie Smith, A Plenitude of Vision, 2024, 90 x 60 cm. Photograph: leonrw. 20 February—23 March Fool’s Errand Jessie Smith + Isaac Lizardo
Teho Ropeyarn, Wintinganhu (sister-inlaw), 2023, installation view, vinyl-cut prints on board, audio, dimensions variable. Photograph: Zan Wemberley. 8 March—15 June Current / Teho Ropeyarn
15 February—5 April Pages of Me: A Bird, an Eye, Clouds, Ice cream Beci Orpin A new multimedia project by Beci Orpin, exploring the journey of finding happiness through individuality and embracing one’s 157
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Mary Cherry Gallery www.marycherry.com.au 126 Rupert Steet, Collingwood, VIC 3066 [Map 3] Thur to Sat 12noon– 5pm, or by appointment.
academics, writers, and activists worked secretly inside the Warsaw ghetto to document the German-initiated mass murder of European Jews as it was happening. The exhibition brings home to the viewer the harrowing but ultimately successful attempt to write the story of the Holocaust from the perspective of its victims. The exhibition will also present testimony and artefacts from Melbournebased survivors to explore the personal experiences of those who survived Europe’s largest ghetto and immigrated to Australia after the war.
reinterpretation through engaging light installations. The works are developed and inspired by Munro’s travels to Mildura. 4 April—25 May Chapter 5 (Mallee Parley) Aaron Bailey Delving into the core themes of interconnectedness between land, self, and humanity. It highlights how personal identity is influenced by one’s relationship with place, specifically the Mallee region.
Underground: The Hidden Archive of the Warsaw Ghetto is presented in partnership with the Jewish Historical Institute, Poland and the Munich Documentation Center for the History of National Socialism, Germany. Bookings: mhm.org.au/underground
Mildura Arts Centre www.milduraartscentre.com.au
Madeline Simm, Mystic swirl, 2024, oil on linen, 51 x 51 cm. March Inflorescence Madeline Simm
Latji Latji Country, 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open daily 10am–4pm.
April Ponie Curtis
Melbourne Holocaust Museum www.mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tue to Thu 2pm–6pm, Sun 10am–6pm.
Leanne McPhee, Kanga Cricket Wall, 2023. Digital C-type print.
17 November 2024—30 March Underground: The Hidden Archive of the Warsaw Ghetto Melbourne Holocaust Museum (MHM) presents a special exhibition Underground: The Hidden Archive of the Warsaw Ghetto. On display for the first time outside of Europe, Underground exhibits rare artefacts from the hidden archive of the Warsaw Ghetto. Led by historian Emanuel Ringelblum, a collective of
4 April—25 May Alight Nicola McClelland Nicola McClelland relocated to Mildura/ Latji Latji Country on the banks of the Murray River in 2021. Her daily walks along the river under the endless blue sky activate new ways of seeing in an environment filled with movement, colour and light. In her studio, specific observations, drawings and photographs of river life form the initial layers of these paintings.
24 January—30 March Primary Leanne McPhee
Monash University Museum of Art | MUMA
The exhibition features a series of photographs taken at Merbein Primary School, captured after its closure in 2012.
www.monash.edu/muma
24 January—30 March Imprint Ann Hayward, Bob Jankowski, Win Moser and Donna Williams
Unearthing the first part of the Ringelblum Archive. L-R: Michał Borwicz & Hersz Wasser. PAP/Władysław Forbert.
Nicola McClelland, Alight, 2024, acrylic paint and mixed media on canvas.
Traditional printing methods like relief, intaglio, lithography, and serigraphy need space, equipment, and creativity. The featured artists explore simpler techniques like pressing, stamping, and digital recreations, inspired by personal experiences and nature.
Boonwurrung/Bunurong Country, Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4360 Tue to Fri 10am–5pm, Sat 12–5pm. Closed Sun, Mon by appointment. Free entry.
7 February—30 March From the Collection… Mildura Arts Centre Collection The exhibition is a chance to view a selection of paintings, prints, drawings, photographs, and small sculptural works from the Collection. 1 March—4 June Time and Place Bruce Munro This exhibition visualises memory
Victoria Todorov, Untitled (Cicciolina), 2024, (detail). Courtesy of the artist.
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bookings + enquiries collingwoodyards.org/venues enquiries@collingwoodyards.org
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VICTORIA Monash University Museum of Art continued... 8 February—17 April Image Economies James Barth (AU), Ian Burn (AU), Juliet Carpenter (NZ/DE) Róisín Berg (IE), Jeff Gibson (AU/US), D Harding with Hayley Matthew (Bidjara, Ghungalu and Garingbal), Ana Iti (Te Rarawa/NZ), Machine Listening (Sean Dockray [US/AU], James Parker [AU], Joel Stern [AU]), Bea Maddock (AU), Tracey Moffatt (AU), Sione Tuívailala Monū (NZ/AU), Ashley Perry (Goenpul), Joshua Petherick (AU), Scotty So (HK/AU), Sorawit Songsataya (TH/NZ), Tennant Creek Brio (Rupert Betheras [AU] and Simon Wilson [Kaytetye]) and Victoria Todorov (AU).
Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au
Turrangka…in the shadows surveys a decade of work by artist James Tylor examining histories of colonisation and their profound impact on Indigenous cultures. It brings together the most comprehensive selection of his unique daguerreotypes, expansive digital photographic series, and hand-made Kaurna cultural objects.
Museum of Australian Photography (MAPh) www.maph.org.au Wurundjeri Woi Wurrung and Bunurong Country, 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. Free entry.
Bunurong Country Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information.
Yayoi Kusama’s Infinity Mirrored Room–My Heart is Filled to the Brim with Sparkling Light, 2024, on display at the NGV International, Melbourne for the National Gallery of Victoria’s Yayoi Kusama exhibition © YAYOI KUSAMA. Photograph: Sean Fennessy. celebrated living artists. Her polka-dotted pumpkin and flower sculptures are recognised globally, and her infinity mirror rooms are pivotal to the twenty-first century’s turn towards art as an immersive experience.
Until 16 March The Ecologies Project: How Climate Changes Culture The Ecologies Project looks at the effects climate change has had on deep time of human culture. With First Nations voices and time-old stories of the need for sustainability, this show asks: how does a changing ecology change our culture? With over 60 works, including photographs, painting, prints, installation, video, and sound work, the exhibition features artists such as Joseph Beuys, Jacobus Capone, Megan Cope, Sue Ford, Rosemary Laing, Nicholas Mangan, Jill Orr and Linda Tegg.
Peter Milne, Rowland S Howard, 1977, pigment ink-jet print. Museum of Australian Photography, City of Monash Collection. Donated by Helen Frajman, 2023. Courtesy of the artist and M.33 (Melbourne). 1 March—25 May The basement: photography from Prahran College (1968–1981) Close to 60 artists, including Carol Jerrems, Bill Henson, Nanette Carter, Rod McNicol, Polly Borland, Peter Milne and many others. The basement brings to light rare vintage prints from the 1960s through to the early 1980s, key archival ephemera and folio work – from students and teachers of the College’s Diploma of Art & Design (Photography). With close to 60 artists, including Carol Jerrems, Bill Henson, Nanette Carter, Rod McNicol, Polly Borland, Peter Milne and many others.
National Gallery of Victoria— NGV International www.ngv.vic.gov.au James Tylor, (Deleted scenes) From an untouched landscape#14, 2013, inkjet print on Hahnemühle paper with hole removed to a black velvet void, 50 x 50 cm. Courtesy the artist, Vivien Anderson Gallery, Melbourne, GAGPROJECTS | Greenaway Art Gallery, Adelaide and N.Smith.Gallery, Sydney. Copyright the artist. 29 March—25 May Turrangka...in the shadows A UNSW Galleries Touring exhibition. Curated by Leigh Robb.
Wurundjeri Woi-Wurrung Country, 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm. See our website for latest information.
Yayoi Kusama, The Obliteration Room, 2002–present. Queensland Art Gallery | Gallery of Modern Art. © YAYOI KUSAMA. Photograph: N Harth, QAGOMA. 15 December 2024—21 April Kusama for Kids Yayoi Kusama 13 November 2024—April 2024 NGV Architecture Commission: Home Truth by Breathe 3 October 2024—16 April MECCA x NGV Women in Design Commission: Christien Meindertsma Until 1 May Escher X nendo A House for Escher
National Gallery of Victoria—The Ian Potter Centre: NGV Australia www.ngv.vic.gov.au Wurundjeri Woi-Wurrung Country, Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm. See our website for latest information.
15 December 2024—21 April Yayoi Kusama
1 November 2024—20 July Cats & Dogs
Yayoi Kusama is one of the world’s most
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VICTORIA NGV continued...
Installation view of Cats & Dogs on display at The Ian Potter Centre: NGV Australia from 1 November 2024 to 20 July 2025. Photograph: Tom Ross. 28 March—26 January 2026 Martin Grant This major exhibition staged at The Ian Potter Centre: NGV Australia surveys the work of Australian-born Paris-based fashion designer Martin Grant. Drawn from the NGV collection of works, including many donated by the designer from his own personal archive, the exhibition encompasses more than four decades of Grant’s career with designs spanning from the mid-1980s in Melbourne, through early 1990s when he re-established his eponymous label in Paris, to his most recent collections. Now open Wurrdha Marra
Peter Milne, Yo Ho Ho and a Bottle of Rum. 20 March—30 March Yo Ho Ho and a Bottle of Rum Peter Milne This series of photo media collages revisits the iconography of pirate culture with the tired eyes of one who has lived through six decades of triumphant, late Capitalism and finds less to celebrate. 3 April—13 April Part of the Commune abstract oil paintings Adam Archer 25 April art sale and music Stu Thomas
OTOMYS www.otomys.com 424 Malvern Road, Prahran, VIC 3181 [Map 6] Tue to Fri 10am–5pm. See our website for latest information.
Erin Chaplin, Joz Serious, oil on cotton, 25 x 30 cm. 27 March—18 April Group Show: Internal Species Anna van der Ploeg, Erin Chaplin and Joel Sorensen As a trilogy, three distinct artists from three countries converge to create a rich and interconnected journey, encouraging audiences to reflect on the complexity of their inner and outer worlds. Internal Species showcases work by Anna van der Ploeg (Belgium), Joel Sorensen (Australia) and Erin Chaplin (South Africa) - paintings, monotypes, tapestry, and sculpture offers a multifaceted exploration of human experience.
Parallel Projects www.the-art-room.com.au/parallel-projects 138 Cowper Street, Footscray, Naarm, VIC 3011 [Map 4] Mon to Wed, Fri to Sat, 10am–3pm.
Installation view of Bark Salon on display in Wurrdha Marra at The Ian Potter Centre: NGV Australia, Melbourne. Photograph: Sean Fenness. Now open Bark Salon
Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment.
One Star Gallery www.instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm. See our instagram for latest information.
Hermentaire, Recycling Tears, acrylic on canvas, 81 x 65 cm. 20 February—7 March When My Eyes Wake Up At Night To Wander Hermentaire A French multi-disciplinary artist living and working between Paris and Paros. In his inaugural exhibition in Australia, Hermentaire explores the narrative potential of his work, delving into the interplay between the light of dreams, the darkness of thought, and the power of the unconscious mind.
Susan Wirth, Gemstone, wool and cotton, courtesy of the artist. 163
DANIEL BOYD 15 MARCH – 12 APRIL 2025 STATION I MELBOURNE
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VICTORIA Parallel Projects continued... 8 March—11 April Matter Nanou Dupuis, Siri Hayes, Grace Knight, Rox de Luca, Kylie Stillman, Susan Wirth
PG Gallery www.pggallery.com.au Naarm, 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.
one of Australia’s most cherished cartoonists, where insightful social commentary, gentle humor, and deep reflections on the human experience come together. It highlights Leunig’s unique ability to capture life’s absurdities with both sensitivity and satire. Celebrating his artistic legacy, this feature serves as a poignant reminder of the power of art to provoke thought and stir the soul.
Platform Arts www.platformarts.org.au Wadawurrung Country, 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9.30am–4.30pm. See our website for current weekend hours and for latest information.
Mud Lamp, archival print. Mud Australia, Nic Dowse. Photograph: Phillip Huynh, 2021. by a City of Greater Geelong Arts Projects Grant. For more information visit, platformarts.org.au, @platformartsgeelong.
Project8 Gallery www.project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9380 8888 Wed to Sat 11am–5pm.
Helga Salwe Unfinished Paintings, Photogavure, 16 x 23 cm.
Michael Leunig The Leap of Faith- Sienna, Etching, A/P, 70 x 60 cm. 18 March—29 March Remembering Mr Curly Michael Leunig, Photography by Helga Salwe An online exhibition and gallery window feature showcasing the work of Michael Leunig and Helga Salwe’s photography. This exhibition offers a journey into the whimsical and thought-provoking world of
Bee Bread, Honey Fingers Collective. Photograph: Sarah Pannell. 22 February—17 April Honey Fingers Collective / Sympoiesis Spanning farming, food, artistic practice, and education, Honey Fingers Collective positions the common honeybee (Apis mellifera) as vital co-creators with humanity. This unique exhibition features collaborative works between humanmade and bee-made. Gallery One at Platform Arts will have durational projects such as Bee bread, made from sourdough starter inoculated by the hive microbiome, as well as human-made art transformed by bees with edible honeycomb aspects. Ceramic works by Zhu-Ohmu are modified by Apis mellifera, and damaged pots are ‘repaired’ with propolis. Gallery Two features Co-worker, a bee chimney in a hybrid design that fosters safe cohabitation for honeybees and humans. ‘Symphagia’ is a performative gallery picnic that invites participants to engage in a live exploration of fermentation—both as a food technology and as a form of interspecies collaboration. This exhibition forms part of Sympoiesis, a multi-arts program of visual art, performance, and free events at Platform Arts and is supported
Project8 Gallery, Empty long view 01. Photograph: Lucy Foster. 21 March, 6pm–8pm NEXT TO NOTHING Archie Barry, Brooke Stamp, and Jiayang Zhang. Curated by Cūrā8 (Kim Donaldson and Sean Lowry). NEXT TO NOTHING distills performance art down to its most elemental components, foregrounding the immediacy of voice, body, space, and time. Throughout this one-evening event, three artists showcase diverse modalities of performance without elaborate staging or external narrative. By reducing performance to its barest essentials, this exhibition offers a platform for embodied expression, revealing new aesthetic, political, and ethical dimensions through the immediacy of presence and gesture. The ephemeral nature of live performance becomes both a process and a collective encounter— existing only in the moment and in the memories of those who witness it. 17 May—28 June Sounds of Clouds 165
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VICTORIA Project8 Gallery continued...
QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–6pm or by appointment.
Collagism, Punks of the sky, 2024, digital artwork, courtesy of the artist.
Richard Manning. 16 Febuary–8 March Richard J Manning The Ghosts of Nothing, Sounds of Clouds (Warped Light Series), 2024-25. The Ghosts of Nothing (aka Sean Lowry and Ilmar Taimre). Curated by Cūrā8 (Kim Donaldson). Sounds of Clouds is a new project orbiting around a feature-length film and original soundtrack, premiering at the exhibition opening on 16 May 2025, 6–8pm. Expanding on the band-as-art-entity concept, The Ghosts of Nothing integrate painting, photography, objects, and limited-edition artifacts to create a malleable, otherworldly universe. While a subtle narrative thread emerges, the time and place remain ambiguous—cloudscapes merge and hover, evoking an uncanny mix of the hauntingly familiar and the profoundly alien.
Pt. Leo Estate www.ptleoestate.com.au Boonwurrung / Bunurung Country, 3649 Frankston-Flinders Road, Merricks, VIC 3916 [Map 1] 03 5989 9011 Open daily, 11am–5pm (last entry 4.30pm). See our website for latest information. The Sculpture Park is an outdoor gallery within 330 acres of landscaped grounds that offer a gentle promenade as opposed to a strenuous trek around the network of winding paths that lead visitors past some 70 works mostly but not exclusively of large-scale.
Traverse: the landscape as his central motif, most particularly, the coastal environment, the intersection of land and sea, earth and water. 23 Febuary–15 March Ben Storch Wave Form: Sculpture and Metaphysical Explorations. 16 March—14 April Deborah Halpern One of Australia’s most celebrated sculptors. 9 March—29 March Ian Parry
Euan Macleod, Murray’s Beach, 2010, gouache on paper. RACV Art Collection. 22 March—17 August Coast to Coast: Autio, Macleod & Nelson This exhibition highlights the works of three outstanding RACV Collection artists: Narelle Autio, Catherine Nelson and Euan Macleod. The RACV Art Collection is featured across the RACV Resorts and Clubs throughout Australia. It holds over 1000 contemporary artworks, highlighting key social themes our artists have considered over the last 20 years.
RMIT Design Hub Gallery
Meditative depictions of Tasmanian seascapes that glow with serenity.
www.designhub.rmit.edu.au
5 April—26 April 2B or not 2B
Wurundjeri Country, Level 2, Building 100, RMIT University, Corner Victoria and Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission. See our website for latest information.
On the periphery of Architectural thought. 80 Architects 80 hand drawings.
RACV Goldfields Resort www.racv.com.au/art Dja Dja Wurrung Country, 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information. Until 16 March Big Things for a Big Country Road Trip Collagism Take a journey to Australia’s iconic “Big Things” using AI. This poetic road trip blends the surreal with the hyperreal. It’s a playful adventure through the Australian landscape, offering a joyous experience for the whole family.
25 February—12 April Deep Time Real Time The 2025 Alastair Swayn Legacy Exhibition Features creative works and research from Fayen D’Evie, Stuart Geddes and Ziga Testen, Alicia Frankovich, Emma Jackson, Farzin Lofti-Jam, Nicholas Mangan, Joel Sherwood Spring and Simulaa. Creative direction by Fleur Watson. Curated by Andre Bonnice, Anna Jankovic and Fleur Watson. Deep Time Real Time explores design’s relationship to planetary systems through 167
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VICTORIA RMIT Design Hub continued... two opposing time scales – ‘deep time’ and ‘real-time’. The exhibition features an interactive structure containing geological and material samples, alongside time– based creative works curated through the lens of ecology, energy, and technology.
RMIT First Site Gallery www.rmit.edu.au/about/culture/ first-site-gallery Wurundjeri Country, Storey Hall Basement, 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Tue to Fri 11am–5pm. Free admission. See our website for latest information.
Inpatient Tess Hinder Transformations of energy: drawing in motion Emily Song
Yorta Yorta Country, is one of Australia’s outstanding regional art museums, showcasing our exhibitions and collections in new and exciting ways and creating a welcoming, inclusive and engaging space for all audiences.
RMIT Gallery www.rmitgallery.com Wurundjeri Country, 344 Swanston Street, Melbourne, VIC 3000 [Map 5] 03 9925 1717 Tue to Fri 11am–5pm, Sat 12pm–4pm. Free admission.
First Site Gallery is a gallery space which provides RMIT students a conduit for their creative practice. It is independent from the University’s teaching programs and is a space for students to collaborate, experiment, take risks and learn about presenting works publicly. Ceramics in Focus: Brendan Huntley, installation view, Shepparton Art Museum 2024. Photograph: Leon Schoots. Until 27 April Ceramics in Focus: Brendan Huntley
Kasia Tons, Tarpaulin diary, 2018, cotton, synthetic tarp, paint, hand embroidery, 77.5cm x 45cm (framed). Courtesy of MARS and the artist. 20 February—10 May PRICK! Needlework Now Image courtesy of the artist. 25 February—21 March Sweet Enough On-Site with Rose Agnew Sweet Enough looks at sugar from a feminist perspective, examining the complex history, uses and roles of the medium, while celebrating the artists layered relationship with the sweet stuff. Curated by Julia Powles.
Maggie Baxter, Aaron Billings, Jayeeta Chatterjee, Carly Tarkari Dodd, Melinda Harper, Michelle Hamer, Talitha Kennedy, Octora, Louise Rippert, Gurjeet Singh, Louise Saxton, Mien Thao Tran, Kasia Tons and Lisa Walker. Curated by Helen Rayment. PRICK! Needlework Now brings together artworks by Australian and international artists who use stitching as a fundamental part of their art making.
Anne Wenzel, Silent landscape (detail), 2006-2010. Shepparton Art Museum Collection, 2010 Sidney Myer Fund Australian Ceramic Award - International Artist Category, 2011. © the artist.
Shepparton Art Museum
22 February—9 June The Shape of Things to Come Penny Byrne, Penny Evans, Bridget Hillebrand, Locust Jones, Douglas Kolk, Lin Onus, John Perceval, Annika Romeyn, Anne Wenzel
www.sheppartonartmuseum. com.au
Emily Song, light and tulle, ink and paper, 2024, multi-channel projection on tulle. Image courtesy of the artist. 8 April—2 May Locating in Disarray Juliette Claire
Yorta Yorta Country, 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Weekdays 10am–4pm, Weekends 10am–4pm, closed Tue. See our website for latest information. Shepparton Art Museum (SAM), located on
8 March—29 June Dore Stockhausen: Echoes of a New Eden 22 March—24 August Belinda Fox: More Than This. 1 April—28 September Emmet O’Dwyer: Magic Mountains Ongoing Stewart Russell: Tommie & John / Reliving the dream Ongoing Stories from the SAM Collection
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Stockroom Kyneton www.stockroom.space Taungurung Country, 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10.30am–5pm, Sun 11am–4pm. Closed Tue & Wed See our website for latest information. Stockroom Kyneton is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s butter factory across 1000sq metres. Located in Kyneton’s thriving style precinct of Piper Street.
1 March—6 April unbound…. Kris Coad
Sullivan+Strumpf Naarm/Melbourne www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.
Anthony Romagnano, 13 Cakes, 2021. Courtesy of the artist and Arts Project Australia. Mark Smith, Cathy Staughton, Georgia Szmerling and Terry Williams. Showing in the Yarra Valley, the exhibition features ingenious, irreverent, poignant and joyful works by artists from Arts Project Australia. Presented in partnership with Arts Project Australia. Curated by Anthony Fitzpatrick.
Lynda Draper, Apparition, 2024, glazed ceramic and blown glass, 53 x 47 x 33 cm. 6 February—8 March Free Form Abstraction Yvette Coppersmith, Daniel Crooks, Lynda Draper, Kanchana Gupta, Lara Merrett, Dawn Ng, Gemma Smith
Rhett d’ Costa, Screen (emerald green and parchment), 2025, acrylic polymer on wooden panel, 122 x 61 cm. 1 March—6 April Measured Rhett d’ Costa
13 March—5 April In my prime unrepresented artists 10 April—3 May Kirsten Coelho
TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Wurundjeri Country, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. Closed Christmas Day and Boxing Day. Open Australia Day.
Nicholas Mangan, Termite Tomography, 2022, bronze, 35 x 41 x 5 cm. 1 March—6 April macrocosm/microcosm Carly Fischer, Juan Ford, James Geurts, Desmond Lazaro, Nicholas Mangan, Michael Vale, Lisa Waup 170
TarraWarra Museum of Art is a place to discover the new and unexpected and enjoy the serenity and endless dimensions of the seasons. Until 10 March Intimate Imaginaries Fulli Andrinopoulos, Samraing Chea, Alan Constable, Wendy Dawson, Bronwyn Hack, Julian Martin, Chris O’Brien, Lisa Reid, Anthony Romagnano,
Shireen Taweel, Pilgrimage of a Hajjonaut, 2024–25, (production still), three-channel video. Courtesy of the artist and STATION, Australia. Image: Spencer Reid. The artist acknowledges this work was filmed on the land of the Karajarri People. Australia is a land of the Aboriginal and Torres Strait Islander People. Sovereignty was never ceded. 29 March—20 July TarraWarra Biennial 2025: We Are Eagles The TarraWarra Biennial 2025: We Are Eagles, curated by Kimberley Moulton (Yorta Yorta) features works by 22 contemporary artists sharing regenerative knowledge and connections to land, object and memory. The artists participating in TarraWarra Biennial 2025 are: Nathan Beard, Moorina Bonini, Maree Clarke, Gunybi Ganambarr, Nadia Hernández, Lisa Hilli, Kaiela Arts and Jack Anselmi, Amy Briggs, Cynthia Hardie and Laurel Robinson, Iluwanti Ken, Brendan Kennedy, Daniel Riley, Teho Ropeyarn, wani toaishara, Shireen Taweel, Lyn Thorpe, Angela Tiatia, Brooke Wandin, Lisa Waup, Warraba Weatherall, Yaritji Young.
VICTORIA
The Torch at Glen Eira Council Gallery
26 April—17 May Kieren Karritpul
VAS Gallery I Victorian Artists Society
www.thetorch.org.au
Town Hall Gallery
www.vasgallery.org.au
Corner Glen Eira and Hawthorn Roads, Caulfield VIC 3162 Mon to Fri, 10am–5pm, Sat–Sun, 1pm–5pm. See our website for latest information.
www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 9am–5pm, Sat 12pm–4pm, Closed Sun and public holidays. See our website for latest information.
Wurundjeri Woi-wurrung Country, 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am-4pm, Sat & Sun 11am-4pm. 26 February–30 March Clive Sinclair: The Light of Venice Clive Sinclair presents a selection of paintings capturing the beautiful light of Venice which comes with every sunrise. 26 February–10 March Mark Bagally: A Year in Paint Mark Bagally offers an insightful glimpse into the Artist’s journey painting each day for one year. 26 February–10 March The Brandon Circle Melbourne This popular group exhibition features the oil, pastel and watercolour work of Liz Moore Golding, Mike Kowalski, Anne Melloy, Ted Dansey, Mark Bagally, Ray Wilson, Mary Hyde and Julian Bruere. These collective works offer a broader shared vision of the world through representational paintings.
C.Keller, Wambaya people, A Journey Starts with a Single Step, 2024, acrylic on canvas, 199 x 188 cm. Courtesy the artist. 23 May—22 June Confined 16
12 April–23 April Frank Chi: Solo Exhibition
Featuring over 400 artworks exploring the stories and culture of First Nations artists who have experienced incarceration.
Tolarno Galleries www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information.
Annika Romeyn, Endurance 9, 2021, watercolour monotype on paper, 250 x 190 cm. Image courtesy of the artist and Flinders Lane Gallery. 5 February—26 April Seasonal Shifts Matt Arbuckle, Wona Bae and Charlie Lawler, Tamara Dean, Annika Romeyn, Hiromi Tango and James Tylor. Seasonal Shifts is a group exhibition presenting artists whose works trace the rhythms of time, memory, identity and human influence on our natural surroundings. 12 March—26 April Wild at Art Showcase Australian Conservation Foundation Community Boroondara The Wild at Art Showcase celebrates the incredible artistic talent of children from the Boroondara area while highlighting their passion for protecting Australia’s threatened species. 17 March—3 May Fragments of Light Jesse Dayan
Ben Quilty, Conversation (NPD), 2023, oil on linen, 61 x 51 cm. 15 February—15 March Ben Quilty 22 March—17 April Benjamin Armstrong
Fragments of Light presents a series of paintings rooted in the everyday life of Melbourne, capturing intimate tableaux that reflect the changing seasons, nostalgia, and the connections between people and place.
Clive Sinclair VAS FVAS, St Marks Square. 26 March–13 April VAS Autumn Select Exhibition 2025 One of three Select Exhibitions held each year by VAS, inviting the best work of our membership across their varied mediums and styles. 16 April–11 May IMPRINT A month-long event exploring the powerful connection between storytelling and art(s). Through exhibitions, workshops, events and a symposium, this dynamic program invites artists, writers, creatives and audiences to engage with the many ways stories leave their mark. 16 April–11 May IMPRINT – Jennifer Fyfe: descript Spanning the upper galleries at VAS during the four-week imprint event, Jennifer Fyfe presents a body of work created over five years. These artworks are a 171
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www.unearthedceramics.com.au @unearthedceramicsmelbourne Melbourne made since 2014
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Jennifer Fyfe. combination of vintage texts, oil paintings and community stories told in oil paint, ink, and braille. Displayed with accessibility in mind, the artworks are complimented by two installations designed to inspire visitor interaction and discussion. 16 April–27 April IMPRINT – Erica Wagner: The Colt from Old Regret An exhibition of original artwork from the picture book, The Colt from Old Regret, written by Dianne Wolfer and illustrated by Erica Wagner, published by NLA Publishing. The Colt from Old Regret will be officially launched during the exhibition. This exhibition is part of the 2025 imprint program. 16 April–27 April IMPRINT – Lucy Fekete: Unconventional Beauty Marking the launch of Lucy Fekete’s stunning new book, Unconventional Beauty: Goils of the Sideshow, the original contemporary artworks in this exhibition are a tribute to the diverse and fascinating aspects that make each of us unique. They invite viewers to embrace difference, celebrating the beautiful in all its extraordinary forms. 30 April–11 May IMPRINT – Marketa Kemp: Love You George Presented as part of the 2025 imprint program, Kemp’s monotypes showcase the subtle beauty of the Australian landscape. Centred on Lake George in SA, the exhibition narrative tells the story of strong connection between the artist and the subject, depicting the lake’s ethereal qualities and ever-changing atmosphere in its pure and unglorified form.
The Dreaming Project. Katjarra Butler, Yumari - Katjarra, 2024, synthetic polymer paint on canvas, 92 x 56 cm. Provenance: Tjarlirli Art, WA. 19 March—17 April The Women’s Show 2025 — 20th Anniversary Exhibition
Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Bunurong Country, Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 8571 5320 [Map 4] Tue to Fri 12pm–4pm.
Wangaratta Art Gallery www.wangarattaartgallery.com.au
30 April–12 May IMPRINT – Charli English: featured artist & Symposium keynote speaker 4 May IMPRINT Symposium featuring Charli English, Tanya Duckworth, Megan-Jane Johnstone AO, Jennifer Fyfe and a performance by Ensemble Creatus.
Vivien Anderson Gallery www.vivienandersongallery.com Boon Wurrung Country, 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm.
connection at the Walker Street Gallery. This multi-artform installation explores global shared experiences through the lens of Australian First Nations perspectives, highlighting themes of identity, heritage, and unity. Inspired by the Dandenong Creek’s cultural and natural significance to the Bunurong, Wurundjeri, and local communities, the creek symbolizes the blending of cultures and stories. With water as a metaphor for life and transformation, the exhibition honours the creek’s role as a lifeline and cultural touchstone, fostering reflection on our shared human spirit. This project is curated by The Dreaming Project and developed alongside the Little Projector Company, presented by the City of Greater Dandenong.
Image courtesy of the gallery.
56 Ovens Street, Bpangerang and Yorta Yorta Country, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.
15 February—30 May 9 by 5 Group exhibition
Until 12 March Awe Jan Osmotherly
Tiny artworks, big impact. Discover the creativity of over 200 artists at the 9 by 5 exhibition, returning for its 17th year in 2025. A modern take on the iconic 1889 Melbourne exhibition reimagines the tradition of creating art on nine by fiveinch cigar box lids. Featuring a vibrant mix of painting, photography, and more, this exhibition invites artists of all experience levels to present their unique vision.
Jan Osmotherly’s photographs capture the majesty and wonder of the Warby Ranges. The Warby Ovens National Park is now listed with the International Union for Conservation of Nature as a site of significance due to its diverse range of threatened species and communities, such as the Grey Grass Tree, Temperate Woodland bird community, and Carpet Python.
25 March—30 May Confluence The Dreaming Project Confluence invites Greater Dandenong to celebrate shared discovery and cultural
5 February—6 April Barra Juanita McLauchlan ‘Barra’, meaning thread in the Gamilaraay language of Juanita McLauchlan’s grandmother’s country in northern New 173
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16 November 2024—16 March CLAW MONEY WORLD Taking you to the heart of New York’s graffiti scene through the eyes of pioneering and ground-breaking artist Claudia Gold (aka Claw Money). This world-first, Australian exclusive exhibition presents an intimate look into Gold’s global impact upon graffiti, fashion and design spanning 1990s to present day.
Juanita McLauchlan, Everywhen, 2023, detail, woollen blanket, brushtail possum fur, woollen and cotton threads, woodcut on linen, gold leaf, contact printed with Australian indigenous plants and using iron mordant, 197 x 154 cm. South Wales, connects two distinct, yet interrelated areas of the artist’s practice – textiles and printmaking.
In this world-premiere, and on show for the first time at the Warrnambool Art Gallery this exhibition presents a suite of Gold’s key collaborations from Nike to NASCAR, alongside signature garments and accessories from her label, set amongst a vibrant installation of murals painted by the artist in-situ. CLAW MONEY WORLD is proudly supported by the Victorian State Government through Visit Victoria and the Regional Events Fund, Creative Victoria, Warrnambool City Council, and Montana Paints. The Gallery is grateful for the contributions of the Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, The A L Lane Foundation, and The William and Lindsay Brodie Foundation.
Elizabeth Willing, Moviprep, 2022, detail, sherbet straws, 800 x 500 cm. Courtesy Elizabeth Willing and Tolarno Galleries, Melbourne. Photo Andrew Curtis. 22 February—18 May Crystalline Elizabeth Willing
www.thewag.com.au Gunditjmara, Eastern Maar, Maar Nation, 26 Liebig Street, Warrnambool, VIC 3280 [Map 1] 03 5559 4949 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm. 174
4 April—20 July kiki Anna Varendorff Curated by Micky Schubert. Anna Varendorff’s exhibition kiki extends her exploration of sculpture through the interplay of salvaged and new materials. Steel, rust, and remnants of industrial grates – makers of labour and industry - are reconfigured by delicate brass fixtures, evoking the precision of artisanal jewellery settings or the intimacy of treasured objects. These materials, signifiers of dystopia and capitalist decline, are carefully transformed, resisting disenchantment with a quiet insistence on renewal. Varendorff’s works in kiki are most often in pairs, not as fixed binaries, but as repetitions, stutters or companions. These arrangements suggest fluid relationships, alternatives and non-hierarchical states. Layered grills become shading, textile, or weave, where the hard-edge meets the delicate, and abstraction holds space for the presence of the feminine, the gestural and the attentive.
www.westspace.org.au Wurundjeri Country, Level 1 Perry Street, Collingwood Yards, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm.
14 March—11 June Fleeting Focus Dore Stockhausen
Warrnambool Art Gallery
Anna Varendorff. Courtesy of the artist.
West Space
Crystalline brings together existing and new bodies of work by acclaimed Brisbane based artist Elizabeth Willing that explore the interconnected qualities of alcohol and sugar. Working across textiles, sculpture and installation Willing’s works are performative and often participatory explorations of food as both concept and material.
Fleeting Focus brings together a collection of recent works by Beechworth based artist Dore Stockhausen. Working in acrylic on canvas bonded to aluminium composite panels, later works continue this exploration closer to home, drawing on local walking paths around Beechworth and the interior of the artist’s studio.
shape its future. This exhibition is proudly supported by the Australian Government through the Regional Arts Fund.
Merindah-Gunya, Framlingham Mission, (detail), 2024, acrylic paint on canvas, 90 x 60 cm. 5 October 2024—19 October Strong Spirit Merindah-Gunya Strong Spirit is an exhibition by Merindah-Gunya, a Peek Whurrung, Kirrae Whurrung, and Djab Whurrung woman, celebrating the resilience and vitality of Aboriginal culture. Through a diverse range of colours, Merindah-Gunya explores the deep connections between land, identity, and spirituality central to being an Aboriginal woman. Each piece reflects her profound respect for tradition while addressing contemporary themes of identity and belonging. Strong Spirit invites visitors to connect with the enduring strength of Aboriginal culture and the powerful narratives that continue to
Aarti Jadu and Claire de Carteret. 1 February—29 March The place we do not know is the place we are looking for West Space is proud to partner with
VICTORIA Liquid Architecture (Naarm) to present The place we do not know is the place we are looking for. The artists interrogate modernity’s relation with calculability and causality, drawing attention to the ex es that cannot be explained by the laws and tools of scientific measurement and technological systems. Curated by Laura McLean and Suvani Suri and featuring artists across Australia and India: Priyanka Chhabra, Uzma Falak, Merve Ertufan, Kathryn Gledhill-Tucker, Shareeka Helaluddin, Mochu, Rahee Punyashloka, Hayden Ryan, Thomas Smith, Joel Sherwood Spring, Aarti Sunder, Aasma Tulika, Aarti Jadu & Claire de Carteret (pictured).
Inheritance is a three-phase project that seeks to reframe the trauma of colonialism, war and displacement through art. In doing so the project aims to transform trauma and how we relate to it, to re-image what was lost and gift it to future generations. Presented at West Space, the first iteration of this project utilises the material remains of the artist’s ancestral home, archival materials, and performance to deconstruct and reconfigure, stories and relationships to deepen connections with the past.
and contemporary works of all mediums. The main gallery is a museum-standard space that displays our larger, curated exhibitions. The adjacent All Nations Foyer is a community-focussed space open to expressions of interest from all artists: emerging, mid-career and established.
Whitehorse Artspace www.creativewhitehorse.vic.gov. au/venues/artspace Wurundjeri Woi-wurrung Country, Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.
Phuong Ngo, Vietnam, 1996. 12 April—7 June Inheritance Phuong Ngo West Space premieres Phuong Ngo’s Inheritance. Curated by Amelia Winata,
Whitehorse Artspace is a thoughtfully designed, contemporary gallery space used to display a diverse program of exhibitors as well as thoughtful curations of our significant collection. This collection includes remarkable works from early Australian impressionist pieces through to modern
Niloufar Lovegrove, Blooming Hands, 2024, lino print and stitching, 64 x 94 cm. Image courtesy and © the artist. 8 March—26 April Niloufar Lovegrove: Cypress Growing Season This new body of work by Iranian Australian artist Niloufar Lovegrove responds to the enduring courage of the women in Iran and throughout the world who continue pursue their freedom, and like the cypress tree stand tall and resilient.
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A–Z Exhibitions
New South Wales
MARCH/APRIL 2025
NEW S OUTH WALES
Annandale Galleries
Artbank Sydney
www.annandalegalleries.com.au
www.artbank.gov.au
Gadigal Country, 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm. See our website for latest information
222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment for all leasing requirements. See our website for latest information.
Farnaz Dadfar, All my Broken Pieces, 2024, ceramic and glass on metal support, 150 cm each. SCA Gallery Sydney College of the Arts.
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In the largest exhibition of her work ever seen in Australia, Cao Fei (pronounced tsow fay) 曹 斐 brings the energy of the contemporary metropolis into the Art Gallery of New South Wales with a retrospective that includes two new commissions. Until June Birds in Far Pavilions Nusra Latif Qureshi Reflect on history within the beguiling depths in the first major solo exhibition of Melbourne-based artist of Nusra Latif Qureshi, who is best known for her finely crafted contemporary miniature paintings.
Sara Oscar, A hyperrealistic photograph of a pregnant Thai woman, wearing a suit, fainting, luggage, chaos, airport parking lot, in the style of Jean Martin Charcot – scale 1:1, quality 1, 2023, AI generated photograph printed on inkjet archival Ilford Galerie paper. 27 February—25 April A gestural drift Artbank Window Gallery curated by Sara Oscar To celebrate the acquisition of Sara Oscar’s artwork A hyperrealistic photograph of a pregnant Thai woman, tall woman in suit, falling luggage, chaos, airport parking lot, theatrical gestures, falling – scale 1:1, quality 1, Artbank has invited Sara Oscar to curate our Sydney Window. Sara Oscar is an Australian artist of Eurasian decent working with photography and the moving image. Her work explores the role of photographic technology in capturing and classifying human identity and storing these memories. Sara Oscar is a Senior Lecturer in the School of Design at the University of Technology, Sydney.
Mitch Cairns, Life-like, 2024, private collection. © Mitch Cairns. Courtesy The Commercial, Sydney. Photograph: The Commercial. 8 March—9 June Restless Legs Mitch Cairns Sydney-based artist Mitch Cairns presents an ambitious body of work in his first solo exhibition at the Art Gallery of New South Wales.
Art Gallery of New South Wales www.artgallery.nsw.gov.au
Saskia Vander, Relief, 2025, oil and acrylic on board, 122 x 80 cm. 12 March—12 April Newcomers 25 Farnaz Dadfar, Emily Isabel Taylor, Saskia Vander
Eora Nation, Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information. Sydney’s must-see museum, where art, architecture and landscape connect. Art for all. Until 13 April My City is Yours 曹斐: 欢迎登陆 Cao Fei
Hikoko Ito with her work, Happy Birthday 2U2. © Hikoko Ito. Photograph: Ngai Lung Tai. 15 March—17 August Happy Birthday 2U2 Hikoko Ito Hong Kong–based Japanese artist and architect Hikoko Ito’s joyous installation brings an interactive card exchange celebrating the pleasure of birthdays and community to the Art Gallery.
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Art Leven (formerly Cooee Art)
experience the world in new and transformative ways. 30 April—11 May Rivers Sandra Blackburne
www.artleven.com Gadigal Land, 17 Thurlow Street, Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.
Yuzi Han, Grandma and Grandpa’s, Jinan, China: demolished 1 September 2024, 2024, water-based oil on canvas. Visual Arts HSC at a Willoughby City Council high school. Addressing issues such as migration, growth, displacement and environmental degradation, this exhibition celebrates the interests and passions of a new generation of young local artists. 26 March—6 April Chasing Magic Minka Gillian
Bonnie Connelly, Ngurra Tjalaku, 2024, 76 x 101 cm. 1 March—22 March Minyma Kutjara Tjukurrpa Bonnie Connelly Nakara
Chasing Magic delves into the intricate relationship between magical thinking, anxiety, and the pandemic, exploring how unsettling events can trigger superstitious behaviours and beliefs in the supernatural. Gillian examines this phenomenon through sculpture, painting and installation, harnessing the power of good luck charms, religious symbolism and the sublime throughout her practice. Featuring a series of paintings and an eclectic shrine filled with personal relics, Chasing Magic is both a reminder of the inevitability of death and a token of hope, comfort and beauty amid a time of uncertainty.
The Rivers exhibition is inspired by a series of trips that Sandra made in 2022, 2023, and 2024 to Corongoro Creek NSW and the Mossman and Hodgkinson Rivers in North and Western Queensland. This exhibition is her response to these places: the stark white of the slender trees against the dark green of forested hills at Hat Head; the cold running waters of the Mossman Gorge in the tropical rain forest; the still waters of the inland rivers as they follow the massive escarpment of interior gorges. The river is a metaphor for life, overriding the idea of one physical space and representing the ever-changing nature of human experience. Sandra was born in Brisbane and graduated from the Queensland College of Art. She has painted continuously throughout her career, professionally for the last 20 years, and currently holds regular outdoor painting workshops in Sydney and in The Hunter Valley. She observes: “The country has an awesome energy which is beyond our ability to control. I would like my work to inspire a love of our unique and beautiful natural landscape, and to encourage others to join in caring for it.”
Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Eora Nation, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm. See our website for latest information.
The Moon, the Boy and their Shadow, 2024, 123 x 184 cm. 3 April—26 April 2021–2025: A Survey of Jay Staples & Stephen Brameld Jay Staples & Stephen Brameld
Pete Finlay, Foreshore Walk, 2024, oil on canvas.
Art Space on The Concourse
Pete Finlay’s solo exhibition Dual Nature forms a collection of landscape paintings that meditate on the dual nature of the harbour foreshore: a world of differences defined by the constant change in tide, light and air. Pete paints the differences between these elements in his diptychs’ heartfelt brushstrokes, demonstrating how both the painting surface and the harbour surface are an expression of life’s inherent duality and fragility. A Sydney-based painter with a background in art and creative direction, his work is deeply rooted in the discovery and vitality of the natural world. He believes that art has the power to transcend boundaries, offering viewers a unique perspective that allows them to
www.willoughby.nsw.gov.au/arts Cammeraygal Country, 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm. See our website for latest information. 27 February—23 March Smart Expressions Willoughby City Council presents Smart Expressions, a selection of major works from students who completed the 2024 178
9 April—27 April Dual Nature Pete Finlay
Michael Fitzjames, Pilgrim in the Snowy Mountains, 2024, pencil and oil on linen, 36 x 46 cm. 18 February—8 March Michael Fitzjames 8 February—8 March Maryanne Coutts 18 March—5 April Clary Akon
NEW S OUTH WALES
Bankstown Arts Centre www.cbcity.nsw.gov.au/arts-centre Darug Country, 5 Olympic Parade, Bankstown, NSW 2200 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm. 8 February—22 March Sciography Kien Situ
Leanne Jones, The Darug story of the 3 sisters song lines, 2023. Photograph: Jennifer Leahy, Silversalt Photography.
Sciography is a site-specific solo exhibition at Bankstown Arts Centre, tracing the intersections of matter, time, and form as active forces in space. Through the fusion of Chinese ink, incense ash, and concrete, Situ engages materiality as a state of flux - between transformation and permanence, emergence and erosion, solidity and ruin. Wynne Prize 2024 finalist, Zaachariaha Fielding Paralpi © the artist. 15 February—6 April Wynne Prize 2024
Image credit Masimba Sasa. 29 March—3 May Bone Drift: Chimeric Conversations An exhibition culminating from a workshops series by artist and researcher Helen Pynor and creative producer Lizzie Crouch that explores fluid (dis) ability identities at the intersection of art, medical science, disability theory and lived experience. Featuring Pynor’s 2021 work Habitation, the exhibition explores the strange and unexpected relations between materials, objects and people, that have been the focus of Pynor and Crouch’s collaboration. Chimeric Conversations explores porous boundaries and expanded ways to understand our evolving (dis)abled personal identities, now and into the future. It includes a collaborative artwork from the workshop focusing on the people of Western Sydney.
Bathurst Regional Art Gallery www.bathurstart.com.au Wiradyuri Country, 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, weekends and public holidays 10am–2pm, closed Mon.
Bathurst Regional Art Gallery (BRAG) presents the Wynne Prize 2024, touring from the Art Gallery of New South Wales. The $50,000 Wynne Prize is judged by the trustees of the Art Gallery of New South Wales and is awarded to the best landscape painting of Australian scenery or the best example of figure sculpture by an Australian artist. The Wynne Prize is Australia’s oldest art prize. It was established following a bequest by Richard Wynne and was first awarded in 1897 to mark the official opening of the Art Gallery of New South Wales at its present site. The Wynne Prize reflects the diversity of figurative sculptural practice, while the paintings are a dynamic reflection of Australian artists’ response to the land, reflecting contemporary aesthetics, environmental and stewardship concerns, and conceptions of Country. Following exhibition at the Art Gallery of New South Wales in Sydney, the Wynne Prize is touring regional NSW and BRAG is pleased to bring this celebrated showcase of Australian art to the Bathurst community. Wynne Prize 2024 is an Art Gallery of New South Wales touring exhibition. This project is proudly supported by the NSW Government through Create NSW’s Blockbusters Funding initiative.
Blacktown Arts www.blacktownarts.com.au
Blacktown City Art Prize exhibition at The Leo Kelly Blacktown Arts Centre. Now in its 29th year, the prize is an opencall, open-themed opportunity for artists locally and nationally to exhibit their work and have a chance to win 1 of 5 cash prizes! The 2025 exhibition showcases the creativity of Blacktown’s community at its heart. All works will be available for purchase. Don’t miss your chance to acquire a unique piece from some of Australia’s most exciting established and emerging talents. Want to have your say who takes home a prize? Vote for your favourite artwork in the People’s Choice Prize. The winner will be announced in the final week of the exhibition.
Level 5 designed by Ebony Wightman. 16 January—7 June Makers Space with Ebony Wightman Level 5 Ebony Wightman of We Are Studios is launching her 2025 Makers Space, ‘Level 5’ with Blacktown Arts. Informed by her lived experience as an Autistic person, Ebony’s playful Makers Space unpacks feelings of living a double life and trying to make yourself fit into a world that was not made for you. The space will be transformed into a spy’s hideout full of mysteries to solve, disguises to craft and wear, and talking pigeons! On Level 5, “Why? And Who?” are both the questions and the answers.
Broken Hill City Art Gallery www.bhartgallery.com.au
Dharug Country, The Leo Kelly Blacktown Arts Centre, 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. See our website for latest information.
Wilyakali Country, 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm. See our website for latest information.
11 January—28 March 2025 Blacktown City Art Prize
7 February—27 April Blow Back Ins
Start your year of art with the 2025
At the beginning of May 2024, a group of 179
ar t g ui d e .c o m . au Broken Hill City Art Gallery continued... notable Australian artists revisited Broken Hill, following in the footsteps of the original ‘Blow-In Art Collective’ from 2014. The ‘Blow Back-Ins’, including Ann Thomson, Ann Cape, Chris Gentle, Daniel Pata, Gina Bruce, Kerry McInnis, Paul Connor, Renata Pari-Lewis, Sophie Cape, Mike MacGregor, and Willemina Villari, spent two weeks creating works inspired by the township and its surrounding landscapes. From salvaged steel sculptures to delicate watercolours, the exhibition captures the unique essence of this desert-edge town.
Katherine Boland, Aquarium I #1, 2023, acrylic glass print, 40 x 56 cm. The exhibition brings together eight east coast, metro and regional female artists for whom foraging natural materials is at the core of their artistic practices. Curated by Nicole Wallace.
7 February—27 April Outback Inspiration: Broken Hill Potters Society
Blue Mountains City Art Gallery www.bluemountainsculturalcentre. com. au Dharug and Gundungurra Country, Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply. See our website for latest information. 15 February—13 April Blue Mountains Portraits 2025 Blue Mountains Portraits is the Cultural Centre’s annual celebration of the local community and its diverse members. 15 February—13 April forage: symbiotic (trans)formations 180
1 March—8 June Thinking together: Exchanges with the natural world Robert Andrew, Isabel and Alfredo Aquilizan, Keg de Souza, Martu artists, Sorawit Sangsataya & Tina Stefanou Thinking together: Exchanges with the natural world presents major new commissions by contemporary artists Robert Andrew, Isabel and Alfredo Aquilizan and Keg de Souza, alongside paintings by Martu artists of central Western Australia, and video works by Sorawit Sangsataya and Tina Stefanou. The exhibition explores themes of reciprocity and collaboration between the human and non-human. Each work responds to notions of community and considers the possibility that new knowledge can only be created through a process of thinking together, via communal making, cooperation between the species and embodying First Nations practices of knowledge sharing.
Image courtesy of the gallery
Outback Inspiration brings together ceramic works from the Broken Hill Potters Society, reflecting the rugged beauty and vibrant colours of the Australian outback. Using traditional hand-building, contemporary techniques, and primitive firing processes, this diverse collection celebrates the connection between art, nature, and community. Each piece offers a personal perspective on life in the remote, striking landscapes of Broken Hill.
Isabel and Alfredo Aquilizan, DWELL/ IN/PLACE, 2024, Dresden State Art Collections, Children’s Biennale PLANET UTOPIA. Photograph: Oliver Killig.
Campbelltown Arts Centre (CAC) www.campbelltownartscentre.com.au Djakaŋu Yunupiŋu, Nyalala gurmilili. Winner Wynne Prize 2024. © the artist. 22 April—15 June Wynne Prize 2024 The Wynne Prize 2024 is an Art Gallery of New South Wales touring exhibition. This project is proudly supported by the NSW Government through Create NSW’s Blockbusters funding initiative.
Dharawal Country, 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm. See our website for latest information.
26 April—8 June Sari: Anjum Olmo Sari is a deeply intimate journey into the traditions, self-expression and expansive nature of the Sari garment, by Australian-Indian artist Anjum Olmo. A Blue Mountains City Art Gallery exhibition curated by Hayley Zena Poynton.
Bundanon www.bundanon.com.au Dharawal Country, 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm.
Linda Sok, Deities in Temples III, 2023. Image courtesy of the artist. 29 March–22 June Reincarnations of an altar cloth Linda Sok Reincarnations of an altar cloth presents a selection of works from the ongoing series Deities in Temples by CambodianAustralian artist Linda Sok. The series presents re-imaginings of lost, stolen,
NEW S OUTH WALES collected, and destroyed Pidan silk weavings, and is inspired by descriptions written on museum registration cards found in the archives of the National Museum of Cambodia. The exhibition includes a newly commissioned work by Sok.
CBD Gallery
3 galleries, a gift shop, a gazebo, sculpture walks and a dinosaur.
www.cbdgallery.com.au 72 Erskine Street, Sydney, NSW 0450 130 422 Tue to Sat, 11am–5pm. See our website for latest information.
Jiva Parthipan, Pakiboy², 2024. Photo: Nat Cartney. 29 March–22 June Pakiboy² Jiva Parthipan Pakiboy² is a multi-channel film installation comprising documentation of an original dance work created by Jiva Parthipan (London 2000), alongside a restaging, in which the artist dances with his younger self (Sydney 2025). The installation explores the artist’s 50-year-old body, which has not danced for two decades, addressing his degenerative neurological condition (Parkinson’s Disease) and the aging body.
Grace Buckley, Chastity, 2024, cast iron chandelier, fringe, thread, 66 x 61 x 10 cm. 13 March—5 April Horizons: Emerging women artists Frankie L.A, Grace Buckley, Lila Kools, Rosa Buchanan, Taylah Steele, Yolanda Vukovich Opening night 13 March.
29 March–21 June Friends and Focus Campbelltown Arts Centre proudly presents the Friends Annual and Focus exhibition, an eclectic display of artworks by the Friends of Campbelltown Arts Centre.
Sculpture of Charlie Woollett. 27 April—19 May A Tribute to Volunteers, sculpture of Charlie Woollett Kerry Cannon A collaborative exhibition featuring artists throughout New England and surrounding regions celebrating travel and exploring. This exhibition features old automotive parts that have been transformed in to stunning displays of art. Applications close 20 July 2025 Triennial Acquisition Sculpture Prize Martin Claydon
29 March–22 June Volcanoes & Tornadoes Peter Gregson
Submissions are now open for Ceramic Break Sculpture Parks 3rd Triennial $12,000 Acquisition Sculpture Prize.
Volcanoes & Tornadoes presents work by the late Peter Gregson, a Kameygal man from Sydney’s La Perouse region, and an important member of the Little Orange studio program. Gregson worked in ceramics, drawing and relief sculptures, depicting wildlife, thunderstorms, Uluru, volcanic eruptions and tornadoes. The exhibition presents a selection of Gregson’s works and celebrates him as an innovative artist and friend to many.
To enter: form.jotform.com/ 242337787807873
Casula Powerhouse Arts Centre
Martin Claydon, Blockaid, 2024, oil on linen, 92 x 92 cm. 10 April—3 May Leaves of the Brush Martin Claydon Opening night 10 April .
Ceramic Break Sculpture Park
The Corner Store Gallery www.cornerstoregallery.com Wiradjuri Country, 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm.
www.cbreaksculpturepark.com.au
26 February—8 March Clay + String Group Exhibition Pippita Bennett, Lea Durie, Christina McLean and Karlie Simring.
8 February—6 April ARCHIBALD PRIZE 2024
Kamilaroi Country, ‘Bondi’, 2535 Allan Cunningham Road, Warialda, NSW 2402 [Map 12] 0417 841 741 Open 1 March to 20 December Thu to Sun, 10am–5pm and by appointment. See our website for latest information.
Four artists, each rooted in the mediums of ceramics and textiles, unite in an exploration of materiality. This exhibition invites the audience on a sensory journey of earth and fiber. Through their distinct yet interconnected practices, the artists celebrate the tactile essence of these ancient materials, revealing stories of tradition, innovation, and the profound relationship between maker and medium.
An Art Gallery of New South Wales touring exhibition. Presented at Casula Powerhouse Arts Centre.
Ceramic Break Sculpture Park is the brainchild of award winning bronze sculptor Kerry Cannon. It features
26 March—5 April Silver Linings Jo Fernandez
www.casulapowerhouse.com Dharawal Country, 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information.
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FARNAZ DADFA R • EM ILY IS A BEL TAYLO R • SA SKI A VANDER 12 MARCH - 12 APRIL
A N N A N D A L E
G A L L E R I E S
annandalegalleries.com.au info@annandalegalleries.com.au 1 1 0 Tr a f a l g a r S t r e e t A n n a n d a l e N S W A u s t r a l i a + 6 1 2 9 5 5 2 1 6 9 9 1 1 a m - 4 p m We d - S a t Emily Isabel Taylor, SPINNE, 2024, bronze and recycled plastic, 196 x 46 x 56cm (detail)
annandalegalleries.com.au
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Tue to Sat 10am–4pm, Sun 10am–2pm. Admission free. Wheelchair access.
Cowra Micro Gallery www.cowramicro.weebly.com Wiradjuri Country, Cowra Railway Station (Northern end), Cowra, NSW 2794 [Map 12] Sat & Sun, 10am–2pm, or by appointment. See our website for latest information.
Jo Fernandez, A thousand memories. Jo continues her fascination with clouds in this new body of work titled Silver Linings. Here her cloudscapes not only represent the transitory nature of life, but are a metaphor for optimism as well. No matter how difficult a situation may appear, there’s always a positive side. Silver Linings rejoices in the restorative powers of nature and its impact on our wellbeing. The works evoke calm and nostalgia, as the artist invites the viewer to pause, reflect and find solace in the beauty that surrounds us.
Amanda Ogilby, Blooms and Brown Jug.
Tim Gruchy, Dissolving World, (still), 2021, single-channel video, 00:14:30. Image courtesy of the artist. 14 February—23 March The Brothers Gruchy The Brothers Gruchy presents nine key artworks by acclaimed digital artists Tim and Mic Gruchy, which focus on the intersections of technological innovations with biological forms, human perception, artificial intelligence, and synaesthesia. In a technological environment characterised by hyper-communication and social networks, the Brothers explore sensuous visions of an enhanced and rapidly changing world, while also considering its dissolution. Their subject matter ranges from familial connection to great Australian rivers; from the environmental impacts of development and industry to the degradation of the decommissioned Baoshan steelworks, Shanghai, once one of the largest steelworks in the world. The Brothers Gruchy is a touring exhibition curated by Bundaberg Regional Galleries and presented in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program and is supported by the Queensland Government through Arts Queensland.
30 March—12 April Contemplation Amanda Ogilby “Contemplation is a collection of still life pieces inspired by the beauty and calm of the familiar. Close surroundings contain all my collected and passed down treasures. Wandering through my beloved garden personally allows a presence and solitude. The result is a combination of elements that bring comfort and peace, feelings of which I particularly want to convey within my paintings. A blurred interior intentionally adds a further depth to the still life pieces, allowing the foreground to emerge, flowers bloom and all the often overlooked items, no matter how mundane, get their moment in the light.” Amanda Ogilby.
Cowra Regional Art Gallery www.cowraartgallery.com.au Wiradjuri Country, 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190
Ken Hutchinson, Paddock Patterns Near Morongla, 2024, acrylic on satellite dishes. 27 April—19 May Ken Hutchinson Can we distinguish the difference between the patterns in our landscape that lead to a sustainable future and away from an unsustainable future? Repurposing obsolete satellite dishes, collecting and creating patterns, Ken Hutchinson aims to highlight our impact on the rural industrial landscape. Flipping the dish into a new role, the works serve up food for thought on regenerative farming methods and how we can create positive patterns of cultural change.
Darren Knight Gallery www.darrenknightgallery.com
Beau Jervis, Jhye Head, Phoenix Bucchanan and Hunter Buchannan, Monster Party!, Conargo Public School. 11 April—4 May Operation Art Operation Art is an annual exhibition celebrating its 30th Anniversary this year. These artworks created by students across New South Wales will be exhibited in regional galleries, with the Hospital 50 selections finding their home at The Children’s Hospital at Westmead, where they will help make sick children feel better through the power of art. Operation Art is an initiative of The Children’s Hospital at Westmead in partnership with The NSW Department of Education.
840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 Tues to Sat 10am–5pm. See our website for latest information. 11 January—8 March Summer Exhibition Including Laurence Aberhart, Kushana Bush, Jon Campbell, Alan Constable, Jess Johnson, Maria Kontis, Rob McHaffie, Noel McKenna, James Morrison, Kenzee Patterson, Patrick Pound, Robyn Stacey, Nat Thomas and Louise Weaver. 15 March—2 April Chippin’ away Jon Campbell
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D’Lan Contemporary
Gallery76
www.dlancontemporary.com.au
www.embroiderersguildnsw.org. au/Gallery76
97–99 Queen Street, Woollahra, Sydney NSW [Map 10] 02 9199 9646 Tue to Sat 10am–5pm. See our website for latest information. Representing Australia’s most distinctive and dynamic art movement, D’Lan Contemporary presents regular exhibitions of modern and contemporary art by leading and emerging First Nations artists at its galleries in Melbourne, Sydney and New York, alongside an international programme of exhibitions, educational talks and events that celebrate and promote the rich art and culture of Australia’s first peoples.
Gadigal Country, 76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm. Free admission. See our website for latest information.
Newell Harry, Untitled (Wole Soyinka… is still alive), 2012, monoprint, Sennelier pastel, cowrie shells, marker on ironed Fabriano paper, 152 x 113 cm. Courtesy of the artist and Roslyn Oxley9 Gallery. 28 March—18 May Abstraction: Systems, Signs, Syntheses Featuring works on paper and paintings by Matt Bromhead, Lottie Consalvo, Newell Harry, Patrick Hartigan, Emily Kame Kngwarreye, Peter Maloney, Brice Marden and Terry Winters. Curated by Tony Mighell.
Fellia Melas Gallery www.fmelasgallery.com.au
Project by TEXStyle 2025 exhibitor Abigail Salmon.
2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm. See our website for latest information.
Nonggirrnga Marawili, 1939–2023, Yolŋu language, Lightening, 2017, enamel paint on aluminium 200 x 122 cm. © Nonggirrnga Marawili/Copyright Agency, 2025. 1 March—17 April Memories of Now Djambawa Marawili AM, Gunybi Ganambarr, Nonggirrnga Marawili, Wukun Wanambi
Delmar Gallery www.trinity.nsw.edu.au/delmar-gallery Trinity Grammar School, 144 Victoria Street, Ashfield, NSW 2131 [Map 7] 02 9581 6070 Wed to Sun 12noon–5pm . Established in 1966 as part of Trinity Grammar School’s Society of the Arts, Delmar Gallery presents an annual program of curated exhibitions featuring local and international artists. Free admission to all exhibitions.
Brett Whiteley (1939-1992), Divided Unity, 1974, screenprint on card, 66 x 93 cm. Works by: N. Harding, D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack and many others.
Project by TEXStyle 2025 exhibitor Isabelle Maybury. 2 March—24 April TEXStyle 2025 Presented by the Technology Educators Association of NSW TEXStyle is the annual showcase of excellence in HSC Textiles and Design. It features over 30 exemplary Major Textiles Projects submitted by HSC students including furnishings, apparel, textile art and costume. It has been curated to provide representation across the 185
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NEW S OUTH WALES bones and (dis)ability identities over time. Through a series of workshops, artist and researcher Helen Pynor and creative producer Lizzie Crouch have guided participants to get hands-on with the materiality of bone, and the processes involved in making bone china clay. Through rituals of making, the personal objects created in the workshops reflect participants’ own bodies and experiences, representing a collective exploration of what it means to live within an evolving (dis)abled identity – now, in the past or into the future.
Gallery 76 continued... educational sectors and regions throughout NSW. This annual exhibition has been held for over 20-years, providing opportunities for students and teachers to engage with work samples and is accompanied by a comprehensive range of high school excursions. The general public is welcome to attend, with free entry during regular gallery hours.
Gaffa Gallery
9 April—26 April ArtXtra! Members of the Lane Cove Art Society
www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am–5pm, Mon by appointment, closed Sun & pub hols.
Jack Ball, Shower scenes 5, 2019, Inkjet print on rag, framed, Edition of 5, 70 x 93 cm. Image courtesy the artist. gritted teeth presents artworks as a chorus of queer voices, reverberating to blur the bounds between the individual and collective experience. Navigating personal narratives and queer ecologies, the exhibition considers counterheteronormative ways of being and connecting; collapsing harsh edges to offer playful encounters with queer intimacy and resistance. This exhibition is proudly funded by Women NSW as part of NSW Government.
An annual exhibition open to all financial members of the Lane Cove Art Society. The exhibition is an insight into the diversity of the Society. Painting, Printmaking & Drawing are included in the exhibition. All works are available for acquisition.
Gallery LNL www.gallerylnl.com.au 49-51 King Street, Eora Nation, Newtown, NSW 2042 [Map 7] 02 9550 4433 Tue to Sat 10am–6pm. See our website for latest information.
Sara Buchner, Banksia and Co, 2024, ceramics, 12 x 12 cm. 27 March—7 April ‘Banksia and Co’ - Husk, seed, wood, and clay: stories from what’s left behind Sara Buchner Opening Thursday 27 March, 6pm–8pm. 10 April—26 April Eaftos Gaspare Moscone Opening Thursday 10 April, 6pm–8pm.
Gallery Lane Cove + Creative Studios www.gallerylanecove.com.au Cameraygal Country, Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information. 20 February—8 March soft tongues, gritted teeth Jack Ball, Holly Bates, Hannah Brontë, Chelsea Farquhar, Claudia Nicholson, Lucy Whitelaw Curated by Sarah Rose. Featuring artists from across Australia, soft tongues,
Patricia Wilson-Adams, Pleaching, 2021, image courtesy of the artist. 12 March—5 April LUCENT: women treading lightly Chris Byrnes, Helen Dunkerley, Penny Dunstan, Emma Florence-May, Annemarie Murland, Dan Nelson, Mandy Robinson, Niomi Sands, Belinda Street, Linda Swinfield, Lezlie Tilley, Patricia Wilson-Adams This exhibition shines a light on women artists who often go unheard amidst the noise of ‘immediacy art.’ These are women from regional areas, living on the periphery, whose work deserves greater recognition. They are women of all ages, mothers, partners, professionals, and artists, navigating busy lives without diminishing their intellectual or aspirational pursuits. This exhibition is an opportunity to discover and celebrate their profound contributions to the cultural fabric of our community, and their significant voice within our cultural discourse. 12 March—5 April Bone Drift: Wax, Bone and Thread An exhibition that explores ‘non-normative’
Alun Rhys Jones, Gay Agenda Series, Canson Infinity Rag Photographique Print. 14 February—22 March LIBRE: the art of being A celebration of freedom, identity and self-expression in response to the Sydney Mardi Gras festival 2025. A group exhibition featuring Australian and International artists: Christine Dean, David Elliot, Scott Elk, Alun Rhys Jones, Deborah Kelly, Charlotte Hughes Martin, Francis Meow, Elnaz Nourizadeh, Anna Parsons, Janice Raynor, Alison Smiles, Nick Stathopoulos, Lynnea Stewart, Tom Summers, Jayanto Tan and Emily Valentine. 187
Redfern Art Gallery specialises in Australian and Japanese ceramics, pottery and glass from the 1950s - 1980s, and is the largest gallery of its kind in Sydney. The gallery also specialises in collectable but affordable Australian art from this period - focussing on artists who came to live and work in Australia after World War II and female artists from this period.
REDFERN ART
GALLERY
80 Redfern Street, Redfern, NSW 2016
Mid Century Australian Art, Ceramics and Pottery Phone: Gavin 0478 473 041 Email: gavin@redfernartgallery.com.au www.redfernartgallery.com.au redfernartgallery.com.au
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Aaron Scythe, Iro-Shino Yobitsugi style Large Sake Bottle, Porcelain and stoneware clay. Iro-Shino and Kizeto, 23.5 x 9.5 cm. 4 April—3 May New works from Aaron Scythe Gallery LnL is pleased to present new works by New Zealand artist Aaron Scythe. His first solo exhibition in Australia is a homecoming for Aaron, who lived and studied ihere before undergoing extensive training in Japan. His recent work incorporates iconography from both historical references and his immediate surroundings as a contemporary response to the Japanese Oribe technique.
Gosford Regional Gallery www.gosfordregionalgallery.com 36 Webb Street, Darkinjung Country, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free admission.
Susan Wanji Wanji, Bombing of Darwin, 2016, ochre on linen, AWM2016.251.1. Image courtesy of the Australian War Memorial. 15 February—23 March Art in Conflict Art in Conflict is a touring exhibition of contemporary art from the Australian War Memorial. With widespread acclaim and more than 50,000 people visiting since the tour opening at Shepparton Art
Museum in 2022, the exhibition tour has been extended to tour extensively across Australia. A showcase of responses to war, the exhibition includes more than 70 paintings, drawings, films, prints, photography and sculptures. Leading Australian artists are represented, such as Khadim Ali, Rushdi Anwar, eX de Medici, Denise Green, Richard Lewer, Mike Parr, and Ben Quilty. Aboriginal and Torres Strait Islander art is featured, with works by Tony Albert, Paddy Bedford, Robert Campbell Jr, Michael Cook, Shirley Macnamara, and Betty Muffler. Three major new bodies of work debut in this exhibition: official war art commissions by Susan Norrie (Iraq, 2016) and Megan Cope (Middle East, 2017), and a commemorative work by Angelica Mesiti. Contemporary artists’ responses to conflict bring to light untold stories, reveal neglected histories and deepen our understanding of Australia’s experience of conflict, both past and present. This project has been assisted by the Australian Government’s Visions of Australia program.
the Community Gallery and the Foyer gallery spaces, the exhibition features artists from Years 7-12.
Glasshouse Port Macquarie www.glasshouse.org.au Biripi Country, Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.
The Hidden Theatre installation, Bundanon Trust Art Museum, 2022. 8 February—13 April The Hidden Theatre Tim Georgeson and William Barton
Ethan-james Kotiau, Dandhi - Grounded, 2024, acrylic on canvas. Courtesy of the artist. 15 February—23 March Dandhi – Grounded Ethan-james Kotiau “Dandhi means “Grounded” in my language, Gunggari. This exhibition is about being connected to the land, the waterways, and our culture. It’s about remembering where we come from - our roots, our language - and how that gives us strength. When we stay grounded in those things, it’s like building on a solid foundation. We can look ahead, but it’s always with our past in mind. These works reflect that balance between holding onto our traditions and growing from them, showing the positive impact it has on us and the generations to come. In conjunction with the exhibition Ethan will develop a project with local First Nations students, creating a series of banners which will become part of the gallery’s 25th year celebration.” Ethan-james Kotiau. 1 March—23 March A Central Vision 2025 Opening Friday 28 February, 6pm. Partnering with the Department of Education, A Central Vision brings together the best artworks from students studying at local Public Secondary High Schools. This annual exhibition presents the opportunity for selected students to display their artwork in a professional gallery setting, with prizes awarded to a selection of artworks. Spanning across
Nathalie Gautier-Hartog, River installation. Photo by Andrew Halliday courtesy Wagga Wagga Art Gallery. 12 April—1 June River Nathalie Gautier-Hartog
Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. 14 February—22 March Primavera: Young Australian Artists Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain and True Truong investigate themes of protest, perseverance, identity and history. Curator Talia Smith asks what are artists creating to challenge society’s prescribed structures, built by a select few to supposedly serve and protect us? Primavera is an annual exhibition for 189
ar t g ui d e .c o m . au Goulburn Regional Art Gallery continued...
international music posters spanning the 1960s to 1980s, Enjoy this trip: The art of music posters captures the spirit of the times as an era of experimentation. Journey back to the Summer of Love and be transported to a time when the music was funky, the art was kaleidoscopic and psychedelia was in full swing. Enjoy this trip presents a nostalgic exploration of the times through art, graphic design, music, colour and typography. Enjoy This Trip: The Art of Music Posters is a National Gallery Touring Exhibition supported by the Australian Government through the National Collecting Institutions Touring and Outreach Program.
Grace Cossington Smith Gallery
Sue Sorrell, Blue Apple Art studios, ceramic vases. where individuals with disability can create art across various mediums in this vibrant, inclusive community.
www.gcsgallery.com
Paul Worstead, Jimmy Jones Souvenirs, Mental as anything - Creatures of leisure (Wayne), 1982, National Gallery of Australia, Kamberri/Canberra, gift of the artist 1994 © Paul Worstead.
GarinGai Country, Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm. Free admission.
Australian artists aged 35 years and under. It was initiated in 1992 by the Museum of Contemporary Art Australia in dialogue with Dr Edward Jackson AM and Mrs Cynthia Jackson AM in memory of their daughter Belinda, a talented jeweller who died at the age of 29. The exhibition commemorates Belinda Jackson by celebrating the creative achievements of young artists in the early stages of their careers.
Drawn from the National Gallery’s expansive collection of Australian and 190
1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Sat 11am–3pm. See our website for latest information.
www.hazelhurst.com.au Dharawal Country, 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission.
Cici He, Abbotsleigh, Roll UP, Roll UP!, painting.
4 April—24 May Enjoy This Trip: The Art of Music Posters
www.cumberland.nsw.gov.au/arts
Hazelhurst Arts Centre
A Museum of Contemporary Art Australia and Museums & Galleries of NSW touring exhibition, curated by Talia Smith. This project has been assisted by the Australian Government’s Visions of Australia program.
Truc Truong, I Pray You Eat Cake, 2023, installation view, Primavera 2023: Young Australian Artists, Museum of Contemporary Art Australia, Sydney, 2023, toys, found objects, packaged food, synthetic polymer paint, fabric, wood, aluminium, stainless steel, electro mechanical components, dried pig trotters, dried chicken feet, tassels, rope, image courtesy and © the artist, photograph: Zan Wimberley.
Granville Centre Art Gallery
1 March—22 March ART NORTH Celebrating the work of young artists from secondary schools across the Hornsby and Ku-ring-gai region. These Visual Arts students worked throughout their 2024 HSC year to achieve thought provoking works in a vast array of media and materials. 27 March—26 April A Studio Community Works in paint, paper and ceramics by artists who attend Unisson Disability Blue Apple Art Studios and Studio ARTES. The Studios provide a supportive and dynamic arts-focused environment
Kayla Puse, Aquinas Catholic College, The things we frame, 2024, painting. 10 February—13 April ARTEXPRESS 2025 The annual ARTEXPRESS exhibition returns to Hazelhurst, showcasing outstanding HSC artworks from 50 students from across the state. As part of the HSC Showcase season, this exhibition includes artwork by some of NSW’s most talented young artists. ARTEXPRESS 2025 is a collaboration between NSW Department of Education and NSW Education Standards Authority, curated and presented by Hazelhurst Arts Centre.
NEW S OUTH WALES
Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery
Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.
Dharug and Darkinjung Country, Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed Tuesdays and public holidays.
Lismore Regional Gallery www.lismoregallery.org Ken Done, Late Tuesday dive, 2024, oil, acrylic and oil crayon on linen, 152 x 244 cm. 13 February—16 April Recent Work Ken Done
William Edwin Pidgeon, Kurrajong, 1937, oil on board, 34 x 39 cm. Collection Hawkebsury Regional Gallery, donated by Mr Alan Cleary. 11 April—25 May A river, a mountain, a field, a road… This exhibition offers a rich exploration of the varied portrayals of landscape in the gallery’s collections, capturing the breathtaking beauty of the Hawkesbury region and diverse interpretations of natural and built environments beyond the area. This exhibition will showcase works from the Hawkesbury Regional Art Gallery, the Hawkesbury City Council Collections, and contributions from the Friends of the Hawkesbury Art Community and Regional Gallery Inc. Please note, this exhibition period will include a closure for the Gallery lighting upgrade. Please refer to the Gallery website for updates before visiting.
The Japan Foundation Gallery www.sydney.jpf.go.jp Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055
The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information. Since his first solo exhibition in 1980,
It has been established since 1880. The Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists. Exhibitions change regularly throughout the year ensuring a diverse range of traditional and contemporary works are on show.
Bundjalung Country, 11 Rural Street, Lismore, NSW 2480 [Map 12] 02 6627 4600 Wed to Sun 10am–4pm, Thu until 6pm. See our website for latest information.
Korean Cultural Centre Australia
The Lock-Up
www.koreanculture.org.au
www.thelockup.org.au
Ground floor, 255 Elizabeth Street, Eora Nation, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free admission.
90 Hunter Street, Awabakal and Worimi Country, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm. See our website for latest information.
Roy Subum Lee, Time Cable # 2, 2024, pigment inkjet print, 237 x 105 cm. 14 March—9 May Inflection Carolyn Craig, Geoff Kleem, Damian Dillon, David Manley, Roy Subum Lee, Ko Kyongho, Kim Kunju, Geum Joongki, Koh Bongsoo, Moon Sangwook, Lim Anna, and Lee Jung Hee. Inflection explores the critical points of transformation in contemporary art where Korean and Australian cultures intersect and influence each other. It also aims to highlight the pivotal moments in artists’ creative journeys that lead to innovation and enriched artistic expression.
Lauren Brincat, When do I breathe?, 2024, documentation of a performative score. Courtesy of the artist. Photograph: Zan Wimberley. 1 March—25 May When do I breathe? Lauren Brincat
Lavender Bay Gallery www.royalart.com.au Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 The Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts.
Locust Jones, Uncertain Future, 2021, ink on paper, 200 x 154 cm. Courtesy of the artist. Photograph: Silversalt Photography. 1 March—25 May The green dream Locust Jones 191
ar t g ui d e .c o m . au
Macquarie University Art Gallery www.artgallery.mq.edu.au Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University [Map 7] Macquarie Park, NSW 2109 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.
Ron Mueck – Pregnant woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work will engage with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity. 8 February—1 June Barely Glimpsed Patrick Maverty Patrick Mavety is an Australian painter based in Muloobinba (Newcastle, NSW). His practice explores the everyday, encompassing countryside and urban landscapes, interiors, and portraiture. In his studio, studies merge with memory and oil paint as he engages in a constant dialogue with his medium, the history of art, and his changing environment.
immersive video installation. It was made in collaboration with a chatbot, coded to act as a channel to an ancient Celtic land spirit. 8 March—22 June Singing in Harmony Chris Capper, Virginia Cuppaidge Singing in Harmony brings together the colourific artistic voices of Chris Capper and Virginia Cuppaidge in a dynamic exhibition that explores the interplay between abstraction, perception, and nature. 15 March—11 May The Ubiquitous Myth of the Eerie Wife Katy B Plummer In response to Ron Mueck’s monumental Pregnant woman, on loan from The National Gallery of Australia, The Ubiquitous Myth Of The Eerie Wife is a lush meditation on the eerie existence of the artist mother and on matrilineal creative inheritance and legacy, told against the hallucinatory and deeply familiar backdrop of Swan Lake. 22 March—15 June Brenda Clouten Memorial Art Scholarship 20 Year Anniversary Exhibition Established by patrons Vicki and Bruce Woods in 2005 to honour their dear friend Brenda Clouten, the Scholarship supports two young achievers in visual arts to undertake a program of professional development through study, travel, research, or studio support. Now in its 20th year, the grants will support two creatives – 35 years or younger. This exhibition features finalists shortlisted for the scholarship.
Ken Unsworth, The Birdman, 2024, fibreglass mannequin, bamboo, cedar, cast resin. Exhibition installation shot Photography Effy Alexakis, Photowrite. 6 March—21 May Love is the Sweetest Thing Ken Unsworth From the early performances of the 1970s, through to the hugely popular suspended stone circles, installations that incorporate a sense of the theatrical “popera” collaborations with the Australian Dance Artists, and the large-scale paintings, Ken Unsworth continues to offer us a disturbing and uncompromising view of our shared humanity. This major exhibition also features a specially editioned catalogue of Unsworth’s new works, produced in partnership with Bandicoot Publishing. Curated by Brad Buckley.
Manning Regional Art Gallery Gillian Bencke, Array, (detail), 2024. Newcastle based artist Gillian Bencke will feature in the program in her solo exhibition Us. 1 March—8 June Us Gillean Bencke Gillian Bencke is an artist who examines the stories we create around objects, symbols, and language. In Us, Bencke uses the Anthropocene as both a backdrop and subject to understand our drive to collect, preserve, and express our identities through personal and cultural artefacts.
Maitland Regional Art Gallery
1 March—1 June My Message is Love Mostafa Azimitabar
www.mrag.org.au
Mostafa ‘Moz’ Azimitabar’s story is one of resilience, hope, and the transformative power of art. For Moz, the theme of love is central, both in his art and his activism. His quote, “Love is how we kill the monsters. We are all one family, connected by our humanity,” speaks to the healing and revolutionary power of compassion, understanding, and solidarity.
Wonnarua Country, 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am– 4pm. Café, 8am–2pm. Free entry, donations always welcomed. See our website for latest information. 13 April—28 September Pregnant Woman Ron Mueck 192
8 March—22 June Margaret and the Grey Mare Katy B Plummer, music by Sally Whitwell Margaret and the Grey Mare is an opera, a fever dream about an opera, and an
www.manningregionalartgallery.com.au Biripi Country, 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 7955 7074 Tue to Sat 10am–4pm. 23 January—8 March OPUS, An Artist’s Odyssey Trevor Weekes Trevor considers this his final exhibition. This body of works reflects previous artworks over a long artistic career and embraces memories and moments to reflect on, like a three-dimensional diary or journal. The images chronicle not only a journey but his artistic life. 23 January—8 March Place Wootton Creative Alliance 23 January—8 March You Never Leave Jen Delirium 14 March—10 May POSTWORLD Alison Bennett (VIC), Neil Binnie (QLD), K.Verell (Blue Screen of Death) (TAS), Gail Mabo (QLD), Ron McBurnie (QLD), Jenny Mulcahy (QLD), Catherine Parker (QLD), David Rowe (QLD), Jason Sims (SA),
NEW S OUTH WALES Will French, Philjames, William Cooke, Seth Diego Birchall, Emma Finneran, Alice Couttoupes, Jack Lanagan-Dunbar, Eunjoo Jang, Kirtika Kain, Kate Mitchell, Matthew Bromhead, Mason Kimber.
Martin Browne Contemporary www.martinbrownecontemporary.com Gadigal Country, 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm. See our website for latest information.
Maggie Hensel-Brown, Not Useful, Not Beautiful. Government, and the Australian Government’s Visions of Australia and Regional Arts Fund programs. Ron McBurnie, Catherine Parker and Stephen Spurrier, Cosmic Witness series, 2012–2022, mixed media on paper, 42 x 29 cm. Courtesy of the artists. Stephen Spurrier (QLD), Rhonda Stevens (QLD). POSTWORLD features Australian artists who create parallel universes. Audiences are invited into the playful, sublime, poetic and cautionary in this exhibition. Drawing on the detritus of human experience, these worlds have their own internal languages existing in alternate time and space. As this show was built, each artist’s work expanded on this thematic provocation, finding pathways to comfort, resistant to the overwhelming sense of panic. Stillness, awe and appreciation resonated, honouring the world beyond its utility to provide resources for consumption in the Anthropocene. New fictions (and possible futures) are rendered, providing alternate perspectives on the environment, gender and capitalist hegemony.
Manly Art Gallery & Museum www.magam.com.au Guringai Country, West Esplanade, Manly, NSW 2095 [Map 7] 02 8495 5036 Tue to Sun 10am–5pm. See our website for latest information. 21 February—6 April Residue + Response: 5th Tamworth Textile Triennial Featuring 25 artworks from across Australia which explore the connection between our histories and futures, through contemporary textile practices. Curated by Dr Carol McGregor. This touring exhibition has been made possible through funding from the NSW
21 February—6 April Out Front 2025 This curated selection of artworks by HSC Visual Arts students from the 21 secondary schools across Sydney’s Northern Beaches supports the creativity of local emerging arts talent.
Sam Michelle, Garden Parties - Wattle, 2024, oil on canvas, 200 x 200 cm. 6 March—29 March Garden Parties Sam Michelle 6 March—29 March teamLab 3 April—26 April Autumn Group Show
Mosman Art Gallery www.mosmanartgallery.org.au
Megan Hales, Jackpot, 2023. 11 April—1 June TEN-FOLD: A Decade of Emerging Art Incubator Artists To celebrate a decade of Art Incubator’s innovative philanthropic art-support model, and showcase the extraordinary quality of contemporary emerging practices that have come through the program, this exhibition presents a survey of the works made by the 22 grant recipients between 2014 and 2024. A solo exhibition by the 2025 grant recipient, Samantha Jade is part of this project. MAG&M’s Cove Gallery will also be transformed into a studio for two grant recipients to take up residency throughout the exhibition. Participating artists include: Nicole Zhang, Remy Faint, Megan Hales, Monica Rani Rudhar, Joshua Charadia, Orson Heidrich, Tom Keukenmeester, Shan TurnerCarroll, Victoria Hempstead, Nadia Odlum,
Cammeraigal and Borogegal Country, 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm. Closed public holidays.
Keith Rutherford, Mangroves III, 2023, pencil, graphite, charcoal, sand and gouache on ribbed cotton. Image courtesy and © artist. 193
– FOR SALE – T H E ST E E LR E ID C OLLECT ION
Kudditji Kngwarreye steelreid.com.au 194
Kaya Sulc |
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steelreidstudio.com.au
NEW S OUTH WALES Mosman Art Gallery continued... 8 February—4 May Keith Rutherford Keith Rutherford is an artist living with an eye condition known as Stargardt disease. Rutherford turned his struggle into a positive and pursued his mark-making with renewed vigour. Each work embodies the celebration of arrival and the joys of the journey. 29 March—4 May Mosman Youth Art Prize Since 1988 Mosman Art Gallery has been fostering the next generation of artists through the Mosman Youth Art Prize. Each year hundreds of young artists submit their drawings, paintings, photographs, videos, prints, sculpture and ceramics that form this overview of the artists of the future. 15 February—16 May From Showgirl to Artist, a Synchronisation Virginia Bucknell Virginia Bucknell describes dance as ‘working from the heart’. From Showgirl to Artist, a Synchronisation shares the significance of dance throughout Virginia’s life, in particular her creative journey as a professional cabaret dancer and how it continues to inform her practice as a visual artist. 15 February—16 March Artists of Mosman 2088 Artists of Mosman 2088 surveys the region’s thriving artistic community and includes works created by Mosman residents as well as Members and Volunteers of Mosman Art Gallery.
Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.
The giving of one’s word is an act of promise – an assurance of hope. When fulfilled, the trust held between parties is maintained and perhaps strengthened. But what of a failed promise? How do we contend with optimism denied? Hold the world to its word recognises the notion of an inherently good and just world is a fragile one. That faith in promises held personally and collectively is easily eroded. The exhibition positions a group of artists within this environment of equivocal hope. The artists span geographies and generations, creating works that assert artistic agency and refute powerlessness while mapping delicate threads of connection between individuals. Key works address both cultural and personal pain and identify avenues of solace. 1 November 2024–27 April Dividing Range Brook Andrew, James Farley, Silvi Glattauer, Fiona Hall, Marion Hardman, Mark Hinderaker, Robert Jacks, Mark Kimber, Gloria Petyarre, Sam Shmith, Imants Tillers, Ingeborg Tyssen, Stephanie Valentin, Justine Varga, Robin WallaceCrabbe, Kim Westcott Taking its title from that of a featured work by North-East Victoria based artist Kim Westcott, Dividing Range brings together a selection of photographs, prints and paintings from the Museum’s collection loosely connected by their explorations of human relationships to land and light. A 1969 abstract painting by Robin Wallace-Crabbe flaring yellow sits between more recent large-scale photographic works by James Farley and Justine Varga produced through direct exposure of paper and film. Across the room a small black and white 1978 photograph by Mark Hinderaker of a television broadcasting a thermonuclear explosion depicts intensely concentrated energy and light. 31 January—27 April Free Medicine Matthew Scherf
architecture of the local area, exploring the qualities of hard light and stark geometry. The exhibition presents moments of light and shadow on the mundane and overlooked facades of familiar buildings, while also serving as an examination of the artist’s sense of belonging to the Albury area. 28 March—25 May RAW25 Alexa Taylor, Alexandra McNamara, Amy Bishop, Brianna Walker, Chiana Broydell, Claudia Alessi, Indita Yaxley, Martin Fraser and Stella Thurkettle. RAW25 is an annual showcase of the best original artworks produced by young people of the Murray region. This year’s exhibition features nine artists, highlighting the unique perspectives and experiences of our local young people. The 2025 exhibition presents themes centred on the experience of being (a young) human – exploring self-identity, mental health, community, environment and belonging – through a range of mediums including painting, drawing, collage, printmaking, textiles and digital media. As part of the RAW program, participating artists are involved in a series of workshops with MAMA curatorial staff covering aspects of concept development, artwork preparation, and exhibition installation.
Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm. Closed Tuesdays.
In this new body of work, Free Medicine, Albury-based photographer Matthew Scherf takes inspiration from the
Installation view, Julie Mehretu: A Transcore of the Radical Imaginatory, Museum of Contemporary Art Australia, Sydney, 2024, image courtesy Julie Mehretu and Museum of Contemporary Art Australia© Julie Mehretu, photograph: Zan Wimberley 29 November 2024—27 April Julie Mehretu: A Transcore of the Radical Imaginatory
Matthew Harris, I know alone, Just us two, Yeddonba, Exodus, 2023, Hold the world to its word, 2024. Murray Art Museum Albury. Image Jeremy Weihrauch. 20 September 2024–16 March Hold the world to its word Hoda Afshar, Matthew Harris, Spence Messih, Stephen Ralph, Sandra Selig, Michael Riley, Susan Hiller, What, et al.,
Stella Thurkettle, The Essence of Experience, 2024, acrylic and liquefying medium on paper.
Don’t miss the major survey of acclaimed New York-based artist Julie Mehretu at the Museum of Contemporary Art Australia. Julie Mehretu’s dynamic and multi-layered works invite you to see painting in a whole new way. From early works on paper to her latest paintings, Mehretu’s monumental works pulse with history, 195
26 March - 18 May
ABSTRACTION
Systems, Signs, Syntheses Peter Maloney Seaweed Lullaby 2021 acrylic on paper 73 x 55cm Courtesy of the estate of the artist & Utopia Art Sydney
DELMAR GALLERY Wednesday - Sunday, 12 - 5pm | Trinity Grammar School 144 Victoria St Ashfield NSW 2131 | trinity.nsw.edu.au/delmar-gallery trinity.nsw.edu.au/delmar-gallery
NEW S OUTH WALES Museum of Contemporary Art continued... movement, and energy. Presented as part of the Sydney International Art Series, this is the first exhibition dedicated to Mehretu in the Southern Hemisphere. 18 February—4 May MCA Collection: Artists in Focus The latest presentation of MCA Collection: Artists in Focus showcases works by 18 Australian contemporary artists in the MCA Collection. Experience works by Australian artists Brook Andrew, Gordon Bennett, Joan Brassil, Timo Hogan, Rosemary Laing, David Noonan, as well as a collaboration by Jessica Rankin and American artist Julie Mehretu. Works by the late artist of the Dhuḏi-Djapu clan from Dhuruputjpi, in eastern Arnhem Land, Mulkin Wirrpanda are on display along with a communal presentation of painting, printmaking and sculpture by nine Tiwi artists including Timothy Cook, Raelene Kerinauia Lampuwatu, Maria Josette Orsto, Nina Puruntatameri, Cornelia Tipuamantumirri, Bede Tungulatum and Pedro Wonaeamirri.
how knowledge is created and communicated. He has undertaken extensive research into the histories of Kamilaroi cultural objects in public and private collections over the last decade. The exhibition includes large-scale installation, sculpture, painting and video works. It also premieres a number of new artworks, including a major new co-commission between MCA Australia and the Hawai’i Triennial 2025.
Nasha Gallery www.nasha.com.au Gadigal Land, L1, 215 Thomas Street, Haymarket, NSW 2000 [Map 9]
Natalya Hughes, Fabric design (detail) from The Interior, 2022. Courtesy of the artist. 7 February—6 April The Interior Natalya Hughes Natalya Hughes’ The Interior invites audiences into an exaggerated consultation room, playfully furnished for psychoanalysis. The exhibition is presented by the Institute of Modern Art (IMA) and toured by Museums & Galleries Queensland. Vibrations: Abstract women in the collection Various Vibrations shines a spotlight on incredible works in the NERAM collections created by leading contemporary women artists including Vivienne Binns, Marion Borgelt, Elizabeth Coats, Pat Larter, Wendy Paramor, Marisa Purcell, Ann Thomson, Aida Tomescu, Maeve Woods, Margaret Worth and more. Oddity: Part 1 KHR Stewart
Photo credit Daniel Goode. 11 April—27 April Kien Situ Prudence Flint, The Bath, 2022, oil on linen. Museum of Contemporary Art Australia, purchased with funds provided by the MCA Foundation, 2022, image courtesy and © the artist, photograph: Jessica Maurer. 1 March—20 July The Intelligence of Painting The Intelligence of Painting throws a spotlight on the energy of contemporary painting in Australia today through the work of 14 Australian women artists. The exhibition includes recent MCA Collection acquisitions, as well as new and recent paintings by Karen Black, Angela Brennan, Eleanor Louise Butt, Prudence Flint, Maria Madeira, Thea Anamara Perkins, Kerrie Poliness, Jude Rae, Jessica Rankin, Julie Nangala Robertson, Gemma Smith, Jelena Telecki, Jenny Watson and Nyapanyapa Yunupingu. 21 March—7 September Warraba Weatherall The Museum of Contemporary Art Australia presents the first solo museum exhibition by Kamilaroi artist Warraba Weatherall. Warraba Weatherall (b. 1987, Toowoomba, Queensland) is interested in
Newstead Art, Bondi Beach
In Oddity Part 1 KHR Stewart explores the subliminal world of the subconscious, drawing from life experience in collaging influential moments in time and personal relationships interspersed with the surreal. 7 February—16 March Dancing with Colour Jame-Lee Garner, Frances Edwina Powell
www.newsteadart.com.au 31 Lamrock Avenue, Bondi Beach, NSW 0412 126 645 Tues to Sat 10am–5pm, or by appointment. 14 March—29 March Mixed Media Artworks by Annabel Nowlan Opening night 13 March, 6pm–8pm.
New England Regional Art Museum www.neram.com.au Anaiwan Country, 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.
Frances Edwina Powell, Disco tits, 2023, oil paint and pencil on archival paper. 197
For the first time, 9 ancestral woven objects, held in the Australian Museum collection, will return to Country. These historic pieces will stand alongside newly commissioned works by contemporary Bundjalung, Yaegl, Gumbaynggirr, and Kamilaroi (Gamilaroi) artists, who have drawn from their great grandmothers’ wisdom to breathe new life into ancient weaving traditions.
TWEED REGIONAL GALLERY 22 February – 27 April 2025
An Arts Northern Rivers touring exhibition. This project was made possible by the Indigenous Visual Arts Industry Support Program, the NSW Government through Create NSW, the Dobell Exhibition Grant Program, funded by the Sir William Dobell Art Foundation and managed by Museums & Galleries of NSW, and the Australian Government Regional Arts Fund.
The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.
Open Wed – Sun | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |
gallery.tweed.nsw.gov.au
tweedregionalgallery
NEW S OUTH WALES New England Regional Art Museum continued... A joint exhibition between local artist and potter Jamie-Lee Garner and Brisbane-based artist Frances Edwina Powell. Each embrace bold colour in their artistic practices, imbuing their works with movement and dynamism. 11 April—8 June Galah Regional Photography Prize The Galah Regional Photography Prize celebrates and supports contemporary photography in regional Australia. With approximately 40 finalists from all around Australia and $25,000 in prize money, it is a highlight of the photography calendar. A partnership with Galah Magazine.
12 April—15 June Tender Sally Anderson, Sarah Drinan, Laura Jones, India Mark, Dionisia Salas, Julia Trybala and Amber Wallis.
Orange Regional Gallery www.orange.nsw.gov.au/gallery Wiradjuri Country, 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm.
31 March—10 May Neville Owens Memorial Show Outback Arts is honoured to celebrate the life and work of Neville Owens, whose photography has been a lasting gift to our community. For over five decades, Neville captured the essence of life in our towns, villages, and on properties—documenting everything from work to play. His unique ability to showcase the everyday moments of the region’s inhabitants has left an invaluable record of our history.
Penrith Regional Gallery www.penrithregionalgallery.com.au
Halfway Home Bridie McKelvey
Until 9 March Ann Thomson
A solo exhibition of delightful and whimsical assemblages exploring the unravelling and decline of the earth and its fragile environments.
Until 9 March Clarice Beckett: Paintings from the National Collection
Darug Country, 86 River Road, Emu Plains, NSW, 2750 02 4735 1100 Mon to Sun 10am–4pm.
Until 23 March Conversations with Clarice Beckett
15 March—11 May Blak Douglas: The Halfway Line
Ngununggula www.ngununggula.com Gundungurra and Dharawal Country, Ngununggula, Retford Park, Southern Highlands Regional Gallery, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.
Brett Whiteley, The balcony 2, 1975. Art Gallery of New South Wales, purchased 1981 © Wendy Whiteley.
A landmark exhibition showcasing the expansive career of First Nations artist Blak Douglas. From early explorations in graphic art to award-winning portraiture, Douglas has consistently highlighted the histories and experiences of Aboriginal Australians, using art as a tool for social change. Supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.
22 March–9 June Brett Whiteley: Inside the Studio An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition. 29 March–1 June Tully Moore: How do you like them apples?
Rebecca Baumann portrait: Daniel Boud. Christopher Langton portrait: Kristy Milliken. Belem Lett portrait: Jessica Maurer. Brendan Van Hek portrait: Eve Fernandez. 8 February—30 March Pursuit of Happiness Belem Lett, Brendan Van Hek, Rebecca Baumann, Christopher Langton.
Sally Anderson: Courtesy of the Artist. Sarah Drinan: Courtesy of the Artist. Laura Jones: Photographer Amelia Rusgforth. India Mark: Courtesy of the Artist. Dionisia Salas: Courtesy of the Artist. Julia Trybala: Courtesy of the Artist & STATION. Amber Wallis: Photographer: Kate Holmes.
Outback Arts Gallery
Photography by Kayla Elomari.
www.outbackarts.com.au
15 March—11 May Living with the River
Gamilaroi and Wailwan Country, 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.
Discover the beauty, power, and rich stories of the Hawkesbury-Nepean River, also known as Dyarubbin, through the eyes of the community. Supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.
Emma Griffiths. Photography courtesy of the artist. Portrait of Neville Owens by Jamie-Lea Trindall.
15 March—11 May Untitled (42) Emma Griffiths 199
artpark.com.au
The Georges River Art Prize showcases a range of the finest paintings and sculptures produced from artists nationwide and gives local young artists a platform to display their works. Selected works will be exhibited at Hurstville Museum & Gallery and Clive James Library and Service Centre, Kogarah.
2025
PRIZE CATEGORIES
200
GEORGES RIVER ART PRIZE
Art Prize - Painting / $10,000 acquisitive Sculpture Prize / $5,000 Local Artist Prize / $4,000 acquisitive + solo exhibition Little Artist Prize (7-12 years) / $200 materials voucher Youth Prize (13-17 years) / $300 materials voucher People’s Choice Prize / $500 Favourite Young Artist Prize / $100
IMPORTANT DATES Entries open: Monday 3 February 2025 Entries close: Friday 4 April 2025 Exhibition: 29 August 2025 – 21 December 2025 georgesriver.nsw.gov.au/GRAP
georgesriver.nsw.gov.au/GRAP
NEW S OUTH WALES Penrith Regional Gallery continued... Penrith Regional Gallery is proud to support emerging artists from Western Sydney, presenting the debut exhibition of local artist Emma Griffiths. A Penrith-based artist, Emma’s passion for art began at Nepean Creative and Performing Arts High School. She has since explored photography’s documentary potential, using self-organisation and representation to share her work nationally and internationally. Supported by Penrith City Council, Penrith Performing & Visual Arts, the NSW Government through Create NSW, and TLE Electricals.
Performance Arts Culture Cessnock | PACC
Cannon Dill, Prized Horse, 2024, acrylic on canvas, 228.6 x 213.4 cm 6 February—8 March A Change of Sky Cannon Dill
www.mypacc.com.au 198–202 Vincent Street, Cessnock NSW, 2325 [Map 12] 02 4993 4266 Tue to Fri 9am–4.30pm, Sat and Sun 10am–2.30pm.
Thérèse Mulgrew, Late Night II, 2025, oil on canvas, 121.9 x 152.4 cm. 20 March—19 April The Dining Room Table Thérèse Mulgrew
Reg Bryson, Balmoral Dawn, 2014, 76 x 61 cm.
Redfern Art & Ceramic Gallery
Reinis Zusters (1918–1999). View from his house in Pennant Hills, Sydney, 1950s/1960s. Andersson, Christine Ball, Rick Ball, Lindsay Bedogni, Les Blakebrough, Richard Brooks, Greg Daly, John Dermer, Gillian Dodds, Phyl Dunn, Rudolf Dybka, Ivan and Patricia Englund, Robert Foster, Victor Greenaway, Malcolm Greenwood, Andrew Halford, Campbell Hegan, Jean Higgs, Brian Hirst, Ian Lamb, Jane Lanyon, Col Levy, Robert Mair, Barbara Mason, Suzie McMeekin, Reg Preston, David and Sue Rivett, Keith Rowe, Peter Rushforth, Bernard Sahm, Joe Sartori, Shigea Shiga, Mitsuo Shoji, Derek Smith, Ian Sprague, Peter Travis, Jan Twyerould, Robert Wynn and many other lesser known Australian potters.
Rex-Livingston Art + Objects
12 April–25 May Lovely Thunder
www.redfernartgallery.com.au
www.rex-livingston.com
Lovely Thunder suggests the beauty of sound, yet this exhibition is all about colour - how it enters the eye and resonates in the mind. Like an album shifting with each track, it invites imagination to roam.
Gadigal Country, 80 Redfern Street, corner Redfern and Chalmers Streets, Redfern, NSW 2016 [Map 9] 0478 473 041 Fri 3pm–5pm, Sat 10am–4pm or by appointment.
Dharug and Gundungurra Country, 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. See our website for latest information.
George Adams has selected a group of fifteen contemporary artists whose use of colour often sets up an almost synaesthetic response for the viewer. All the artists use colour as a lever, by which they open up their works. Ranging through different palettes, subject matter and genre, the common thread here is the power of art to affect our view of the world.
PIERMARQ* www.piermarq.com.au Eora Nation, 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thu to Sat 10am–6pm.
Specialists in collectable, and affordable, Australian art and Australian and Japanese ceramics, pottery, glass and lamps from the 1950s–1980s. The gallery focuses on visual artists that emigrated to Australia after World War II and Australian female artists from this period. The gallery also exhibits and teaches Japanese Ikebana flower arranging. Our favourite visual artists: Dorothy Atkins, Joan Beck, Judy Cassab, Tony Costa, Stanley De Teliga, Thomas Gleghorn, Harold Greenhill, Jean Isherwood, Louis James, Ena Joyce, Keith Looby, Jeffrey Makin, Ignacio Marmol, Rodney Milgate, Carl Plate, John Rigby, Joe Rose, Dora Toovey, Phylis Waterhouse and Reinis Zusters. Our favourite Australian ceramicists, potters and glass blowers: Peter
Karen I Vernon, Spring, Wisteria, 2024, oil pastel on paper, 43 x 58 cm + frame and mount. 6 March—30 March The Colour of Time Karen I Vernon 201
ar t g ui d e .c o m . au Rex Livingston Art continued... The Colour of Time is a solo collection of works inspired by the alchemy of nature; the world constantly being transformed by the seasons. The artist, too, is an alchemist, turning raw materials into visions that guide the viewer through the artists interpretation of the natural world. At a glance, the works are landscapes, but it’s more than that, it is wind, the heat, the cool. It’s how you feel when you see colours, the scent of the flowers, the sound of leaves rustling in the trees, the ground crunching underfoot.
Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. 8 March—29 March Women’s Exhibition In celebration of International Women’s Day 2025, Rusten House Art Centre is proud to present an exhibition showcasing the vibrant and diverse talents of local female artists from across the Queanbeyan–Palerang and ACT regions. This exhibition aims to highlight the significant contributions of women in the arts and offers a platform for emerging and established artists to share their voices and visions. It is a celebration of the creativity and innovation of our local women, which honours both the legacy and future of women in the arts. Opening event Saturday 8 March, 2pm –4pm.
Katya Petetskaya, Exploration # 2, (detail), 2023, synthetic polymer paint on primed aluminium, 220 x 120 x 4.5cm. 4 April—27 April Forms of Flight Katya Petetskaya
Roslyn Oxley9 Gallery
Georgina Campbell, Homage to Frida, digital photographic print, 297 x 420 mm.
www.roslynoxley9.com.au
5 April—24 May Fake and Famous
7 March—5 April Kirtika Kain 11 April—10 May Jenny Watson
The Fake and Famous exhibition brings together a diverse collection of works where artists reinterpret famous masterpieces and lesser-known works through their own creative lens. This exhibition features artworks in an array of mediums; paint, photography, sculpture, and mixed media, each piece reimagines or recreates iconic artworks from history. Whether the work is an exact replica, others may pay tribute through homage or parody, they will all offer new perspectives on familiar images. Opening event Saturday 5 April, 2pm–4pm. 5 April—24 May Our Home Alex Lynn
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you and marvel at the light, atmosphere, and serenity of the moment. Alex works in oils, mostly painting urban infused landscapes, his artistic process he describes as slow and deliberate, achieving a defused focus that captures light and atmosphere with an ethereal effect. Alex invites you to step visually into his world; where he walks with loved ones in the morning and evening, on his journeys to work, and where he relaxes with friends. Opening event Saturday 5 April, 2pm–4pm. Watercolour Vistas H.G. Lloyd’s Historic Landscapes
The act of painting in Petetskaya’s practice is visceral—tangible, physical, personal. It is not an intellectual analysis but an embodied insight, capturing fleeting moments of perception through gesture and pigment. Through layers of colour, the interplay of solid and negative space, and the dynamic tension between form and movement, these works trace the unseen forces that shape our reality.
Cadigal Country, 8 Soudan Lane (off Hampden Street), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. See our website for latest information.
Alex Lynn, Railway Bridge Sunset, oil on canvas, 450 x 600 mm.
Alex Lynn’s exhibition Our Home captures the beauty of the everyday. Alex’s paintings aspire to that moment when you stop walking, visually drink in the scene before
This exhibition features the watercolour sketchbook of Henry Grant Lloyd, who travelled extensively through NSW and beyond, in the 1860s and 70s. He captured landscape scenes in watercolour of the regions he visited, which are now historically significant. To accompany the sketchbook, a selection of works from the Queanbeyan region will be printed and on framed display, while an extensive range of digitised images from his sketchbook archive will be available on screen. H.G. Lloyd’s sketchbook is on loan from the State Library of NSW and this exhibition forms part of the Australian National Heritage Festival. Opening event Saturday 5 April, 2pm–4pm.
SCA Gallery www.sydney.edu.au/sca Gadigal Lands, Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm. For over 40 years, we’ve been the creative heart of NSW, shaping visionary artists, researchers, and curators. As Sydney’s first tertiary art school, we’ve led the way in studio-based visual arts practice since 1976. Our dynamic programs are constantly evolving, empowering our graduates to make their mark on the world.
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Lionel Bawden, Fantasy Disorder (Isle Of The Little Death), 2014, single bed mattress, foam, polyurethane, resin, acrylic paint, wood, lichen, epoxy, 60 x 92 x 180 cm. Photograph: Michael Myers. Courtesy of the artist and Artereal Gallery, Sydney. 13 March—12 April Dreamz Lionel Bawden, Liam Garstang, David Haines, Jan Guy, Madeleine Kelly, Audrey Newton, Julie Rrap, Tim Silver and Justin Trendall. Curated by Liam Garstang.
from across the country who probe, celebrate and question the notion of the great Australian dream. As we look down the nation’s street of dreams so much has altered. A modest home in a secure community is now financially out of reach to the majority of young people. What was once considered a beacon of security is now evolving into a site of constant anxiety that too often erupts into tragic scenes of domestic violence. Nevertheless, suburbia, in all its disparate manifestations remains the living paradigm for the great majority of Australians. In Suburbia: Recent Detours, is a timely project as the nation comes to terms with an ever-growing housing crisis.
between visual and literary arts. Renowned text-based artist and poet Caren Florance will be featured as part of the project, creating new work in response to the collection.
South East Centre for Contemporary Art
Jayanto Tan, Another Day in Paradise, 2024, wood-fired ceramic with lustre, dimensions variable
www.secca.com.au Yuin-Monaro Country, Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am– 2pm. Closed Sun and public holidays. See our website for latest information.
Opening event, Wednesday 12 March, 6pm–8pm.
S.H. Ervin Gallery www.shervingallery.com.au Gadigal Country, National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm.
Christopher McVinish, The faded dream no. 1, oil on linen, 91 x 122 cm. 8 March—4 May In Suburbia: Recent Detours Adrian Doyle, Anne Wallace, Alan Jones, Catherine O’Donnell, Christopher McVinish, Christopher Zanko, Craig Handley, David Wadelton, Eliza Gosse, Ian Strange, Joanna Lamb, Nick Santoro, Noel McKenna, Peter O’Doherty, Rachel Ellis, Raimond de Weerdt, Robyn Sweaney, Wade Taylor. In Suburbia: Recent Detours is an exhibition curated by Gavin Wilson that features the work of 18 contemporary artists
(Left) Julian Meagher, Inlet #13, 2017, oil on linen, 152 x 122 cm. (Right) Julian Meagher, Inlet #9, 2017, 152 x 122 cm, oil on linen. SECCA Collection. Donated through the Australian Government’s Cultural Gifts Program. 14 February—12 April Tideland: Works from the SECCA Collection SECCA is proud to present Tideland: Works from the SECCA Collection, an exhibition inspired by the aesthetics and symbolism of waterbodies, perspectives on regionalism, and contested views on landscapes. The exhibition’s title references Terry Gilliam’s 2005 psychoanalytic fantasy film Tideland, setting the stage for a thought-provoking exploration of place and perception. Featuring a curated selection of artworks from the SECCA Collection, Tideland invites audiences to engage with themes that resonate deeply with the South East region. This exhibition will also serve as the foundation for Tideland: Art + Word, a new multidisciplinary project presented in partnership with the Bega Valley Shire Library and the South Coast Writers Centre. The project encourages regional writers to engage in ‘Ekphrasis’—poetry inspired by visual art—responding creatively to 10 selected artworks from the exhibition. Tideland: Art + Word marks the first dedicated Ekphrasis opportunity in the Bega Valley, celebrating the strong connection
14 February—12 April Kindling: Kil.n.it Experimental Ceramics Studio and Far South Coast Artists’ Exchange SECCA is also thrilled to present Kindling, an exhibition celebrating artistic exchange between urban and regional ceramicists. Featuring works by Kil.n.it Experimental Ceramic Studio artists, Bandicoot Pottery, and selected residency artists, Kindling highlights the innovative potential that emerges when diverse ceramic practices intersect. The project facilitated a unique artist residency exchange: In July 2024, Kil.n.it artists Jayanto Tan, Ellen Bagge, and Sybilla Robertson undertook a residency at Bandicoot Pottery in Cobargo, where they explored ceramic wood-firing under the guidance of master ceramicists Daniel Lafferty and Gabrielle Powell. In return, Far South Coast artists Sarah Murray, Tara Penales, and Phoebe Turner were hosted at Sydney’s Kil.n.it studios, engaging with metropolitan networks and exploring collective studio practice in an urban setting.
Straitjacket www.straitjacket.com.au Muluubinba, 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 Straitjacket present curated solo, group and represented artist exhibitions. The gallery was established to create a space that not only supports artists by providing a professional gallery in which to exhibit and sell their artwork, but also to produce exhibitions for audiences that challenge, explore and investigate contemporary ideas and concepts. 1 March—23 March Good Taste Ellie Kaufmann Bing Bang Bong Zachary Craig Opening Saturday 1 March 11am–5pm. 203
Justin Miller Art – Experts in the acquisition and sale of significant Australian and international artworks. Address: 10A Roylston Street, Paddington NSW 2021 Phone: +61 2 9331 7777 Email: info@justinmiller.art Gallery Opening Hours: Tuesday – Friday: 10am – 5pm Saturday – Sunday: 11am – 5pm
justinmiller.art
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Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Kamilaroi Country, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.
Ellie Kaufmann. 29 March—20 April Paul Maher, Malcolm Sands and Daniella Cristallo Opening Saturday 29 March, 11am–5pm.
Brian Reid, 22. Viewings and artworks by Pennie Steel and Brian Reid, by appointment. For Sale: The SteelReid Art Collection.
Jane Grealy, Marias Garden Scheme C, (detail), 2022, pastel on paper, 67 x 108 cm, 97 x 133 cm (framed). 1 February—6 April Dobell Prize Drawing #23 Jane Grealy
Tin Sheds Gallery Sullivan+Strumpf Gadigal/Sydney www.sullivanstrumpf.com Isabel Gomez. 26 April—18 May Isabel Gomez and Brett Piva Opening Saturday 26 April, 11am–5pm.
SteelReid Studio www.steelreidstudio.com.au Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment.
799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 27 February—29 March Gregory Hodge
Gadigal Land, 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.
Untitled, Anamorphic video projection, 2024. Courtesy the artist. 20 February—4 April Indivisible Denis Beaubois
Seth Birchall, Alila, 2024, oil on canvas, 61 x 46 cm. Pennie Steel, The Cup Of Divine Love.
www.sydney.edu.au/tin-sheds
3 April—26 April Seth Birchall
Indivisible is a body of work by artist Denis Beaubois that explores the idea of the Nation. Central to the exhibition is an examination of Parliamentary language since Federation and how it has been used to describe (or prescribe) the qualities of Australian people over time. The works incorporate data mining, video installation, sound, sculpture and Schlieren imaging to reflect and respond to the language that supports and upholds nationhood. Indivisible asks us to consider selective history, mythology and how assumptions of national character have changed over time. The artist acknowledges the support of Create NSW through the New Dimensions: NSW Visual Arts (Established) Fellowship. The artwork To fill the air (House of Reps) was developed at the Clothing Store Artist Studios, Carriageworks, Sydney. Python programming from Snow and Kynan Tan. Special thanks to Tim Sherratt for the Historic Hansard records. 205
KEN DONE
1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail: Late Tuesday dive, 2024, oil, acrylic and oil crayon on linen, 152 x 244cm
kendone.com
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Tweed Regional Gallery & Margaret Olley Art Centre www.gallery.tweed.nsw.gov.au Bundjalung Country, 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm. See our website for latest information. Zion Levy Stewart, Birds and Bees, 2023, acrylic on canvas, 76 x 76 cm. Image courtesy the artist. © The artist.
Image from Bulaan Buruugaa Ngali … we weave together publication by Arts Northern Rivers. Photograph: Kate Holmes. 22 February—27 April Bulaan Buruugaa Ngali Exhibition
Syndrome (generally called Down Syndrome.) His infectious zest for life is chronicled through his art, sharing with us his unique and positive view on life. Through a series of vibrant acrylic paintings, Life is Art invites viewers to enter an innocent, naïve world of quirky people, birds and animals, and share in the joyful visions of Stewart’s art. 14 March—31 August Painting Life: Margaret Olley and Works from the Collection
Bulaan Buruugaa Ngali Exhibition is a momentous homecoming of ancestral heritage, touring Bundjalung lands in the Northern Rivers. This reclamation project, presented by Arts Northern Rivers and curated by Kylie Caldwell, presents 9 ancestral woven objects on loan from the Australian Museum, alongside new work by contemporary Bundjalung, Yaegl, Gumbaynggirr, and Kamilaroi (Gamilaroi) artists who have drawn from their great grandmothers’ wisdom to breathe new life into ancient weaving traditions.
Painting Life celebrates vibrant still life paintings by Margaret Olley in the Tweed Regional Gallery collection, together with contemporary responses to Olley’s home studio re-creation that is on permanent display at the Margaret Olley Art Centre. Alongside Olley’s still life paintings, the exhibition features responses by artists Nicholas Harding, John Honeywill, Guido Maestri, Lewis Miller, Adam Pyett, Monica Rohan, Pam Tippett, together with recent still life acquisitions by Laura Jones and India Mark.
14 February—22 June Minghua Xiang: Finding Harmony in Hope
7 February—26 October The Comfort of Home Tweed Regional Gallery collection
Minghua Xiang was the recipient of the 2024 Tweed Regional Gallery – National Art School Master of Fine Art (Painting) Residency Award. The solo exhibition Finding Harmony in Hope is the result of Xiang’s residency at the Nancy Fairfax Artist in Residence Studio. By transcending the confines of traditional Eastern and Western aesthetics, Xiang looks to extend beyond the canvas and offer a glimpse into a future guided by cooperation and inclusivity. 14 February—4 May Porcelain Places Dawn Walker Porcelain Places by regional artist Dawn Walker presents a new body of oil paintings capturing vintage souvenirs from the Tweed and surrounds. Through her work Walker explores the popular appeal of the souvenir, evoking a sense of nostalgia for the familiar while presenting a new meaning for the once treasured tokens of place. 14 February—4 May Life is Art Zion Levy Stewart Zion Levy Stewart is an artist with Up
The Comfort of Home presents works from the Tweed Regional Gallery collection that explores the home as sanctuary – our own individual corner of the world. “To be at home is to have a sanctuary of sorts—one characterized by familiar and localizable ways of being—through which the outside world can be temporarily set aside.” Jacobsen, 2009. Includes works by Cressida Campbell, Albert Moore, Margaret Olley, William Robinson, Robyn Sweaney, Hiromi Tango and more.
Tyger Gallery www.tygergallery.com.au Memorial Hall, 84 Comur Street, Yass on Ngunnawal Country, NSW 2582 0466 243 684 Thu to Sat 10am–3pm, Sun 11am–3pm. See our website for latest information.
Sara Phemister, The Hopeful Spring, oil on board, 120 x 90 cm. 28 March—12 April Tyger’s Birthday Show Celebrate Tyger Gallery’s second birthday with a huge sale of stunning original works from outstanding artists from all around Australia. Works discounted by up to 20 per cent.
Geoffrey Odgers, Walking Back to Happiness, oil on canvas, 153 x 202 cm. 25 April—10 May Gigantic This stunning group show on a grand scale brings together 15 painters working on gigantic canvases. Artists include Geoffrey Odgers, Ben Randall, Woman of the South, Laura Prochowski, Emma O’Connell, Chantal de Kock, and Lauren Esplin.
The University Gallery www.newcastle.edu.au/universitygallery Awabakal and Worimi Country, The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] 02 4921 5255 The University Galleries creates inclusive and exciting opportunities for staff, students, and artists to engage with each other and the wider public through art and culture. 207
PARALLEL THE PHOTOGRAPHY OF KRISTIN HARRIGAN
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@HARRIGAN_CREATIVE
148 MAIN RD
@ATOZENAUSTRALIA
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Works by: N. Harding, D. Boyd, V. Rubin, M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Campbell, P. Griffith, T. Irving, S. Paxton, S. West, S. McEwan, M. Perceval, J. Bezzina, J. Kelly, D. Friend, J. Brack and many others.
Brett Whiteley (1939-1992), Divided Unity, 1974, Screenprint on card, 66 x 93 cm.
2 Moncur Street, Woollahra NSW, 2025. Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au
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Gum Blossom, NSW Indigenous Chamber of Commerce. Image courtesy of Speaking in Colour. 22 November 2024—5 April Cultural Resurgence A collection of works from 600 school students and community members who engaged in cultural enrichment activities guided by Speaking in Colour, a First Nations education and consultancy company. The exhibition features artworks created and inspired by traditional Aboriginal methodologies and knowledges, such as weaving and Possum Skin Cloaks.
UNSW Galleries www.unsw.to/galleries Bidjigal & Gadigal Country, Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays.
Derek Jarman, Drop Dead, 1993. Courtesy of Keith Collins Will Trust and Amanda Wilkinson, London. activist Derek Jarman bringing together rarely seen paintings and films alongside photography and archival materials.
Wagga Wagga Art Gallery www.waggaartgallery.com.au Wiradjuri Country, Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm, closed Mondays. Free admission. See our website for latest information.
Installation view, Lisa Sammut, Radial Sign, 2023, Goulburn Regional Art Gallery. Photograph: Silversalt Photography. 4 February—27 April Nuanced: 75 years of the Wagga Wagga Art Society Wagga Wagga Art Society Members The works in Nuanced reveal personal growth, shared experiences, and evolving skills, showcasing the unique talents of its current members.
Watt Space Gallery www.newcastle.edu.au/ wattspacegallery Mulubinba, Awabakal and Worimi Country, 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.
Mei Zhao, River Flat Gardens series, (detail), 2024. 15 February—25 May Mei Zhao: Remapping Erased Landscapes This multimedia exhibition explores the visual forms of disappeared Chinese presence and market gardens, in the Riverina region. James Barth, Clumped composition 5, 2024. Courtesy of the artist and Milani Gallery, Meanjin/Brisbane. 14 February—4 May James Barth: The Clumped Spirit New paintings, videos, and 3D-printed sculptures exploring themes of self-representation and embodiment. The third in a series of annual commissions by the Copyright Agency Cultural Fund. 14 February—4 May Derek Jarman: Delphinium Days This first exhibition in Australia of pioneering English artist and gay rights
15 February—27 April Lisa Sammut: Radial Sign Working in sculpture, video and installation, Sammut’s immersive installations use a wide range of media exploring her interest in celestial phenomena and human narratives. 15 February—27 April Fantastic Forms: Bundanon Merric Boyd, Nabilah Nordin, Stephen Benwell and Rubyrose Bancroft Featuring over 200 works from the Bundanon Collection in dialogue with new large-scale sculptures, a series of ceramic figures, and stop-motion videos.
Chris Brown, breaking ground, 2025 Giclee print from large format silver gelatine negative. Image courtesy of the artist. 11 December 2024—8 March Light source Kris Smith, Ken O’Regan and Chris Brown Multidisciplinary artists, Kris Smith, Chris Brown and Ken O’Regan who use light as their primary medium and is meditation on the passage of deep time and the intersection of natural and built environments. Employing methods of assemblage, traditional and digital image processes, they explore themes around the intertwined fragility and order of our natural and constructed ecosystems. 12 March—3 May I Tried To Make A Horizon For You 209
Ken Unsworth 6 March—21 May
Macquarie University Art Gallery Dharug Country, The Chancellery, 19 Eastern Road, Macquarie University, Macquarie Park, NSW 2113 artgallery.mq.edu.au 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance. Ken Unsworth, The Birdman, 2024, fibreglass mannequin, bamboo, cedar, cast resin. Exhibition installation shot. Photography Effy Alexakis, Photowrite.
artgallery.mq.edu.au
Focus on Still Life March–April 2025
Donna Cook, Les Mandarins & Les Trois Poires, 2024, oil on board, 33 x 33cm (each artwork); 44 x 44cm (framed). Restored, water gilded antique frames.
78B Charles Street, Putney, NSW, 2112 Gallery hours: Tues–Sat 10am–4pm. Valuation Days: Tues, Wed by appointment. Sunday, Monday closed. brendacolahanfineart.com Ph: 02 9808 2118 210
brendacolahanfineart.com
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3 April—14 April Breathe Johnny K
White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org
Lottie Consalvo, I put it here so you could find it, 2018, video still, single channel video, 2 minutes, 35 seconds. A survey of video and performance works by artist Lottie Consalvo, spanning across 11 years. In this collection of works the artist attempts to reverse time, to make the intangible physical, to reach into places beyond the real and into oblivion.
30 Balfour Street, Eora Nation, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.
Curated by Angie Cass, Shape Shifters examines how the use of re-purposed materials, concepts and subjects have evolved within an Australian context. Many artists, beginning in the early twentieth century, have manipulated their images with adjuncts to do many things: to correct drawings, to play with composition, to decorate, and to make social and political comment.
Wentworth Galleries www.wentworthgalleries.com.au 175 Pitt Street, Sydney NSW 2000 [Map 8] 02 9223 1700 Open 7 Days, 10am–5.30pm.
Level 2 of XSWL. Photograph: Hamish McIntosh. 18 December 2024—18 May XSWL Group exhibition Play has a dark side which frequently makes waves in popular entertainment, video games, and media. Art, too, becomes an arena for toying with taboo themes and pushing social boundaries to their limits. Through their tongue-in-cheek creations, the artists in XSWL shatter once-innocent veneers, warning us that it’s all fun and games…until someone loses an eye.
Wollongong Art Gallery www.wollongongartgallery.com Kris Ancog, Sacred Realm, 2024, 122 cm, mixed media on canvas. 21 March—3 April Lux Aeterna Kris Ancog
Tony Albert, Suzanne Archer, Country Women Artists (Northern Rivers Chapter), Malcolm Benham, Lee Bethel, Garry Jones, Robert Klippel, Edith Kouto, Diego Latella, Alun-Leach Jones, Elwyn Lynn, Arthur McIntyre, Allan Mitelman, Jenny Orchard, John Peart, Marilyn Puschak, Martin Sharp, Vicki Varvaressos, Brett Whiteley, Grace Crowley, Ross Crothall, Isabel Davies, Karla Dickens, Elizabeth Gower, Barbara Hanrahan, Paul Higgs, George Johnson, Deborah Kelly, Eveline Kotai, Helen Lempriere, David McDiarmid, Fiona MacDonald, Bridgid McLean, Elizabeth Newman, John Nixon, Carl Plate, Kurt Schranzer, Gareth Sansom, Sandra Selig, Madonna Staunton, Ann Thomson and Meredith Turnbull.
Dharawal Country, Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.
30 November 2024—11 May A Road Less Travelled: A Survey of Lustre Ceramics For three decades, John Kuczwal has perfected his craft in the reduced lustre pigment ceramic technique—a method first discovered in the 9th century Islamic world. Today, only about 20 potters worldwide maintain mastery in this complex and challenging ceramic process. From its ancient Middle Eastern beginnings to contemporary pieces, this exhibition offers a rare glimpse into the world of Islamic art rarely seen in Australia. Historical lustre ceramics featuring works from Iraq, Iran, Spain and Italy, and contemporary works by Alan Caiger-Smith (UK), Sutton Taylor (UK), Alan Peascod (AUS), John Kuczwal (AUS), Bob Connery (AUS), Jonathan Chiswell-Jones (UK). Also included are contemporary works from Arturo Benavent (Spain) and Abbas Akbari (Iran). 30 November 2024—30 March In Essence: Contemporary Photography and Film from the Collection Riste Andrievski, Pat Brassington, David Capra and Teena, Katthy Cavaliere, Stephen Dupont, Will Edgar, Anne Ferran, Lesley Goldacre, Warwick Keen, Tracey Moffatt, Simone Rose, Joanne Saad, Robyn Stacey, Christian Thompson, Jemima Wyman, William Yang and Anne Zahalka 6 December 2024—30 May Sarah Contos: Crushing Shrinking Violets
Leonie Reisberg, Mythological dream, 1980, collage of gelatin silver and Polaroid photographs, 24.9 x 37.1 cm. Collection of the Art Gallery of New South Wales. Johnny K, Mesmerised by Your Beauty, 2025, 90 x 90 cm, oil, house paint and aerosol on board.
9 November 2024—6 April Shape Shifters: A Retrospective of Australian Collage
Commissioned as the first in a series of biannual artist projects responding to Wollongong Art Gallery’s exterior panels, Crushing Shrinking Violets is a bold digital collage patterned from some of the recurring tropes of Contos’s visual language – studs, chains, tulle and cats. Intended to wrap and bind the grandeur of the building in fancy dress, Crushing Shrinking Violets is a playful ode to the exposure of private reverie through public display. 211
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Yarrila Arts and Museum
15 February—30 March SIXTY | The Journal of Australian Ceramics 60th Anniversary 1962-2022
www.yarrilaartsandmuseum.com.au Gumbaynggir Country, Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.
A special ADC On Tour exhibition project presented in partnership with The Australian Ceramics Association to acknowledge this significant anniversary. Artists include: Glenn Barkley, Alison Milyika Carroll, Kirsten Coelho, Greg Daly, Pippin Drysdale, Dan Elborne, Penny Evans, Honor Freeman, Susan Frost, Shannon Garson, Patsy Hely, Jeffery Mincham, Damon Moon, David Ray, Ben Richardson, Tania Rollond, Owen Rye, Jane Sawyer, Yul Scarf, Vipoo Srivilasa, Kenji Uranishi, Gerry Wedd.
local landscapes, abstract forms, and the materiality of porcelain itself. 15 February—30 March Jodie Whalen: We already know how to build a time machine – proposition Offering viewers a site to contemplate belief and transformation. Driven by a desire to give physical form to the intangibility of fraught emotional states such as grief, anger, fear, love and hopefulness, the artist uses repetition, replication and degradation of imagery, sounds and motifs to explore how meaning moves through, and translates between forms. 15 February—1 June Material World Bringing together a diverse group of Australian artists exploring the role of textiles in contemporary practice. Challenging traditional views of fabric and thread, the artists engage with themes of identity and environment through a vibrant mix of colour, texture, and creativity. 5 April—1 June Eco-symbiosis
John Tuckwell, Vessels, 2021. Image courtesy of the artist. 8 February—23 March John Tuckwell | A Survey
Glenn Barkley, thatisnocountry4oldmen (sailing2byzantium), detail, 2022. Photo: Greg Piper.
John Tuckwell: A Survey celebrates the thoughtfully crafted porcelain vessels of Bellingen-based artist and respected potter John Tuckwell. John’s work captures the interplay of light, colour, and texture, drawing inspiration from
Through a diverse array of mediums, Eco-Symbiosis delves into the intricate relationship between humans and their environment, unravelling the layers of identity, interconnectedness, and human impact that shape our existence on this planet.
Miranda Hampson, BURNED, acrylic on linen canvas. Black frame, 76.2 x 76.2 cm.
Geraldine Richards, Fantasy Hills VIII, acrylic on canvas, 101 x 153 cm.
Scieppan Gallery Shop 2/1 Francis St, Darlinghurst, NSW 2010 0420 818 028 scieppan.com.au info@scieppan.com.au Scieppan Gallery is a contemporary art gallery located in the heart of Sydney, next to Hyde Park. We represent high-calibre and emerging artists in a diverse disciplines of visual art. 212
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A–Z Exhibitions
Queensland
MARCH/APRIL 2025
ROBYN BAUER STUDIO
54 Latrobe Terrace, Paddington, QLD 4064. 0404 016 573. Commissions taken. Gallery open Saturdays only, 9.30am – 4.30pm or by appointment. Insta. @robynbauerstudio2 @sarah.matsuda www.robynbauerstudio.com www.sarahmatsuda.com sarahmatsuda.com
art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD 214
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QUEENSLAND
Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Yuwi Country, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission. 18 January—6 April Thea Anamara Perkins: Dualities 12 April—22 June Maximum Madness
Natalya Hughes, Studio Portrait, 2022. Photograph: James Caswell.
Isabel & Alfredo Aquilizan, Karike Ashworth, Martin Bell, Penny Byrne, Patrick Connor, Rod Coverdale, Alex Cowley, Claire Healy & Sean Cordeiro, Emma Gardner, Shaun Gladwell, Franck Gohier, David Griggs, Reg Mombassa, Adam Norton, Phoebe Paradise, Brian Robinson, David Sawtell, Ian Smith, Karen Stephens, Brendon Tohill and Paul White. George Miller’s genre-defining Mad Max film series has grown from a tense, low-budget Ozsploitation cult hit into a sprawling post apocalypse action opera, redefining science fiction along the way. A complex and compelling mashup of biker, gearhead, Queer and beefcake cultures and their associated aesthetics, Mad Max has become a cosplay favourite, and has become massively influential in cultural terms, being ripped off, satirised and idolised by sources as varied as The Simpsons, Phil Collins, video games and pro wrestling. Bringing together a range of artists paying homage to their favourite post-apocalyptic (anti)hero, it’s time for Maximum Madness. Maximum Madness: Art Inspired by Mad Max is a Rockhampton Museum of Art touring exhibition curated by Jonathan McBurnie, supported by Rockhampton Regional Council and Haymans Electrical.
12 April—22 June Natalya Hughes: The Interior
human condition. Leave only footprints is the first survey of the critically acclaimed photomedia artist and traverses more than 20 years of her photographic practice. This immersive exhibition incorporates scent, photography, installation and the moving image to create an environment that engages the senses. Leave only footprints spans more than 11 key bodies of work that explore transitional moments in our lives: rites of passage, rituals and motherhood, and is underpinned by the artist’s longing and desire to be within and to protect nature. Tamara Dean | Leave only footprints is a Museum of Australian Photography touring exhibition. 26 April—5 June The Hub Gallery: Reduction - a creative process Gabi Mika-McNaughton and Carol Bisset The term “reduction” implies downsizing, minimising and simplification through a variety of means. Gabi Mika-McNaughton and Carol Bisset come together to explore the process of art making in their creative practices. Their exhibition provides insight into reduction processes and the relationship it has to producing works of art.
Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au
Deborah Eddy, Venus of Housework, (detail), 2024, acrylic on canvas.
22 Omrah Avenue, Gubbi Gubbi Country, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.
1 March—27 March The Hub Gallery: The Venuses Dr. Deborah Eddy
Alun Rhys Jones, Pantone Belief System, 2011, oil on linen, 200 x 200 cm. Image courtesy the artist.
Dr Deborah Eddy is a feminist activist artist and independent researcher who works in the field of sculpture and performance. Her exhibition features hand-stitched soft sculptured figures representing the Paleolithic Venus. Each Venus explores and acknowledges the experiences of older women and their lives. David Rankin, Crossings – Pink, 2005, acrylic and charcoal on paper, 56 x 76 cm. Gift of Dr Peter and Christine Bundesen AM, 2024, Sunshine Coast Art Collection. Image courtesy of the artist. Photograph: Vivid Photography.
12 April—29 June Alun Rhys Jones: The Wall | Rainbow Sport
Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery Kabi Kabi Country, The Caboolture Hub, 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm. 4 December 2024—8 March Maximum Madness: Art Inspired by Mad Max
7 February—6 April Latest & Greatest III Tamara Dean, Tumbling through the treetops, 2020, from the series, High jinks in the hydrangeas, pigment ink-jet print. Museum of Australian Photography, City of Monash Collection, donated by Tamara Dean, 2022. Courtesy of the artist and Michael Reid Gallery (Sydney + Berlin). 20 March—7 June Tamara Dean | Leave only footprints
Caloundra Regional Gallery presents the third in the series of the Latest & Greatest exhibitions that display a diverse snapshot of collecting over the last two years (2023 and 2024) by the Sunshine Coast Art Collection. The exhibition celebrates the recent additions to the art collection by artists, collectors, and local in our region, whilst acknowledging philanthropy as a driver for growth of the collections and regional identity.
Emerging from the depths of nature, Tamara Dean’s practice examines the
11 April—8 June Local Contemporary Art Prize 2025 215
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Susan Schmidt, Breathe (coming up for air), 2023, charcoal, acrylic and oil on canvas, 122 x 152 cm. Winner, Local Contemporary Art Prize 2024, Sunshine Coast Art Collection. Image courtesy of the artist. Photograph: Art House Reproductions. Now in it’s eleventh year, Local Contemporary Art Prize 2025 celebrates the diversity of visual arts practice across the Sunshine Coast. Caloundra Regional Gallery, in partnership with the Friends of the Gallery, invite artists living within the region, working across all mediums, to submit 2D and 3D works for the prize. Forty finalists will be selected for the exhibition and winners will share in $17,000 prize money, thanks to this year’s sponsors: Mary Henzell Investments, Local Agent Caloundra, Community Bank Caloundra Bendigo, Friends of the Gallery. Presented by the Caloundra Regional Gallery and the Friends of the Regional Gallery, Caloundra.
artist’s own interpretation of the 2024 QRAA theme, Resolution. It features the works of the winners, highly commended, and finalist artists from across regional Queensland, selected by judges Simon Wright and Dr Bianca Beetson. Artists, and society as a whole, grapple and confront multiple viewpoints and concepts requiring resolution. Through the creative process, artists take this voyage through differing personal and social lenses to reach a meaningful resolution in their work. This reflects and is relevant to the broader journey of society. Accompanying this exhibition are 15 works from the Mervyn Moriarty Landscape Award category. This exhibition is comprised of landscape works in any medium and is the second iteration of this touring exhibition.
Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Yuru Country, Townsville, QLD 4810 [Map 14] 07 4724 4898 and 0408 287 203 Wed and Sat 12noon–5pm, or by appointment.
Natalie Lavelle, Untitled (Burnt Umber and Ultramarine Blue), 2020, oil on Italian linen, 213 x 168 cm. Photograph: Marc Pricop. Courtesy of Stable Artspace. In the Making captures the evolving artistic practice of Brisbane-based artist Natalie Lavelle, bringing together early experiments in abstraction and colour field painting with large scale monochromes and new works that expand into spatial installation. This exhibition distils Lavelle’s interest in the formal language of painting, using colour, form and texture to create a meditative space for the viewer. While laden with art-historical references, Lavelle’s work draws on the powerful immediacy and sensuousness of paint on canvas. Raised in Hervey Bay, this is Natalie Lavelle’s first major exhibition on the Fraser Coast and the first survey of her practice to date.
Court House Gallery, Cairns www.cairns.qld.gov.au/courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Fri 9.30am–5pm, Sat 10am–5pm, Sun 10am–2pm. Free admission.
Emma Thorp, Washing. Basket. Weave., 2024, pencil and ink on paper. 1 March—11 May Emma Thorp: The In Between
Mark Hammersley, Tropical House, digital from watercolour, 30 x 21 cm. 1 March—30 April Tropical Houses Mark Hammersley
Hervey Bay Regional Gallery Lyn Bartolo, Abandoned, 2024, watercolour on paper. Photograph: Joe Ruckli. 7 March—26 April Resolution - Queensland Regional Art Awards Flying Arts Alliance Inc Resolution is the touring exhibition of the 2024 Queensland Regional Art Awards (QRAA). The exhibition presents a selection of twenty eight works from seven award categories, demonstrating each 216
www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Badtjala Country, Hervey Bay, QLD 4655 [Map 13] 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed Monday & public holidays. 1 March—11 May Natalie Lavelle: In the Making
The In Between is an exploration of the challenges of motherhood as an artist, tackling the complicated desire to carve out time for oneself and art ‘in between’ life’s responsibilities. Emma Thorp’s practice humorously takes on these daily interactions and mundane tasks and makes them her artistic subject matter, fusing her work as an artist and mother. Through her signature illustrative style and knack for visual storytelling, 1 March—11 May Joyce Watson: Family and Country, many people’s stories Aunty Joyce Watson explores her ancestral connection to Waanyi Country in North West Queensland. In Family and Country, many people’s stories, Aunty Joyce Watson explores her ancestral connection to Waanyi Country in North West Queensland through stories of endurance and connection. Watson’s work across textiles, sculpture, bronzes, drawing and printmaking draw on the artist’s matrilineal history, reflecting on the
QUEENSLAND power of storytelling in the continuation of cultural knowledge across generations. This exhibition brings together new and existing works with an installation of significant artworks and objects from the artist’s extended family. Until 20 September 2026 National Interests: Australian Art in the 20th Century This exhibition explores the cultural legacy of Australian Modernism in the 20th century, pairing artworks from the Hervey Bay Regional Gallery Art Collection with significant works from Australia’s national collection. Featuring works made from 1936 to 1997, each grouping of works of art acts as an entry point into a thread of Australian art history. Considered together, the works in National Interests paint a picture of Australia’s search for a national identity in a rapidly changing cultural landscape. National Interests includes works on long term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.
HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.
Josephine Ulrick and Win Schubert Photography Awards 2024. 14 December 2024—11 May Josephine Ulrick and Win Schubert Photography Award 2024 Celebrate the best of contemporary Australian photography. The Josephine Ulrick and Win Schubert Photography Award 2024 presents a diverse selection of artworks by artists at the forefront of photographic media. Shortlisted artists include Hameed Akinwande, Effy Alexakis, Chris Barry, Tom Blachford, Chris Budgeon, Anna Carey, David Cossini, Gerwyn Davies, Merinda Davies and Ellamay คง โรจน ์ Fitzgerald, Richmond Kobla Dido, Marian Drew, Rozalind Drummond, Antoinette Edmunds, Merilyn Fairskye, Kaye Forster, Joachim Froese, Richard Glover, Tim Gregory, Marnie Haddad, Naomi Hobson, Nicholas Hubicki, Nur Aishah Kenton, Mika Nakamura-Mather, Kellie O’Dempsey, Zorica Purlija, Andrew Rovenko, Sam Scoufos, Ali Tahayori, Hiromi Tango and Greg Piper, Michelle Vine, Torin Ward, Michael Zavros. 12 April—3 August Writers Revealed : Treasures from the
British Library and the National Portrait Gallery, London Explore six centuries of world-famous portraits and rare manuscripts from literary legends in this unprecedented exhibition. Offering a once-in-a-lifetime opportunity to come face-to-face with some of the most well-known figures in English literature, the exhibition will feature literary giants such as William Shakespeare, Jane Austen, the Brontë sisters, William Blake, Virginia Woolf, Sir Arthur Conan Doyle, J.R.R. Tolkien, Lewis Carroll, Sir Kazuo Ishiguro, Zadie Smith and many more.
Archie Moore, Archie in The Reminder, 2005. Courtesy The Commercial.
Alexey Gerasimov, Skibidi Toilet, (still) 2023–ongoing. Courtesy Invisible Narratives.
Anna Carey’s Magic & Memory.
18 January–10 April Skibidi Toilet Alexey Gerasimov
9 November 2024—6 October Anna Carey’s Magic + Memory: make me a home
Ipswich Art Gallery
Anna Carey is an Australian artist based between the Gold Coast and Los Angeles, whose work overlaps photography, model-making, film and drawing. She has exhibited extensively in Australia and the US: Photo la; Artereal Gallery; Andrew Baker Art Dealer; Dlux Media Arts, Qld Centre for Photography; Sophie Gannon Gallery; Tweed Regional Gallery; and the Museum of Brisbane. She has been shortlisted in numerous prizes including The Churchie National Emerging Art Award, the Queensland Regional Art Awards and the Josephine Ulrick and Win Schubert Photography Award. Her work is represented in public collections including HOTA Gallery, The Los Angeles County Museum of Art, National Gallery of Australia, Artbank, University of Queensland, Caboolture Regional Art Gallery, as well as private collections.
www.ipswichartgallery.qld.gov.au Yagara/Yugara Country, d’Arcy Doyle Place, Ipswich, QLD 4305 [Map 13] 07 3810 7222 Open daily 10am–5pm. Free admission.
Institute of Modern Art www.ima.org.au Turrbal and Yuggera Country, Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm. Free admission. 18 January–30 March Comic Paintings Archie Moore 18 January–30 March Platform 2025 Shannon Toth, Jarrod van der Ryken and Keemon Williams
Image credit: Matthew Cheyne + Caroline Cheyne, Tending a small fire, 2025 (detail). Image courtesy of the artist and Mitchell Fine Art, Brisbane. Photography by Caroline Cheyne. 1 March—1 June Don’t get too comfortable Matthew Cheyne, Caroline Cheyne Don’t get too comfortable escapes into a realm of imagination. There are recurring motifs: volcanoes, tents, rodeo bulls, zoos, wild animals, nature – cultured and wild, the topsy-turvy space of the picture plane. Despite its clear escapism, this 217
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Logan Art Gallery
imagery presents as metaphor, and speaks to experiences we all face in our lives and relationships. Matthew and Caroline Cheyne work from their house and studio on the outskirts of Ipswich. There, domestic life and art exist almost without separation. Art in progress can be seen from the kitchen table, and this is often where it is discussed, alongside other important events and occurrences of daily life. This is an Ipswich Art Gallery exhibition.
www.loganarts.com.au/artgallery
Jan Murphy Gallery
Yugambeh Country, Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm. 26 February—22 March A Library for the trees, birds, and skies Rosie Lloyd-Giblett Eagles eye Eagleby State School, curated by Mia Pippen.
28 March—19 April Paper parts Ally McKay 28 March—19 April Workshop Wonders XXIII
Mitchell Fine Art www.mitchellfineartgallery.com Turrbal and Yuggera Country, 86 Arthur St, Fortitude Valley, QLD 4006 [Map 15] 07 3254 2297 Mon to Fri 10am–5.30pm, Sat 10am–5pm.
www.janmurphygallery.com.au Turrbal & Yuggera Country, 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 15] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 20 February—15 March Individuation Michael Cook 18 March—5 April Group show 8 April—10 May A.J. Taylor
Jan Manton Gallery www.janmantonart.com Turrbal Country, 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–4pm, Sat 10am–3pm. See our website for latest information.
Nicola Hooper, Pig man, 2023, hand coloured lithograph over photograph. Courtesy of the artist. 28 March—17 May A bestiary of reverie Nicola Hooper This exhibition is supported by the Regional Arts Development Fund, a partnership between the Queensland Government and Logan City Council to support local arts and culture in regional Queensland. 28 March—17 may The morphology of transience Jacques van der Merwe
Mitjili Napurrula, Watiya Juta A16503, 2009, acrylic on linen, 90 x 120 cm. 18 February—15 March Napurrula 18 March—17 April Monochrome
Mulgrave Gallery, Cairns www.cairns.qld.gov.au/mulgravegallery 51 Esplanade, Cairns QLD, 4870 [Map 14] 07 4032 6660 Tue to Fri 9.30am–5pm, Sat 10am–5pm, Sun 10am–2pm. 7 March—12 April Resilience in the Face of Adversity
David Fenoglio, Mountain, 2024, oil on linen, 56 x 61 cm. 15 April—3 May Breathe David Fenoglio Ally McKay, Still standing, standing still, 2023, paper and wooden stand sculpture. Photograph: Louis Lim.
Storytelling is one of the most powerful and ancient forms of sharing information, education, wisdom, and inspiration. Although we are all very different in many ways, each of us will face adversity in our lives, and this will look different for everyone. In alignment with International Women’s Day, this exhibition features artworks by nine female artists in response to interviews they made with a hundred women about the tools, strategies, and resources that helped them through their toughest times. This is a wonderful opportunity for a diverse community to 219
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31 January—9 February Artist in Residence: Sara Nejad Museum of Brisbane is excited to welcome Sara Nejad as the Artist in Residence from January 2025. Sara’s residency will harness the mandala as a motif to explore themes of identity and belonging. Mandalas have a rich history in Persian art and architecture. Sara is drawn to the significance of these symbols in her own life, but also their resonance across other cultures and spiritualities. During her residency, she will engage with various Brisbane communities to create a series of collaborative mandalas. Over several months, these works will be added to the MoB entrance as an evolving installation. Sara’s project celebrates the beauty of our multicultural city, encouraging us to stand together in our differences.
Diljá Thorpe, Off kilter, 2025, mixed media: paper collage, alcohol inks, resin. come together to share, learn, and most importantly, connect through the sharing of stories, knowledge, and wisdom. The exhibition will offer a series of free workshops for the community, and there will also be an interactive space for people to share their own words of wisdom.
MoB’s Artist in Residence program is supported by Tim Fairfax AC. This residency has been produced by Museum of Brisbane as part of Brisbane City Council’s BrisAsia Festival 2025, produced by Sounds Across Oceans.
Justin Bishop, Robyn Biviano, Nicola Bryars-Parker, Lauren Carter, Jamie Cole, India Collins, Gabrielle Cooney, Lou Derry, Barbara Dover, Leanne Emmitt, Maharlina Gorospe-Lockie, Kate Hunter, Stephen Hutchins, Jacqueline Joosen, Aleksandra Kostic D, Selina Kudo, Sonia La Spina, Lachlan Mackee, Luisa Manea, Sam (moo) Matthews, Eunice McAllister, Chrissie Mclaughlin, Jessica Munro, Hannah Murray, Kim Nolan, Victoria Park, Hannah Parker, Ricky Patten, Kim Rayner, Geoffrey Schmidt, Sandra Steffensen, Tania Tocar, Mariana Verdaasdonk, Yvonne Werner, Mark Misic, Tetsuya Tabata. Thresholds is a group exhibition of over thirty artists. They respond to the theme and title by presenting startling interpretations and constructions that shift the lens and reveal perceptions of contemporary life in the tropics. Works range in medium and scale including painting, photography, sculpture and object-based installation practices.
Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm. Free entry. 17 August 2024—13 July New Light: Photography Now + Then Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams With the power to freeze and preserve time, photography has captured imaginations for centuries. Step into New Light: Photography Now + Then, an exhibition where past and present converge in a mesmerising display of photography spanning 1890 to 2024. Immerse yourself in the remarkable tale of amateur Brisbane photographer Alfred Henrie Elliott (18701954), whose extraordinary images lay dormant for decades until they were discovered in 1983, stored in cedar cigar boxes beneath a home in Red Hill. Drawing on this treasure trove of an archive, seven contemporary Brisbane photographers will debut exciting new commissions responding to different parts of the Elliott Collection.
Precious. Museum of Brisbane. 2 April—2026 Precious What makes a collection? Museum of Brisbane is giving you the keys to some of the most awe-inspiring collections across our amazing city. An irresistible array of breathtaking curiosities, Precious brings together thousands of remarkable items from more than 20 public and private collections. From textiles to tin-toys, micro-architectural marvels to marine treasures, this exhibition is a joyful celebration of the art of assemblage.
NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja, 96 Abbott Street, Gimuy, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm.
Sara Nejad, Recurrence and Emergence 2023, digital images. Courtesy the artist. 220
18 January—28 March Thresholds
Maharlina Gorospe-Lockie Halo-halo (Shaved ice dessert), 2024, acrylic on canvas. 18 January—15 March Discomfort Food Maharlina Gorospe-Lockie Maharlina Gorospe-Lockie provides unexpected insight into the Filipino diaspora through art and food. 18 January—28 March afloat Yvonne Werner Through experimenting with and adapting traditional processes of Japanese woodblock printing and suminagashi (floating ink), Werner produces unique monotypes and collages that introduce new ways of working and seeing.
QUEENSLAND 7 April—14 June ON VIEW: ICONS Sue Healey ON VIEW: ICONS is a 3 channel video installation (1 hour duration) by award-winning Australian choreographer and filmmaker Sue Healey.
2 December 2024—6 March Transformations: Art of the Scott Sisters An exhibition by the Australian Museum.
The John Villiers Outback Art Prize is generously sponsored by The John Villiers Trust, Winton Shire Council and Ros Kavanagh of Elders Insurance Central Queensland. 15 March—11 May 2025 John Villiers Outback Art Prize Finalist Exhibition Source material reference image showing the unfinished 55 foot wooden boat frame, 2018, courtesy of the artist. 7 April—14 June The Ship Melody Woodnut Utilising expanded cinema and cues from ‘The Ship of Theseus’, this work constitutes an attempt to finish building the Artists’ grandfather’s 39-year-old unfinished boat - the artwork thus becomes its spectral fiction.
Onespace Gallery www.onespace.com.au Yuggera Country, 25A Bouquet Street, South Brisbane, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 12pm–5pm or by appointment.
24 March—24 May Floral Oxygen Kate Hunter
Philip Bacon Galleries
1 April—26 April Neil Frazer
Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery
24 March—17 May Printed Cloth Hannah Parker
Waltzing Matilda Centre, 50 Elderslie Street, Guwa Country, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.
Bindal & Wulgurukaba Country, Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.
4 March—19 March Robert Brownhall
Having witnessed the terror of record flooding that devastated communities in Far North Queensland in 2024, Hunter seeks the resilience to reconnect through a body of work shaped through meditation and repetition, graced with reverence, a quiet honouring of life, death and rebirth.
www.matildacentre.com.au
www.townsville.qld.gov.au
2 Arthur Street, Fortitude Valley, Brisbane/Meanjin, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.
In this ceramic wall installation, the artist responds to the intrinsic structure of the environment that provides them an interactive surrounding story.
Outback Regional Gallery, Winton
Perc Tucker Regional Gallery
www.philipbacongalleries.com.au
24 March—24 May Moments of Meditation Kim Nolan
Hannah’s 2.25m fabric lengths are inspired by the lino block designs created and printed by women in London during the 1950’s & 60’s.
unwavering strength. The exhibition will feature Niloufar Lovegrove’s (Pishva) Equable Goddess, an ambitious 54-panel lino-cut print that spans the gallery’s largest wall. Japanese Australian artist Elysha Rei delves into transcultural identity, family history, and the untold narratives of Japanese Australian migration through intricately hand-cut paper works inspired by Japanese garden design. Meanwhile, Sonja and Elisa Jane Carmichael present a series of prints, including unique embossed works created with organic materials sourced from Quandamooka Country on Minjerribah (Stradbroke Island). Opening night 15 March, 5pm–7pm, artist talk 15 March, 4pm–5pm.
Niloufar Lovegrove, Echoed Shelter, 2025, hand printed lino on Unryushi and Okawara, hand sewn together, 64 x 45 cm. Image: Courtesy of the artist and Onespace. 7 March—5 April Tensile Connections Sonja Carmichael, Elisa Jane Carmichael, Niloufar Lovegrove (Pishva) & Elysha Rei Tensile Connections brings together a dynamic collection of works on paper by Sonja Carmichael, Elisa Jane Carmichael, Niloufar Lovegrove (Pishva), and Elysha Rei. The exhibition explores the tensile qualities and materiality of paper, while metaphorically highlighting the deep connections these artists maintain with their cultural identities that endure with
Turrbal Country, 130–134 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 3905 Tue to Sat 10am–4pm. 8 March—17 May Dennis Golding: POWER - The Future is Here POWER - The Future is Here is the result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School. The superhero capes were created during a workshop in 2020, led by Golding who was an artist in residence at the school through Solid Ground. Students from kindergarten to year 12 designed their capes with iconography informed by their lived experiences 221
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Dennis Golding, The Future is Here, 2021, installation at Carriageworks. Image courtesy and © the artist. Photograph: Zan Wimberley. and cultural identity. As superheroes, Golding and his young collaborators are empowered and reminded of the strength of their culture in forming their identity and connection to Country. Individually and together, the capes critique social, political and cultural representations of contemporary First Nations experience. Solid Ground project with Dennis Golding and Alexandria Park Community School, curated by Kyra Kum Sing, presented by Carriageworks and Blacktown Arts, and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program. Solid Ground project with Dennis Golding and Alexandria Park Community School.
Bringing compelling new art to Brisbane, the Triennial is a gateway to the rapidly evolving artistic expression of Australia, Asia and the Pacific. Alongside artists and makers whose work has not been previously seen in Australia are a raft of new co-curated projects investigating artforms and cultural contexts rarely encountered outside their home localities.
QUT Galleries and Museums www.artmuseum.qut.edu.au wrgallery.qut.edu.au Meanjin, QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm. Closed Mondays, weekends and public holidays.
William Robinson, Passing storm, late afternoon, Beechmont, 1993, oil on linen. QUT Art Collection. Donated through the Australian Government’s Cultural Gifts Program by William Robinson, 2017. the magnificent natural environment of Kombumerri Country of the Yugambeh Language Region in South-East Queensland, these works occupy a delicate boundary where human perception intersects with the unknown, the infinite and the divine. Offering visitors a deeply immersive experience, these majestic paintings transcend traditional notions of time and space through William Robinson’s signature multi-dimensional lens. Marking fifteen years since the inception of the William Robinson Gallery at QUT in 2009, Numinous celebrates the work and mastery of one of Australia’s greatest landscape artists.
Pinnacles Gallery
Redcliffe Art Gallery
www.townsville.qld.gov.au
www.moretonbay.qld.gov.au/ redcliffe-art-gallery
Bindal & Wulgurukaba Country, Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm.
Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Kurilpa, Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.
Rithika Merchant, India b.1986, Temporal Structures, 2023, gouache, watercolour and ink on paper, 105 x 150 cm. Courtesy: the artist and TARQ, Mumbai. © Rithika Merchant. 30 November 2024–27 April The 11th Asia Pacific Triennial of Contemporary Art 222
Leah King-Smith, Studio, 2018, digital c-print on metallic photographic paper. Courtesy of the artist.
Kabi Kabi Country, 1 Irene Street, Redcliffe, QLD 4020 [Map 13] 07 3883 5670 Tue to Sat 10am–4pm.
27 October 2024—9 March Leah King-Smith: rhythm wRites rhythm wRites is an immersive exhibition orchestrated by Bigambul artist Leah King-Smith, exploring simultaneity, interconnectivity, rhythm, ethereality, spatiality and sound. Rooted in a decolonising framework, the exhibition features new work produced in collaboration with leading First Nations practitioners from the fields of visual art, music and creative writing: Robert Andrew (Yawuru), Nici Cumpston (Barkindji), Keely Eggmolesse (Gubbi Gubbi and Gooreng Gooreng) and Ellen van Neerven (Mununjali Yugambeh). Audio-visual installations drawing on First Nations experiences, histories, and intergenerational connectivity weave through the galleries alongside select works from King-Smith’s acclaimed photographic practice from the last three decades. 1 October 2024—31 August Numinous: The Landscape Paintings of William Robinson Numinous presents a profound exploration of one of the most significant aspects of William Robinson’s oeuvre—the landscape paintings produced between 1990 and 2008. Drawing on
Joe Furlonger, Untitled, 1997, pigment with acrylic binder on canvas, 124 x 184 cm. Gift of Ray Hughes through the Queensland Art Gallery | Gallery of Modern Art Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program. Collection: Queensland Art Gallery | Gallery of Modern Art. © Joe Furlonger. 22 February—10 May Joe Furlonger: Horizons One of Australia’s most respected landscape painters, Joe Furlonger came to prominence in the late 1980s with a series of large-scale figurative paintings. Employing a highly physical method, he applied swathes of colour with vigorous sweeps of the brush. With inspiration drawn from Matisse, Picasso and Ian Fairweather, Furlonger has never
QUEENSLAND attempted to disguise his artistic influences. Drawn from the Queensland Art Gallery | Gallery of Modern Art (QAGOMA) Collection Joe Furlonger: Horizons traces the artist’s career through a range of media from painting to ceramics, sculpture and drawing. The exhibition also includes works from City of Moreton Bay’s own collection, showing them in the context of Furlonger’s broader oeuvre. 1 March—24 May 15 Artists 2025 Kim Ah Sam, Holly Anderson, James Barth, Troy-Anthony Baylis, Naomi Blacklock, Darren Blackman, Jamie Congdon, Torin Francis, Claudia Greathead, Libby Harward, Kate Mitchell, Tommy Pau, Sha Sawari, Pamela See and Keemon Williams. 15 Artists is an annual acquisitive prize developed to enhance City of Moreton Bay’s Art Collection and exhibition program. Each year, Council invites 15 artists to take part in the exhibition. The winning artist is awarded $20,000 and their work is acquired into the City of Moreton Bay’s Art Collection. The exhibition highlights recent works by Australian artists, presenting diverse voices and ideas.
Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Quandamooka Country, Cleveland, QLD 4163 [Map 13] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.
Petrina Hicks, Dylan Mooney, Monica Rohan, William Yang. Performing Presence brings together artworks from the Redland Art Gallery Collection that use mediums and formal styles to define notions of the self. The artworks are grounded in lived experience, whilst emphasising social and political contexts. 9 February—25 March Dice Topologies Nicholas Aloisio-Shearer, Charlie Donaldson, Spencer Harvie, Michelle Le Plastrier, Tara Pattenden. Bringing together five emerging Queensland artists, the work in Dice Topologies draws on tropes of gaming, and the interplay of chance and determination, to grapple with our digitally networked condition.
Marni Stuart, After the fire, (detail), 2022, digital printed linen fabric, 154 x 300 cm. Courtesy of the artist. 6 April—3 June Wildflowering by Design Rose Barrowcliffe, Nai Nai Bird, Renata Buziak, Donna Davis, Joolie Gibbs, Anne Harris, Nicole Jakins, Shelley Pisani, Edith Rewa, Cara Ann Simpson, Marni Stuart, Emma Thorp and local artists from the region. Featuring Queensland women artists who work across the art and design spectrum. Wildflowering by Design celebrates the botanical environment and natural world through a design lens, exploring materiality, handcrafting and the digital realm, offering fresh perspectives and provocations. 6 April—3 June Inhabited: Anthromes of Queensland Anne Vincent Celebrating natural environments in urban areas Inhabited: Anthromes of Queensland is a gentle reminder of the importance of unseen ecosystems and that human interaction changes environments. Queensland-based environmental photographer LeAnne Vincent’s immersive artwork combines cyanotype photograms, digital photography, hi-vis work shirts and field recordings.
Keemon Williams, Acclimation, 2021, photographic print on matte rag, 120 x 81 cm. Documented by Carl Warner. Redland Art Gallery Collection. Acquired in 2024 with Redland Art Gallery Acquisition Funds. 9 February—25 March Performing Presence: Works from the Redland Art Gallery Collection Tony Albert and Natalya Hughes, Michael Cook, Gerwyn Davies, Yavuz Erkan,
Rockhampton Museum of Art www.rmoa.com.au Darumbal Country, 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Free admission.
Lincoln Austin, Black Star/White Bird, 2024, enamel paint on galvanized steel mesh, 2-channel video. Courtesy of the artist. 22 February—28 September Lincoln Austin: The Weight of Experience Lincoln Austin, assisted by Artist Chelsea Jewell, presents a new, site-specific sculptural, tensegrity and light-based work The Weight of Experience. Suspended in the Atrium Gallery a geometric form catches light and creates shadows, shifting and morphing throughout the day and night, overlayed with a colour-coded animation of transformed community-submitted poetry texts. The Weight of Experience encourages audiences to reflect on the life experiences we each carry within us, and the Queer experience of vigilantly reading and interpreting code to assess safety and belonging.
Abdullah M. I. Syed, Forbidden Fruits, 2018, mixed media. Photograph: Mahmood Ahmed Ali. 22 February—17 August Abdullah M. I. Syed: Cabinet of Curiosities Abdullah M. I. Syed’s creative interventions transform sporting objects and memorabilia into poetic curiosities, transcending personal, geographical, linguistic, and cultural barriers. While reflecting his migratory experiences and global observations, Syed explores the unifying force of sport in bridging cultures and fostering dialogue. Reminiscent of a trophy cabinet, Cabinet of Curiosities embodies personal memories and narratives showcasing familial lifelong engagement with sport and physical activity. 22 March—22 June Ken Done: Poems from Home and Other Paintings Maverick painter and certified Aussie icon Ken Done returns to Rockhampton with a suite of new works, presented with a generous selection of recent and older pieces selected especially for gallery one’s expanses. Poems from Home and Other Paintings promises the biggest selection of Done’s work in regional Australia, capturing the sights and sounds of some of the artist’s most beloved locales in sumptuous paint. Curated in partnership with Ken Done Gallery. 223
ar t g ui d e .c o m . au Rockhampton Museum of Art continued... 5 April—3 August Artists in CQ: Of the Region Artists in CQ: Of the Region brings together the art practices of several artists, presenting a multi-disciplinary conversation about national identity and the acknowledgement of Asian cultures as an enduring component of Australian culture. Featuring: Ping Carlyon, Jacky Chan, Remy Faint, Qing Huang, Hanbing Lu and Anitha Menon. Curated by Robert Connell and Emily Wakeling. 19 April—24 August RMOA Collection: Made in Japan Made in Japan explores highlights from Rockhampton Museum of Art’s significant holdings of 19th and 20th century Japanese artworks and objects. Featuring decorative kimonos, the impressive Samurai Suit of Armour (Nimai-do) c. 1700s and golden standing screens, this display reflects on the legacy of cultural exchange in the Rockhampton region. Curated by Emily Wakeling.
State Library of Queensland www.slq.qld.gov.au Turrbal and Yuggera Country, Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm.
Tanks Arts Centre, Cairns
a photographic portrait exhibition featuring young subjects from Africa and Asia dressed in costumes and adornments that represent their dearly treasured cultural heritages. Akriti Rai arrived in Cairns as a refugee from Nepal in December 2022, attending Trinity Bay State High School as a year 11 student in 2023. There she befriended Sylvine Rahabu, a refugee herself from the Democratic Republic of Congo. Akriti’s portrait of Sylvine won her the Tanks Arts Centre Curators’ Award at the Energy exhibition 2024. 28 February—30 March FLAME 2025 – FLAME Visual Program Exhibition FLAME 2025 is the exhibition outcome of the FLAME Visual program, providing young artists the opportunity and skills to explore their arts practice and maintain a creative life. For nine years now the FLAME Visual mentorship program has been supporting young creatives to continue an arts practice after leaving school, providing opportunities to meet and work with other creatives in the region and to engage with the local arts sector, culminating in a group exhibition. This year, the program supported young creative emerging artists by enabling skills development and encouraging them towards a wholistic ‘creative life’ approach. Tanks Arts Centre connected young creatives with four established artists acting as creative mediators, delivering peer-to-peer learning opportunities over a three-month period, working together towards this exhibition. Inspired, under the guidance of artists; Jamie Cole, Daniel Wallwork, Holly Mervyn-Jones and Olivia Azzopardi the young artists learned new skills, demonstrably building their confidence in their creative abilities and artistic expressions.
www.tanksartscentre.com 46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 [Map 14] 07 4032 6600 Mon to Fri 9am–4.30pm, Sat & Sun 10am–2pm. Free admission.
Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag Jagera, Giabal and Jarowair Country, 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & public holidays.
Rhi Johnson, The second window, 2020, reduction linocut, edition 6/30, 28.5 x 40.5 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 2378. © Rhi Johnson. 22 February—18 May Autumn: Views of the Season Ablaze with colour, cool in melancholy or ripe for serene reflectiveness, the autumn of life is the summit of maturity and a stage of decline and fall. This exhibition conveys some of the tones, moods and emotions associated with autumn.
Akriti Rai, Duality, 2024, photograph.
Mark Willems, Where the Rainforest meets the Reef.
28 February—30 March Are We Settled Yet? Akriti Rai and Sylvine Rahabu
5 April—11 May Artists of the North Cairns Art Society
For teenage refugees, settling in a new country brings about a metamorphosis. You come with one culture, absorb another, and along the way you learn about other cultures in other lands. Constantly looking for differences and similarities, you mix and match. Are We Settled Yet? is
The Artists of the North exhibition is a presentation of the talent and formidable skills of our region’s artists. This year’s dynamic theme, Living Colour captures the essence of Cairns as a vibrant, tropical city, brimming with life and colour. Situated near the Great Barrier Reef and
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the Daintree Rainforest, Cairns offers a stunning natural palette that can inspire a celebration of the vibrant interplay between nature, culture, and human creativity. This theme invites artists to explore the concept of Living Colour in a broad sense, from literal interpretations of vivid tropical hues to metaphorical representations of vitality, diversity, and connection. Artists of the North attracts some of our region’s top artists – painters, sculptors, potters, and photographers – who will display their work in this annual celebration of all things Queensland. Whether you are a local or a visitor, you will find something that delights or intrigues you within this exhibition.
Billy Missi, Ubarau Thonar | Wongai Season, 2009, linoleum cut printed in black ink from one block and hand coloured, 1000 x 650 cm (print matrix). Courtesy of Gab Titui Cultural Centre. © Billy Missi | Copyright Agency, 2024. 1 March—25 May Billy Missi’n Wakain Thamai
QUEENSLAND Billy Missi’n Wakain Thamai is a profound exhibition honouring the late Torres Strait Islander artist Billy Missi (1970-2012). Billy Missi’n Wakain Thamai brings together over fifty of the artist’s most significant and iconic prints, including rare and never-before-exhibited monoprints, etchings, and linoprints from Djumbunji Fine Art Press and private collections. Curated by Dr Russell Milledge, this retrospective was developed in close consultation with the Billy Missi Estate, family members and friends, highlighting Missi’s critical role in the emergence of Zenadh Kes (Torres Strait) printmaking as a contemporary art form. Billy Missi’n Wakain Thamai is an exhibition developed by NorthSite Contemporary Arts (GImuy/Cairns) and touring Australia in partnership with Gab Titui Cultural Centre/Torres Strait Regional Authority (Waiben/Thursday Island) and Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program.
UMI Arts Gallery & Gift Shop
Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm. 31 January—16 March Bonday Muggie Nephi Denham This exhibition presents work by Girramay artist and artworker Nephi Denham as a contemporary exploration of his Culture. His art practice predominantly spans ceramics and weaving. This exhibition is presented in partnership with Girringun Aboriginal Art Centre. 31 January—16 March The Ecstasy of Gold Michael Pope The Ecstasy of Gold explores two scenes from Sergio Leone’s iconic Italian spaghetti western, The Good, The Bad and The Ugly through a series of mixed media drawings based upon stills from the film.
www.umiarts.com.au Shop 4, 1 Jensen Street, Manoora, Cairns/Gimuy, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information. UMI is a Creole word that means ‘You and Me’. This is significant as we believe that we need to work together to keep our culture strong. UMI Arts is the lead First Nations arts and cultural organisation for Far North Queensland, an area that extends north of Cairns (Gimuy) to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt Isa regions. Operating since 2005, UMI Arts is a notfor-profit organisation governed and managed by an all-First Nations Board. UMI Arts mission is to operate a cultural organisation that assists First Nations people to participate in the maintenance, preservation and protection of culture. UMI Arts provides opportunities for over 1000 First Nations members to participate in an ever-changing, evolving, exciting and unique visual art, craft, dance, music programs and activities. Members who participate in UMI Arts programs leave with new skills, knowledge, and strengthened confidence with many going on to maintain a sustainable cultural business or gain meaningful employment in the creative industries sector. The UMI Arts Gallery in Cairns, holds five exhibitions every year featuring the artwork and crafts of our talented member artists, and the Gift Shop stock fine art, crafts and artefacts created by our member artists.
Louise Plint, Wrapped rock, 2021, found object and loop-weaved rafia, 17 x 12 x 5 cm. Photograph: Amanda Galea. weaving as conduits for a working dialogue with nature. She builds up her forms with fibre, form and texture, but finds that the materials also contribute, taking on their own directions which inform the final outcomes. 21 March—4 May Works from the Rockhampton Museum of Art Collection Ruth Downes, Nora Hanasy and Carmel Knowles Unlikely connections were found in shared humour and materiality, and through the imposed yet playful direction of Daniel Qualischefski and Jan Hynes. The exhibition features selected works from the Rockhampton Museum of Art Collection by artists Ruth Downes, Nora Hanasy and Carmel Knowles. It is also a collective response to Hynes’ work simultaneously displayed within Thoughts on the Cross. This exhibition has been developed in partnership with Rockhampton Museum of Art.
University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery Kabi Kabi Country, UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. Jan Hynes, Double cross, 2024, timber, 18 x 10 x 1.5 cm. Photograph: Amanda Galea. 21 March—4 May Thoughts on the Cross Jan Hynes A cross can be an intersection of two lines, a crucifix, an addition, a multiplication, a hybridisation, a collaboration or an opposition. Gurambilbarra / Townsville based artist Jan Hynes has taken some of these diverse inspirations, merged them with wordplay, humour and her own visual language, and developed a series of vibrant, wall-based crosses and sculptures. In this way, the works are more than the intersections of their parts. 21 March—4 May Conversations with Nature Louise Plint Multidisciplinary artist Louise Plint considers the processes of basketry and
At over 1000 works, our collection is the largest public collection of art on the Sunshine Coast and has been greatly enriched through the generosity of many individuals. Major donations and bequests have included the John Mainwaring Collection in 2012 and the Arija and Richard Austin Bequest in 2015. 17 February—3 May Between Waves Between Waves amplifies concepts related to light, time and vision—and the idea of shining a light on our times—as expressed by the Wurundjeri Woi Wurrung word ‘Yalingwa’. The exhibition variously explores the visible and invisible energy fields set in motion by these ideas, to illuminate interconnected shapeshifting ecologies within, beyond and between what can be seen. Artists: Hayley Millar 225
ar t g ui d e .c o m . au University of the Sunshine Coast continued...
UQ Art Museum www.art-museum.uq.edu.au
Baker, Maree Clarke, Dean Cross,
Cassie Sullivan, wayi (to hear), 2023, (detail), seven tarlatan monotype prints on frosted acrylic, 170 x 122 cm each. Installation view, Australian Centre for Contemporary Art, Melbourne 2023. Commissioned by ACCA. Courtesy the artist. Photograph: Andrew Curtis. Brad Darkson, Matthew Harris, James Howard, Jazz Money, Mandy Quadrio, Cassie Sullivan and this mob. Between Waves is an exhibition developed by the Australian Centre for Contemporary Art (ACCA) touring nationally with NETS Victoria, curated by Jessica Clark. This project has been supported by Creative Victoria through the Yalingwa Visual Arts Initiative and the NETS Victoria Exhibition Development Fund; and the Australian Government’s Visions of Australia program.
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Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. UQ Art Museum is a site for progressive and contemporary creative inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University. 18 February–14 June These Entanglements: Ecology After Nature Petroleum, chemicals, and bacteria have become agents of history. Humanity, or rather the settler-colonial project, has infiltrated every environment on a molecular level, resulting in anthropogenic climate crisis. In this state of ‘post-nature’ there are no edges; even plastic has invaded our blood streams. These Entanglements: Ecology After Nature thinks with the molecular, the geological and the biological and their entanglements with social relations. Bringing together Australian and
Alicia Frankovich, Atlas of Anti-Taxonomies, 2019–22. Commissioned by Christchurch Art Gallery Te Puna o Waiwhetū. Exhibition view Gus Fisher Gallery | Te Whare Toi o Gus Fisher. Photo: Sam Hartnett. Courtesy of the artist, Starkwhite, Tāmaki Makaurau/ Auckland and 1301SW, Naarm/Melbourne and Gadigal Country/Sydney. international artists it traverses choreography, sculptural installation, filmmaking, field research, tarot reading, photography, painting, and virtual simulation. Working from the premise that human exceptionalism has led to environmental catastrophe, the exhibition proposes a more ethical, symbiotic, and reciprocal approach to cross-species relations and ways of being in the world.
fairholme.qld.edu.au/fairholme-open-art-prize
A–Z Exhibitions
Australian Capital Territory
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Aarwun Gallery
forms changes according to the viewer’s position.
www.aarwungallery.com.au Ngunnawal Country, 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information
23 April—11 May Emotional Landscapes II Margaret Gordon, Manuel Pfeiffer, Alan Pomeroy
Gayle Stockley, four square grid, 2024, oil and acrylic on cardboard, 60 x 60 cm. 12 March—30 March Not Quite Square Gayle Stockley
Bernard Ollis, Erskineville Garden 2, 76 x102 cm, oil on linen. 7 March—30 March Time Travelling Bernard Ollis .
Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 11am–4pm. See our website for latest information.
approaches to painting. According to the artists, “The window presents a conceptual dichotomy through which the painting subject can either be internalised or externalised; meaning the viewer’s vantage point is set from the ‘inside’ or the ‘outside’ of a window frame.” They ask, “What do we see when we gaze through a window?” The outside, or the reflected view of our own faces and the interior of the room?
Not Quite Square is an exhibition of non-objective, minimalist, geometric oil paintings and linear sculptures (constructed with stretcher framing) developed over ten years. The artist’s current style evolved from an earlier period creating relief sculpture from bushfire blackened casuarina. The simple, linear, geometric composition of those relief sculptures now transferred to painting, with the makers marks left clearly visible. Stockley has drawn inspiration from Constantin Brancusi’s endless column sculptures, minimalist painters Ellsworth Kelly and Imi Knoebel and the geometry of primitive art.
Emotional Landscapes II is an immersive exhibition that explores the intricate relationship between humanity and nature. Through a fusion of prints, paintings and sculptures the artists’ aim to capture and evoke complex emotions that prompt reflection on our place within the environment. The exhibition explores contrasting perspectives of humanity’s connection with and disconnection from nature, as well as the interplay between the human psyche, natural and constructed environments.
Belco Arts www.belcoarts.com.au Ngunnawal Country, 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. 7 February—23 March Neither Here Nor There Liz Faul Faul’s recent work celebrates Canberra’s native fauna through detailed portraits of birds, mammals and insects, combined with collaged papers.
Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place, (corner Antill street), Ngunnawal/Ngambri Country, Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays. 19 February—9 March Pattern/colour/space/form Al Munro The exhibition continues Munro’s investigations of the interaction of colour, pattern and space in painting. The works include fold-like corrugations in the painting’s surface that disturb and activate its physical structure. As the viewer moves around each work, areas of pattern are either revealed or hidden. In this way, the experience of the pattern, colours and 228
Alex Asch, Taking the Lot and Mariana del Castillo, Dusks accomplice.
Eve Fairhall, Sunday, 2024, acrylic on polyester, 29 x 21 cm. 2 April—17 April Looking Up and Looking Down Eve Fairhall and Lucy Chetcuti Looking Up and Looking Down is an exhibition of mixed media abstract paintings. Fairhall and Chetcuti draw forth ‘memoryscapes’, as the inner thoughts and emotions related to the world around us. Both artists are concerned with visual perception and pictorial framing in their
7 February—23 March TILT Alex Asch and Mariana del Castillo TILT is the final exhibition in a two-year collaboration between artists Alex Asch and Mariana del Castillo. 3000 days … and counting … Sharon Field An exhibition of Sharon Field’s epic challenge of a drawing/painting a day for 3000 days as a visual record of the plants we are in danger of losing to climate change. Escape. Control. Delete. Kristie Watts
AUSTRALIAN CAPITAL TERRITORY
Craft + Design Canberra
Escape. Control. Delete. is a process and conceptual based installation making the statistics of violence against women in Australia visible.
www.craftanddesigncanberra.org
Celebrate Gungahlin: Young Voices.
Ngunnawal Country, Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.
Featuring artworks and documentation from the 2024 Celebrate Gungahlin Festival. 28 March—18 May Botanical Systems Paul Summerfield An exhibition of digitally created textural details, light-filled spaces, dappled shadows, technobabble seeped in tradition and imagined ancient cultures. Bountiful Botanicals: A Botanical Art Worldwide Exhibition 2025 Members of the Botanical Art Society of Australia The second Botanical Art Worldwide Project, Bountiful Botanicals, focuses on and celebrates biodiversity in the crops that have been closely associated with the human species over thousands of years.
Jonas Balsaitis, #LIVEWIRE, 1999, synthetic polymer paint on canvas, 143 x 173 cm. 24 March—30 March Paintings and video Jonas Balsaitis 4 April—26 April Land and Language Lucie Thorne 4 April—26 April Double Dutch Leo Loomans and Peter Vandermark
Canberra Glassworks www.canberraglassworks.com Ngunnawal and Ngambri Country, 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 Lesley Andersen, Trio of Pears, (detail). 28 March—18 May Through the Small Window Lesley Andersen Through the Small Window is an introspective of both abstract expression and stylized still-life works. Circumnavigating ‘Bush Capital’ from the (bike) saddle Sophie Baker Painting openair from mountain bike paths, Sophie Baker literally looks down on The Capital – from The Bush. Observing the interconnectedness of our environment, it’s creatures and people.
16 January—23 March History - The paraphernalia of my interior life Martyn Thompson Designer and artist Martyn Thompson reimagines his ceramic vessels in glass, blending nostalgia and modernity through a tactile, painterly approach. Combining new glasswork with textiles, furniture, and objects from his studio, History, the paraphernalia of my interior life is an antidote to a world often shaped by mass production, celebrating Thompson’s commitment to beauty and craftsmanship.
Melanie Olde, Canopy 1, 2024, photo courtesy of the artist. 20 February—5 April 2025 Emerging Contemporaries Philip Agius, Tess Carlton, Isabel Chen, Sophie Constable, Jemma Copland, Ruby Davies, Rachael Hanrick, Tilda Joy, Liv Kidston, Ali Mencshelyi, Lee Nelms, Melanie Olde, Isobel Waters. 2025 Emerging Contemporaries is Craft + Design Canberra’s prestigious award exhibition celebrating the next generation of designers and makers. Showcasing works by early career artists from leading local institutions, including Canberra Potters Society, Canberra Institute of Technology, and the ANU School of Art + Design, this exhibition highlights the diverse talent shaping the future of craft and design. 20 February—5 April The Omega Series Pamela Irving This exhibition re-contextualises discarded objects and materials into new forms. Sardine tins, an everyday object with a utilitarian design is the foundation of this series. Once the contents of the tin have been eaten, Irving creates her Omega characters.
Study for Stars Nana Saab The ongoing motivation behind Saab’s creative practice is exploring and developing an approach to reclaiming industrial materials and transforming them into something that is completely transcendental.
Civic Art Bureau www.civicartbureau.com Melbourne Building, Upstairs Smiths Alternative, 76 Alinga Street, Canberra City, ACT 2601. 0488 056 988. 22 February—22 March Elegy Kate Stevens and Lizzie Hall
Tom Fereday, SANA collection, 2021. 3 April—8 June Tom Fereday + Katie-Ann Houghton Designer Tom Fereday and glassmaker Katie-Ann Houghton present two solo shows exploring thoughtful design. Houghton’s minimalist forms blend inspiration from mid-century Italy with her recent residency in Toyama, Japan. Fereday’s work, meanwhile, examines the tension between natural materials and contemporary manufacturing. Opening event Saturday 5 April at 5pm.
Cam Michael, Studies for a Meditation on Comfort, 2024 Photo courtesy of the artist. 20 February—5 April My unStill Life Cam Michael Delving into the interplay between work and home life, celebrating the value of the familiar. Through a series of small, intricately crafted rooms, Michael recreates spaces that reflect parts of his home and studio. As an emerging mixed-media artist based in Canberra on Ngunnawal Country, Michael draws on his experiences with disability, caring, and LGBTIQ+ identity. 229
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Grainger Gallery www.graingergallery.com.au Ngunnawal Country, Bldg 3.3, 1 Dairy Road, Fyshwick, ACT 2609 0404 769 843 Wed to Sun 11am–5pm.
13 March—30 March Moon Goddess Sally Kent Ceramicist Sally Kent’s first solo at GG showcases her exquisite hand-built porcelain. Resplendent urns that pay homage to the great era of 18thth century European porcelain-making, ornate with delicate flowers, and evocative seed pods, Kent’s work explores archetypal symbolic imagery and representations of birth, death and renewal to reveal our unseen spiritual and emotional internal worlds.
M16 Artspace www.m16artspace.com.au Ngunnawal Country, Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm.
20 March—16 April Beyond The Veranda Lynne Thomas
National Gallery of Australia www.nga.gov.au Ngunnawal and Ngambri Country, Parkes Place, Kamberri/Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. From 22 March Know My Name: Kee, Jackson and Delaunay Know My Name: Kee, Jackson and Delaunay is a Know My Name project, the National Gallery initiative celebrating the work of all women artists to enhance understanding of their contribution to Australia’s cultural life.
20 March—16 April The Four Elements Canberra Art Workshop
Penelope Boyd, Hunting Season, 2024, oil (water mixable) on canvas, 36 x 46 inch. 13 March—30 March Lost and Found Penelope Boyd
Judy Chicago, Rainbow Pickett, 1965/2021. National Gallery of Australia, Kamberri/Canberra, purchased 2024, photographer Joshua White, image courtesy Jeffrey Deitch, New York and Los Angeles © Judy Chicago/Artists Rights Society, New York.
Penelope Boyd’s young heroines return to Grainger Gallery inviting the viewer to join their post-gothic worlds of danger and ambiguous intentions. Boyd’s work examines the gaze, her masked characters stare with knowing looks and Mona Lisa smiles in charge of their dramatic landscapes and the animals at their feet.
From 17 April Know My Name: Global
Michael Carroll Goudge, 2 Stack, 2022. Image courtesy of the artist. 20 March—16 April Colour Coding Michael Carroll Goudge
Know My Name: Global presents works of art by living women artists who have pushed the limits of artistic practice through experimentation with form, colour and spatial innovation from the 1960s to the present day.
Alec Baker, Yankunytjatjara people, and Kunmanara (Peter) Mungkuri, Yankunytjatjara people, (1946–2021), near Amaroona, South Australia, 2017, image courtesy Iwantja Arts and APY Art Centre Collective. Photograph: Rhett Hammerton. 22 February—13 July Kulata Tjuta: Tirkilpa
Sally Kent, Moon Goddess Urn, 130 x 120 cm. 230
Lynne Perronet Thomas, Umbrella Tree, 2015, watercolour, 30 x 42 cm. Image courtesy of artist.
Kulata Tjuta: Tirkilpa is the largest and most significant installation of the culturally important and visually spectacular Kulata Tjuta (Many Spears) Project.
AUSTRALIAN CAPITAL TERRITORY 7 December 2024—27 April Ethel Carrick
by The Australian Government through Visions of Australia.
Ethel Carrick (1872–1952) was a pioneering artist who forged new ground in the early twentieth century with her bold and vibrant post-impressionist works. Comprising 140 works, this is the first retrospective of Carrick’s work for nearly half a century and an opportunity to assess her work in a new light.
14 March—11 May Know My Name: Australian Women Artists Touring Exhibition Araluen Arts Centre, NT.
Anne Dangar Anne Dangar (1885–1951) occupies a unique position in art history as one of Australia’s most important, yet underacknowledged modern artists. 14 September 2024—24 August Ever Present: First Peoples Art of Australia Following a national and international tour, Ever Present: First Peoples Art of Australia returns to Kamberri/Canberra for its final showing at the National Gallery. 21 September 2024—6 July Masami Teraoka and Japanese Ukiyo-e Prints From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him.
Know My Name: Australian Women Artists tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary, it highlights creative and intellectual relationships between artists across time. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia..
National Library of Australia www.library.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6262 1111 Mon to Sun 9am–5pm.
27 February—20 July Fit to Print: Defining Moments from the Fairfax Photo Archive Selected by Mike Bowers The Library has invited renowned Australian photojournalist Mike Bowers to select some of his favourite images from the Fairfax Photo Archive. With images printed from the original glass-plate negatives the exhibition explores how the pioneers of press photography in Australia developed their storytelling skills while also creating a lasting record of Australian society in the opening decades of the twentieth century.
National Portrait Gallery www.portrait.gov.au Ngunnawal Country, King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.
25 October 2024—1 June Lindy Lee Lindy Lee is one of Australia’s most accomplished contemporary artists. To complement the unveiling of Ouroboros, Lee’s major new public art commission for the National Gallery, this exhibition brings together highlights from across the artist’s career as well as a monumental new installation and works on paper. 15 February—19 July Single Channel Touring Exhibition Shoalhaven Regional Gallery, NSW. Drawn from the national collection, Single Channel brings together moving image artworks from 2000 to 2019 by some of Australia›s most nationally and internationally significant artists. 4 April—25 May Enjoy This Trip: The Art of Music Posters Touring Exhibition Goulburn Regional Art Gallery, NSW.
HMAS Melbourne departs Sydney on its last cruise, 1928, nla.obj-162850919, courtesy National Library of Australia.
24 August 2024—27 April Joan Ross: Those trees came back to me in my dreams Joan Ross A vibrant and dynamic exhibition by acclaimed contemporary artist Joan Ross. In a practice that spans collage, printmaking, sculpture and video animation, Ross probes the ongoing consequences of colonisation in Australia with wit and wry critique.
Drawn from the National Gallery’s expansive collection of Australian and international music posters spanning the 1960s to 1980s, Enjoy this trip: The art of music posters captures the spirit of the times as an era of experimentation a nostalgic exploration of the times through art, graphic design, music, colour and typography.
12 April—20 July The Immersive World of Thom Roberts Thom Roberts
19 April—25 May Clarice Beckett: Paintings from the National Collection Touring Exhibition Queen Victoria Museum & Art Gallery, TAS. Clarice Beckett: Paintings from the National Collection presents an intimate, rarely seen collection by one of the most original artists of early twentieth century Australia. Clarice Beckett: Paintings from the National Collection is a National Gallery Touring Exhibition supported
Joan Ross, Those trees came back to me in my dreams, 2024. Collection of N.Smith, Gadigal Country / Sydney.
Jean Thompson sits in her Type 37A Bugatti between races, 1930, nla. obj-157983478, courtesy National Library of Australia.
The Immersive World of Thom Roberts is the first solo exhibition for multidisciplinary contemporary Australian artist Thom Roberts. Roberts’ bold portraits morph people with trains and buildings, inviting audiences to see the world through his eyes. Showcasing more than 100 works spanning his prolific, decade-long career to date, this exhibition will feature paintings, installation and animation as well as major new work.
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Bett Gallery
Colville Gallery
www.bettgallery.com.au
www.colvillegallery.com.au
Nipaluna Country, Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.
30 Collins Street, Hobart, TAS 7000 [Map 17] 03 6224 4088 Open Thu & Fri, 10am–5pm.
14 February—8 March Metaphysical Journey Imants Tillers Dear Diary Pat Brassington 14 March—5 April Pmara nurnaka nurna lhamala relhe ingkwia nurnaka nurna mapa-lela (Country visiting with all of our old people) HERMANNSBURG Potters, Judith Pungarta Inkamala, Anita Mbitjana Ratara, Dawn Ngala Wheeler, Beth Mbitjana Inkamala, Andrea Pungarta Rontji, Alizha Panangka Coulthard, Dalissa Brown, Josie Naminjimpa Fly
Troy Ruffels, When the World Goes Quiet, 2025, digital print on composite aluminium plate. 14 March—5 April When the World Goes Quiet Troy Ruffels
Jonathan Barnard, South Arm Canopy, oil on canvas, 91 x 122 cm. 1 March—13 April Autumn Salon Featuring Jonathan Barnard
Curated by Dr Greer Honeywill, Lost in Palm Springs is a touring initiative developed by HOTA, Home of the Arts, Gold Coast in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland, and proudly sponsored by IAS Fine Art Logistics and o2 Architecture. 22 February—10 May Between buildings as between stars Curated by Amber Koroluk-Stephenson.
www.paranapleartscentre.com.au
Bringing together the work of Andy Hutson, Alicia King, Georgia Lucy, Meg Walch, Kate Marshall, Ali Noble, and Grace Wood.
Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 [Map 17] Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. 1 February—17 January 2026 Little Gallery Emerging Artist Program Supporting emerging and early career Tasmanian artists who demonstrate a strong vision in their practice.
Helen Goninon, Remedy, 2024, graphite on paper, 56 x 76 cm. 11 April—3 May PLATFORM 2025 Lili Montefiore, Helen Goninon, Ella Howard, Deborah Leisser Thagomizer Tom O’Hern
Contemporary Art Tasmania Nuenonne Country, 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.
15 February—22 March Lost in Palm Springs Kate Ballis (AUS), Tom Blachford (AUS), Darren Bradley (USA), Anna Carey (AUS), Sam Cranstoun (AUS), Paul Davies (AUS), Rosi Griffin (AUS), Jim Isermann (USA), Troy Kudlac (USA), Lance O’Donnell (USA), Kim Stringfellow (USA), Vicki Stravrou (AUS), Robyn Sweaney (AUS), Gosia Wlodarczak (AUS).
Devonport Regional Gallery
2025 Selected Artists: Aleks Crossan, 1 February—15 March; Emily-Rose Wills, 22 March—3 May; Esther Touber, 10 May— 21 June; Ashlee Hambleton and Rebecca Cannon, 28 June—9 August; Freya Tripp, 22 November—17 January 2026.
www.contemporaryarttasmania.org
This exhibition delves into the emotional resonance of art with a particular focus on the nostalgia and joy associated with our favourite childhood memories.
Aleks Crossan, Fucking Flowers, 2024, acrylic, pencil, charcoal, posca, pastel oilstick on stretched canvas, 96 x 96 x 3.3 cm. 1 February—15 March Something To Do With When We Were Young Aleks Crossan
Chun Yin Rainbow Chan, 魚文 ,鳥文 Fish Song, Bird Song, 2020, (still, detail), single-channel video, 2 mins 12 secs. Courtesy the artist. 29 March—10 May 52 ACTIONS Artspace’s acclaimed 52 ACTIONS continues its national tour at Devonport Regional Gallery, featuring works from 52 Australian artists and collectives from each state and territory. With participating artists: Eddie Abd, Abdul Abdullah, Adrift Lab, Brook Andrew, Aphids, Archie Barry, Nathan Beard, Naomi Blacklock, Diego Bonetto, Pat Brassington, Johnathon World Peace Bush, Chun Yin Rainbow Chan, Erin Coates, Lill Colgan & Sab D’Souza, Michael Cook, Nici Cumpston, Léuli Eshrāghi, Ruha Fifita, Guo Jian, Rochelle Haley, Tyza Hart, Larissa Hjorth, Naomi Hobson, Jannawi Dance Clan, Karrabing Film Collective, Gillian Kayrooz, Loren Kronemyer, Adam Linder, Dani Marti, Pilar Mata Dupont, Hayley Millar Baker, TV Moore, Raquel Ormella, OLC Art Collective, Henri Papin (Meijers & Walsh), Jason Phu, Patricia Piccinini, Kenny Pittock, Yhonnie Scarce, Sancintya Mohini Simpson, Rolande Souliere, Stelarc, Shahmen Suku, Sēini F Taumoepeau, James Tylor, Unbound Collective, Ivey Wawn, Kaylene Whiskey, Min Wong, Chris Yee, Gutiŋarra Yunupiŋu, and Louise Zhang. 233
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Handmark www.handmark.com.au Nuenonne Country, 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat & Sun 10am—4pm.
Madeline Gordon Gallery www.madelinegordongallery.com.au Lutruwita, 57 George Street, Launceston, TAS 7250 [Map 17] 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment. Madeline Gordon Gallery represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community.
Alex Wanders, Moon under the Mountain, 2024, acrylic on canvas, 71 x 107 cm. 14 February—10 March Handmark Gallery, Salamanca Place: Gleanings Alex Wanders
April Outposts James Walker
Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.
Early March A Right to Refuse Group Landscape Exhibition 16 March Nanda\Hobbs collaboration Group Show
28 February—19 March Clarendon Arms Hotel, Evandale: Celebrating our Landscape Handmark Artists
Freya Jobbins, KOLLECTION. 8 March—28 March KOLLEKTION Freya Jobbins KOLLEKTION is a curated collection by the artist, of the artist’s recent collections of handbags, guns, body parts, masks, petri dishes and collages. When is overconsumption rebranded as ‘collections’ to make it seem normal?’ Never if you are an art collector. 4 April—25 April Higher Res Jamie Edward
Plimsoll Gallery www.utas.edu.au/creative-arts-media/events/plimsoll-gallery
Vika Fifita, A Painting not about Bookclub.
Jennifer Dickens, RED-Pink, Panorama.
14 March—31 March Handmark Gallery, Salamanca Place: New works Vika Fifita
April Lost at Sea Jennifer Dickens
37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Tue to Sat, 11am–4pm.
Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm.
Hannah Foley, Aeriform Archive, (detail), 2023. Image courtesy of the artists and Neon Jungle.
15 June 2024—21 April Namedropping 15 February—16 February 2026 MIRRORSCAPE Théo Mercier
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22 March–3 May Articulate Matter James Walker, Western Junction Pine, 2023, oil on wood, 30 x 30 cm.
Articulate Matter is a manifesto to our relationship with air. The continent generally perceives itself as experiencing good
TASMANIA air quality, despite various events such as bushfires causing extreme short-term impacts. As these once-infrequent events increase in occurrences and duration over the past decade, we are confronted with reality: average temperatures are rising, and regions are experiencing higher dust pollutants. We also understand that what we derive from air depends on what we put into it. An infinite loop of air changing life and our living changing air. This isn’t passive. Articulate Matter is an expression of gratitude, of concern, of hope, and of acknowledgment that the air around us is our durational self-portrait. Presented by the Plimsoll Gallery and Ten Days on the Island in partnership with the Centre for Safe Air.
81 paintings, prints and batiks by 57 acclaimed artists from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory. Three Echoes – Western Desert Art is an initiative of Museums & Galleries Queensland developed in partnership with Karin Schack and Andrew Arnott and curated by Djon Mundine OAM FAHA. This project has been assisted by the Australian Government through its Visions of Australia program and through the Australia Council, its arts funding and advisory body. It is supported by the Queensland Government through Arts Queensland.
www.qvmag.tas.gov.au
14 December 2024—23 March Queen Victoria Art Gallery: Gentle Protagonist: Art of Michael McWilliams QVMAG is proud to present the first ever public exhibition of the works of muchloved Tasmanian artist, Michael McWilliams. McWilliams is one of Australia’s most successful and widely recognised artists. The exhibition is the first holistic survey of McWilliams’ art, exploring his life and career, his place in the canon of Australian and international art, and his empathy with the wildlife and natural environment of Tasmania.
13 July 2024—20 July Queen Victoria Museum at Inveresk: This Vanishing World: Photography of Olegas Truchanas This Vanishing World is the story of a man who loved Tasmania and its wild places. Through the lens of his camera, This Vanishing World shares the journey of Olegas Truchanas and his campaign for Tasmanians to have greater awareness of their incredible home state—alongside the major influence he left on the wilderness photographers who followed him.
Schoolhouse Gallery, Rosny Farm www.clarenceartsandevents.net
7 March—30 March milaythina mana Danny Gardener 7 March—30 March muntrikawripa - takayna Andrew Phipps, Paul Hoelen
Gentle Spaces: Intimate Corners and Connections Zara Sullivan
Tasmanian Museum and Art Gallery www.tmag.tas.gov.au
Rex Greeno: Memories through Sea Stories, installation view. 5 December 2024—27 April Rex Greeno: Memories through Sea Stories An exhibition of works by Tasmanian Aboriginal Elder Rex Greeno - artist, fisherman, and maker of tuylini, ninga and pyerre (Tasmanian Aboriginal bark and reed canoes) - that tells a story of deep connection to culture, family and the sea. Inspired by Rex’s life experience as a commercial fisherman Rex Greeno: Memories through Sea Stories shares a collection of drawings that feature life on and by the sea, his passion for traditional watercraft, and the sharing of Ancestral knowledge and skills passed through generations. Rex was born and raised on Flinders Island off Lutruwita/ Tasmania. His canoes are held in a number of public and private collections throughout Australia, including national and state museums. This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body. Supported by the Pennicott Foundation. 6 December 2024—30 March Written in wood: Kevin Perkins inspired by Richard Flanagan Five monumental sculptural works by Tasmanian artist, master furniture-maker and wood craftsman, Kevin Perkins, each based on a novel by the acclaimed Tasmanian writer, Richard Flanagan. Supported by the Mountain Air Foundation.
1 February—6 April Queen Victoria Art Gallery: Three Echoes – Western Desert Art Three Echoes – Western Desert Art explores the poetic notion of echoes – how we can echo a thought, a sentiment or a consciousness. Curated by Djon Mundine OAM FAHA, this exhibition showcases
The Price Tags Project- A repetitive ritual performance Andrew Harper
Olegas Truchanas, Lake Oberon, Western Arthurs, 1968. Reproduction from 35mm slide.
22 Rosny Hill Road, Rosny Park, TAS 7018 03 6217 9607 Wed to Sun, 11am–5pm.
Maudie Petersen Nungurrayi (born c.1937–2006), Warlpiri language group, Untitled, 1984, synthetic polymer powder paint on composition board, 31 x 38 cm. Photograph: Andrew Curtis. © Maudie Petersen Nungurrayi, Aboriginal Artists Agency Ltd.
4 April—27 April Ambivalent landscapes Pete Maarsevenn and Nicole O’Loughlin
Dunn Place, Hobart/Nipaluna, TAS/Lutruwita, 7000 [Map 17] 03 6165 7000 Daily, 10am–4pm. Free admission.
Queen Victoria Museum & Art Gallery Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 [Map 17] 03 6323 3777 Daily 10am–4pm. Free admission.
and Theresa Sainty
6 December 2024—21 September On Island
Andrew Harper, Price Tag Add Fruit, mixed media.
On Island is an exhibition of artworks that respond to Tasmania/Lutruwita from a wide range of perspectives. All of the 235
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South Australia
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Adelaide Contemporary Experimental www.ace.gallery Kaurna Yarta, Lion Arts Centre, North Terrace (West End), Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.
The Sand Dunes (Tali) dreaming is a cornerstone of Maureen’s work. These ever-shifting dunes are more than landforms—they are living maps of ancestral journeys. In her paintings, Maureen captures their rhythmic contours through textured patterns and various colour palettes.
solo exhibition in Adelaide! Aidan Weichard is a Gippsland-based artist whose creative process is ever-evolving, with the constant being his depiction of native Australian flora and fauna. This subject matter is symbolic of Aidan’s affection of the Australian landscape. Opening Friday 21 March, 6pm.
Art Images Gallery
Art Gallery of South Australia
www.artimagesgallery.com.au Kaurna Country, 32 The Parade, Norwood, SA 5067 [Map 18] 08 8363 0806 Mon to Fri 9am–5pm, Sat 10am–5pm, Sun 2pm–5pm.
www.agsa.sa.gov.au Kaurna Yarta, North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information. 20 July 2024—13 April Reimagining the Renaissance Drawing from AGSA’s collection of painting, sculpture, works on paper and decorative arts, alongside loans from public and private collections, this exhibition explores Northern and English Renaissance art together with that of the celebrated Italian masters.
Tuan Andrew Nguyen, The Boat People, 2020, single-channel video, 4K, Super 16mm transferred to digital, colour, 5.1 surround sound, 20 mins. Courtesy of the artist and James Cohan, New York. 15 February—12 April Shared Skin Atong Atem (AU), Hana Pera Aoake (NZ), Jared Flitcroft (NZ), Juanella Donovan (AU), Jumana Manna (GER), Jacob Boehme, KTB + Narungga Family Choir (AU), Tuan Andrew Nguyen (USA), Bhenji Ra (AU), Steven Rhall (AU), Marikit Santiago (AU) and Jennifer Tee (NL). Curator: Rayleen Forester (Associate Curator, Adelaide Contemporary Experimental).
Art by Farquhar www.cbdgallery.com.au 1070 South Road , Edwardstown, SA 5039 0434 957 371 Mon to Fri, 930am–4.30pm, Sat, 10am–1pm, Sun, 12noon–3pm See our website for latest information.
Amanda Ketterer, Blue, 103 x 103 cm. 21 March—20 April Where Wild Flowers Dance Amanda Ketterer We are very excited to be exhibiting Melbourne artist Amanda Ketterer with a debut solo exhibition for South Australia. Amanda’s work explores memory, landscape, and personal experience. Through a series of colourful, textured works, she reimagines familiar scenes, inviting viewers to think about their connection to the world around them. Opening Friday 21 March, 6pm.
1 March—30 April Pantu Janice Stanley (APY)
23 November 2024—30 March Radical Textiles Showcasing the work of over 100 artists, designers and activists, Radical Textiles celebrates the cutting-edge innovations, enduring traditions and bodies of shared knowledge that have been folded into fabric and cloth over the past 150 years. Book tickets online.
Flinders University Museum of Art
We currently have a collection of paintings by Janice Stanley (Ernabella in the APY lands). These unique paintings depict the salt lakes (Pantu in Pitjantjatjara), which are situated near Mt Connor (Atilla) near the Northern Territory border.
www.flinders.edu.au/museum-of-art
1 March—30 April Tali (Sand Dunes) Maureen Hudson (Yuelamu, N.T) Maureen Nampijinpa Hudson is a celebrated Warlpiri artist from Yuendumu, a remote community in Central Australia. Her art is deeply informed by Jukurrpa (Dreaming), the ancestral stories that define her people’s connection to land and law. We currently hold an incredible collection of her “Sand Dunes” artworks.
Installation view, Sally Smart, Performance/Punokawan/Chout (The Choreography of Cutting), 2017. © Sally Smart/ Copyright Agency.
Aidan Weichard, Flower Bull, 155 x 155 cm. 21 March—20 April Hinterland Hues Aidan Weichard We are excited to be exhibiting Melbourne based artist Aidan Weichard for his first
Kaurna Country, Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thu until 7pm. Closed weekends and public holidays. 30 September 2024–11 April Sovereign Acts | Love Praxis A Flinders University Museum of Art exhibition featuring Unbound Collective: Dr Ali Gumillya Baker (Mirning), Dr Faye Rosas 237
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SA and Art Gallery of South Australia.
6 December—30 March Gathering Light
JamFactory at Seppeltsfield www.jamfactory.com.au Kaurna Country, 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am—5pm.
Unbound Collective, performance still from Sovereign Acts – Act III | REFUSE at Vitalstatistix, Port Adelaide, 2018. © The artists. Photograph: Tony Kearney. Blanch, (Yidinyji/Mbararam), Dr Natalie Harkin (Narungga) and Dr Simone Ulalka Tur (Yankunytjatjara).
Murray Bridge Regional Gallery www.murraybridgegallery.com.au Ngarrindjeri Ruwe, 27 Sixth Street, Murray Bridge, SA 5253[Map 18] 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.
Lyn Anstey, Birds at the flood, 2024, oil on canvas, 100 x 100 cm. 2 February—6 April Lyn Anstey: Murray River Calling This exhibition is a love letter to the majestic Murray River, the artist’s muse. 19 April—18 May Murray Bridge Rotary Art Show 2025 Jointly hosted by the Rotary Clubs of Mobilong & Murray Bridge for over thirty years, this popular annual communitydriven exhibition presents a broad diversity of artworks by emerging, seasoned and hobbyist artists from the Murraylands region and beyond.
JamFactory www.jamfactory.com.au Kaurna Country, 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am—5pm. See our website for latest information.
Vipoo Srivilasa Portrait, 2024. Photograph: Jessica Tremp. 8 March—22 June Vipoo Srivilasa: Re/JOY
Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 [Map 18] 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun closed.
Deanna Newchurch and Lynette Newchurch, Point Pearce,South Australia 2023. Photo by Sam Roberts. 2 February—6 April Saltbush Country Josephine Lennon, Marli Macumba, Juanella McKenzie, Deanna Newchurch, Lynette Newchurch, Sandra Saunders, Heather Shearer Saltbush Country provides a rare opportunity to experience the works and worldviews of Aboriginal artists working independently across regional South Australia. In this exhibition, seven artists tell stories of their culture, community and connection to Country. The Saltbush Country regional tour is presented by Country Arts SA. The exhibition was first developed and presented as a partnership between Country Arts SA, Tarnanthi and the Art Gallery of South Australia, with support from Tarnanthi Principal Partner BHP. Marika Davies, Tarnanthi Regional Curator, Country Arts 238
Jessica Murtagh, Friday Night Knock Offs, 2024. Photograph: Connor Patterson. Billy Oakley, Drakes upset, Mum, Drakes upset. He’s got a jelly fish wrapped around his leg, 2024, oil on canvas, 60 x 90 cm.
S OUTH AUSTRALIA
Sauerbier House Culture Exchange
21 February—22 March Clang Billy Oakley
www.onkaparingacity.com/ sauerbierhouse
Chris De Rosa, Under here my dreams are made of water, 2021, papier-mâché, etching, giclee print, collage, wire, glass beads, sand, studio floor debris, pigment, polymer paint, wire, tape pu foam, spray paint, silk cord, rope. Photograph: Rosina Possingham. Mark Kimber, The Falls, pigment print, 75 x 75 cm. 28 March—3 May Collective Visions Ed Douglas, Vicky Dennison, Joe Felber, John Gitsham, David Hume, Mark Kimber, Heather Petty, Sam Oster, Rosina Possingham.
Riddoch Arts & Cultural Centre www.theriddoch.com.au Bungandidj/Boandik Country, 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. 26 November 2024—17 August Flight Mode From the Riddoch collection In collaboration with District Council of Grant, The Riddoch Arts and Cultural Centre presents Flight Mode, an exhibition of works from the Riddoch collection now on display at The Hangar Gallery, Mount Gambier Regional Airport. The exhibition welcomes and farewells travelers to the region, telling a story of it’s natural surroundings while reflecting on the sense of journey from one place or state to another. 1 February—30 March Mémoire d’un danseur Guy Detot Guy Detot has been carving wood since he first had a pocket knife as a child, and he hasn’t stopped since. In Mémoire d’un danseur, Detot speaks to his extraordinary background as a ballet dancer in both Europe and Australia to make a suite of reflective pieces that both commemorate and celebrate famous dance duets he has performed. 1 February—30 March HARBINGERS: Care or Catastrophe Chris De Rosa, Lara Tilbrook, Ellen Trevorrow, Clancy Warner, Laura Wills Featuring newly commissioned works by five contemporary artists with strong connections to regional SA, HARBINGERS asks: what could our future look like if we
prioritise the environment, cultural practices and social wellbeing over profit; and what does it look like if we don’t? Curated by Lauren Mustillo and Fulvia Mantelli. This exhibition was commissioned by Country Arts SA and developed in collaboration with Murray Bridge Regional Gallery, as part of the SPUR 2022 skills development and commissioning initiative.
Kaurna Country, 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. 8 February—22 March Weathered Susan Bruce Bruce seeks to provoke introspection. Each frame is an invitation to meditate on the landscape and existence within that landscape, to explore despair and hope, and the profound impact of a decaying world on the individual psyche.
12 April—8 June The Woodcutter South East Art Society The Woodcutter brings together a collection of works from South East Art Society members that centres around the theme of wood, the material so emblematic to the Limestone Coast landscape and economy. Taking its title from the beautifully carved woodsman that has become the South East Art Society’s mascot, The Woodcutter is an exhibition that invites artists to respond to the subject of wood without boundary. With a spectacular range of responses to the brief, visitors can expect an exciting exhibition celebrating the creative possibilities of wood and survey the diverse talents of the region’s longstanding local art society.
Sasha Grbich, Hands that Think, (still), 2024. Project credit: Paul Gazzola, George Graetz. Image courtesy of the artist. 29 March—3 May Artist in Residence Exhibition: Hands That think Paul Gazzola Hands that Think explores touch, and how the process of material thinking informs the creative practices of a diverse range of local artists and craftspeople. Artist in Residence Exhibition: SALT Erin Daniell Responding to Port Noarlunga, Daniell presents a body of highly textured and patterned works which document the colours and textures of this everchanging landscape.
Hedley Neil, Cuttin’ Curves, 1988, blackwood and silver ash. Gift of Fletcher Jones and Staff Pty Ltd. Collection of The Riddoch Arts & Cultural Centre. 12 April—8 June Wood Work From the Riddoch Collection Working with wood in one way or another is at the heart of industry in the Limestone Coast. It also plays a major role in the region’s cultural landscape. Running with the theme of all things wood, Wood Work picks up on artworks made from and about wood to showcase significant works from the Riddoch Collection. Wood Work celebrates not only the qualities unlocked in the material itself, but the process and legacy of its making.
Andrea Przygoński, Seismic Chatter, 2020, two-plate relief print, 24 x 21 cm. Image courtesy of the artist. 239
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North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information.
Sauerbier House continued... 29 March—3 May Sounds like… Andrea Przygoński Sound carries a profound power to narrate, transport and ground us in a sense of place. Onkaparinga River/Ngankipari was the source for collecting sounds and capturing murmurs to create aural monuments in time.
Samstag Museum of Art www.unisa.edu.au/connect/ samstag-museum/ Kaurna Country, University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 [Map 18] Tue to Sat 10am–5pm.
14 December 2024–15 June Bunganditj Kali! – Talk Bunganditj!
Chunxiao Qu, An artist doesn’t need a label (Biannual Façade Commission), 2024, Borchardt Library, La Trobe University, Bundoora. La Trobe Art Institute, La Trobe University. Photograph: AJ Taylor. Image courtesy the artist. 28 February—30 May Direct, Directed, Directly Communication is a two-way process that can sometimes succeed and sometimes fail spectacularly. Nevertheless, this exhibition proposes that, amid the inherent frustration, futility and misunderstandings, there is catharsis to be found in the humour and absurdity of our attempts to connect. Works by Richard Bell (Kamilaroi, Kooma, Jiman and Gurang Gurang), Madison Bycroft, Kuba Dorabialski, Danielle Freakley, Christine Sun Kim and Thomas Mader, Monte Masi and Chunxiao Qu.
South Australian Museum Madison Bycroft, The sauce of all order, 2024, production still. Image courtesy the artist.
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www.samuseum.sa.gov.au
murraybridgegallery.com.au
An exhibition of works by Aboriginal students in the Mount Gambier region, painted to illustrate two creation stories: How Fire Was Obtained and How the Volcanoes Were Formed. The stories, retrieved from archival records, celebrate the Bunganditj language spoken in the South East of South Australia by five dialect groups, Boandik, Meintangk, Pinechunga, Wichintunga, and Polinjunga. The illustrations have been created by Aboriginal students from North Gambier, McDonald Park, Melaleuca Park, Moorak and Reidy Park Primary schools, and Tenison Woods and Saint Martins Colleges in Mount Gambier. Hearing the stories from Elders and Traditional Owners allowed the students to create artwork that connected them to the Culture of the region,their own heritage, and help other students experience the story visually. This exhibition has been produced through funding provided by the South Australian Museum in partnership with the Department of Education, Burrandies Aboriginal Corporation, and the Bunganditj Language Reclamation Committee.
A–Z Exhibitions
Western Australia
MARCH/APRIL 2025
WA’s own iconic sculpture exhibition 4-21 APRIL 2025 BaThers Beach MaNJaree - FreMaNTle
56 WA ARTISTS @ 3 VENUES: Bathers Beach
WA Shipwrecks Museum • Artsource/Old Customs House www.sculptureatbathers.com.au • @sculptureatbathers
M Topi Dvi Tubular Reef Column 2025, poto M Topi Dvi
sculptureatbathers.com.au
Goldfields Art Centre, Kalgoorlie WA 14 March - 27 April 2025
Artback NT is supported through the National Performing Arts Partnership Framework through Creative Australia and the NT Government. This project has been assisted by the Australian Government's Visions of Australia program.
artbacknt.com.au
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WESTERN AUSTRALIA
Art Collective WA www.artcollectivewa.com.au Whadjuk Country, 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment.
New work by Chris Hopewell is centred on capturing the flux of movement and energy through successive layers, each tracing the evolving journey of a painting’s creation. Completed compositions serve as time capsules; a vessel to explore and engage with the unfathomable elements of existence. 12 April—17 May Early Rain in Derby Vanessa Russ In this solo exhibition, Ngarinyin/Gija artist Vanessa Russ draws on childhood memories of the Kimberley’s rivers, gorges, and flooded plains. Her expressive charcoal and ink drawings depict the land’s renewal during the wet season, when hidden waterways surge to life, spilling through ancient fissures to mix with rainwater. Each piece reflects Russ’s connection to Country, and her longing to be immersed in its transformation.
The Art Gallery of Western Australia www.artgallery.wa.gov.au Giles Hohnen, #14, 2024, oil on canvas, 91 x 81 cm. 8 March—5 April Chroma George Haynes, Giles Hohnen, Jeremy Kirwan-Ward, Trevor Vickers This exhibition presents paintings by four outstanding artists, born from decades of kinship, camaraderie and lively debate on the power of colour and its expression on canvas. Over many years, these artists have worked and exhibited alongside one another, at times in the same studios, each developing their own distinctive chromatic style – continuously evolving in dialogue with one another.
Perth Cultural Centre, Whadjuk Noongar Country, Perth, WA 6000 [Map 19] 08 9492 6601 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Free admission. Until 16 March Forecast An all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures.
Russell Drysdale, The gatekeeper’s wife, 1965, oil on canvas, 100.3 x 125.7 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased 1965. © Russell Drysdale 1965. Until 4 May Form and feeling: artists’ studies of the twentieth century Chris Hopewell, Blue Cloud, 2024, acrylic and resin on marine ply, 122 x 81 cm. 12 April—17 May Misintention Chris Hopewell
the exhibition is focused upon technique and process, exploring the transition from preliminary sketches to finished oil painting, and features such artists as Stanley Spencer, William Dobell, Russell Drysdale and Frank Auerbach.
Exploring the manifold ways British and Australian artists approached oil painting and drawing. Bringing together significant paintings from the State Art Collection and their preparatory drawings – some of which have never been shown before –
Henry Roy, Wrestlers, Dakar, Senegal, 2016, inkjet print on Baryta paper, 113 x 164 cm. With kind permission of the artist. © Henry Roy. Until 18 May Henry Roy – Impossible Island In a world-first, legendary photographer Henry Roy holds his first survey at The Art Gallery of Western Australia. Henry Roy – Impossible Island draws on 40-years of recollections and observations as it brings together 113 photos taken from 1983 to 2023. . Until 15 June Taring Padi Indonesian art workers collective Taring Padi collaborated with artists Sharyn Egan (Noongar), Yabini Kickett (Ballardong, Whadjuk), Ilona McGuire (Whadjuk, Ballardong, Yuat, Kungarakan) and Tyrown Waigana (Wardandi Noongar, Ait Koedhal) to create a newly commissioned work that vividly expresses the power of solidarity, education, cultural traditions and collective action to heal and resist systemic injustices across Indonesia and Western Australia. Until 29 June Art of Peace: Art After War A thought-provoking and transformative exhibition featuring nine artists who have created artworks shaped by living amongst the horrors and aftermath of war and conflict. The exhibition brings together artists from Bosnia and Herzegovina, Rwanda and Timor-Leste to explore how visual artists address the trauma of war and life after conflict. The international artists include Rwandan artists: Teta Chel, Innocent Nkurunziza, Cedric Mizero; Timor-Leste: Bernardino Soares, Inu Bere, Maria Madeira; and from Bosnia and Herzegovina: Mladen Miljanović, Aida Šehović, Adela Jušić.
Artitja Fine Art Gallery www.artitja.com.au 330 South Terrace, South Fremantle, WA 6160 0418 900 954 Open by appointment outside of exhibiton dates. 7 March—30 March WARLUKURLANGU | The Art of Yuendumu Group exhibition 243
ar t g ui d e .c o m . au Artitja Fine Art Gallery continued...
Nathania Nangala Granites, Warlukurlangu Jukurrpa (Fire Country Dreaming), 152 x 152 cm. Courtesy of Artitja Fine Art and Warlukurlangu Artists.
important site and story for the Yindjibarndi people. Each stroke of the Burndud circle tells a story and it is through her special connection that Alice shares these stories with the world. Her use of bold colour and patterns embody the rhythms and movement of the women dancing and the men singing in Ceremony. A Perth Festival and Juluwarlu Art Group Commission.
Kate Mitchell, Study for Idea Induction (Highway Driving), 2024. Image courtesy the artist. 8 February– 20 April PERTH FESTIVAL Enjoy three exhibitions connected by a relationship to place, site and community. Explore Kate Mitchell’s immersive and interactive Idea Induction, Dianne Jones’ photographic work inspired by Manjaree in The Beach, and Mervyn Street’s powerful Stolen Wages series on Kimberley history and resilience.
John Curtin Gallery www.curtin.edu.au/jcg Portia Napanangka Michaels, Lappi Lappi Jukurrpa, 76 x 76 cm. Courtesy of Artitja Fine Art and Warlukurlangu Artists. Q&A 2pm Saturday 8 March with Gallery Director and Art Centre Manager. Bookings essential.
Whadjuk Noongar Country, Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm. Closed public holidays. Free admission.
Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag
www.lintonandkay.com.au
Fremantle Arts Centre
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Mai Nguyễn-Long’s large-scale installation Doba Nation features hand-formed clay sculptures that are arranged by the artist on site in a process akin to live storytelling. Along with her distinctive Vomit Girl motif sculptures, Nguyễn-Long has created a series of cylindrical clay forms which derive their appearance from metal bomb shell casings (post-Vietnam War) that residents of rural Vietnam repurpose for practical and spiritual use. In this new body of work, Nguyễn-Long’s brushwork borrows from the southern Vietnamese folk religious motifs of her father’s birthplace, merged with personalised symbology. Doba Nation acts to reconcile the artist’s personal experience of diasporic trauma and invites audiences to interrogate the history of their own identity.
Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm.
29 March—20 July Noongar Country 2025 – Celebrating Continuing Connection to Noongar Boodja
Whadjuk Noongar Boodjar Country, 1 Finnerty Street, Walyalup/Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.
7 February—17 April Doba Nation Mai Nguyễn-Long
Linton & Kay Galleries
64 Wittenoom Street, Wardandi Country, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm.
www.fac.org.au
Mai Nguyễ n-Long, Doba (with handles), 2023, smooth terracotta fired to 1120, 17 x 21.5 x 18 cm. Photograph: Jonathan Cohen. Courtesy of the artist and Michael Reid Sydney + Berlin.
Alice Guiness, Burndud Ground, 2022, acrylic on canvas, 100 x 80 cm. Courtesy of the artist and Juluwarlu Art Group. 7 February—17 April Burndud Ground Alice Guiness Elder and senior artist Alice Guiness holds a deep connection with the Burndud, an
West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup, WA 6280 08 9388 3300 Thu to Sun 10am–4pm.
WESTERN AUSTRALIA
Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300
the eye. She views it as a powerful force— capable of both immense beauty and destruction. In Elemental Drift, Darvall explores the four essential elements—air, water, fire, and earth—delving into their roles in shaping our world.
Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag Whadjuk Noongar Country, The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 11pm–4pm.
Scott Chaseling, Devine Divided, reverse painted, fused, blown, sculpted, etched glass, 220 x 100 x 120 mm. Photograph: Scott Chaseling.
Laurel Kohut, (You left me) Delightfully Unbalanced, hot sculpted and assembled glass, 360 x 280 x 70 mm. Photograph: David McArthur. 6 March—30 March Cottesloe: The Tom Malone Glass Art Prize 2024 Finalists: Laurel Kohut, Denise Pepper, Erin Conron, Drew Spangenberg, Scott Chaseling, Jason Sims, Nick Mount, Jeffrey Sarmiento, Rita Kellaway, Eliana Della Flora, Mel Douglas, Sabrina Dowling-Giudici, Jessica Loughlin, Kevin Gordon, Jessica Murtagh, Brenda Page, Gabriella Bisetto The Tom Malone Glass Art Prize is Australia’s most significant award for Contemporary Glass Art with the winning artist receiving $20,000. The winner of The Tom Malone Glass Art Prize for the calendar year 2024 is awarded in March 2025 with the winner announced on 6 March. 2 April—24 April Subiaco: Elemental Drift Jo Darvall At its core, Elemental Drift is a celebration of the wonders of nature. In her work, Darvall paints with a deep sense of awe and reverence for the natural world, capturing its beauty in vivid detail and encouraging her viewers to appreciate it. Her sensitivity with colour and brushwork personifies the earth as a living, breathing entity. Throughout this series, Darvall suggests that there is more to the earth than meets
Ashton, Chase, Kyle and Precious, Youth Futures Community School Midland, Untitled 1, (detail), 2024, ink monotype on paper from milk cartons and KFC box. Happy Meals and Scooter Skids: Art from the outer suburbs is a project developed by Rockingham-based artist and educator Andy Quilty in collaboration with students from three outer suburban high schools: Youth Futures Community School Midland, Armadale Senior High School and Warnbro Community High School. A series of workshops facilitated by Quilty throughout 2024 aimed to empower the participants with the skills, conceptual knowledge and confidence to share their outer suburban experience through creative forms. Using found and low-cost materials and exploring inventive processes, the workshops sought to acknowledge and navigate some of the socio-economic barriers impacting young people in the outer suburbs who may want to participate in the arts. Presented by FORM: Building a state of creativity and MAC Inc. as part of Perth Festival.
Scotty So, Rabbit God, 2022, digital photograph, 150 x 100 cm. Courtesy of MARS and the artist. 15 February—3 May de-centre re-centre Presented as part of the Perth Festival 2025. de-centre re-centre spotlights the strength and diversity of contemporary photography in Australia. Deploying and disrupting conventions of portraiture and landscape, the selected artists explore place and belonging in First Nations, diasporic and queer communities. Lawrence Wilson Art Gallery in partnership with Perth Centre for Photography.
Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Wajuk Country, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. 1 March—27 April Happy Meals and Scooter Skids: Art from the outer suburbs Andy Quilty and Western Australian high school students
Amanda Alderson, chart your path, (detail), 2022, 925 silver, Atlantisite, CZ gemstones. 1 March—27 April Don’t Ignore the Periphery Amanda Alderson and Brad Coleman At its heart, Don’t Ignore the Periphery embraces the edges—both physical and metaphorical. The artists explore artmaking as a transformative act, a daily meditative practice through monotypes, large-scale digital prints, contemporary jewellery and sculptural objects. They reframe the outer boundaries not as distractions but as essential elements to be woven back into the creative journey. This unique collaboration features the works of multidisciplinary artist Brad Coleman and artist jeweller Amanda Alderson, who together invite audiences to consider the creative process as a reflective and transformative act. Coleman’s curated selection of monotypes and large-scale digital prints, drawn from his ambitious 1,200 monotype prints project, are juxtaposed with Alderson’s intricate contemporary jewellery and sculptural objects. 245
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MOORE CONTEMPORARY www.moorecontemporary.com Whadjak Noongar Country, Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. 30 January—8 March Souls Matthew Hunt Matthew Hunt opens the gallery year with a solo exhibition presenting new single-channel video works alongside his signature scraperboards, newly expanded in scale. Hunt applies his keen observance of the everyday to mine moments of unexpected meaning, revelation, or affirmation. Hunt returns to WA from his current residence in the UK for this much anticipated exhibition.
Audrey Fernandes-Satar, Beyond the Path of the Sun II, (detail), 2024, oil, acrylic, charcoal and collage on canvas. Photograph: Sam de Souza.
Laure Prouvost, Every Sunday, Grand Ma, (detail), 2022, installation view, image courtesy the artist. Photograph: Andrew Curtis. ideas of intergenerational relationships and change.
of climate change and the reality that all human acts have a cause and effect.
Richard Woldendorp, Fletchers Lake, 2008, photograph on Kappa board. 19 April—8 June Richard Woldendorp AM (1927–2023) David Attwood, Azure Green (Magic Happens), 2025, MacBook Air laptop, adjusted vinyl sticker, 32.5 x 23 x 1.5 cm. Photograph: Dan McCabe/artdoc. 20 March—13 April Azure Green David Attwood Presenting new wall-based assemblages by Perth/Boorloo based artist David Attwood. Continuing recent trajectories within the artist’s practice, the works in Azure Green explore the sculptural potential of branded objects and everyday appliances, and their relationship to concepts of automation, magic, performance, and productivity.
Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Wajuk Country, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. 15 February—6 April Bird Song Audrey Fernandes-Satar + Arif Satar Bird Song is an interrogation of material where previous artworks are reconstructed and overlaid, akin to the method of pentimenti and palimpsest, to invoke the allegoric nature of myths and ancient stories in response to the force 246
Through the lens of his camera, Woldendorp has revealed the vast and ever-changing landscapes of Australia for over six decades. This survey of aerial photographs celebrates his vision for the life within the landforms, their complex patterns and breathtaking scale. Organic Matter Cath Inman and Pam Gray An elemental infusion of fibres and earth, revealing the raw origins of plants and clay in a harmonious collaboration with nature. The works connect to the natural landscape, encouraging exploration and evolving a deeper understanding of our place within it.
Perth Institute of Contemporary Arts (PICA)
Sarah Elson, Pull the earth around me 1, 2024, head piece. 7 February—30 March In Her Footsteps: A Tribute to Matrilineal Legacy Darcey Bella Arnold, Lauren Burrow, Sarah Elson, Tom Freeman, D Harding, Kate Harding, Zali Morgan Seven Australian artists pay homage to the women who have shaped their lives. A celebration that acknowledges the nurturing pathways these women have forged, delving into themes of activism and empowerment.. Biraddali Dancing on the Horizon Bhenji Ra Biraddali Dancing on the Horizon documents the transfer of ancestral, intergenerational knowledge between Ra and her teacher and collaborator Sitti Airia Sangkula Askalani Obeso.
www.pica.org.au
12 April—15 June Revealed: New and Emerging WA Aboriginal Artists
Perth Cultural Centre, 51 James Street, Northbridge, Perth/Boorloo, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 12pm–5pm.
Celebrating the diversity and vibrancy of Aboriginal artistic practice in Western Australia. Established in 2008, this annual program brings Aboriginal art centres and artists from across the WA to Perth for an exhibition, art market and more.
7 February—30 March Oui Move In You Laure Prouvost
GUDIRR GUDIRR Vernon Ah Kee, Marrugeku
Inspired by the radical, experimental and pathfinding figures who came before, Oui Move In You conceptually explores the roles and legacies of grandmothers, the maternal spaces of mother and child, and
Gudirr Gudirr (the guwayi bird) calls when the tide is turning — to miss the call is to drown. Alternating between hesitant, restless, resilient and angry, GUDIRR GUDIRR lights a path from a broken past through a fragile present and towards an uncertain future.
A–Z Exhibitions
Northern Territory
MARCH/APRIL 2025
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Araluen Arts Centre, Mparntwe
documenting, supporting, promoting, reporting on and commemorating the Australian experience of war. The exhibition includes a wide range of technology, artworks, posters, paper records, photographs, oral histories and moving pictures to tell the story. Action! Film & War is an Australian War Memorial touring exhibition presented at MAGNT.
www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Mparntwe/Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm, closed Mondays. See our website for latest information.
Grace Cossington Smith, Interior in yellow, 1962-1964, oil on composition board, 121.7 h cm, 90.2 w cm, National Gallery of Australia, Kamberri/Canberra, purchased 1965 © Estate of Grace Cossington Smith. Archibald Prize 2024 finalist, Kelly Maree, Josh Heuston, synthetic polymer paint on linen (detail) © the artist. 25 April—15 June Archibald Prize 2024 Regional Tour This Art Gallery of New South Wales touring exhibition is travelling to the Northern Territory for the first time in its history offering audiences outside of NSW the opportunity to see all 2024 finalists. First awarded in 1921, the Archibald Prize was established to foster portraiture, support artists, and perpetuate the memory of great Australians. The Archibald Prize 2024 recorded 1,005 entries with the highest known number of Aboriginal and Torres Strait Islander artists. The Araluen Arts Centre will also be presenting the Young Archie Mparntwe competition with four age categories awarded. 15 March—11 May Know My Name: Australian Women Artists This exhibition tells a new story of Australian art. Looking to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time.
This exhibition is touring in regional Australia. Araluen Arts Centre is the sixth of seven venues in this two-years long tour and only stop in the Northern Territory. It is a great opportunity for locals to discover or re-discover our National collection.
Artback NT www.artbacknt.com.au
22 February—25 May Exit Art
Showing at New England Regional Art Museum, 106-114 Kentucky Street, Armidale, NSW.
Contemporary Art from 2024 graduating your 12 students.
Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. Free admission. See our website for latest information.
Know My Name is part of an ongoing series of gender equity initiatives by the National Gallery to increase the representation of women artists who have often been omitted from published histories and public collections. It draws from a two-part presentation held at the National Gallery between 2020–22 which was among the most comprehensive exhibitions of art by women assembled in Australia to date. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring and Outreach Program. 248
Myah McSherry, Nhulunbuy High School, CAT 2024, synthetic polymer paint on canvas, 76 x 50.5 cm.
NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.
15 February—1 June Action! Film & War ACTION! Film & War explores the role of the moving image and cinema in
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1 2 3 4 5 6 7 8 9
254
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10 11 12 13 14 15 16 17 18 19
25
Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Incinerator Art Space Interlude Gallery Gallery Lowe and Lee
20 21 22 23 24 25 26 27 28
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MAP 8 SY D N EY C I T Y
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M A P 9 & 10 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O & PA D D I N GTO N
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Leo Kelly Blacktown Arts Centre Bankstown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre (C-A-C) Casula Powerhouse Arts Centre Fairfield City Museum & Gallery Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery McGlade Gallery Penrith Regional Gallery Rex-Livingston Art + Objects SteelReid Studio Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery
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18
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M A P 13 & 14 G R E AT E R B R I S B A N E & Q U E E N S L A N D
H E RV EY B AY 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Art Gallery
6 SUNSHINE C OA ST
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Above and Below Gallery Artspace Mackay Cairns Regional Gallery Court House Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Museum of Art Tanks Arts Centre Umbrella Studio UMI Arts
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Adelaide
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ACE Adelaide Central Gallery Art Gallery of South Australia Art Images Gallery Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS Hahndorf Academy Hugo Michell Gallery JamFactory Murray Bridge Regional Gallery Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute
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Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary
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1 261
L A S T WO R D
“That is part of the power of art, to speak loudly when nobody wants to listen; to tell the unpalatable stories in powerful and beautiful ways.” — CLA IR E G. COLEM A N
Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2025 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.
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