Art Guide Australia — January/February 2021 by Art Guide Australia

J A N UA R Y/ F EBRUA R Y 2 021

January/February

2021 EDITOR

Anna Dunnill E DITOR

Tiarney Miekus EDITOR

Tracey Clement W EBSITE AND SOCIAL MEDIA COORDINATOR

Minna Gilligan

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facebook.com/artguideaustralia instagram.com/artguideau twitter.com/artguideaust #artguideaust 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.

WEB DESIGN

Light Years

Please note: due to Covid-19 restrictions, gallery opening hours and exhibition dates may be subject to change.

Cover artist: Louise Paramor.

front

Louise Paramor, The porter and the priest, 2020, photographic print, 115 x 80 cm. back

Louise Paramor, The bride and the groom, 2020, photographic print, 115 x 80 cm.

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 ÂŠ 2021 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.

A Note From the Editor PR E V I E W S

Looking Glass: Judy Watson and Yhonnie Scarce Sonja Porcaro Before hand: The private life of a portrait ‘I want a future that lives up to my past’: David McDiarmid and local queer stories Amber Boardman The Blade: Australia’s love affair with lawn Garry Greenwood Make the World Again New for Old Quilts: Jess Johnson and Cynthia Johnson F E AT U R E

Becoming Earthbound Forms of Intuition INTERV IEW

Maggie Hensel-Brown F E AT U R E

No Easy Answers S T U DIO

Rosie Deacon F E AT U R E

Listen With Your Whole Body Family Practice The Past Imperfect C OM M E N T

On the Ordinariness and Extraordinariness of This Thing We Call Art F E AT U R E

Tiny Cellular Worlds Flow of Language, Flow of Life 3

Nyapanyapa Yunupiŋu Roslyn Oxley9 Gallery January — February 2021

Untitled (detail), 2019 6545-19 earth pigment on board 240 x 240 cm

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Overlapping Magisteria The 2020 Macfarlane Commissions

Robert Andrew Mimosa Echard Sidney McMahon Sam Petersen Isadora Vaughan Australian Centre for Contemporary Art 5 December 2020 â&#x20AC;&#x201D; 14 March 2021 acca.melbourne

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Isadora Vaughan, Bilirubin Bezoar 2019 installation detail, Gertrude Glasshouse, Melbourne 2019 Courtesy the artist and STATION, Melbourne. Photograph: Christo Crocker

THIS SUMMER SEE THE WORLD THROUGH ART AND DESIGN OVER 100 ARTISTS & DESIGNERS FROM 33 COUNTRIES FREE ENTRY

Atong Atem Akuot 2015, printed 2019 from the Studio series 2015 National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2019 Â© Atong Atem, courtesy MARS Gallery, Melbourne PRESENTING PARTNER

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Contemporary Aboriginal and Torres Strait Islander art

A National Gallery of Australia Exhibition

Darling Harbour | sea.museum/defying-empire

Archie Moore, Aboriginal Anarchy (detail), 2012, National Gallery of Australia, Canberra, purchased 2013 ÂŠ courtesy of the artist and The Commercial Gallery, Sydney

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EXCLUSIVE TO SYDNEY Art Gallery of New South Wales 7 Nov 2020 — 14 Feb 2021

The impressionist who captured Australia’s light, land and sea

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Arthur Streeton From McMahon’s Point – fare one penny 1890 (detail) National Gallery of Australia, Canberra, purchased 1972

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ÂŠ Greg Lecoeur (detail)

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AN EVENT OF

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Jacky Redgate— HOLD ON A Geelong Gallery exhibition until 14 February 2021

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In the creation of new work, Jacky Redgate was supported by the NSW Government through Create NSW and University of Wollongong Jacky Redgate HOLD ON #11 2019–20 pigment ink on fabric Courtesy the artist and ARC ONE Gallery, Melbourne © Jacky Redgate

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House Stories: The Tapestries New podcast series

Uncover the incredible stories behind the four Sydney Opera House tapestries with design enthusiast, award winning comedian and broadcaster Tim Ross. sydneyoperahouse.com/podcasts

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Presented by DADAA in association with Perth Festival

FairIsle Emma Buswell Mei Swan Lim Angelina Boona Karadada Joanne Hayward Wong x Megirian (Bo Wong & Rose Megirian) Semaphore (Melissa McGrath & Kelly Fliedner)

Image: Wong + Megirian x Liam Kennedy, 2020 Courtesy the artists

thinking through making

6 February â&#x20AC;&#x2022; 3 April 2021 DADAA Gallery Tuesday - Saturday 10am - 4pm 92 Adelaide Street Fremantle WA 6160

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2 December 2020 — 11 April 2021

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Steve Adam Ros Bandt Leah Barclay Philip Brophy Daniel Browning Christophe Charles David Chesworth Madelynne Cornish Robert Curgenven Reuben Derrick

Highlighting the importance of listening, Site & Sound posits sound as an inherently ecological medium that can aid in understanding today’s urgent and complex environmental issues. Presenting immersive sound installations throughout McClelland’s gallery and sculpture park, it surveys diverse practices to reveal the connections between deep listening, field recording, acoustic ecology, natural science, and spatialised sound in contemporary art.

Artists

Sarah Edwards Lawrence English Nigel Frayne Susan Frykberg Amy Hanley Liquid Architecture Rachel Meyers Xen Nhà Steaphan Paton Frans Ari Prasetyo

Douglas Quin Philip Samartzis & Eugene Ughetti Thembi Soddell Tina Stefanou Barry Truax Chris Watson Jana Winderen

Site & Sound: Sonic art as ecological practice

BILL HENSON

The light fades but the gods remain 27 February - 16 May 2021 A Monash Gallery of Art (MGA) travelling exhibition curated by Pippa Milne

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays Bill HENSON Untitled 3 2018–19 from the series Untitled 2018–19 (detail) Monash Gallery of Art, City of Monash Collection courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney)

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HIROSHI NAGAI

PAINTINGS FOR MUSIC

T H E J A PA N F O U N D AT I O N G A L L E RY SEPTEMBER 25 2020 â&#x20AC;&#x201C; JANUARY 23 2021 Presented by

Supported by

The Japan Foundation, Sydney Level 4, Central Park 28 Broadway Chippendale NSW 2008 jpf.org.au

In Collaboration with

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Louise Paramor Parallel Universe 4 February to 13 March

Louise Paramor, Infringement notice, 2020, 120 x 85 cm, Inkjet print.

A Basement 2 / 1 Victoria Street, Windsor, 3181

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Megan Evans: UNstable

Image: Megan EVANS Isabellaâ&#x20AC;&#x2122;s helmet 2019 from the series The Observance of Objects digital print on rag paper 50 x 63 cm, edition of 7 Courtesy of the artist

Keloid #8 to Sunday 28 February

Horsham Regional Art Gallery open daily 10am - 4pm closed Christmas Day horshamtownhall.com.au

Horsham Regional Art Gallery horshamtownhall.com.au

20:20 Twenty new artists’ commissions for 2020

30 October 2020 – 31 January 2021

Aida Azin Archie Moore Ashlee Laing Biljana Jančić Dale Harding Lisa Sammut Luke Parker Mary Jane Griggs Matthew Griffin Newell Harry

Nicole Foreshew Rita Wenberg Robert Hirschmann Shan Turner-Carroll Shireen Taweel Susie Losch Tané Andrews Tarik Ahlip Tiyan Baker Zoë Marni Robertson

Supported by Nicole Foreshew Work in progress (detail), 2020 Courtesy the artist

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28 NOV TO 14 FEB 2021

JOY HESTER REMEMBER ME

Joy Hester, Girl Holding Flowers 1956 brush and ink, watercolour, pastel on paper, 35.8 x 27.1 cm National Gallery of Victoria, Melbourne Presented through The Art Foundation of Victoria from the Bequest of Violet Dulieu, Founder Benefactor 1997 Â© Joy Hester/Copyright Agency 2020

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Issue 129 Contributors is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. SOPHI A CA I is a Melbourne-based curator, arts writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices. TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. STEV E DOW 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. BR ION Y DOW NES 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. A NNA DUNNILL is an editor at Art Guide Australia, and a Naarm/Melbourne-based artist and writer. Her writing has been published in Art + Australia online, un magazine, Runway, fine print, The Toast and others. She works with textiles, ceramics and tattoo, and is one half of collaborative duo Snapcat. NEH A K A LE 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 and she is the former editor of VAULT Magazine. TIMM A H BA LL

SHER IDA N H A RT is an artist and writer based

in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries. LEE LA I is an Australian cartoonist currently living in Tio’tia:ke (known as Montreal, Quebec). She has been featured in The New Yorker, The Lifted Brow, Room Magazine, and Meanjin. Her first graphic novel Stone Fruit is out with Fantagraphics in 2021, and has been translated into eight languages. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. JA NE O’SULLI VA N is an arts writer and journalist based in Sydney. She is a former editor of Art Collector and Art Edit magazines and has also contributed to the Australian Financial Review, Artnet, Ocula and Artist Profile among others. V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. BA R NA BY SMITH 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. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine. H A MISH TA-MÉ 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 Note From the Editor I want a future that lives up to my past. The words from David McDiarmid’s iconic poster reverberate now, as we ponder the past year and think ahead to the next one. In this issue, we consider how to make the world anew. Some artists use weaving as a metaphor for creation and mending. Others turn to the miniature and the microscopic, constructing condensed universes with colourful plastic or intricate lace; exploring animal cells and granular rock surfaces. Artists produce immersive wonderlands out of fluorescent kitsch, or painstakingly recreate histories in order to better understand our present. Through other artworks, we contemplate possible worlds where all languages are embraced, and complex histories reckoned with. We see how families and communities can be linked through networks of care. Taking hold of some of these ideas, let’s imagine a collective future that exceeds our past. Anna Dunnill Editor, Art Guide #129 and the Art Guide Australia team

“Through other artworks, we contemplate possible worlds where all languages are embraced, and complex histories reckoned with.”

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Previews W R ITERS

Timmah Ball, Tracey Clement, Briony Downes, Anna Dunnill, Tiarney Miekus, Victoria Perin, and Andrew Stephens.

Healesville Looking Glass Yhonnie Scarce and Judy Watson

TarraWarra Museum of Art 28 November 2020—8 March

Looking Glass resurfaces what colonisation attempts to disguise. Featuring Aboriginal artists Judy Watson and Yhonnie Scarce, the exhibition uses the colossal forces of earth, water, fire and air, to illuminate the devYhonnie Scarce, Death Zephyr, 2017, hand blown astation of Country both historical and present. Ranging glass yams, nylon and steel armature, dimensions from installation and video to works on canvas, the variable, installation view, The National 2017: New exhibition centres the frontier wars, climate disaster and Australian Art, Art Gallery of New South Wales, Sydney. Courtesy of the artist and THIS IS NO other truths in clear view. FANTASY, Melbourne. Photograph: © AGNSW. These themes resonate in a year marked by brutal fires and a global pandemic. But while the apocalyptic events are unsettling, both artists approach the insidious impact of colonisation with a subtle beauty, unveiling important messages without abrasive methods. Scarce’s intricate handblown glass sculptures, hung from the ceiling in the installation Death Zephyr, 2017, evoke a sublime otherworldliness. Yet the individual glass pieces symbolise the crystallisation of desert sand caused by British nuclear tests in Maralinga, South Australia, during 1956–63: material evidence of the horrendous treatment of Aboriginal people. Similarly, Watson’s works on canvas, such as spot fires, our country is burning now, 2020, layer different environmental forms to announce that nature requires us to listen and respect Country. “It’s a very powerful form of advocacy,” says exhibition curator Hetti Perkins. “Judy uses ochres, pigments and organic materials, water. Yhonnie’s works are earth/sand, air and fire. The alchemy occurs not only in the creation of new forms out of these materials but also in the creating of beautiful objects that have a sting in the tail!” In the work of both artists, Perkins describes “an unnerving feeling” of “hidden depths”. In Looking Glass, these pieces and themes intersect, symbiotically exposing crucial narratives in ways that are both gentle and beguiling. — TIMM A H BA LL

Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, acrylic and graphite on canvas, 250 x 181.5 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photograph: Carl Warner.

Adelaide A line, a curve, a river, a song Sonja Porcaro

Sauerbier House Culture Exchange 12 December 2020—30 January

Sauerbier House in Adelaide sits on a wedge of land between the ocean and Ngangkiparinga, the saltwater Women’s River (known as Onkaparinga). On such a prime site of natural abundance it is no surprise to find a settler-colonial residence, and Sauerbier House itself is the heritage-listed former homestead of sheep grazier Charles Sauerbier, now transformed into an arts space. Here, artist-in-residence Sonja Porcaro has been working to expose the divergent histories of Sauerbier House and the stunning river that holds great significance for the Kaurna people. Sonja Porcaro, A line, a curve, a river, a song, 2020, Porcaro’s exhibition A line, a curve, a river, a found photo frame. Photograph: Sam Roberts. song was developed during her October–December residency. It features objects which allude to local settler history alongside materials chosen for their unique subtlety: fabrics like organza and tulle, clear glass, empty photo frames, and ash. The contrast is intended to suggest the solid and stable architectural presence of Sauerbier House against the “fluid, changeable and unpredictable aspects of the river”. The artist notes the preservation of the ‘cultural history’ of the building: “that is, the colonial history,” she says. At the same time, the Kaurna history of the surrounding land, including harrowing evidence of the mid-nineteenth century desecration of a local burial ground, is unreflected by the same institutions that have renovated and transformed the settler buildings. Porcaro had plans to reflect the languages spoken by the local community, both settler and Indigenous, in an audio accompaniment to the exhibition. In light of social distancing requirements, Porcaro’s airy, tactile installation instead features sounds recorded on the banks of Ngangkiparinga: rippling water, harsh winds, children shrieking and the grind of car engines in peak hour. The ‘song’ of Porcaro’s title is the music of the river, which is in equal measure a song of life and a song of lament. — V ICTOR I A PER IN

Canberra Before hand: The private life of a portrait National Portrait Gallery 10 October 2020—21 March

Narelle Autio, Anna Meares, 2018. Collection: National Portrait Gallery. Commissioned with funds provided by King & Wood Mallesons 2018 © Narelle Autio.

Alongside collecting finished portraits of Australians, Canberra’s National Portrait Gallery also amasses material related to the back-stories of how subject and artist come together to make a work. Curator Penny Grist has long been fascinated by this material, and has made it rich subject matter for the exhibition Before hand: The private life of the portrait. “Everyone loves a back-story and a glimpse into behind-the-scenes,” she says. The exhibition ranges from working drawings, studies and sketches to interviews and other recordings, presented across themes dealing with storytelling, time, immersion, concept and energy.

One galvanising item was Peter Brew-Bevan’s sketchbook, developed during a commissioned portrait he made of dancer and ballet director David McAllister. “I would describe it as one of our recently collected treasures,” Grist says. “Peter trained as a painter so he brings that physical drawing and sketching to the book. There is this absolutely beautiful deconstruction of what ends up being a complicated but very beautiful portrait of McAllister in this pensive moment, amid a total chaos of kinetic energy.” Grist says the collaboration between sitter and artist is unique to the genre. “One of the important things to realise is that making a portrait involves an incredibly private but highly public moment,” she says. “You have this immediate tension that is about successfully revealing of yourself—but it is also for public display.” Another example is Narelle Autio’s portrait of track cyclist Anna Meares. “It involves this lovely revelation that both of them were desperately hoping the other one didn’t want to include a bike and Lycra in the portrait,” Grist says. “They ended up with this beautiful collaboration, with Meares in a luminous frock in a landscape revealing both her toughness and femininity.” — A NDR EW STEPHENS

Perth ‘I want a future that lives up to my past’: David McDiarmid and local queer stories David McDiarmid Art Gallery of Western Australia 14 November 2020—26 April

The art of David McDiarmid casts a special spell. His posters speak to the viewer with an alarming directness: ‘HONEY, HAVE YOU GOT IT?’, blares a Rainbow Aphorism from 1994, the year before the artist died of an AIDSrelated condition. McDiarmid’s distinctive voice in these works is both confident and vulnerable and can be heard so clearly it is like the artist is standing before you. The Art Gallery of Western Australia (AGWA) is celebrating McDiarmid’s late poster works in the exhibition ‘I want a future that lives up to my past’: David McDiarmid and local queer stories, alongside significant artwork and community history from Perth’s LGBTQIA+ citizens. A highlight of the exhibition is a pair of altars created at the peak of the local HIV/AIDS epidemic, which, as the exhibiDavid McDiarmid, I want a future that lives up to my past from the Rainbow Aphorisms series, 1994-2012, tion text explains, commemorate lost community meminkjet print on 310 gsm Platine fibre cotton rag, bers with “photographs, personal mementos, candles 118.9 x 84.1 cm. State Art Collection, Art Gallery and incense lit in their memory”. Created by Nana Neil of Western Australia. Purchased through the and Paul ‘JJ’ Chat in the 1990s, the altars were installed Art Gallery of Western Australia Foundation: TomorrowFund, 2015. © David McDiarmid, 1994-2012. at Connections, a queer nightclub in Perth and one of Australia’s oldest gay institutions. Gay cultural memory and McDiarmid go hand-in-hand: “If there were a gay UNESCO,” wrote queer theorist David Halperin, “the work of David McDiarmid would be classified a World Heritage site.” ‘WHAT CAN I DO FOR YOU?’ asks one McDiarmid poster. While the initial question was suggestive, the offer could be taken more communally, as the artist upheld a form of artistic practice that was inseparable from his devotion to his friends and the broader queer community. At AGWA, McDiarmid’s grass-roots style is attended by a local story of survival and loss represented in material from the Gay and Lesbian Archive WA. McDiarmid’s intimate voice is at home here among the political struggle that he so tenaciously fought. — V ICTOR I A PER IN

Sydney Decision Fatigue Amber Boardman

Chalk Horse 28 January—27 February

A few years ago, Amber Boardman came across a New York Times article that described an emerging phenomenon many of us are now familiar with: decision fatigue. For Boardman, it acutely described “how all the decisions we make sap our willpower and we can only make a certain number of decisions in a day.” Contemporary, digital life bombards us with decisions, to the point where the insignificant seems overwhelming. Over the last 12 months Boardman has been Amber Boardman, Civil Planning, 2020, oil on linen, creating large-scale paintings that look at how both 182.9 x 182.9 cm. Photograph: Felicity Jenkins. decision fatigue and the internet are shaping our lives and interactions. “I’ve been interested in the internet in my practice for many years,” she explains. “I think about virtual crowds and physical crowds, and the differences and similarities between them. I increasingly feel like the social norms that take place on the internet are changing how people behave in person.” Yet there was a formal difficulty in this, with Boardman asking herself, “How can painting represent what’s happening online in ways that are unique?” In answer, the artist draws upon a realist style she calls “cartoonish figuration”, lightly melding her animation background and painting practice. This results in works like Movie Night, 2020, which obliquely reference Boardman and her partner arguing over what to watch on Netflix, while also acknowledging how such a disagreement is at once energy-sapping as much as it’s a sign of privilege. The aim isn’t to be didactic, but to give recognition to this aspect of people’s lives. “The show is called Decision Fatigue, so that’s not subtle,” she says. “But I think solidarity is the main thing. I want people to feel seen. To look at the paintings and go, ‘I get that.’” — TI A R NEY MIEKUS

Canberra The Blade: Australia’s love affair with lawn Canberra Museum and Art Gallery 20 November 2020—20 February

In Georgian England, everyone coveted lawn. It was cool, calming, tidy, and ensured a pleasant and private space for ladies in Empire-waist dresses to take a turn together. Because it required constant maintenance, lawn was also a status symbol: “At that time, all you could cut grass with was a scythe—or you could graze sheep,” laughs Richard Heathcote, curator of The Blade, an exhibition tracking the story of lawn in Australia. The thing that “democratised lawn,” he says, was the 1850 invention of the rotary mower. While this love of English lawn travelled to Australia with colonisation, Indigenous peoples were already expert in care and maintenance of native grasslands. “Fire-sticks were an important tool in Australian management of grass,” says Heathcote. But lawn is vastly different from grazing meadows, and the trend Grant Simpson, hand-coloured photocopied print, from 1895 advertisement for Adie's Lawn Edger.

towards turf was firmly planted by the time smooth green grass was rolled out at Government Houses across the states—what Heathcote calls “power lawns”. This vista continues to be de rigeur; Parliament House is famously built into a lawn-covered hillside. Through artworks, historical artefacts, and vintage lawn-care advertisements, The Blade explores the Australian history of lawn from kangaroo grass to the footy field; the scythe to the electric mower; the suburban Hills Hoist to the sweeping verdure of state buildings. It features a notable collection of intriguing contraptions for lawn maintenance—such as a giant corkscrew-like device specifically for the removal of dandelions—and, as a touring exhibition, each iteration will include new elements specific to the location. This is a fascinating story of changing attitudes to technology, the environment, and public and private space— through the plant most grown in our gardens. — A NNA DUNNILL

Launceston Skin Garry Greenwood

Queen Victoria Museum and Art Gallery 5 December 2020—11 July

Working with leather as a sculptural material, the late Garry Greenwood (1943–2005) left behind a striking creative legacy. Known for creating fantastically detailed masks, puppets and costumes, Greenwood also used the supple tactility of leather to craft fully-functional musical instruments. Garry Greenwood, Forestal, 1995, wet formed, Greenwood’s wide-ranging practice is the subject of laminated and carved cow hide. Collection of the Skin, an exhibition of work drawn directly from the perQueen Victoria Museum and Art Gallery. manent collection of Tasmania’s Queen Victoria Museum and Art Gallery (QVMAG). Possessing an unmistakable style steeped in folklore and medieval design, Greenwood began experimenting with leather in the late 1970s. His first musical instrument was a leather violin and from there he crafted leather ocarinas, harps and drums. Greenwood’s instruments are still regularly played by The Chordwainers and the Tasmanian Leather Orchestra, a group of musicians whose most recent performance was at the 2020 Mona Foma festival. Greenwood employed the handcrafted processes of wet forming and laminating, which allowed him to manipulate leather into complex twists and curvilinear forms. Working mostly with cowhide, Greenwood also experimented with the skin of ostrich, sheep and buffalo. Shapes inspired by the animals and plants near his home in north-east Tasmania are evident in Greenwood’s instrument designs, particularly the elongated neck and torso of the black swan. His most ambitious instrument was the Windform, a 6.5 metre horn resembling a huge phonograph and operated with a saxophone mouthpiece. In addition to regularly designing sets and props for the Launceston Repertory Theatre, in 1998 Greenwood collaborated with contemporary dance company Tasdance on their production Skin Deep. QVMAG curator Ashley Bird reveals that Praxis, an extravagant headdress made by Greenwood for Tasdance, “is an important new acquisition to the museum’s collection and a central component of the Skin exhibition.” A unique homage to a master craftsman, Skin also includes working drawings of multiple designs from across Greenwood’s career and a selection of handcrafted shoes—exuberantly wild creations melding complex technique with an inimitable aesthetic. — BR ION Y DOW NES

Melbourne Make the World Again

Australian Tapestry Workshop 1 December 2020—26 February

Weaving is synonymous with world-making. In numerous cultures, the loom is a metaphor for creation; a person’s life often represented by a spun thread. And for imagery of connection we need go no further than the ‘web’ or ‘net’ that still binds us all together. Appropriately, then, Make the World Again turns to textiles to reweave a fractured globe. Myth and legend aside, the exhibition’s title also inverts the brash slogan of the Trump campaign (‘Make America Great Again’), responding to what exhibition curator and craft writer Valerie Kirk, Floating fossil, 2017, wool, cotton, 99 x Kevin Murray describes as “the call across populist 99 cm. Image courtesy of the artist. movements to restore some sort of past glory—which itself had led to fragmentation and increasing distance between countries.” With the added layer of the pandemic—a mass unravelling that has stranded us in place—this exhibition seeks, Murray says, “to look at how we might come back together again.” Originally planned for Canada’s Crafted Vancouver festival (postponed to May 2021), Make the World Again has been reimagined at the Australian Tapestry Workshop, a site that links many of the exhibiting artists. Several works forge tactile bonds with our geographical neighbours. Liz Williamson’s eucalyptus-dyed weavings are made in collaboration with textile artisans in Australia and India, while Siri Hayes uses eucalyptus and indigo to connect Australia and Japan. The dazzlingly innovative geometric tapestries of Shuklay Tahpo have their roots in the traditional patterns of her native Burma, while Kay Abude’s focus on the repetitive labour of garment making both honours and reclaims her family’s experience as migrant pieceworkers from the Philippines. Other pieces create connections on a different scale, such as the textiles woven by Mary Burgess from clothing left by the deceased, or Ilka White’s delicate form made from fragile dried grass: objects to mend the rift of death, or evoke the mysterious connected threads of life. — A NNA DUNNILL

Brisbane New for Old

Metro Arts 12 December 2020—23 January

We live in a society wrestling with the desire to reduce excessive consumption while also grappling with the reality of planned obsolescence. In the group exhibition New for Old, curator Kyle Weise has assembled a group of Stanton Cornish-Ward and Trent Crawford, LOCK, screen-based artworks by Australian and international 2020, film still, 12 channel HD video. artists in order to reflect on these issues using the symbolic potential of obsolete cathode-ray tube (CRT) televisions. Weise explains that both nostalgia for the old tellies of his childhood, and watching new TVs quickly become obsolete, were part of what first gave him the idea for New for Old. He describes walking through the city over the years and finding footpaths littered with CRT televisions, then LCD flatscreens. “There was something so melancholy about these objects,” recalls Weise. “Once, no doubt, purchased with excitement; now thrown onto a rainy Melbourne street to make way for something new.”

The curator’s imagination was also sparked by the work of Finnish media theorist Jussi Parikka who, according to Weise, asks us to consider that our reliance on “screen technology is leading to ever-increasing ecological impact in terms of the mining, manufacture and disposal of millions of screens,” and the work of American artist Penelope Umbrico, whose video Pirouette for CRT, 2012, is screening in New for Old. In Pirouette for CRT, Umbrico edits together still images of old TVs from online marketplaces so that they seem to spin. The frenetic pace of her video neatly embodies a cultural anxiety generated by the constant need to upgrade our screens. The exhibition also features works by Jeron Braxton, Stanton Cornish-Ward and Trent Crawford, Susan Hawkins, Danny Jarratt, and Daniel McKewen. All of the artists in New for Old have their own thematic concerns, but together they highlight the role objects play in memory, the pitfalls of technological obsolesce, and, as Weise puts it, “the vast material structures that support the seemingly-ethereal transmission of images.” — TR ACEY CLEMENT

Sydney Quilts Jess Johnson and Cynthia Johnson Darren Knight Gallery 30 January—27 February

Jess Johnson is known for incredibly detailed drawings filled with precise, almost obsessive, patterning. So it comes as no surprise to learn that the New Zealand-born and New York-based artist is a self-confessed perfectionist. But this hasn’t stopped her from embracing the potential of outsourcing and collaboration. Johnson says that, for her, the biggest challenge and greatest benefit of working with other people is the same thing. “It’s the loss of control. I’m an absolute control freak in most aspects of my life so handing control over to someone else is both repellent and deeply attractive,” she explains. “I keep most things in my life very routine. So this is like a hack that goes against my nature, but I know I need it for growth: I welcome the intrusion because it’s generative.” Since 2018 Johnson has upped the ante on the challenges of collaboration by working with her own mother, Cynthia Johnson, who is well-known in the quilting world. For their joint quilts, Jess Johnson creates new compositions from a digital archive of her signatureJess Johnson and Cynthia Johnson, Chitinous style components, and gets them printed on cotton Cruciform, quilt made from digital print on cotton with pieced fabric border, assorted textiles, thread, fabric which she posts to Cynthia in New Zealand, who 198.1 x 99.5 cm. then designs and sews the quilted borders. “The dynamic can be somewhat fraught. We’re both very accustomed to having free reign over what we make,” Johnson admits. In addition to the fact that both artists struggle to “translate visual ideas into words” Johnson says, “Mum also has a tendency to go rogue for a few days, then she’ll send a picture of some half-completed thing that we haven’t discussed with a prickly question mark.” From there, she says, they argue “until we can shape it into something we’re both happy with.” The Johnsons' mother-daughter collaboration may sometimes be tense, but it is clearly fruitful. As the artist says, “A lot of my favourite pieces are conversely ones that are imbued with the most difficulty and frustration.” — TR ACEY CLEMENT

Becoming Earthbound How Lisa Sammut’s focus has shifted from stargazing to soil. W R ITER

Sheridan Hart

Few places in the world feel as primeval as Iceland. Treeless expanses are strewn with intense condensations of geological action: yawning chasms, thrashing waterfalls, brilliant glaciers, volcanoes. For two months, Canberra-based installation artist Lisa Sammut lived in the east coast village of Seyðisfjörður and observed the slow progressions of the terrestrial structures around her. Her experience of this remote landscape began to displace the astrophysical imagery the artist is known for and formed the basis of I just don’t think that way, a new work on show at Murray Art Museum Albury (MAMA) for its 20:20 exhibition of works specially commissioned from 20 Australian artists. Like many of us, Sammut has experienced the past year as a time of adaptation and quiet, of thinking about the history of her practice. “For so long, I’ve been looking at the cosmos as this ultimate symbol of infinity, as a realm in which the human experience is small and powerless. That perspective gradually changed.” A pivotal episode in this shift was a walk from Sammut’s 2019 Heima studio residency into the Icelandic hinterland. “I kept returning to this place, a rocky area. There was a spot of damp soil. I would break it open and inside there were all these tiny, circular crystal geodes. I imagined they were the earliest formations of what would later become rocks. They looked like constellations embedded in this earthly material.” As the residency continued, Sammut amassed a trove of photographs, films and written notes, and began to see in the land around her

the complex workings she’d once looked for in outer space. “I was struck by how close the sky felt,” she explains. “I was enveloped in fjord, mountain and cloud cover, and in that closed environment it became impossible to think about the distant, abstract cosmos above. My practice skewed. It became material, earthbound.” With her gaze turned earthward, Sammut collected images—natural surfaces like soil, rock, ice and bark, to be collaged later—drawn from in situ photography as well as “old nature books from the 70s and the recently-digitised geological collections of Australian museums.” To make sense of this pictorial cache, Sammut turned to writing, which she uses as a tool for focusing. “I keep documents for each work, and these form the basis of the artwork and help me to get back to where I started from. I guess you could call it a thought archive.” I just don’t think that way is a work charmed together from these earthly parts. The silhouette of a hypothetical plant-like creature is projected onto a geometric screen, slowly waving, or reaching, or sprawling. Nearby, an assemblage of flat wooden and mirror shapes cite Icelandic natural textures and circular phenomena like orbits, planets, clock rotations. “It’s a quiet work,” says Sammut. “There’s this magical relationship between the moving parts, the viewer and the materials. It has a kind of material rhythm.” The work’s title, I just don’t think that way, points to Sammut’s theory about the way that motion and movement, whether that of planets or plants, can be read, even empathised with.

Lisa Sammut, I just don't think that way, 2020, MAMA installation view. Photogr aph: Jeremy Weihr auch.

“For so long, I’ve been looking at the cosmos as this ultimate symbol of infinity, as a realm in which the human experience is small and powerless. That perspective gradually changed.” — LIS A S A M M U T

Lisa Sammut, I just don't think that way, detail, 2020, MAMA installation view. Photogr aph: Jeremy Weihr auch.

Lisa Sammut, Day17_mineral, 2019, process image. Photogr aph: courtesy of the artist.

“Movement is a non-verbal kind of communication,” she says. “This plant-like being slowly moves, the way that we all move through time. I’m thinking about gesture as a subtle, poetic way of seeing the world.” Sammut developed this perspective in a 2018 work shown at the John Fries Award: “I had first begun to play with this idea of motion and emotion through gesture with earth signals.” This monochromatic assemblage of projection, television screens and timber cut-outs is a clear antecedent to the MAMA commission work. Both offer a similarly “theatrical experience, bringing different scales of magnitude, time and geology, down to a human scale”. The 20:20 commission arrived for Sammut during a year of reflection, and it filled a void left in the wake of Covid-19 closures. “Everything I had planned for 2020 had been postponed or cancelled, so I am grateful this opportunity arrived when it did. It’s been strange and difficult for all of us, but it’s also been a time to pivot.” Well-resourced and unstructured, the commission itself was a tabula rasa, free from the

pressure to make work that summarised or repeated the artists’ existing idioms. “I was encouraged to experiment and to think about what I wanted to get out of the year.” Preparing for 20:20 in the studio, Sammut’s ideas coalesced, or perhaps more fittingly, crystallised, into an uncannily suitable epilogue for this year of lockdown, pandemic and worry. Her examination of geologic and plant realms, of non-human perspectives, and of the slow decay and renewal of nature, all seem to confirm what many of us have been feeling: that “uncertainty and impermanence are fundamental parts of the how we exist in the world. The Earth may feel present and physical, but it’s still possible to experience an element of the unknown.”

20:20

Murray Art Museum Albury (MAMA) (546 Dean Street, Albury NSW) 30 October 2020—31 January

Forms of Intuition From towering freeway sculpture to tiny glass-encased dioramas, Louise Paramor’s distinctive assemblages evoke both familiarity and wonder. W R ITER

Tiarney Miekus

A miniature porter walks ahead of a miniature priest. Overhead looms a vivid plastic construction, all colour and form, giving the tiny people their own tiny and architecturally delightful world. The porter and priest are a brilliant pair—it almost sounds like a bar joke— and there are other finely matched characters: the backpacker and the performance artist, the dandy and the daredevil, the bride and the groom. The sculptural backdrop changes for each pairing, and despite being new artworks these plastic assemblages are immediately recognisable: it’s Louise Paramor. With a practice defined by collapsible paper sculptures and found plastics in bright colours, Paramor places seemingly-useless objects together in forms that feel wondrous and novel, albeit with an underlying complexity. Often referencing a persona, scene or architecture—the title is the clue—Paramor’s work lends itself to an easy humour that crosses both the naive and conceptual. But for Paramor, art-making comes from that highly inexpressible quality which so often gives rise to expression itself: “It’s intuition,” she says. Although based in Melbourne for over three decades, Paramor grew up in Perth within a family that, as she puts it, “wasn’t particularly artistic”. Until encountering a good art teacher in high school, she didn’t really think studying art was a possibility. Originally starting with a painting practice (which she still maintains), Paramor soon became well-known for her assemblages of found plastic, which began in the mid-2000s. “I had a studio in Footscray in 2004 and I started to collect plastics from the $2 shops,”

she recalls. “And as far as my attraction to the plastic, initially it was the fact that I really love colour, and playing around with colour, and combining it in a way that works and that doesn’t look garish.” That the materials were inexpensive and easily within arm’s reach was also a virtue, where “the strange forms that were designed came out of the production of domestic goods, throwaway goods.” These ‘strange forms’ come in a variety of scales. There are public art pieces like her wellknown Panorama Station, 2012, which resides on a Melbourne freeway and resembles something like a rocket launch-pad. Sitting at 17 metres tall, it’s based on an assemblage of objects like 1970s cassette towers, lampshades and spice jars. Then there are installations like the brilliantly-placed anthropomorphic sculptures at an outdoor tennis court at The Rod Laver Arena in 2007, and her much applauded 2017 survey show Palace of the Republic, shown at the National Gallery of Victoria’s The Ian Potter Centre: NGV Australia. Paramor often creates in response to the size of her exhibiting environment. For an upcoming show at Melbourne’s Finkelstein Gallery, titled Parallel Universe, she’s opted for 13 small-scale assemblages in glass cases, accompanied by 13 photographic prints of the assemblages. Her use of the tiny human forms alongside the assemblages is what first draws the eye, and is a new development for her practice. “I came across these quite detailed architectural [human] figures that were beautiful in themselves,” she explains. “I made a series of small assemblage

Louise Paramor, The photographer and the model, 2020, photographic print, 115 x 80 cm.

Louise Paramor, The backpacker and the performance artist, 2020, photographic print, 115 x 80 cm.

“I think it’s so hard to commit to making art that however you do it, whatever your rationale is, if you have a need to do it, then you do it.” — L OU ISE PA R A MOR

works and matched the people to the assemblage. I’m always using human forms against my maquettes to present an idea.” In bringing human figures into the sculptural space, and placing them next to the assemblages, Paramor not only sets up a variety of scenes and architectural moods, but gives a larger-than-life quality to the new worlds she’s creating. To produce these assemblages, there are certain requirements. “I need an awful lot of raw material,” explains Paramor. “To make that series [in Parallel Universe] I probably had one 100-fold the amount of stuff to play with.” When creating a new series, the artist often focuses on a particular scale, and has collections of different scales of material to draw from. “But it can only occur within a framework of time,” she adds. “I can only focus on one thing for a couple of months, or a few months, and then it’s over and I put everything away.” While Paramor has a fairly systematised process, and is in the studio almost every day, she also works part-time at a bar and, like many artists, works with questions of exhaustion and perfection. “I’ll play around and come to a conclusion,” she says of creating her assemblages, “and then at a certain point I’ve exhausted it for myself. I either can’t look anymore at them, or I just feel that the series is completed.” But what does it take for a scene like a porter and a priest, along with their assembled world, to come

into existence? “It’s just my intuition,” she explains. “I think it’s just what pleases me.” While Paramor is invested in the aesthetics of her assemblages, she’s not loudly referencing or commenting upon many of the obvious art-historical styles her work can be seen to invoke: modernism, abstraction, the readymade and pop art. Yet there is an undeniable social aspect to these works. As Jason Smith, director of Geelong Art Gallery, once said in Art Collector magazine, Paramor’s assemblages “comment powerfully on some of the pressing issues of our time: uncontrollable consumption, easy obsolescence, environmental degradation, and desensitisation to the beauty in some ordinary things.” Finding this true, I ask Paramor what she thinks. “Some of it, but I have to admit it’s more unconsciously.” She pauses. “I guess we all see beauty in different things, don’t we?” Towards the end of our conversation, she reaches for something more final: “I think it’s so hard to commit to making art that however you do it, whatever your rationale is, if you have a need to do it, then you do it.”

Parallel Universe Louise Paramor

Finkelstein Gallery (1 Victoria Street, Windsor VIC) 4 February—13 March

Maggie Hensel-Brown, Quarantine Self Portrait I: Lying, Scrolling, 2020, silk, needle lace, 13 x 18 cm.

“I’m thinking about all the practitioners who are now basically forgotten.” — M AG GI E H E NSE L -BROW N

Interview

W R ITER

Maggie Hensel-Brown

Anna Dunnill

The intricate art of lace-making might bring to mind your grandmother’s tea-table, but it’s long been used to tell grand tales of war and passion, gods and kings. For contemporary lacemaker Maggie Hensel-Brown, this labour-intensive medium can give weight to seemingly banal moments of daily life. Editor Anna Dunnill spoke with the Sydney-based artist about the underground world of lace guilds, and channeling female rage.

A NNA DUNNILL

Who taught you your first textile techniques? M AGGIE HENSEL-BROW N:

This kind of kills the romance of it, because it should be this maternal line, but the answer is actually just— myself! I was raised with five brothers and I think I needed something that was very specifically mine. I have a very vivid memory of teaching myself how to knit with skewers and some twine. It’s been a real lifelong obsession—a thread, pardon the pun, that goes through from childhood. AD

How did you get into lacemaking? MHB

The very first class I did was in Melbourne, in 2015, when I learned a needle-lace technique called reticella. I’ve always been someone who likes to go more and more intricate and detailed. Reticella is an Italian technique, developed in the 15th century. You take a piece of existing fabric, usually linen or silk, then you count the threads within the piece of fabric, and you individually remove some and keep others in. Then you weave your own threads back in, in these really intricate painstaking mathematical patterns. It was my first introduction into the lace world, too. The lace world is nuts—it’s this weird underground, all run in funny little guilds. I mean, it’s thousands of people: they travel for lace, they make

friends over lace. These are some of the most well-researched incredible people that you could imagine, but all outside of any institution. AD

It must be frustrating that the process of lacemaking is so precise and mathematical and focused—but there’s still this perception of it as frivolous frippery. MHB

[It's the same] with practitioners as well. Sometimes I’ll go to lace meetings and they’ll show whatever their new piece is; and then in this really self-deprecating way, they’ll be like, “Oh, I’m just going to turn it into a bib for my grandchild, or glue it onto a remote control box,” or something like that. It’s had centuries of being disregarded as work. AD

There’s a lot of pressure for artists to pump out new work all the time. How does that sit with your much slower process? MHB

Well, I don’t sell these pieces. I have been happy to exhibit them—but every square centimetre takes about an hour. When I went on a research trip to England and Italy in 2016, I was quite disillusioned with the combination of capitalism and art. At the time I was living off art—I was running this little gallery—and I didn’t like

Maggie Hensel-Brown, It’s Nothing Really, detail, 2019, silk, needle lace, 20 x 28 cm.

the feeling of, “My rent’s due, I have to make something and sell it really quickly”. I wanted to give my practice the gift of not having to pay my bills. But I like having another firm foot in the non-art world as well. Making coffees at a train station kiosk was my job for a long time; working in call centres. Something that keeps you grounded while you can go off on all these lovely adventures. AD

There’s a real contrast between the fleeting messiness of your subject matter, and the labour and focus of making these tiny precious objects. MHB

I like making the tiny things really, really special. The works that I have idolised throughout history—the lace works that I’ve travelled to see, and adore—are all incredible pictorial pieces, which were altar cloths in incredible churches or gifts from one royal family to another. The figures in them often show these grand moments [of mythic and historical lore]: Judith beheading Holofernes, or the goddess Diana bathing in a river, or the coronation of King George. But I’m thinking about all the practitioners who are now basically forgotten—no one knows whose hands are the actual hands that made these works.

And those people weren’t living coronations, or grand Biblical tales. The things that are more relatable and more important now are mundane things—like scrolling through the news articles while there’s a pandemic going on around you, or staring into the fridge. I like giving those moments gravity. AD

What’s the role of the digital space in your work? MHB

I sort of hate this, but I think Instagram has actually enhanced my practice in some ways. It’s these tiny little honest moments about your own life that you show to people. On Instagram it’s an instant thing, whereas what I’m doing is…less instant, let’s say. But it’s still similar. And it’s a very handy tool for the underground lace scene! I follow these beautiful grandmothers in Italy and Romania who are incredible lacemakers. It’s a good connector. AD

Does drawing play a part in your process? MHB

It's everything. I’ve been very much a drawer since forever. I’ll have a moment of inspiration—when I’m in my knickers looking in the fridge, or filming my broth-

Maggie Hensel-Brown, Untitled (Covid Floor), 2020, silk, needle lace, 18 x 27 cm.

er doing a dumb dance—and I’ll go, “Oh, this is it.” And then I’ll go for a really long walk and all of the elements drop into place. Then I go home and draw all the weird bits onto a piece of paper, and then rip them apart and move them around, stick them back together, and trace it. A needle-lace design is worked on top of a drawing, and then you cut all the threads off at the end. The drawing is always there. AD

Do you work from a studio space, or does the lace travel around with you? MHB

The lace mostly travels with me, in this little pencil case that says Miami Vice on it. I find sitting on trains really good—if I go to visit my family in Newcastle I’ll do a lot of lace-making on the train. It’s very portable. AD

What stories do you want to tell in the future? MHB

There are two stories I’ve been researching lately, that have been told and retold through lace. I mentioned them before; one is the story of Judith beheading Holofernes, the Biblical tale. Holofernes was basically an awful despotic leader who was taken down and

beheaded by a sexy lady—you know, all that good stuff. There are three quite famous lace pieces that are in big museums around the world; one of them is here in Sydney at the Powerhouse Museum. The other story that I love is about the Roman goddess Diana bathing in the river, and the hunter Actaeon coming upon her, and her complete rage at that. She turns him into a deer, and then basically sets his own dogs on him and he dies. It’s an absolutely horrible story! But again, it’s this story of righteous women’s anger. And to me, it’s not a surprise that that it’s showing up in this unappreciated work constantly. It’s angry women, all through these very famous pieces of lace. So there’s something about that kind of powerful female anger that I just want to delve into a little bit more.

Festival of Lace

Gallery76, Embroiderers' Guild NSW (76 Queen Street, Concord West NSW) 30 January—4 March

No Easy Answers Unflinching, humorous, insistent: Gordon Bennett’s work speaks for itself in this landmark retrospective. W R ITER

Andrew Stephens

Queensland-born Gordon Bennett was an artist who loved collapsing ‘high’ and ‘low’ art boundaries. From early on in his successful career, curtailed by his death in 2014 at age 58, he was well-known for disrupting the status quo with his unique visual language. He probed ideas about identity, fuelled partly by his own Indigenous heritage, and stared unflinchingly at race, history, self and truth, insistently leaving his work open to interpretation. When he died, Bennett had finished with one series of works and was yet to explore another, so there were not many incomplete pieces in his studio. Even so, Zara Stanhope, the curatorial manager of Asian and Pacific Art at Queensland Art Gallery | Gallery of Modern Art (QAGOMA), has named the new largescale show of Bennett’s work Unfinished Business. As she observes, Bennett was always deeply engaged with the world, and there remained much for him to do. Stanhope has co-curated the show with Abigail Bernal, assistant curator of international art, and it is the biggest exhibition to focus on Bennett since 2007. It features about 200 works, including major works and series, and others shown either rarely or not at all. Stanhope and Bernal were given open access to Bennett’s studio, in a building behind the Bennett family home in Brisbane. There, they worked through the oeuvre of an extraordinary man, an artist with a global reputation who was always able to surprise and engage visitors—but not give them easy answers or clear readings. “I wanted Gordon Bennett’s work to speak

for itself rather than layer it with interpretations,” Stanhope says. “I felt it was important to show how he worked in series, so people can understand how he would process ideas through a number of connected works.” His repeated topics included grappling with how to open people’s eyes to discriminatory practices were deaths in custody and the refugee situation. “He was so aware of those things and he felt so ashamed about them in our society,” Stanhope says. “His work is quite insistent—but it can be humorous and beautiful at the same time.” A highlight of the exhibition, organised mostly chronologically, are Bennett’s works on paper, many of which have not been publicly viewed. His practice covered painting, installation, sculptural assemblage, video and ceramics, but Stanhope has been fascinated by the drawings which sometimes depict imagery that was further developed in finished works. “You can see the artist’s hand at work,” she says. “They are a bit quirky and you get a strong sense of Gordon himself.” Bennett was about 11 when his Aboriginal heritage dawned on him—his mother, it turned out, was a Birri Gubba/Darambal woman and spent her childhood in Cherbourg Aboriginal mission. But his parents would not speak of this and he was raised as an Anglo/European. In the exhibition catalogue, Bennett is quoted as saying that by the time he entered the workforce, aged 16, he learnt “how low the general opinion” of Aboriginal people was. “As a shy and inarticulate teenager my response to these derogatory opinions was silence, self-loathing and denial of my heritage.” But when he later went to art college, aged

Gordon Bennett, Notes to Basquiat (Shaman), 2001, synthetic polymer paint on linen, 152 x 182.5 cm. © The Estate of Gordon Bennett, Collection: The Estate of Gordon Bennett.

Gordon Bennett, Number twelve, 2007, synthetic polymer paint on linen, left panel: 183 x 152 cm; right panel: 183 x 152 cm. The James C. Sourris AM Collection. Gift of James C. Sourris through the Queensland Art Gallery Foundation 2010. Donated through the Austr alian Government's Cultur al Gifts Progr am. © The Estate of Gordon Bennett, Collection: Queensland Art Gallery | Gallery of Modern Art.

Gordon Bennett, Number Seventeen, 2003, synthetic polymer paint on linen, 182.5 x 152 cm. © The Estate of Gordon Bennett, Collection: The Estate of Gordon Bennett.

Gordon Bennett, Home Decor (Algebra) Ocean, 1998, synthetic polymer paint on linen / two parts: 182 x 182 cm (each); 182.5 x 365 cm (overall). © The Estate of Gordon Bennett, Gift of The Hon. Paul Guest OAM QC under the Cultur al Gifts Progr am 2018. Collection: Bendigo Art Gallery.

Gordon Bennett, Possession Island, 1991, oil and synthetic polymer paint on canvas, two parts: 162 x 260cm (overall). © The Estate of Gordon Bennett, Purchased with funds from the Foundation for the Historic Houses Trust, Museum of Sydney Appeal, 2007, Collection: Museum of Sydney, Sydney Living Museums.

“I wanted Gordon Bennett’s work to speak for itself rather than layer it with interpretations.” — Z A R A S TA N HOPE

30, he explored this with enormous passion and fearlessness as he acknowledged and embraced his dual identity. “It all came pouring out at art school,” Stanhope says. “He had been going to a psychotherapist and reading a lot of psychology and wanted to make some art as a result. It was all bottled up in there. You can see how he was expressing himself through image-making.” This, she says, very quickly formed into the finer practice we now know and have seen develop. Equally formative was his exposure to postmodernism and French structuralism, and thinking about how to create his art in that context. He went on to relentlessly explore appropriation, the weight of art history, expression of identity and the effects of the conscious and unconscious on collective and individual psyches. Being awarded the Moët & Chandon Australian Art Fellowship, resulting in a year’s residency in France during 1991-92, was pivotal. Stanhope says the paint-

ing that won him the fellowship—The nine ricochets (Fall down black fella, Jump up white fella)—is rich with such layering. Bennett was well-known for avoiding interviews; there is little evidence of him in the exhibition displaying a public face. “We wanted to make sure we held to the integrity of the work and allow his voice to come through,” Stanhope says. “It is a show where you can spend a lot of time and see the variety in his work: you can look at a series but then also look at the connections between the series.”

Unfinished Business: The Art of Gordon Bennett

Queensland Art Gallery | Gallery of Modern Art (Stanley Place, South Brisbane QLD) 7 November 2020—21 March

Studio

Rosie Deacon

“Sometimes it’s like I have a big spinning sort of feeling in my body: hard to soft, angles and sharpness, then really beautiful and cuddly and soft.” – RO SI E DE AC ON

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-Mé

Tracey Clement 55

Rosie Deacon started winning awards while she was still at art school. Since graduating in 2010 she has become known both nationally and internationally for her immersive, often interactive, installations. Or as Deacon herself puts it, “I feel like I’ve totally lucked out since I finished uni; I can just make all these big wild things.” Big and wild may be accurate, but it’s also something of an understatement. Deacon creates wonderfully excessive and playfully exuberant environments populated by kitschy-cool creatures spawned from both a fascination with Australiana and a deep love of Australian fauna. Tracey Clement met the artist at her studio in the Powerhouse Museum in inner city Sydney, and Deacon explained that her work is inspired by both her country childhood and her current city home.

PLACE

I was raised in a regional area, but I came to Sydney to study and kind of never left. The country is far too quiet for me now. I love going back for breaks—just being peaceful in nature—and I love all the animals, but I find it too slow. And even though my work is very much based on my upbringing in the country—maxed-out and glammed-up—I think I really get most of my inspiration from the city; the really bright colours and the razzle-dazzle of the lights and everything that’s happening. I’ve had a studio here at the Powerhouse Museum since late 2019. I was invited initially to do a three-month summer residency, running workshops based on the Jenny Kee and Linda Jackson: Step into Paradise exhibition. And then they opened up the studios for 12 or 18 month residencies. My 18 months expires on my birthday, halfway through 2021, and I’ll reapply. I’m hoping to stay on for another year; it’s such a great space right in amongst the energy of the city. PROCE SS

The pace of the city, with everything moving, suits me. I’m a very fast-paced worker; I make rapidly and I’m sort of impatient sometimes. I’ll just use a glue-gun to stick things together rather than using a drill or nails. I go in to the studio most days of the week; I don’t really have days off. I find I go through big energy stages where I’m just pushing it and work, work, work,

and then after a big show or something I’ll often feel very strange and bizarre and empty. But even then I usually push myself to at least do something; something just repetitive and calm like making pompoms. My work involves a lot of repetitive making, and I do almost all of it myself. I actually really enjoy doing handcrafting. And it would have a different feeling if I outsourced the labour. There’s something really warm—like a nice sort of comforting feeling—knowing that I’ve made it all. The work would look different, and feel different, if I didn’t. My work is never really done until it’s installed; nothing is really totally finished beforehand. Like with my show How do I know if my parrot is happy? at The Lock-Up in Newcastle, I have a two-week install. So I’ll arrive with lots of stuff and I’ll build it up there. That’s sort of when it all comes alive and makes sense. I do have a bit of a plan, but I like to keep room open for seeing what happens in the space. That seems like the most exciting part to me. PROJ EC TS

The other project I’m working on right now is Koala Train, an immersive school holidays installation for the Powerhouse Museum transport hall. I was asked to respond to that gigantic space, and I’ve worked with the fantastic team here to build this massive cut-out of a train. It’s covered in pompoms and has a three-metre-high koala on top. And inside my new

video work is screening. It’s an instructional dance video of me, in three different koala costumes I’ve made, performing moves inspired by 1980s YouTube aerobics championships and morning television show Aerobics Oz Style. I’ve used koalas in my work since the very beginning. Some of it comes from things I’ve seen as a young kid growing up on farms: really feeling for animals and them being the most beautiful things you’ve ever seen, but also seeing them run over on the roads and being culled by kangaroo shooting. And these contradictions left me with mixed feelings. Sometimes it’s like I have a big spinning sort of feeling in my body: hard to soft, angles and sharpness then really beautiful and cuddly and soft. And I think it sort of comes out in the work—how I really adore Australian wildlife, but I also make my animals strange and a bit ugly and weird as well. And all the koalas also come from looking at kitsch Australiana objects and souvenirs. When we lived out in Nyngan, central NSW, we used to come on family holidays down to Manly beach in Sydney which was filled with souvenir shops. And I just remember

being so surprised and amused. But also I didn’t like seeing rows and rows of stuffed koalas and kangaroo paw bottle openers. I remember being quite horrified, but also very interested. I use a lot of different bright, shiny, sparkly and colourful materials; for me installation is going to the max in overdrive. So much of everything in life is so serious and stressful. I like making things that are so over-the-top and ridiculous that you might not exactly know what it is, but then you might find yourself just joining in a little bit and forgetting about daily life and just having fun.

How do I know if my parrot is happy? Rosie Deacon

The Lock-Up (90 Hunter Street, Newcastle NSW) 5 December 2020—31 January

Koala Train Rosie Deacon

Powerhouse Museum (500 Harris Street, Ultimo NSW) 12 December 2020—31 January

Listen With Your Whole Body Sonic artists reveal the rewards of deep listening, reshaping our perception of place. W R ITER

Barnaby Smith

Within the increasingly diverse and energised art movement that responds to ecological change and climate crisis, the medium of sonic art has come to play a unique role—demanding attuned sensibilities and concentrated awareness on the part of both artist and audience. This is perhaps what is meant by the phrase ‘deep listening’, which pops up regularly in the literature and discourse of sonic art. In the catalogue essay for the exhibition Site & Sound: Sonic Art as Ecological Practice, Bundjalung and Kullilli artist Daniel Browning describes ‘deep listening’ as “an ethical approach, and a deeper state of awareness, as much as a relational way of communicating.” These ideas are at the heart of this show. Site & Sound features an expansive program of immersive sound installations as well as performances and listening events, responding to a wide range of ecological issues including bushfires, melting ice caps and loss of biodiversity. The exhibition has drawn from RMIT University’s Sonic Arts Collection and also commissioned four new works. Among the nearly 30 participating artists are Philip Samartzis and Eugene Ughetti, Leah Barclay, Madelynne Cornish, Philip Brophy, David Chesworth, and Ros Bandt. Also involved are some well-known names whose work might be regarded as experimental music as much as sound art, such as Lawrence English and Thembi Soddell. Perceiving sound is, of course, a very different sensory experience to perceiving art visually. And while it might sometimes demand more of our powers of attention and focus, sonic art can illumi-

nate hidden patterns and truths within our environment that other mediums cannot, cultivating a renewed intimacy with the natural world. “Listening can be a revelatory experience on a personal level, awakening a sense that is often taken for granted,” says Simon Lawrie, curator at McClelland Sculpture Park + Gallery. Lawrie curated Site & Sound in collaboration with Lawrence Harvey and Jon Buckingham, both of whom hold positions at RMIT. “It can also bring new knowledge about the world around us and our place within it, including the urgency of the climate crises which face us on all fronts. “I hope audiences recognise that the world of sound is equally as rich in texture, colour, form and depth as that afforded by visual experience. As ecologist Bernie Krause has noted, if a picture is worth a thousand words, a sound is worth a thousand pictures.” Several installations take the form of ‘sound walks’, including one by Rachel Meyers, a composer and sonic artist based in Tasmania. Her piece, Southern Ecophony: Wind and Water, 2020, combines field recordings from Arthur River, a remote spot on the northwest coast of Tasmania, with her own instrumental responses on violin. The visitor’s guided walk at McClelland is accompanied by Meyers’s soundtrack projected through a fixed-speaker installation. For Meyers, a classically trained musician, sound art is profoundly powerful in how it can absorb the listener on a physical level, and in its special capacity to integrate human being with environment.

Rachel Meyers, image from recording Southern Ecophony: Wind and Water 2020. Courtesy of the artist.

“Listening can be a revelatory experience . . . awakening a sense that is often taken for granted.” — SI MON L AW R I E

Leah Barclay, recording for Hydrology. Courtesy of the artist.

McClelland Sculpture Park and Gallery. Photogr aph: Mark Chew.

Lawrence English, recording in the Amazon. Courtesy of the artist.

“A great many ecological crises cannot be visually discerned nor photographically documented, nor can they be understood, in the ways we traditionally think about objects or situations,” explains Meyers, who says she has been moved to tears in response to particular sound environments. “In fact, they require multiple modes and technologies to be perceptible. “In a nutshell, I believe that listening with our whole bodies may well be one of these multi-modal approaches to aid in reshaping our sense of time, place and self as the environment rather than in opposition to it.” The idea that sonic art can dissolve the boundaries between humanity and nature, and person and surroundings, is shared by Site & Sound’s curators— particularly Buckingham. “Visual thinking encourages a sense of separation between yourself, the perceiver, and the things that are being perceived,” Buckingham says. “Listening overcomes this, it sharpens the imagination, makes us consider the source of the sound, why it might be changing, what this might mean for us. It encourages a sense of connection between you and the world.” As its title suggests, the other key component to the exhibition is space, and the site-specific nature of many works, including Meyers’s piece.

McClelland Sculpture Park + Gallery, Lawrie says, is unique in its “focus on contemporary spatial practice and the relationship between art and environment.” Through the sound walks and immersive installations, visitors can explore how sound can shape a location’s atmosphere and mood, and vice-versa. The exhibition also invites visitors to experiment and play with their aural perception and the subjective experience of sound. As Buckingham notes, “Many of the works are spatialised—listening at different positions can offer completely different experiences, and tone, pitch, frequency and volume shift can change around the space. A useful visual analogy for this is a piece of sculpture—moving around it will allow you to see different aspects.” It’s as if sonic art has its own special kind of three-dimensionality. And with this landmark exhibition, its Australian practitioners are continuing to explore its revelations, and its poetry.

Site & Sound: Sonic Art as Ecological Practice

McClelland Sculpture Park + Gallery (390 McClelland Drive, Langwarrin VIC) 2 December 2020—11 April

Family Practice Children can radically alter how artists approach their work—and some even find themselves collaborating with their kids. W R ITER

Jane O’Sullivan

“I had a choice of either removing myself from my art practice for a period of time—so, not creating work— or creating work which we were both involved in,” says Melbourne artist Casey Jenkins about negotiating life as a new parent. Jenkins’ practice deals with feminism, autonomy and power. It would not have felt honest to set those interests aside, and so the task became how to make work with their child. Jenkins is not alone. Some of the challenges that face artists who are carers are common to all parents, but others are unique to creative practice. Famously, the English author Cyril Connolly pitched it as a battle when he said in 1938 that “there is no more sombre enemy of good art than the pram in the hall”. The first work that Jenkins made with their child Ottilie was a performance called Drawn and Halved, which was staged as part of the Lapsody Festival in Helsinki in 2019. “I drew a line down my middle and, over the course of the work, I tried to create an art vessel out of clay with one hand and care for Ottilie with the other side of my body. That had been how I thought of it,” explains Jenkins. “That you’re split. You have to divide your attention and both will suffer—your art will suffer and your child will suffer. But through doing that work I realised my child made that work.” The artist also makes an important distinction: “They didn’t detract from my work or my self-expression. They had changed who I was and what I was expressing.” Connolly’s bleak description doesn’t leave much room for these sorts of self-realisations. It’s also

damaging for artists who might feel like they’ve ‘lost’ when dealing with exhaustion, lack of support, or other health or care needs. (Not all phases of creative practice are about output, after all.) The phrase “good art” also contains more than a few assumptions about who and what art is for. Over the years, Jenkins’ practice has ranged from solo durational performances to craftivism and communal and participatory works. They have often thought about issues of timing and access. “If you’re displaying a supposedly feminist work which is going to be launched at bath-time, then I don’t think that’s really feminist,” Jenkins says. Their second project with Ottilie, The Artist Is Distracted, 2019, extended these ideas. Ottilie was 17 months old by this time. Rather than trying to “make my child fit in with the art world, I wanted that art world to have to come to us,” Jenkins says. The sessions were held after nap-time. Audience members who wanted to participate were given a distraction device, basically a restaurant buzzer, and Jenkins would use it to call them over if and when Ottilie was ready. Then they would all work through an activity from the Marina Abramović Institute, such as counting grains of rice or drinking a glass of water slowly—but instead of following Abramović’s instructions, participants were asked to emulate Ottilie. If Ottilie chucked rice in the air, so would they. It was “gentle chaos,” says Jenkins, but there were also “really beautiful moments of connection”. Ottilie enjoyed the engagement at their level and Jenkins, rather than feeling torn, felt whole. A year later, Jenkins is back to making solo work

Casey Jenkins (Sh) and Ottilie Sh, Drawn and Halved, 2019, durational performance collaboration, LAPSody, Theatre Academy University of the Arts Helsinki, Finland. Photogr aph: Julius TĂśyrylĂ¤.

Casey Jenkins (Sh) and Ottilie Sh, The Artist Is Distracted, interactive performance and selves portrait, Victorian College of the Arts, Melbourne 2019. Photogr aph: Emma Byrnes.

Maella Pearl, Santiago Pearl, and Sarita Pearl at Yavuz Gallery, 2020. Photogr aph: Marikit Santiago.

again, but is also working on a (Covid-delayed) street art workshop for kids, in a challenge to the absence of women and families from the street art world. Jenkins also sees the workshop as a way to “produce art and interact and play with my kid” but working with children is important to them on many levels. “Kids are human beings and deserve to be engaged in society,” Jenkins says simply. Marikit Santiago’s work has also been forged by— and with—her kids. “I fell pregnant with my first child while I was studying my MFA,” she says. “I was terrified that I wasn’t going to be able to make it work.” She came back, however, then took another break for her second child, and had her third the year she graduated. Santiago was determined. “If I’m making the effort to find care for my children and making the commute, I need to make it worth my time,” she says. She now works out of a studio in the garage of her home in Western Sydney. “Once I go into the studio, it’s on,” she laughs. Just a few months ago, Santiago’s painting of her three children, The divine, 2020, won the prestigious Sulman Prize at the Art Gallery of New South Wales. Giant palm leaves, yellowing in places, set off the golden halos behind their heads. The two oldest are wrapped in white cloth, neatly blending religious and art historical references with bath-time. Alongside being portrait subjects, her kids also contributed to the work, and their pen and paint marks cover the dark jungle background. Santiago has been developing this method of collaboration

for some time. “I found that the artworks that I was influenced by had a really good combination of typical realism alongside, or right next to, more gestural mark-making,” she says. “I was like, how can I do that? In my early years, I was quite rigid with my technical skills, and then I thought, you know, if I can’t do it, then I’ll just get someone who can.” They are young children and Santiago gives them guidance, but the marks are theirs. “I think I know them enough,” she says, about whether she worries about accidents. While the decision to involve them is largely about visual interest and the contrast between their loose gestural marks and her refined technical skill, the juxtaposition also seems a natural fit in a practice concerned with conflicts of identity and cultural inheritance. “Nothing’s more complex to me then navigating my own identity,” she says, describing herself as a second-generation Filipino migrant with Australian nationality, who has lived in Australia almost all her life. That interest has only intensified since she had kids. Santiago is now working towards her first solo institutional exhibition next year, but is already thinking further ahead. “I wonder how long they’ll keep working with me. I mean, their marks are inevitably going to change,” she says. “Perhaps it will become much more of a true collaboration, where we work together and respond to each other?” For Melbourne-based multidisciplinary artist Lucreccia Quintanilla, having a child also left her thinking about cultural inheritances. She was ear-

Marikit Santiago, The divine, 2020, acrylic, oil, pen, pyrography and 18ct gold leaf on ply (pen and paint markings by Maella Pearl, aged 5, Santiago Pearl, aged 3 and Sarita Pearl, aged 1), 179.5 x 120.5 cm. Photogr aph: Garry Trinh.

“Perhaps it will become much more of a true collaboration, where we work together and respond to each other?” — M A R I K I T S A N T I AG O

left: Lucreccia Quintanilla, A Steady Backbeat, 2017, ceramic, sound work, sand, broken telephone used as a sound playing device.

ly in her practice and remembers feeling disillusioned with the art scene, but it wasn’t until she had her son that she realised just how far that went. “I started to think about what it meant to pass something down to someone and what I was passing down,” she says. She had come to Australia from El Salvador as a teenager, but “had not really assimilated to Australian mainstream culture. I needed an outlet—and that’s my whole practice now, the whole of it,” she says. Her son is 14 now, and motherhood has played a big part in her shift away from an object-based practice to making sound work. “Having a child gave me the confidence,” she says. “I knew that I was wanting to do things differently—sometimes you just think, I have a gut feeling about how to do this thing right now.” A few years ago, when her son was 10 and that shift in her practice was developing, she took him with her on a one-month residency to Banff, Canada, to work on a ceramics project. It was a rare opportunity. There are relatively few family-compatible residencies. This one, like most, did not include childcare. It involved a lot of negotiation (especially when her son claimed the other resident artists as his friends, not hers). But it also showed Quintanilla how her work was part of his life, and how connected he felt to it at that time. “He felt so part of the process,” she says. “And since I’m thinking about these things, I wonder what he has to bring to it, so I asked him if he wanted to do something.” Back in Melbourne, the work they made together dealt with language, culture and heritage. It was a recording of their attempts to learn Lenca, an Indigenous Salvadoran language. They occasionally talked in English too, but not Quintanilla’s Spanish. “When I listen to it, I hear us bouncing back and forth,” she says. “It’s a complex conversation.” It helped that, by this time, she had found her way into a strong, open community in Melbourne and knew she could exhibit what she calls “a family thing”. The work was shown in an exhibition called Family Grimoires: The Diaspora Fantastic at Seventh Gallery, and a later reconfiguration was also included in m_othering the perceptual ars poetica at Counihan Gallery. Quintanilla says that these days, she is very confident asking for what she needs as a parent in the art world.

“I’ve made a choice to be an artist,” she says. “Because of it, I want to create the conditions for myself and my child. I have nothing to lose. “I have found people are very supportive and really listened to me. When I was working in the corporate world, I had to breastfeed in the toilet.” Her community is very different to the art world that she first encountered. “We have this care thing. We will do things for each other,” she says. “People are making worlds out there, you know.” As DIY projects go, it’s a complicated one. There are issues around carer-friendly event scheduling, exhibition projects and residency opportunities. There are also, in the wider art market, unspoken value judgements about what a serious artist looks like. (And as always, proving ‘commitment’ is easier for some than others.) And then there are also the broader cultural judgements about parenthood, particularly the role of mothers in overseeing the visibility and protection of children in an online world. The ideal today, says Jenkins, is “mothering behind closed doors, keeping it all quiet and safe” which can mean that mothers in the public eye are quickly branded “attention seeking” or exploitative. Jenkins is wary and thoughtful. “I respect anyone’s choice to either present their child or not present their child in public,” the artist says. “For my child, at this point in time, I don’t want to model fear of the world.” Santiago is also pragmatic about being visible in public life as a mother. “I want to make work that’s authentic to me, even if that means painting subjects that have maybe been taboo, or people don’t want to see in the art world,” says Santiago. “I’m most confident in expressing art that is personal to me. And that’s what’s happening to me right now—I’m a mother.”

Archibald, Wynne & Sulman Prize (Featuring Marikit Santiago) Art Gallery of New South Wales Until 10 January

IMMACULATE Casey Jenkins

Online (casey-jenkins.com) Monthly performance

The Past Imperfect

For Megan Evans, the past isn’t the province of history books. It’s the sum of complicated forces that shape the present day. For the last three decades, the artist—whose ancestors were from Scotland and Ireland, and who was married to the late Indigenous artist and activist Les Griggs—has made images, installations and sculpture that reflect on her role as the descendent of colonisers. PARLOUR, which won the 2019 Footscray Art Prize, shows viewers how power is upheld in domestic spaces and benign signifiers. Elsewhere, her ongoing Keloid project—referencing the term for a scar that grows beyond the original wound—challenges the privileges enshrined by whiteness while untangling the complexities of living on stolen land. “I’m interested in how one takes personal responsibility for these things,” says Evans. Here, she shares the stories behind five of her most compelling works.

A R T WOR K B Y

A S T OL D T O

Megan Evans

Neha Kale

Isabella Kelly nee Robertson (younger), 2012, digital print on rag, eucalyptus leaves, pins, 69.5 x 57 x 10 cm.

MEGA N EVA NS: Isabella Kelly was my great-grandmother. She was born in 1860 in Melbourne and this image is from one of her lockets. She married Patrick John Kelly. Her father came to Australia with his father, my greatgreat-grandfather, from Scotland. Isabella and Patrick were my first [ancestors] who were born here. They occupied land and I think if you were there at that time, you were complicit in what happened This was part of the first body of work I did for the Keloid project. I was dealing with extreme feelings of shame. I always distinguish between shame and guilt—I think guilt is negative. It works to suppress people who have already been oppressed. Isabella is peering out into the present but also hiding. The eucalyptus leaves are stuck onto pins, and the pins are stuck into her face.

Isabella’s helmet, 2018, digital print on rag, 50 x 62.5 cm.

MEGA N EVA NS: I’ve done a lot of performance and video work in a dress I had made based on one worn by Isabella. We talk a lot about the men that went out and conducted the massacres—but while that was going on, the women were sitting at home, doing embroidery, supposedly as part of a very civilised lifestyle. They may not have shot anybody, but they were also implicated. I always remember my mum meeting Isabella at the station in Sydney, because she lived on this big property in northwest New South Wales. She didn’t want to carry a hatbox—she wanted to carry her hats on her head. She was eccentric. There is something about that that prompted me to put a silver cloche, used to cover food, on my head.

Installation: Squatters and Savages, 2017, Art Gallery of Ballarat. L-R: Sovereign, 2016; Bleeding Chandelier, 2016; Cut, 2016; Shield, 2016. Photogr aph: Matthew Stanton.

MEGA N EVA NS: The red in my work is quite painful. My brother died of a heroin overdose and after he died, I used to tie a red ribboned scarf around my head. People always asked, "Why do you always wear that?" and I realised that it was the tourniquet he used. Years later, I started doing paintings that had red ribbons in them. I started seeing them as bloodlines, as connections to my ancestry—almost like veins. I look at objects as a kind of witness. People from the colonial era sat on those chairs and used that cutlery. Although the objects weren’t active they were part of the support structure of colonial violence. This exhibition, Squatters and Savages, was a collaborative project with artist Peter Waples-Crowe. Peter is Ngarigo and his Country is next to where my great-grandfather first occupied land. It was very real for both of us.

PARLOUR - Maree, 2019, digital print on rag, 200 x 150 cm.

MEGA N EVA NS: PARLOUR is a replication of the Lindsay Family Parlour at the Art Gallery of Ballarat. I took out most of the Lindsay family’s furniture and put in my furniture and photographs. It was about transforming that space to present evidence of what was going on at the time. Maree Clarke is wearing a Kopi mourning cap which is a traditional mourning practice from her culture. When someone died, they would cover their heads in white clay and the cap could sometimes be up to seven kilos in weight. The mourner would wear it until it disintegrated. Maree does Kopi healing workshops and when my mother died, she said, “I think you need to do a Kopi.” The clay covers your ears and when you have it on, it feels like you are protected from the outside world. When you lift it off, it is like you are lifting off the weight of the grief. It is an incredible thing.

Rabbits and Wrongs, 2018, digital print on rag, 75 x 100 cm.

MEGA N EVA NS: I’ve been collecting Victorian objects for a long time. The books in this photograph are Victorian Statutes from the 1800s and, like dictionaries, they go from A to Z. But this one is R to W and is titled Rabbit Suppression to Wrongs. Some of these Statutes include text about the surveying of land and the division of districts. Some of them relate directly to Gunditjmara land which was my husband’s Country. It makes you realise how brutal and insensitive the carving up of land was. One of the gloves features the word kurrk, which is the Wathawurrung word for blood. I got permission from an Elder to use that word. My work is both beautiful and brutal. I’m always interested in how art can seduce people and whack them on the head at the same time.

UNstable — Keloid #8 Megan Evans

Horsham Regional Gallery (80 Wilson Street, Horsham VIC) 1 December 2020—28 February

COMMENT

On the Ordinariness and Extraordinariness of This Thing We Call Art

W R ITER

Sophia Cai

Finding works of art in chores, cooking, and care.

It was the German artist Joseph Beuys who famously said that “every human being is an artist.” These oft-quoted words reflected the artist’s belief in the radical and transformative power of art, where “every sphere of human activity, even peeling a potato, can be a work of art as long as it is a conscious act.” Beuys would later coin the phrase ‘social sculpture’ to describe his concept of art being embedded in every aspect of life—meaning that everything is art and, by extension, everyone is an artist. While there is some optimistic comfort we can take from Beuys’s words, I wonder if it is truly possible for our experience of art to realise this idealism. Our engagement with art is often mediated through some form of structured exchange—its methods of display, its distribution, or the social networks that create what we know as the ‘art world.’ In other words, there is art, and there is the culture of art, one that has certain protocols that determine whether we consider something as ‘art’—and it is this intersection that I am interested in thinking about. This isn’t a question about mere definitions of art—it is a question of how we can imagine it. 2020 was not a kind year (and that is a generous understatement), and the impact on the arts and culture industries still remains to be seen. The devastating health crisis of Covid-19 has further exacerbated long-entrenched structural issues of racism, sexism and class privilege; we have witnessed a global arts industry grappling with these issues while simultaneously fighting to stay afloat. From calls for institutional accountability (see Instagram account @changet-

hemuseum), to artist-led protests against mass job losses and cuts, to rethinking access, audience, and participation through digital channels, it felt at times like we had truly reached a tipping point. It became a matter of not only daily survival, but also a matter of possibilities: what kind of post-Covid future(s) might art and artists be a part of? In Melbourne, after a year mostly spent collectively in lockdown, I have been forced to think more critically about the role of art—why it matters, and continues to matter. As a curator and writer who doesn’t make art, my experience with art has always been through external engagement. Spending six months unable to physically experience art exhibitions except through screenshots—where every interaction was mediated through my overworked laptop screen, where my daily walks with my dogs within the 5km radius became my whole world—has shifted my day-to-day priorities and recognition. Because while I dearly missed art, in hindsight I don’t think I ever truly went without it. I still experienced and saw so much creativity—and I don’t mean just online exhibitions or artist talks, although there was plenty of that. From handmade ‘villages’ of spoons installed at my local park, to dance videos shared through text messages, to visiting virtual islands in Animal Crossing, all of these activities of human endeavour and inspiration stayed with me. Thinking back on Beuys’s words, I wonder whether the truth of his claim lies in the fact that art-making will—and must—persist in these creative acts of the everyday, rather than the larger structures that hold

Illustration by Lee Lai.

the art world in place. I’m not saying that museums, galleries, universities, exhibitions and art fairs are unimportant and we should get rid of them, but can we perhap see in their recent absences something of a different value: how art is a fundamental way of experiencing human life that occurs in day-to-day life, not just in rarefied spaces. This isn’t, however, a clear-cut task. In trying to widen our scope of what we consider art, and embracing the creativity that comes from the sheer act of living, there is the question of how we can fully realise the idealism of Beuys’s words in an existing culture where art’s significance has historically been marketed on claims of its exclusivity and importance. This history is also one of the reasons why the halls of art history are predominantly filled with white men, because the input from women and people of colour is often undervalued as something without significance. Art’s ‘specialness’ has always been connected to what it was not, as much as what it is. But recognising the limits of this narrative—how our cultures of art shape but also restrict what is imaginable—can offer us a bold agency to reclaim what has been previously denied.

So, my question to you is: what might art without this culture of ‘significance’ look like? Is cooking a meal for our loved ones a work of art? What about completing our daily chores, caring for family, taking a long walk around the neighbourhood, or knitting a beanie for a friend? Are the choices we make, the daily actions we pursue, a form of world-building and therefore art-making? The ordinariness that I think of here is perhaps what makes art extraordinary, as something we do as part of everyday life—as necessary as breathing, eating, sleeping, and loving. And that makes it not just important, but also essential. Perhaps in my very small socially-distanced lockdown bubble, I had in some way escaped, even if temporarily, the structures of art that kept us down. But I gained something else along the way: a kind of affirmation of what art means to me. As we cautiously return to a new ‘normal’, the lesson I take with me is that art will persist whether or not our current cultures of art do, and that there is power in recognising art as a verb, not a noun. I hope we see how gate-keeping only keeps out possibilities not even yet considered, and that a future is one where multiplicities can, and should, exist simultaneously. This is what gives me hope.

Tiny Cellular Worlds Inside the poetic microcosms of Angela Valamanesh. W R ITER

Briony Downes

There is a quiet grace imbued within the oeuvre of Adelaide-based artist, Angela Valamanesh. For over 30 years, she has worked across drawing, installation and ceramics, producing exquisitely delicate forms recalling the cellular organisms found within nature and the human body. Circular, smooth or honeycombed, and often small enough to fit neatly in your palm, Valamanesh’s forms are both familiar and unfamiliar, appearing as though they balance on the cusp of reality and the imagined world. There is a sense of wonder there too—at the complex beauty of microcosms and the interconnectedness of all living things. First presented as JamFactory’s 2019 Icon exhibition (a series celebrating South Australian artists working in craft-based media), About being here is a retrospective survey tracing Valamanesh’s practice from the late 1990s onwards. Brought together by JamFactory curatorial director Margaret HancockDavis, the exhibition includes pen and ink drawings, watercolours and ceramics. Making connections between Valamanesh’s early and current practice, Hancock-Davis positions the 1997 work For a Long While There Were Only Plants as a thematic springboard for navigating the exhibition. A mixed media work consisting of numerous anatomy-inspired drawings dipped in wax, and a collection of tooth-like ceramic objects, this piece marks an important shift in Valamanesh’s practice: a pivotal point where her creative interest in nature and biology really came to the fore. Conceived while Valamanesh was completing

an MFA at the Glasgow School of Art as part of a Samstag scholarship, For a Long While There Were Only Plants was inspired by a book of human anatomy found in the photography section of the school’s library. “It was a textbook for teaching anatomy and I borrowed the book throughout the whole time I was there,” Valamanesh reveals. “As a high school student, I was always interested in biology and anatomy is part of that. Using black and white photography, this book showed the inside of the body, what you don’t normally see. We are so used to images of people in portraiture, but not so often do we see what’s inside of us. Anatomy was really mysterious to me and it was exciting to know more about it.” Valamanesh started out as a studio potter in the 1980s, and over the ensuing decade began pushing the boundaries of her practice to experiment with the sculptural qualities of clay. Following her time in Glasgow, Valamanesh moved away from making solely utilitarian objects and her practice became increasingly research-based. At times working collaboratively with her partner, fellow artist Hossein Valamanesh, she sought out more opportunities to further her knowledge of nature and science, travelling to the libraries of the Smithsonian Institution, the Australian National University in Canberra and the University of Adelaide. While there, she studied collections of rare books, scouring them for scientific and botanical illustrations. “A lot of rare books are early editions,” Valamanesh says. “To turn the pages of a book published in the 1700s is wonderful and I fell

Angela Valamanesh, Natural Histories #D, ceramic, 2 parts, 56 x 44 x 5.5 cm.

Angela Valamanesh, Earthly garden #12, 2011, ceramic, 23 x 40.5 x 6 cm.

“We are so used to images of people in portraiture, but not so often do we see what’s inside of us.” — A NGE L A VA L A M A N E SH

Angela Valamanesh, Tell us where we come from, 2018, ceramic, auto/marine power cable, 166 x 10 x 8 cm.

Angela Valamanesh, For a long while there were only plants, 1997, watercolour on paper dipped in wax, 176 x 380 cm.

in love with the drawings. These scientists had exceptional drawing skills.” While Valamanesh is profoundly inspired by scientific illustrations, the work she creates is not a direct replica of the images she peruses, but rather a distillation of memory and imagination. “I’m not a botanical illustrator or a scientist so I can free-range with how I make imagery,” she admits. Stylistic echoes of Robert Hooke’s drawings from his 1665 publication Micrographia, the botanical illustrations of seventeenth century plant anatomist Nehemiah Grew, and the detailed orchid studies of South Australian artist Rosa Fiveash, are all gently evident throughout About being here. ln the black-and-white watercolour Observations no.1, 2014, Valamanesh uses a circular frame to encase a horde of bacteria-like forms; while Earthly Garden #12, 2011, depicts earth-coloured ceramic pods tightly clustered together as though bubbling from the earth. The shiny black ceramic torsos seen in the 2017 series Insect/Orchid and 2018 series Dark Life clearly speak of their flora and fauna influence.

Following the completion of her PhD at the University of South Australia in 2012, Valamanesh has continued researching the development of early microscopes and their accompanying illustrated records. Freely admitting, “I always gravitate to a library,” Valamanesh has come to know the tiny cellular worlds of nature and biology even more intimately. “I have realised how life forms are all connected. Once you start looking at something under a microscope you can’t help but notice the similarities—everything is cellular, we are united with the plant and animal world. There is a form of identity there, a way of connecting with the natural world.”

JamFactory Icon Angela Valamanesh: About being here Riddoch Art Gallery (1 Bay Road, Mount Gambier SA) 18 December 2020—26 January

Flow of Language, Flow of Life Why Joi T. Arcand wants you to learn the Cree language. W R ITER

Steve Dow

Crafted in neon blue, Canadian Indigenous artist Joi T. Arcand’s latest installation, delivered in Cree syllables, has been built to pulse and glow in a wall cavity at the National Gallery of Victoria’s NGV Triennial. Her chosen words translate in Roman orthography as pimiciwan pimatisowin, which roughly means flow of water, and in turn flow of life. But Arcand, 38, who grew up on Muskeg Lake Cree Nation land in Saskatechewan, has often found that withholding translations of her works is an effective strategy: she prefers to get gallery visitors to look up her words and thus learn a little Cree. “A lot of people want to be hand-held through meaning and understanding,” Arcand explains from her home in Ottawa. “I find if somebody asks me, ‘Oh, what does that say?’ and I just tell them, they’ll say, ‘Oh, okay’, and walk away,” she laughs. “I want people to spend time with the shapes and the letters. I want them to think why they can’t read it; I want them to question that power imbalance. “I want them to feel uncomfortable, maybe, at the fact that they are used to being catered to, especially here in Canada—with English and French being the official languages, it’s pretty easy to go about your day without being confronted with any ‘otherness’.” In Canada, there are more than 70 First Nations languages spoken, and more than 100 dialects. The loss of languages is similar to the experience of Aboriginal and Torres Strait Islander people in Australia: here, about 120 Indigenous languages are still spoken, but this is much less than half the number

in use at the time of European colonisation. Arcand is yet to visit Australia, but nonetheless feels an affinity with the losses of language and culture suffered by First Nations people around the world, including those of Aboriginal Australians. “There’s always that relationality that you feel with other Indigenous groups, so I’m hoping the work will speak to Indigenous folks from all over the world,” she says. Following the International Year of Indigenous Languages in 2019, does Arcand sense a turn back to First Nations languages, particularly given their entwinement with land and country as the world deals with the environmental shocks of industrialisation and global warming? “I think so. The language and the land are interconnected in so many ways that you really have to understand the language to get those really specific teachings about the land. That’s something I’m trying to learn. It’s something that makes the language-keepers, the people that are still fluent, really precious.” Arcand felt connected to Cree culture and philosophy during her childhood; in recent times, Zoom conferences have supplemented her learning of language and culture from the living room of her Ottawa home. “It was a special experience growing up on the reserve around my family and my people,” she recalls. “But colonisation still heavily impacted us, which is why I’m not fluent in my language, so I still have to learn as an adult.”

Joi T. Arcand, ninohtē nēhiyawan, 2017, neon. Collection of the Winnipeg Art Gallery, Winnipeg. Courtesy of the artist. Photogr aphy: Scott Benesiina abandan.

Joi T. Arcand, Cree Comic Sans T-shirt.

“The language and the land are interconnected in so many ways that you really have to understand the language to get those really specific teachings about the land.” – JOI T. A RC A N D

Joi t. Arcand, ᓇᒨᔭ ᓂᑎᑌᐧᐃᐧᓇ ᓂᑕᔮᐣ (namōya nititwēwina nitayān), 2017, from the Wayfinding Series, LED channel sign, 195.58 x 248.92 x 25.4 cm. Image courtesy of the artist. Photogr aph: Don Lee.

During college, Arcand spent several summers working in the Muskeg Lake Archives, which consisted mostly of photographs from the community. Her job was to scan and input these images into an electronic database to allow people and subjects to be easily searched. Later she worked in layout and design using Cree and other First Nations languages, at the Saskatchewan Indigenous Cultural Centre. Some of Arcand’s earliest art practice consisted of photography, digital collage and graphic design. Arcand first turned to neon in 2017 when working on a light installation that would immerse people in the Cree language, “because neon really has its own energy; it also reminds people of a nostalgic feeling”. The same year, she started the brand Mad Aunty, for which she designs and sells T-shirts and laser-cut and 3D-printed jewellery from cursive and syllabic Cree words.

“It was a way to make my work as accessible to as many people as I can, and to make the work visible in wearable art,” she says. “So a person could buy a pair of earrings instead of a neon sign.” Arcand is keen on sometimes using the maligned Comic Sans font for this jewellery. “As a graphic designer I’m aware of the flack that often gets put onto that font, however I think it is a really accessible font and that’s why it is so ubiquitous; everybody has it, and it’s also extremely easy to read.” In naming her brand, the use of aunty “was to honour the role of the aunty, which is very prominent in First Nations cultures; it’s a term and role of respect. I’m an aunty to a lot of people, and the ‘mad’ was just more of an inside joke,” she laughs.

NGV Triennial

National Gallery of Victoria: NGV International (180 St Kilda Road, Melbourne VIC) 19 December 2020—18 April

JAM E S E T TE L SON A r e We T her e Yet ? Inst allation photogr aph by Jyles Rey nolds

arthousegallery.com.au

ARTHOUSE GALLERY 10 â&#x20AC;&#x201C; 27 Februar y 2021 66 McLachlan Avenue Rushcutters Bay NSW 2011 ar thousegaller y.com.au contact@ar thousegaller y.com.au

5 DEC 21 FEB

Gallery gional sula Re n Penin to g in A Morn

ion exhibit

NWOP supports and promotes contemporary Australian artists working on or with paper with up to $50,000 acquisitions and awards. Artists: Kim ANDERSON, Suzanne ARCHER, Lyn ASHBY, Peter ATKINS, Elizabeth BANFIELD, Hannah BEILHARZ, Chris BOND and Drew PETTIFER, Godwin BRADBEER, Kaye BROWN, Jane BURTON, Penelope CAIN, Marilou CHAGNAUD, Timothy COOK, Matt COYLE, Sam CRANSTOUN, Julia DAVIS and Lisa JONES, Stephen EASTAUGH, Naomi ELLER, Robert EWING, Robert FIELDING, Anna FINLAYSON, Belinda FOX, David FRAZER, Kath FRIES, Brian FUATA, Ash GARWOOD, Minna GILLIGAN, Shaun GLADWELL, Tamika GRANT-IRAMU, Katherine HATTAM, Judy HOLDING, Anna HOYLE, Clare HUMPHRIES, Winsome JOBLING, Deborah KELLY, Iluwanti KEN, Martin KING, Ilona KISS, Barbie KJAR, Jenna LEE, Dane LOVETT, Chips MACKINOLTY, Laith McGREGOR, Noel McKENNA, Roma McLAUGHLIN, Todd McMILLAN, Fiona McMONAGLE, Vera MÖLLER, Ray MONDE, Kent MORRIS, Tom O’HERN, Becc ORSZÁG, David PALLISER, Louise PARAMOR, Hubert PAREROULTJA, Riley PAYNE, Tom POLO, Patrick POUND, Linda PUNA, Cameron ROBBINS, Brian ROBINSON, Annika ROMEYN, Pip RYAN, Wendy SHARPE, Kylie STILLMAN, Jacqui STOCKDALE, Marina STROCCHI, Hiromi TANGO, Hossein VALAMANESH, Lisa WAUP, Rosie WEISS, Regina WILSON, Judith WRIGHT, Heidi YARDLEY

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FEM-a FFINITY Curated by CATHERINE BELL

30 JANUARY – 14 MARCH 2021 Bunjil Place Gallery 2 Patrick Northeast Drive, Narre Warren VIC 3805

Artists include: FULLI ANDRINOPOULOS, JANE TRENGOVE, DOROTHY BERRY, JILL ORR, WENDY DAWSON, HELGA GROVES, BRONWYN HACK, HEATHER SHIMMEN, EDEN MENTA, JANELLE LOW, CATHY STAUGHTON, PRUDENCE FLINT, LISA REID, AND YVETTE COPPERSMITH. FEM-aFFINITY is a NETS Victoria and Arts Project Australia touring exhibition

Exhibition Supporters This project has been assisted by the Australian Government through the Australia Council for the Arts its arts funding and advisory body, as well as receiving development assistance from NETS Victoria’s Exhibition Development Fund 2018, supported by the Victorian Government through Creative Victoria. Image: Eden Menta & Janelle Low, Eden and the Gorge 2019, inkjet print, ed. 1/5, 100 x 80 cm, Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne

www.bunjilplace.com.au bunjilplace.com.au

THE 8TH KOORIE ART SHOW 2020 5 DEC 2020 — 21 FEB 2021

Showcasing the extraordinary talent of Victoria’s Aboriginal and Torres Strait Islander artists Koorie Heritage Trust Yarra Building, Federation Square

Presented By

Poster Artwork: Peter Waples-Crowe (Ngarigo), 2020

koorieheritagetrust.com.au

ararat gallery tama

Looking Through Time Basketry from the TAMA Collection Please check website for reopening dates

Image: Lisa Waup, Looking Through Time (2017). ÂŠ The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photographer Fred Kroh.

A: 82 Vincent Street, Ararat, VIC 3377

E. gallery@ararat.vic.gov.au

T. (03) 5355 0220

W. araratgallerytama.com.au

araratgallerytama.com.au

STEAM DREAMS

Image: Kotaro Imada, Koto-Ku Tokiwayu, 2019, © the artist

The Japanese Public Bath

♨ FEBRUARY 12 - MAY 22 2021 ♨ Presented by

The Japan Foundation Gallery

Supported by

Level 4, Central Park 28 Broadway Chippendale NSW 2008 jpf.org.au

jpf.org.au

TRACEY CLEMENT

RECIPIENT OF 2019 BLAKE SCHOLARSHIP PRIZE Come and see the winner of the Established Artist residency Prize from the 65th Blake Prize in her solo exhibition. Image: Tracey Clement, Soon it would be too hotâ&#x20AC;¦ (detail, work in progress), 2020

23 JAN - 21 FEB Since 1951, The Blake Prize has encouraged contemporary artists of varied religious and spiritual allegiances to create artworks which explore spirituality, religion and/or belief. The prize attracts entries from artists around the world hoping to be hung in our iconic building, and to compete for various prizes including the $35,000 main prize.

13 FEB - 11 APR

LAUNCH: SAT 13 FEB

WWW.CASULAPOWERHOUSE.COM OPEN DAILY GALLERY ENTRY IS FREE!

casulapowerhouse.com

VOID 13 February - 18 April 2021 An exhibition curated by Emily McDaniel, in conjunction with UTS Gallery and Bathurst Regional Art Gallery, presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Governmentâ&#x20AC;&#x2122;s Visions of Australia program.

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays James TYLOR (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013, inkjet print on HahnemĂźhle paper with hole removed to a black velvet void, 63 x 63 cm framed. Courtesy the artist and UTS Art Collection

nag.org.au

BUNBURY BIENNALE HE

SHE

THEY

6 MARCH - 7 JUNE 2021 OPENING NIGHT 6 MARCH 2021, 6PM

BUNBURY R EG I O N A L ART G A LLE R Y W I LG E R MIA

EXHIBITING ARTISTS Carla

Adams

Christophe Elaine

Vicki

Canato

Clocherty

Ames

| |

Benjamin

David

Carson

Penny

Coss

| |

Bannan

Janet Mel

Carter Dare

Nathan

Beard

Olga

Cironis

Annette

Davis

Jackson

Elisa

Markes-Young

Vahri

McKenzie

#Bunbur yBiennale2021

Artwork courtesy of Christophe Canato

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OCCURRENT AFFAIR

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UQ ART MUSEUM art-museum.uq.edu.au

boroondara.vic.gov.au/arts

AMBER BOARDMAN DECISION FATIGUE JAN 28 - FEB 27

CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU

Dream Home Renovation, 2020 oil on canvas, 213.4 x 182.9cm chalkhorse.com.au

JUBIL ATION: DIA MONDS & PEARLS

CHRISTMAS / SUMMER AT THE JOHNSTON COLLECTION 1 DECEMBER 2020 – 23 FEBRUARY 2021

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

HELLO@JOHNSTONCOLLECTION.ORG +61 3 9416 2515

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KEEP INFORMED – CONNECT WITH US

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Telly Tu’u

27 January - 13 February 2021

kingstreetgallery.com.au

Telly

Petrichor 2020 oil on canvas 183x183cm

27 January - 13 February 2021

27 January - 13 F

kingstreetgallery.com.au kingstreetgallery.com.au kingstreetgallery.com.au

Petrichor 2020 oil on canvas 183x183cm

oil on c

mga.org.au

ACU Art Collection: A new perspective

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Published by Australian Catholic University (ACU), 2020 Managing editor: Caroline Field, Curator, ACU Art Collection Comprising highlights from the Australian Catholic Universityâ&#x20AC;&#x2122;s art collection revealed through essays by renowned art historians, religious commentators, curators, art writers and critical thinkers. This richly illustrated publication presents a range of artworks in diverse mediums, from early medieval sculpture, stained glass and textiles through to works in oil, acrylic, print, ceramics and, most recently, 21st Century glass. The international and Australian artists represented include Matteo di Giovanni, Taddeo di Bartolo, Justin Oâ&#x20AC;&#x2122;Brien, Arthur Boyd, Angelina Pwerle, Pippin Drysdale and Helen Johnson. Contributors to A new perspective include John Fahey AC, GCSG,

Professor Greg Craven AO, GCSG, Professor Zlatko Skrbis, Most Rev. Anthony Fisher OP, Professor Anne Dunlop, Dr Ursula Betka, Anne Marie Brody, Dr Felicity Harley, Associate Professor Alison Inglis, Simone Chetcuti, Fr Anthony Casamento CSMA, Dr Hilary Maddocks, Dr Louise Marshall, Caroline Field, Dr Christine Nicholls, Damien Freeman, Alasdair Macintyre and Victoria Perin. Each of their essays focuses on one or two works of art and invites the reader to look more closely and gain a new perspective. Hardcover + case, pp. 120, 66 colour illustrations. RRP $49.99 (P&P $15 within Australia) ISBN: 978-1-922097-86-6

Available via: artsandculture.acu.edu.au/exclusive-gifts Or contact: Philippa Murdoch, 03 9953 3516 | Philippa.murdoch@acu.edu.au

artsandculture.acu.edu.au/exclusive-gifts

10 February – 31 March

The Pandemic Bodies Fan Dongwang Macquarie University Art Gallery Supported by 2020 COVID-19 Response Funding from: Create NSW Australia Council of the Arts and National Association of Visual Arts.

Fan Dongwang, Pandemic Body, acrylic on canvas, 2020, 36 x 46 cm.

The Chancellery, 19 Eastern Road, Macquarie University, Sydney NSW 02 9850 7437 Wed to Fri 11am–4pm. artgallery.mq.edu.au The Pandemic Bodies and Glass Armours are part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore. Participating Galleries: Art Space on The Concourse, Gallery Lane Cove, Incinerator Art Space and Macquarie University Art Gallery.

3 February – 27 February

Glass Armours NC Qin Gallery Lane Cove NC Qin, Head Case, cast crystal glass. Photography by Felix Esteban.

Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. gallerylanecove.com.au gallerylanecove.com.au

Main image: Cindy Yuen-Zhe Chen, Fluvial Dynamics: Rain, Wind, People, 2020, ink on Wenzhou paper. Insert: Louise Zhang, Scholar Mound (with Rope) Study, 2019, foam clay, polyurethane, wood, flatpack pearls. Photo by Silversalt Photography.

Presented by Willoughby City Council and Chatswood Year of the Ox Festival

3 â&#x20AC;&#x201C; 28 February

Resonant Flows Cindy Yuen-Zhe Chen Art Space on The Concourse

Precious Treasures

Amy Fu, Jason D Phu, Justin Qian, Guan Wei, Yang Xifa, Louise Zhang Curated by Guan Wei. Incinerator Art Space

In partnership with Australia-China Institute for Arts and Culture at Western Sydney University. Resonant Flows and Precious Treasures are part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore. Participating Galleries: Art Space on The Concourse, Gallery Lane Cove, Incinerator Art Space and Macquarie University Art Gallery.

www.willoughby.nsw.gov.au/arts

Art Space on The Concourse: 409 Victoria Ave, Chatswood. Incinerator Art Space: 2 Small Street, Willoughby. willoughby.nsw.gov.au/arts

lintonandkay.com.au

GALLERY ARTISTS LIGHT AND SHADE Until 30 January West Perth Gallery

Eleanor Millard, Low Cloud, 2020, acrylic on Arches aquarelle paper, 90 x 103 cm.

ADRIAN LOCKHART SEA LEVEL Until 24 January Cherubino Wines Margaret River

Adrian Lockhart, Beach Figures AL2029, 2019, mixed media on paper, 90 x 139 cm.

BRETT CANET-GIBSON LIGHT ENTERS UPSIDE DOWN 6 - 28 February Mandoon Estate Gallery

Brett Canet-Gibson, Astor Gelato, 2020 [detail], digital photographic print, 40 x 60 cm. Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 6465 4314 perth@lintonandkay.com.au

Mandoon Estate Winery 10 Harris Road Caversham WA 6055 Telephone +61 8 9388 2116 info@lintonandkay.com.au

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Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 2116 info@lintonandkay.com.au

noosaregionalgallery.com.au

Chau Chak Wing Museum Find the unexpected

Book your free visit sydney.edu.au/museum

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sydney.edu.au/museum

15/10/20 10:23 am

ararat gallery tama

Looking Through Time Basketry from the TAMA Collection Please check website for reopening dates

Image: Lisa Waup, Looking Through Time (2017). ÂŠ The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photographer Fred Kroh.

A: 82 Vincent Street, Ararat, VIC 3377

E. gallery@ararat.vic.gov.au

T. (03) 5355 0220

W. araratgallerytama.com.au

araratgallerytama.com.au

Redcliffe Art Gallery 5 December 2020 - 27 February 2021 1 Irene Street, Redcliffe Qld 4020 â&#x20AC;˘ (07) 5433 3811 moretonbay.qld.gov.au/redcliffe-art-gallery

moretonbay.qld.gov.au/redcliffe-art-gallery

devonportgallery.com

neram.com.au

ARTIST IN RESIDENCE EXHIBITIONS 12 December – 30 January

Sonja Porcaro A LINE, A CURVE, A RIVER, A SONG An exploration of Sauerbier House and its surrounds, including the cultural/historical significance of the Ngangkiparinga (women’s river) and the colonial implications – via the visual, tactile and audible. A line, a curve, a river, a song, 2020, decorative plate holder, glass, felt, dimensions variable. Image Sam Roberts.

Rita Kellaway HARD SHADOWS Ancient, local geological rock formations are reimagined in an exploration of form, line, and imagery in glass. Onkaparinga Scopulus (detail), 2020, kiln-formed glass, 28 x 6 x 5cm. Image courtesy artist.

SAUERBIER HOUSE culture exchange 21 Wearing Street, Port Noarlunga | 8186 1393

Wed to Fri 10am–4pm | Sat 1–4pm

onkaparingacity.com/arts SH_AIR_Porcaro/Kellaway_ArtGuide_240x170mm.indd 1

onkaparingacity.com/arts

27/11/20 12:23 pm

qvmag.tas.gov.au

Kenny Pittock Melted Bubbleâ&#x20AC;&#x2122;O Bill 2020, acrylic on ceramic, 26 x 3 x 25cm, Image courtesy the artist

Tweed Regional Gallery & Margaret Olley Art Centre is supported by the NSW Government through Create NSW. artgallery.tweed.nsw.gov.au

Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility

thealchemist.net.au

9 BY 5 EXHIBITION 3 December 2020 â&#x20AC;&#x201C; 23 January 2021 A nationally recognised exhibition that celebrates diversity within the arts community. Now in its 15th year the 9 by 5 Exhibition continues proving that small things can have a big impact. Artists from around Australia present their creativity on panels measuring nine inches by five inches in a wide variety of styles. Visit the exhibition at Walker Street Gallery and Arts Centre, Dandenong greaterdandenong.vic.gov.au/9by5 | 8571 1000

Image: Marie-Therese Wisniowski, Rainforest Beauty, 2019, hand painted and silkscreened, nine inches by five inches

greaterdandenong.vic.gov.au/9by5

OLGA CIRONIS This Space Between Us 13 March – 10 April 2021 Exhibition and Launch of New Artist Monograph Essays by Lisa Slade, Paola Anselmi and Jacqueline Millner

Representing Western Australia’s leading artists EXHIBITIONS // BOOKS // TALKS // ART FAIRS 2/565 Hay Street, Cathedral Square, Perth +61 8 9325 7237 // art@artcollectivewa.com.au // www.artcollectivewa.com.au

artcollectivewa.com.au

artvango.com.au

From top left: Alan Jones - Olsen Gallery • Ann Thomson - Defiance Gallery Lucy Culliton - King Street Gallery • Nick Stathopoulos Tim Maguire - Martin Browne Contemporary • James Drinkwater - Nanda\Hobbs Contemporary Paul Ryan - Nanda\Hobbs Contemporary

Art Van Go • Fine Art Transportation • 0404 027 445 • www.artvango.com.au

guzzler.net.au

Burrinja Gallery | Digital Experience October 31 2020 - February 27 2021 Legacy: Reflections on Mabo celebrates the man behind the game-changing Native Title Act, Eddie Koiki Mabo through bringing together a selection of works by Indigenous and non-Indigenous artists in the spirit of reconciliation, twenty-nine years after the historic achievement. Burrinja is the only Victorian stop on the exhibitions tour and is hosting a dual delivery of the works. Initially as a digital experience and then from January 20th, 2021 in the Burrinja Gallery. To explore the exhibition & upcoming public program please visit exhibitions.burrinja.org.au Burrinja | cnr Glenfern Road and Matson Drive, Upwey, Vic 3158 | ph 03 9754 1509 | burrinja.org.au Image: Arone Meeks, Mabo 25 & Big Wet Community (detail), 2018. Painting on canvas, 183 x 62 cm. Photo: Carl Warner. Firefox

ďŹ le:///Users/bonniemelrose/Desktop/ACF_Logo_Blue.svg

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LAUNCH / SATURDAY

JANUARY / 4:30 PM 30 JAN. / 14 MAR.

MATHIEU BRIAND Songes

STOCKROOM 98 Piper St, Kyneton 03 5422 3215 info@stockroom.space www.stockroom.space

Mathieu Briand le corps au repos et allonge et masque 2021 stockroom.space

Aâ&#x20AC;&#x201C;Z Exhibitions

JANUARY/FEBRUARY 2021

Victoria

James Street, McClelland Drive,

Flinders Lane, Gertrude Street, Sturt Street, Federation Square,

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

Nicholson Street, Willis Street, Abbotsford Street, Little Malop Street, Tinning Street, Cureton Avenue, Alma Road, Langford Street, Lydiard Street North, Albert Street, Horseshoe Bend, Bourke Street, Whitehorse Road, Vere Street, Barkers Road, Roberts Avenue, Templestowe Road, Church Street

ar t g ui d e .c o m . au

Anna Schwartz Gallery → Shaun Gladwell, Homo Suburbiensis, 2020, (still), high definition video (4K), colour, sound, 13 minutes 5 seconds, Cinematographer: Skye Davies. © Shaun Gladwell. Courtesy of the artist and Anna Schwartz Gallery.

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] Reopening 11 February. See our website for more information.

Five distinct sections frame the major moments in moving image history, including the origins and future of cinema, production design and the creative process, Australian culture and stories, the rise of videogames, and how screens inform, influence and empower us.

assertion of their mastery over nature, Darling Darling invites us to reconsider our relationship to the concept of conservation in the face of environmental degradation.

Anna Schwartz Gallery www.annaschwartzgallery.com

Gabriella Hirst, Darling Darling, still, 2020. 11 February–29 April Gabriella Hirst: Darling Darling

Annabelle Butterfly Dance, Thomas Edison, USA, 1897, Library of Congress, Photographs of hand coloured nitrate print by Barbara Flueckiger. Opening 11 February The Story of the Moving Image ACMI’s centrepiece is the interactive free exhibition The Story of the Moving Image. The exhibition traverses time, countries and cultures in a mesmerising exploration of an art form that changed the world. Use our Lens to dive deeper, discover new favourites and inspire your curiosity beyond the museum experience. 122

A two-screen video work that juxtaposes the meticulous care taken to restore WC Piguenit’s 19th Century Romantic painting of the Barka-Darling River, The flood in the Darling 1890 (1895), with footage of the present-day ecological plight of the river system. In recent years drought and excess upstream diversion of water has caused severe water scarcity and a series of mass fish kills along the basin. Darling Darling’s carefully composed shots of the river in crisis reference revered colonial-era artists like Eugene von Guérard, John Glover, Conrad Martens, Nicholas Chevalie, Ludwig Becker and of course, WC Piguenit. While the sweeping vistas in their paintings suggest the divinity of nature, their works also served earthlier purposes – framing resources to be exploited by settlers. By examining the devastating effects of the settlers’

185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12pm–5pm, Sat 1pm–5pm. See our website for latest information. 6 February–24 April Homo Suburbiensis Shaun Gladwell

Simon Fujiwara, Joanne, 2016. Courtesy of FVU and The Photographers’ Gallery Produced by PHOTO 2021. Presented by Anna Schwartz Gallery. 18 February–6 March Joanne Simon Fujiwara In association with PHOTO 2021.

Artbank www.artbank.gov.au 18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 Mon to Fri open by appointment. See our website for latest infomation.

ARC ONE Gallery www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Tue to Sat 11am–5pm. See our website for latest information.

Until 21 February Federation University Australia 150 Anniversary Trail A walk through the Gallery collection with a selection of work by some of the artists associated with the Federation University Arts Academy and its predecessors. Until 14 February Pitcha Makin Fellas: Join the club A celebration (and criticism) of Australia’s favourite sport by Ballarat-based Indigenous artist collective the Pitcha Makin Fellas. Madeleine Cruise and Ruby Pilven: The golden pantomime A showcase of ceramics and paintings which celebrate the theatricality of domestic life. Until 7 March David Frazer: Another night on earth Wood engravings and linocuts which explore the intricacies of the human condition by Castlemaine-based printmaker David Frazer.

Artbank Collingwood. Photo: Ben Hosking . Our showroom in Melbourne is currently closed. Please contact Artbank on 1800 251 651 for further information. Pat Brassington, Flushed, 2019, pigment print, 75 x 75 cm.

Ararat Gallery TAMA www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. Until April Inga Hunter: Works from the TAMA Collection.

2 February—6 March Night Swimming Pat Brassington Part of the PHOTO 2021 program.

Until 14 March Tracey Moffatt and Gary Hillberg: Montages, The Full Cut, 1999–2015 The full set of eight montage films by artist Tracey Moffatt and long-time collaborator Gary Hillberg. Part of PHOTO 2021, a new international festival of photography. Until 14 March Trent Parke: Avenue of Honour

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for opening hours. 9 January–31 January Marcia King: I think you’re on mute Humorous, personal and engaging portraits of people conversing online.

A record of a living memorial, leading photographer Trent Parke has photographed 22 trees from Ballarat’s Avenue of Honour, putting them against the stories of the soldiers they commemorate. Part of PHOTO 2021, a new international festival of photography. Until July Glenn Morgan: Global warming A 10-metre long work exploring themes of environmental catastrophe, marked by the artist’s whimsical humour. 5 February–28 February Stewart Hobson: Head study Works which look at the human psyche and contemporary media. 13 February–18 April Mutual realities: Finding common ground in uncertain times Four pairs of Ballartat-based artists working in different media have been commissioned to create new work responding to the COVID pandemic. 13 February–18 April Vipoo Srivalasa: COVID superhroes

Lisa Waup, Looking Through Time, 2017, emu feathers, parrot feathers, lyrebird feathers, pandanus (dyed), hemp, 100% cottons, shells, kelp, kangaroo ribs, and possum fur, 20.5 x 14 x 19 cm. © The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: Fred Kroh. Until May Looking Through Time: Basketry from the TAMA Collection.

David Noonan, Untitled, 2019. screenprint on hand-dyed linen collage. Courtesy of David Noonan and Anna Schwartz Gallery. © David Noonan. Until 31 January David Noonan: Stagecraft Large silkscreen collages on fabric, tapestries and film created by Ballarat-born international artist David Noonan has made between 2015 and 2020 which create a tension between abstraction and representation, and between truth and illusion.

Ceramic artist Vipoo Srivalasa has created a collection of figures inspired by the COVID dreams of people in the Ballarat community. 20 February–16 May Next Gen 2021: VCE art and design The Gallery’s annual show of work created by students studying VCE art subjects in 2020.

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ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 10am–5pm, Sat, Sun and public holidays 11am–4pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 12 noon–5pm. Closed until 8 January. See our website for latest information. ArtSpace at Realm: December 2020—28 February Before Time: Angkamuthi meets Gunditjmara Teho Ropeyarn and Vicki Couzens, curated by Kelly Koumalastos. Rich in storytelling, Before time: Angkamuthi meets Gunditjmara presents the creative practices of Teho Ropeyarn and Vicki Couzens. Both artists echo a deep connection with their cultures—Teho Ropeyarn draws on the traditions of the Angkamuthi and Yadhaykana clan groups from Cape York Peninsula in Queensland and Vicki Couzens portrays imagery from her Gunditjmara heritage, the traditional owners of the Victorian region near Warrnambool. In bringing these two geographically disparate artists together, Exhibition curator Kelly Koumalatsos

(left) Vicki Couzens, Ponponpoorramook (red-tailed black cockatoo), 2007 handcoloured etching. Image drawn on the plate by the artist and printed by APW Printer Martin King at Australian Print Workshop, Melbourne, 2007. (right) Teho Ropeyarn, Uyinthayn, 2017, ink, mixed media vinyl-cut print with acrylic wash on hahnemühlepaper, vinyl-cut print on paper. Artist represented by Kick Arts, Cairns. bridges the usual north-south divide through presenting connections found within the stories and the visual imagery. Maroondah Federation Estate Gallery: 24 November 2020—29 January CIVICS Curated by Laura McLean. This exhibition considers the theoretical, political, and practical aspects of citizenship, as well as its rights and duties. It does this through a highly focussed and localised study of the settlement of Ringwood and surrounds, taking as its starting point a selection of historical photographs, paintings, and objects drawn from the collections of the Ringwood Historical and District Society and Maroondah City Council. These are

Fernando do Campo, The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), 2020. Photography: Shan Turner-Carroll. accompanied by contemporary artworks, strategically deployed to disrupt the celebratory narrative of placemaking. They consider the history of governance, and the ways in which imperial systems of data collection, organisation, and representation are used to form nation states and territories. Participating artists: Fernando do Campo, Rose Nolan, Tom Nicholson, Raquel Ormella, Zoë Sadokierski & Kate Sweetapple, Jan Sebinski, and James Alfred Turner.

Arts Project Australia www.artsproject.org.au/explore/ virtual-exhibitions/ 24 High Street, Northcote, VIC 3070 [Map 5] 03 9482 4484 See our website for latest information.

ACCA → Mimosa Echard, installation view, Cracher un image de toi / Spitting an image of you, (with Hannah Buonaguro and Ryan Foerster), VNH, Paris, 2019. Photograph: Johanna Benaïnous. 124

VICTORIA walking tours, created in the lead-up to the forthcoming exhibition and research project Who’s Afraid of Public Space?, which will open in the summer of 2021–22.

Australian Print Workshop www.australianprintworkshop.com 210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 Director: Anne Virgo OAM Tues to Sat 10am–5pm. Free entry. See our website for latest information.

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Weds to Fri 11am–5pm, Sat and Sun 1pm–5pm. See our website for latest information.

Australian Tapestry Workshop Matthew Gove, Guess whos coming to dinner, 2018, gouache on paper, 38.5 x 28 cm. Online January/February Mapping Our Own Future Mapping Our Own Future presents regular virtual exhibitions curated from Art Project Australia’s stockroom. Extending beyond the physical gallery, the series offers a virtual space to connect with Arts Project Australia artists.

Australian Centre for Contemporary Art (ACCA) www.acca.melbourne 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm.

www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. ATW will be closed to the public until 10am Tuesday 12 January. See our website for latest information. Due to COVID-19 please check the ATW website for the latest viewing times. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis.

Curators: Max Delany and Miriam Kelly. Six Walks Writers Idil Ali, Timmah Ball, Tony Birch, Sophie Cunningham, Eleanor Jackson and Christos Tsiolkas share sites of personal, professional and cultural significance around Melbourne in a series of audio

28 January–7 March Bayside Local Now in its third year, Bayside Local is a much-anticipated annual exhibition that celebrates the high calibre of work produced by artists who live and work in the Bayside area. This year we are also including Bayside years 11 & 12 VCE students.

Bendigo Art Gallery www.bendigoartgallery.com.au

5 December 2020–15 March Overlapping Magisteria: The 2020 Macfarlane Commissions Encompassing living organisms, kinetic installations and immersive assemblages, Overlapping Magisteria pays attention to multiple ways of knowing, sensing, feeling and interacting with the world. The works by participating artists including Robert Andrew, Mimosa Echard, Sidney McMahon, Sam Petersen and Isadora Vaughan, draw on various social, cultural, technical and material forms, unsettling the lingering divide between nature and culture towards more complex realms of knowledge and experience. Overlapping Magisteria is the second edition of the Macfarlane Commissions, a multi-year partnership that supports ambitious projects by contemporary artists.

Mark Forbes, Tan lines, 2019, C-Type print from medium format film image, 91.4 x 76.2 cm. Courtesy of the artist.

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. See our website for latest information.

Siri Hayes, Matcha and Gold Leaf for Luella, 2018 , archival pigment print on cotton rag, 77 x 62 cm. Image courtesy of the artist. 1 December 2020—26 February Make the World Again Eva Heiky Olga Abbinga, Kay Abude, Mary Burgess, Cresside Collette, Siri Hayes, Valerie Kirk, Sara Lindsay, Vicki Mason, Julia Raath, Shuklay Tahpo, Ilka White, Liz Williamson and Susie Vickery. Curated by Kevin Murray.

Grace Rosendale, Seed Pods, 2019. Silk organza. Courtesy of the artist, Hopevale Arts and Cultural Centre and Queensland University of Technology Model: Magnolia Maymuru. Photographer: Bronwyn Kidd. 31 October 2020—17 January Piinpi: Contemporary Indigenous Fashion 125

ar t g ui d e .c o m . au Bendigo Art Gallery continued... 21 November 2020—31 January Void 17 October 2020—7 February Paul Guest Drawing Prize 31 October 2020—7 February Living Treasures: Masters of Australian Craft Prue Venables

24 February—13 March Micro-(bial) Tenancies | 2020 Emerging Curator Mentorship Curated by Abbra Kotlarczyk. Mentor: Kyla McFarlane.

Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–5pm. See our website for latest information.

by drawing upon interdisciplinary and collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. FEMaFFINITY is a NETS Victoria and Arts Project Australia touring exhibition.

Peta Clancy, Undercurrent, 2018–19, inkjet pigment print. Image courtesy of the artist. 12 November 2020—28 March Undercurrent Peta Clancy

Buxton Contemporary www.buxtoncontemporary.com

BLINDSIDE

Corner Dodds St and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 See our website for latest information.

www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] Tue to Sat 12–6pm (during exhibition program). Closed on public holidays.

Juliette Pénélope Pépin, working conditions, 2020, digital moving image, 22:50min. Courtesy of the artist. 1 November 2020—31 January SATELLITE | working conditions Juliette Pénélope Pépin Curated by James Carey 14 January—23 January SUMMER STUDIO Residency Program 4 February—20 February DEBUT XVII Curated by Josephine Mead and Chloe Hazelwood

John Mawurndjul, Ngalyod, 2012. Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2015 © John Mawurndjul / Copyright Agency, 2019. Photograph: Jessica Maurer. 24 November—17 January 2021 John Mawurndjul: I am the old and the new Experience the work of one of Australia’s leading contemporary artists—master bark painter John Mawurndjul—as he shares the concepts that shape Kuninjku culture in Western Arnhem Land. Exhibition organised and toured by the Museum of Contemporary Art Australia. This project has been assisted by the Australian Government’s Visions of Australia program. 30 January—14 March FEM-aFFINITY Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack, Janelle Low, Eden Menta, Jill Orr, Lisa Reid, Heather Shimmen, Cathy Staughton and Jane Trengove.

Debris Facility Pty Ltd, Matter Liaison, 2020, graphic interface and project design. Courtesy of the artist. 126

Eden Menta and Janelle Low, Eden and the Gorge, 2019, inkjet print, ed. 1/5, 100 x 80 cm. Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne.

FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Dr Catherine Bell, this exhibition uncovers shared perspectives on female identity

Installation view, The Otolith Group: Xenogenesis, Buxton Contemporary, The University of Melbourne 2020, with O Horizon, 2018 (still), Courtesy of the Otolith Group and LUX, London © the artists, photography Christian Capurro. 2 December 2020—14 February The Otolith Group: Xenogenesis Curated by Annie Fletcher This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the exhibition is derived from the science fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler. The Otolith Group was founded in London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations.Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.

VICTORIA

CCP → Ruth Maddison, My parents gave me a colourful life (1976), 2020, pigment print on rag paper, 100 x 148 cm. Courtesy of the artist. to the present—from her earliest iconic hand-coloured works, the working life of women, Melbourne’s social and cultural life of the 1980s, and Maddison’s documentation of the people and industries of her adopted home of Eden. CCP will also premiere Maddison’s The Fellow Traveller, a photographic installation exploring her father’s radical political activities from the 1950s–1980s.

CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat 12noon–5pm or by appointment. Installation view 2019 ILFORD CCP Salon — supported by Milieu. Image: J Forsyth. 16 January—6 February 2020 ILFORD CCP Salon — supported by Milieu

Aaron Christopher Rees. Courtesy of the artist. 5 February—6 March Horizon Aaron Christopher Rees As a part of PHOTO 2021. This project is supported by the City of Melbourne COVID-19 arts grants. Opening Friday 5 February, 6pm–8pm.

Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Wed to Sun 11am—5pm.

Australia’s largest open-entry photomedia exhibition and competition, the 2020 ILFORD CCP Salon — supported by Milieu provides an invaluable opportunity for both emerging and established photographers to exhibit their work in a high-profile context. In past years, digital, analogue, video, 3D works and self-published photobooks have filled CCP and this year we are excited to once again present a diverse snapshot of contemporary Australian photomedia practice. CCP is also pleased to announce that for the first time the exhibition will be presented both online and in the gallery.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5.30pm. See our website for latest information.

20 February—18 April Ruth Maddison: It was the best of times, it was the worst of times CCP presents a major survey of one of Australia’s preeminent social documentary and feminist photographers, Ruth Maddison. The exhibition celebrates Maddison’s significant contribution to the documentation of Australian life and society from the 1970s

Janet Dawson, Scribble Rock cabbage, 1990-1995, pastel on paper, 37.5 x 53 cm. 16 February—27 February Works on Paper The Annual Summer Group Show 127

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Counihan Gallery

Deakin University Art Gallery at Burwood

www.moreland.vic.gov.au

www.deakin.edu.au/art-collection/

233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1–5pm. See our website for latest information. Craft Victoria, Inside. Imagery Lauren Bamford and Stephanie Somebody.

221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tue to Fri 10am–4pm during exhibitions. Closed public holidays. See our website for latest information.

Bringing together Australian ceramicists, jewellers, glassmakers, weavers, stonemasons and furniture makers.

The Dax Centre www.daxcentre.org

Karena Goldfinch & unnamed Afghan woman, I would like to build a shelter or a guest house for street children, (detail), 2018, photogravure print and embroidery cotton, 32 x 32 cm. Image courtesy of the artists. 6 February—21 March Making Marks: Australia to Afghanistan Curated by Sharon Plummer.

30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 Wed to Fri 11am–3.30pm, plus last Sunday of each month 12noon–3pm. See our website for latest information. The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art.

Sandy Gibbs, Jondi Keane and Patrick Pound, The Spacer, 2019, digital video of public actions in Venice. © and courtesy of the artists. 27 January—26 March Venetian Blind Curated by Professor David Cross and Associate Professor Cameron Bishop this exhibition features over 23 Australian and New Zealand artists and creative researchers.

Eastgate Gallery www.eastgatejarman.com.au 158 Burwood Road, Hawthorn, VIC 3122 [Map 6] 03 9818 1656 See our website for latest information. Eastgate Gallery is proud to exhibit a broad range of Australian artists, from early twentieth century, and Australian modernists, through to contemporary, on a changing annual program.

Heather Hesterman, Mobile garden, 2019, digital print. Image courtesy of the artist. 6 February—21 March Garden Heather Hesterman

East Gippsland Art Gallery www.eastgippslandartgallery.org.au

Craft Victoria

2 Nicholson Street, Bairnsdale, VIC 3875 [Map 4] 03 5153 1988 See our website for latest information.

www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Mon to Fri 11am–5pm, Sat 11am–4pm. See our website for latest information. 16 November 2020—30 January Inside Inside presents a maximalist celebration of contemporary craft practice today through a series of curated tableaux. Featuring the work of over 50 emerging and established craft practitioners, this exhibition reflects the expansive creativity present in contemporary making. 128

Del Kathryn Barton, the glow is freed, 2020, acrylic, gouache, oil stick, dupion silk border on paper, 155 x 110 cm. 10 September 2020—31 January Child and Mother Curated by Del Kathryn Barton and inspired by the impressive oeuvre and unique aesthetic of Patricia Stewart, Child and Mother is a rich visual exploration of relationships and connection. Featuring new works by Del Kathryn Barton, Patricia Stewart, and works from the Cunningham Dax Collection.

East Gippsland Art Gallery is the centre for visual arts in East Gippsland celebrating the diverse artistic spirit of the region through a vibrant and dynamic program of art and cultural experiences for the whole family. We are open to bold ideas, different ways of seeing and championing the visual arts and artists in our region. We are passionate about engaging and inspiring the next generation of art lovers in our community. Every month we have exhibition openings, artist talks, events and art workshops. Experience the ever-changing environment and amazing opportunities and experiences our gallery offers.

VICTORIA

Everywhen Artspace → Raylene Walatinna, Ngayuku Ngura, acrylic on linen, 152 x 198 cm. Courtesy of the artist and Iwantja Arts.

Everywhen Artspace www.mccullochandmcculloch. com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Open daily 11–4pm (January), Fri to Tue 11–4pm, Wed & Thur by appointment (February). See our website for latest information.

Federation University www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Free admission. See our website for latest information.

Finkelstein Gallery www.finkelsteingallery.com Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 Open by appointment. See our website for latest information.

Everywhen Artspace features work from 40 Aboriginal-owned community art centres gallerists Susan McCulloch and Emily McCulloch Childs represent and select contemporary non-Indigenous Australian art.

Ben Ward, Bilbijy, natural pigment on canvas, 100 x 200 cm. Courtesy of the artist and Waringarri Arts. 29 December 2020—23 February The Summer Collector’s Show Outstanding Aboriginal art from the APY Lands, Arnhem Land, the Kimberley, the Pilbara, the Western, Central and Eastern Deserts, Utopia, Far North Queensland and Victoria.

Angeline Koot, 3rd year Visual Arts, Reminiscent of the Peranakans, 2020, acrylic on canvas, 45.7 x 61 cm. Courtesy of the artist. 4 March—1 April EYE2021 – End of Year Student Exhibition Celebrating the work of current and graduating students from Federation University’s Arts Academy Ballarat campus. Ann Betts, Anthea Bidwell, Jessica Chaplin, Daniel Cullinan, Kathryn Drum, Vienna Drysdale Bischard, Lauren Espie, Max Evans, Miles Foley, Tameka Hague, Tyra Howard, Caleb Jordan, Clayton Keefe, Angeline Koot, Georgia Leonard, Lauren Matthews, Tess McLoughlan, Sarah Taylor, Brittany Tucker, Ella Young.

Louise Paramor, Infringement notice, 2020, inkjet print, 120 x 85 cm. 4 February—13 March Parallel Universe Louise Paramor

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ENTRIES CLOSE 8 FEBRUARY

Biennial visual art prize, open nationally

$28,000 in prize money, featuring categories for: • The coveted ‘main’ prize of $10,000 • Local acquisition prize of $10,000

• Street art • Emerging artists • School students

For more information and to enter, visit www.footscrayartprize.com Proudly presented by

footscrayartprize.com

VICTORIA

Flinders Lane Gallery www.flg.com.au

19 January—30 January Stiff Upper Lip Cally Lotz Paintings

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri, 11am–6pm, Sat 11am– 5pm or 3pm on last Saturday of each exhibition for de-install. Closed Sun and Mon. See our website for latest information.

Shannon Smiley, On the outside looking in, 2020, oil on canvas, 30 x 36 cm. 12 December 2020—3 February Current State Shannon Smiley

Angela Hayes, Quiet One and Quietly, 2020, earthenware, fired in oxidation, dimensions variable.

Hannah Quinlivan, Shroud, 2020, aluminium, acrylic and shadow, 180 x 247 x 37 cm. 15 January—30 January Nocturne Hannah Quinlivan

2 February—13 February Seasons Rosanna Caldwell, Pauline Meade, Angela Hayes, Ann Knights, Lauren Joffe, Danielle Segal Ceramics

Harold David, Sad Novas Dying Cry, 2020, mixed media on canvas, 160 x 130 cm. 6 February—3 March These Things Take Time Barry Tate, Bart Sanciolo, Bec Juniper, Mark Dustin, Harold David, Mark Schaller, Chonggang Du, Eddie Botha, Emilie Heurtevent, Esther Erlich, Mark Davis, Nigel Sense, Odelle Morshuis, Peter Thomas, Shannon Smiley, Stephen Glassborow, Tim Clarkson, Victor Rubin.

Margaret Nangala Gallagher, Yankirri Jukurrpa (Emu Dreaming), acrylic on canvas, 107 x 107 cm. 2 February—13 February Warlukurlangu Artists 16 February—5 March Limerence, Landscape and Chaos Caroline Rannersberger

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am– 3pm. See our website for latest information. 19 January—30 January QUIETUDE of the land, the figure and the flower Alison Percy Paintings

Sue Beyer, Untitled 20, after Arthur Boyd, The Australian Scapegoat, 2020, synthetic polymer on linen, 138 x 107 cm. 2 February—13 February Transformer Sue Beyer Paintings and digital 16 February—27 February 3000 Streets Mike Reed Photography

Fox Galleries www.foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Tue to Sat 10am–6pm. See our website for latest information.

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Mon to Fri 10am–4pm. See our website for latest information. Cube and FAC Galleries: 17 December 2020—22 January #STYLE Bronwyn Kidd Photographer Bronwyn Kidd exhibits exquisite, nostalgic, triumphal high-fashion imagery of two vital decades across the turn of the century and their radically changing styles. Fashion photography is the camera art most closely scrutinised, and by the largest audience. But its 131

CAROLINE RANNERSBERGER AFTER ARCADIA / 16 FEBRUARY - 5 MARCH 2021

Level 1, The Nicholas Building, Corner Flinders Lane 37 Swanston St, Melbourne 3000 VIC T 03 96543332 www.flg.com.au info@flg.com.au Tues-Fri 11am - 6pm Sat 11am - 5pm 1989 - 2021 Director Claire Harris

flg.com.au

VICTORIA Frankston Arts Centre continued...

Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am–4.15pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. Monday and public holidays, by appointment only. See our website for latest information.

Collection leads: Kate Beynon—kindred spirits, installation view, Geelong Gallery, 2020. Photographer: Andrew Curtis. merges diverse pictorial traditions with personal histories to address issues of hybridity, cultural identity and feminism.

Bronwyn Kidd , Homage to John French, London, 1995, selenium toned gelatin silver print (2019), 42.6 x 40.4 cm. © Bronwyn Kidd, courtesy of the artist and MARS Gallery (Melbourne). aesthetics are absorbed unconsciously by those of us who think we are looking at the clothing as embodiments of desire as powerful as that of politics, power and wealth and which enfold those very cravings. This show reveals how that allure is created.

Bart Sanciolo, Sunset Point Lookout, acrylic on canvas. 122 x 153 cm. 2 January—16 February Gallery Elysium Summer Show

Agata Mayes, Origins (detail), The Essence Series, 2019, video installation.

Featuring artists from the Gallery Elysium stockroom. Check our website at www. galleryelysium.com.au and click on to the ‘Current Show’ tag to preview works on exhibition.

21 January—12 February The Essence Agata Mayes

Gallerysmith

An immersive and alluring installation that offers a unique, sensorial experience by combining soundscape, sculpture, video and photography, exploring the subject of consciousness by challenging our views on reality and the origin of the universe.

170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 or 0425 809 328 See our website for latest information.

February—March Ventana Art Exhibitions and Opening Event

Geelong Gallery

Explore a range of exhibitions throughout the Frankston Arts Centre & Cube 37 that present cultures past and present from the Americas and Australia. Glass Cube + Art After Dark: 26 November 2020—7 February EQUILIBRIUM Interconnectedness Kathleen Gonzalez, Maria Esther Pena Briceno and Sebastian Barahona A sculptural installation that interweaves performance, experimental music, visuals and life rituals, celebrating the winter solstice from diverse cultural backgrounds.

www.gallerysmith.com.au

www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. See our website for latest information. Until 17 January Collection leads: Kindred spirits Kate Beynon This Collection leads exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li: a Chinese ghost tale to provide greater insights to Beynon’s practice in which she

Jacky Redgate, HOLD ON #3, 2019–20, pigment ink on fabric. Courtesy of the artist and ARC ONE Gallery, Melbourne © Jacky Redgate. Until 14 February HOLD ON Jacky Redgate Redgate has a 40 year practice and is critically acclaimed as one of Australia’s leading contemporary artists. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. Redgate is well known for her sculptural and photographic works using systems and logic, and particularly for her sustained series of ‘mirror’ works over the past two decades that have engaged with optical phenomena, ‘perceptual dislocations’ and slippages between representation and abstraction. Until 21 February A shining light—recent acquisitions 2019–20 This diverse selection of recent acquisitions reveals intersecting responses to landscape, to country, to environment, to human frailties, and to the very acts of making and seeing. Until 18 April Scenic Victoria—Land, sea, city Works from the Geelong Gallery’s exceptional collection to survey artists’ enduring interest and engagement with the landscapes, seascapes and cityscapes of our region and wider State, with a specific focus on artistic responses to locations of personal significance. 27 February—16 May RONE in Geelong Over the last two decades, Geelong-born artist RONE has built an exceptional 133

ar t g ui d e .c o m . au Geelong Gallery continued... reputation for large-scale wall paintings and immersive installations that explore concepts of beauty and decay. RONE’s latest site-specific installation will transform Geelong Gallery’s rooms in response to the architecture and history of the building, and the Gallery’s collection. The first comprehensive survey of RONE’s career to date will also be presented, charting the artist’s practice from early stencil works and street art, to photographs documenting major installations that have transformed abandoned spaces. Entry fees apply: visit the website for details.

Gertrude Contemporary www.gertrude.org.au 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 Thu to Sun 12–5pm. See our website for latest information. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood VIC 3066 Thu to Sat 12–5pm. See our website for latest information.

22 January—7 February A.M.E Bale Travelling Scholarship and Art Prize exhibition of finalists 11 February—28 February International Baccalaureate Visual Arts Exhibition

Gippsland Art Gallery www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri, 9am–5pm Sat, Sun & Pub Hols 10am–4pm. See our website for latest information.

5 October 2020—31 December Stories from the Collection This exhibition delves into the deep, multi-layered history of the Gippsland Art Gallery’s permanent collection in an ever-evolving journey through the ages.

Hamilton Gallery www.hamiltongallery.org 107 Brown Street, Hamilton, VIC 3300 [Map 4] 03 5573 0460 Mon to Fri 10am–5pm, Sat & Sun 10am–2pm. Free entry. See our website for latest information.

7 November 2020—21 February earth songs earth songs is an exhibition, primarily drawn from the Gallery’s permanent collection, that challenges and extends our understanding of ‘landscape art’. The exhibition includes artworks by Martin King, John Wolseley, Sarah Hendy, Fred Williams, G.W. Bot, Kasia Fabijanska, Peter Gardiner, and Portia Geach, alongside many others.

Margaret Olley, Lilies, oil on board, anonymous donation, Hamilton Gallery Collection. Celia Rosser, Banksia robur (Swamp Banksia), 1973, watercolour and pencil on paper, 55.8 x 76.2 cm. Monash University Collection, donated by the Botany Department, Monash University, 1989 Courtesy of Monash University Museum of Art. 25 January 2020—25 July The Art of Annemieke Mein

Natalie Thomas, Find better rich people, 2020, acrylic on paper, 62 x 80 cm. Courtesy of the artist. 26 November 2020—24 January Gertrude Contemporary: River Capital Commission 2020: Natalie Thomas, Stage Fright

Glen Eira City Council Gallery www.gleneira.vic.gov.au Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri, 1pm–5pm, Sat 1pm–5pm and Sun 10am–5pm. See our website for latest information. 134

A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist. 8 August 2020—28 February Banksia Lady Celia Rosser Banksia Lady celebrates the internationally acclaimed botanical illustrator Celia Rosser, and her outstanding contribution to the study of the Banksia. This show draws together artworks which document a selection of the genus of the Banksia, as well as specimens that Rosser collected herself during her working life. 22 August 2020—28 February Artist Proof – The Collective Spirit of Freestone Press Artist Proof celebrates the ten-year anniversary of Freestone Press with an exciting and dynamic group show of the current members. Freestone Press is a collaborative printmaking studio based in Briagolong, Gippsland.

Until 31 January Margaret Olley: Interiors Margaret Olley is one of Australia’s most popular artists and this exhibition highlights her lifelong passion for painting interiors and still life. Until 31 January Brit Pop International works on paper and decorative arts collection. Until 31 January Sublime and Beautiful: The Grampians Works from the Hamilton Gallery collection in celebration of the unique local landscape.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. 28 November 2020—14 February Joy Hester: Remember Me 28 November 2020—21 February Carolyn Eskdale: Memory Horizon

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Horsham Regional Art Gallery → Michael Cook, Livin’ the dream (Vacation), 2020, Inkjet print on archival Hahnemuhle cotton rag, 120 x 180cm, edition of 8 + 2 APs. Courtesy of the artist and THIS IS NO FANTASY, Melbourne. 28 November 2020—14 February Archie Barry: Fistimuff 28 November 2020—14 March Albert Tucker: Marking the Past 28 November 2020—7 February House of Ideas

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575

1 December 2020—28 February UNstable | Keloid #8 Megan Evans Featured in this exhibition is Unstable aesthetic, a series of works that represents the fragile and unstable claim that Evans asserts we have on the land given the lack of a treaty with the First Nations people. Objects from Victorian times connect Evans with the great-grandmother that she never knew but has been told she is like, in both looks and character.

Fireworks is Moonee Valley’s annual VCE art and design awards for students who live, work or study in Moonee Valley. You can find out more about shortlisted artists via the gallery website.

23 January—28 February Livin’ the Dream Michael Cook Cook offers a retake on Australian history by imagining a contemporary Indigenous community with Aboriginals living the lifestyle prescribed by white norms. The disjuncture between the reality of Indigenous life and the white Australian dream/ideal raises the questions ‘what makes a person civilised?’ and suggests how different history might have been if those Europeans had realised that the Aborigines were indeed civilised. Cook’s works reinterpret Australian history and reframe entrenched narratives through the eyes of Indigenous Australians. Part of PHOTO 2021 International Festival of Photography.

Incinerator Gallery www.incineratorgallery.com.au Megan Evans, Isabella’s helmet, 2019, from the series The Observance of Objects, digital print on rag paper, 50 x 63 cm. Edition of 7. Courtesy of the artist.

8 December 2020—17 January Fireworks Year 11 and 12 students across Moonee Valley

180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm.

Garrie Maguire, 2018.05.04: Seeking in Dali, China (detail). 8 December 2020—17 January Seeking New Gold Mountain Garrie Maguire A photographic project that gives visual representation to those who have left home to seek a better life in another country. 8 December 2020—17 January Instants Isabel and Lina Buck Instants is a newly developed work performed at Incinerator Gallery between 135

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Incinerator Gallery → Lina and Isabel Buck, Instants, 2020, still from recorded video 7’09’’, 7’49’’, 7’15’’, 7’15’’ timber, rubber, fabric, foam. Incinerator Gallery continued... COVID-19 lockdowns. A mediation of architectural and material echoes within the gallery, Instants approaches an environment led by time and physicality – constructing an overlapping melody of activity.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information.

world - mountains, coastlines, inland water, undersea. Her prints highlight environmental issues of world parks, atomic testing, endangered species, migratory birds and food chains. Late January—28 February Loft 275: 2020 Banyule Art Salon The biennial Banyule Art Salon returns, showcasing the artistic talents of the local community. This year, artists were asked to show us what they made whilst in lockdown in Melbourne: What inspired them? What got them through this difficult time? This multi-disciplinary community art exhibition is sure to provide some food for thought.

Kingston Arts www.kingstonarts.com.au

Wendy Black at Dag Printing, Hardware House, 1979. Photographer: Martin Munz. Late January—21 March Art Gallery 275: Five Decades: The Art of Wendy Black This retrospective showcases the screenprints of Wendy Black. Her journey from art school, student union politics and community print workshops to a personal art practice that explores the natural 136

G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Wed to Sat, 12noon–5pm. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale 03 9556 4440 Wed to Sat, 12noon–5pm. See our website for latest information. Free entry. 12 December 2020—23 January G3 Artspace: The Poetry of Things Presented by Rebecca Marshall. A new exhibition and window installation at G3 Artspace by Kingston Studio Artist,

Rebecca Marshall, 12 Moons, (detail), 2020, acrylic on canvas. Rebecca Marshall. Her paintings and sculptures are created with candycoloured hues and feature recurring horizontal lines, patterns and overlays. Repetitive motifs are employed as a visual tool to create compositions, which connect light and colour to transcend everyday experience. 16 December 2020—27 February Kingston Arts Centre Galleries: OptiKA 2020 Photographic Award Presented by Kingston Arts. Kingston Arts’ presents the OptiKA 2020 Photographic Award exhibition. Photographers and video makers of all skill-levels were invited to showcase images of Kingston that responded to the creative and timely theme of ‘Connection’. The 112 entries provide an emotive and diverse snapshot of the Kingston community during the COVID-19 pandemic, which saw photographers capture everything from well-known settings to intimate domestic scenes within their 5km travel zone during Melbourne’s lockdown.

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Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Mon until Fri 10am–5pm, Sat, Sun & public holidays 11am–4pm. See our website for latest information.

Until 14 February Great movements of feeling Megan Cope, Pauline Delaney, Helen Grogan, Anne Hand, Nik Pantazopoulos, Stuart Ringholt, Sriwhana Spong (New Zealand/United Kingdom) and Sue Williamson (South Africa).

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun for a limited number of visitors in two sessions: 11.15am–1pm and 2pm–3.45pm. See our website for latest information. 5 December 2020–31 January Linden Postcard Show 2020–21 Let’s celebrate the 30th Birthday of the Linden Postcard Show. Unlike any Postcard Show birthday you’ve seen before, we’ve invited back some of the past winners, from 30 years of the show’s history, to exhibit their current work.

John Abery, My Brother Had a Big Red Trike, 2016, laminated timber, 115 x 64 x 115 cm. Courtesy of the artist. Peter Waples-Crowe (Ngarigo), Koorie Art Show Poster 2020, poster design. 5 December 2020—21 February 8th Koorie Art Show 2020

Until 7 February Do you remember? An exhibition of childhood memories John Abery Electric – Selected works from the LRG Collection

Lamington Drive

Abdul Abdullah, Penny Byrne, William Eicholtz, Sarah crowEST, Robert Fenton, Prudence Flint, Josh Foley, Anna Hoyle, Helen Johnson, Michael Kluge, Rob McHaffie, Scott Miles, Jennifer Mills, Grant Nimmo, Greg Penn, Kenny Pittock, Louise Rippert, Hedy Ritterman, Valerie Sparks, Richard Stringer, Steffie Wallace.

LON Gallery www.longallery.com

www.lamingtondrive.com

21 Easey Street, Collingwood, VIC 3066 [Map 3] 0400 983 604 Thu to Sat 12–5pm. See our website for latest information.

52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 See our website for latest information. The gallery exists to simultaneously explore the idea of showcasing commercial artists in a traditional gallery space, and as a venue in which illustrators, cartoonists, photographers and designers can explore this same art/commercial art tension in their practices.

Lauraine Diggins Fine Art www.diggins.com.au 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue–Fri, 10am–6pm. Other times by appointment. Please contact the gallery prior to visiting. See our website for latest information. Specialists in Australian colonial, impressionist, modern, contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

Artist unknown, Flemish stained glass, c 15th century, 27 x 20 cm. Australian Catholic University Art Collection, Acquired 2017 Image courtesy Australian Catholic University. Until 14 February Transparent reflection Andrea McCallum RGB: A selection of recent video art Tess McKenzie screening 4 January– 31 January, Mark Hooper screening 1 February–14 February.

Christopher Day, Untitled, 2020, pigment print, 43 x 32 cm. Edition of 3. 10 February—7 March Inimical Cave Christopher Day As part of PHOTO 2021. 137

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LUMAS Gallery www.au.lumas.com 597 Church Street, Richmond, VIC 3121 [Map 6] 03 9421 3525 Mon to Wed 9am–5pm, Thu and Fri 9am—6pm, Sat and Sun 10am—5pm. See our website for latest information.

cal drawings with modern graphic design. Among other venues, their works have been presented at the Musee des Arts Decoratifs Paris, the Powerhouse Museum Sydney and the Shanghai Museum of Glass. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable to Art Guide Australia readers.

McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information.

Georg Popp, Silent Morning in the Cypress Swamp. 15 February—28 February Around the World in Contemporary Photography Georg Popp

Luc Dratwa, Taking Off, 21:45. 1 January—15 January Flying High Luc Dratwa Some moments are brief, but full of emotion. Like when your plane is flying over New York City and the Manhattan skyline comes into view. The city that never sleeps, yet always stirs our dreams – a place full of yearning. The fascinating photos in Luc Dratwa’s Flying High series offer a new way to gaze into the city. Through the window of an airplane, the architectural grandeur of the cosmopolitan city will awaken your memories of New York. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable for Art Guide readers. 15 January—31 January Pure Nature William Patino Depictions of fulminating landscape photography by Australian photographer William Patino. Patino’s pictures enthrall us with all the scene force of nature itself by seizing the pictorial space as mountain ranges or lush New Zealand vegetation. At the same time, the photographer succeeds in compressing this immense terrestrial spectacle into a narrative that unfolds anew with each viewing. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable to Art Guide readers. 1 February—15 February Stylistic Botanicals Rive Roshan Amsterdam-based artist duo Rive Roshan captivate viewers with their expressive, iconic works: the duo masterfully unites the stylistic elements of historical botani138

The endeavour to achieve an outstanding motif of nature is not to be underestimated. To shoot the ethereal cypress forests of Louisiana’s swamps in the best morning or evening ambience, photographer Georg Popp often paddles through the water in darkness. His breath-taking artworks like far beyond the hotspots of nature photography, something which alone makes them extraordinarily unique. Receive a free small floral artwork (13 x 13 cm) with any purchase at LUMAS. Offer only redeemable to Art Guide Australia readers.

Manningham Art Gallery www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Mon to Fri 8am–5pm. See our website for latest information.

Philip Samartzis, recording at Watts Hut, Eastern Antarctica, 2010. Courtesy of the artist. 2 December 2020—11 April SITE & SOUND: Sonic art as ecological practice Steve Adam, Ros Bandt, Leah Barclay, Philip Brophy, Daniel Browning, Christophe Charles, David Chesworth, Madelynne Cornish, Robert Curgenven, Reuben Derrick, Sarah Edwards, Lawrence English, Nigel Frayne, Susan Frykberg, Amy Hanley, Liquid Architecture, Rachel Meyers, Xen Nhà, Steaphan Paton, Frans Ari Pasetyo, Douglas Quin, Philip Samartzis and Eugene Ughetti, Thembi Soddell, Tina Stefanou, Barry Truax, Chris Watson, and Jana Winderen. Highlighting the importance of listening, the exhibition SITE & SOUND posits sound as an inherently ecological medium—our aural comprehension embodies ecological modes of thought that can hopefully fuel an intuitive understanding of today’s urgent and complex environmental issues. Significant sonic works, including newly commissioned projects, will be installed both within and beyond the gallery across the internal spaces and outdoor environment of McClelland. Through an evolving presentation program, SITE & SOUND surveys diverse practices to reveal the connections between deep listening, field recording, acoustic ecology, natural science, and spatialised sound in contemporary art. 29 March 2020— 3 January Inside Out: Space and Process Erwin Fabian and Anne-Marie May

David Wadelton, Bulleen Corner, 2020, digital photograph. 2 February—27 March Empty Streets and Stacked Chairs An exhibition of photographs by David Wadelton and Bill McAuley documenting life across Manningham during the last days of the first COVID-19 lockdown in March and April 2020.

Inside Out: Space and Process presents the work of two Melbourne artists from different generations, born 50 years apart, who evidence an enduring concern with material, space and process through sculpture and installation. Erwin Fabian and Anne-Marie May use a range of found industrial and domestic materials to undertake intuitive explorations of colour, abstraction and space. Through open-ended processes, their works are informed by the very properties of the

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Anne-Marie May, installation view, Inside Out: Space and Process 2020. Photo Christian Capurro.

Over a decade, the Red Cliffs resident assembled a collection of more than a thousand plants, adding 10 species to the list of plants formally recorded in Victoria. Originally conserved at Mildura Arts Centre, Eileen’s plant collection is now housed in the National Herbarium of Victoria at Royal Botanic Gardens Victoria, where it contributes to critical science and conservation research. The Mallee on the Map provides a special glimpse into this important collection and celebrates Eileen’s life and botanical legacy.

28 January—18 April Landscape Christine Johnson Two landscape paintings hang opposite one another. At first, the images appear to closely resemble each other; in fact, they are depictions of locations on opposite sides of the world.

Missing Persons www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 See our website for latest information.

material they use, and offer the viewer a dynamic experience of the space within and beyond each object.

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Mon to Fri 10am–4pm. See our website for latest information. 3 December 2020—28 February Art Directions 2020 Art Educators Celebrating the diversity and skills of Sunraysia’s art educators. Art teachers strive to inspire, nurture, motivate, role model, demonstrate, encourage, recognize, affirm, stimulate, connect, organize, understand, adapt, identify, listen … They particularly love encouraging enquiring minds to explore the possibilities of living a creative life. Sometimes they also find time to paint, draw, photograph, film, sculpt, collage and weave and sew: this exhibition shares some of their artworks with our wider community.

Ptilotus exaltatus, collected by Eileen Ramsay near Nowingi in 1950. Royal Botanic Gardens Victoria. 13 February—Sunday 25 April The Mallee on the Map Presented by Royal Botanic Gardens Victoria and Mildura Arts Centre When Eileen Ramsay began collecting plants in the late 1940s, the self-described ‘lover of the wild’ and passionate plant collector expressed a most earnest desire to help put the Mallee area on the map.

Image courtesy of Les Chandler. 13 February—Sunday 25 April Ahead of his time Les Chandler: Born in 1888, Les Chandler was a man of vision years ahead of his time. Les Chandler was a renowned ornithologist, conservationist, prolific writer and one of Australia’s first bird photographers. The many interests of Les Chandler are captured in this interesting photographic exhibition. 28 January—18 April Soundscape and Landscape The Troopships of Anzac, a poem by Mallee botanist Eileen Ramsay, née Couve. Visual artist: Christine Johnson Sound artist: Angus Craig The soundscape and reading of the poem are a contemplation of a possible aspect of the emotional life of Mallee botanist Eileen Ramsay; of the profound grief and loss she is said to have experienced when her two brothers, Alan and Tom were both killed at Gallipoli in 1915. In the poem she imagines soldiers on the voyage from Albany, Western Australia, bound for Anzac Cove. Every Anzac Day, Eileen Ramsay was known to retreat to the bush, to seek solitude and to remember her brothers. She wrote The Troopships of Anzac while living in Red Cliffs, where her family moved after World War I. Soundscape Angus Craig The soundscape takes us with Eileen as she goes out in her old car with her two dogs before dawn on Anzac Day. She walks into the bush along the banks of the Murray, stopping to sit and wait for the sunrise. We hear sounds of the bush at night which slowly shift to early morning birdsong. We hear Eileen’s voice as she recites the poem to herself.

materialiZm 7 January—10 January materialiZm Musée du Strip Exhibition opening 6 January, 6pm–8pm, Thurs to Sat 12noon–6pm and Sunday 12noon–4pm.

Hoda Afshar, Agonistes (still) 2020, 1-channel digital video, colour, sound. Courtesy of the artist and Milani Gallery, Brisbane. 18 February—7 March Agonistes Hoda Afshar Commissioned by Photo Australia for PHOTO 2021. Weds to Sun 12noon–5pm.

Modern Times www.moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Mon to Sun 11am–4pm. See our website for latest information.

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Mike Reed 3000 Streets Exhibition Runs 16 - 27 February 2021 mikereedphotography.com @mikereedphoto

Tue to Fri: 11am – 5pm Sat: 11am – 3pm

Image: Mike Reed, Arrested (detail), 2013, Fuji Lustre C-Type, 50 x 42 cm

fortyfivedownstairs.com

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Monash Gallery of Art → Helen Grace, At the house, 1981/2020, pigment ink-jet print, 220 x 330 cm. Courtesy of the artist.

Monash Gallery of Art www.mga.org.au

Wed to Fri 10am–5pm, Sat 12—5pm during exhibitions. Free entry.

860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm. See our website for latest information. 31 October 2020—7 February William and Winifred Bowness Photography Prize In 2020 MGA celebrates its 30th anniversary and the Bowness Photography Prize marks its 15th year. Over the last 15 years, the Bowness Photography Prize has emerged as an important annual survey of contemporary photographic practice in Australia and one of the most prestigious prizes in the country. The prize continues to showcase excellence in photography. A $30,000 acquisitive award with a $5,000 People’s Choice Award supported by Smith & Singer.

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145.

MADA Now, Honours 2019, installation view, Zara Sully, Sarah Ujmaia, Augusta Richardson. Photography: Zan Wimberley. 27 January—30 January MADA Now, Monash Fine Art Graduate Exhibition

Monash University Museum of Art – MUMA www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 Tues to Fri 10am–5pm, Sat 12noon–5pm. Free admission. See our website for latest information.

Nici Cumpston, Great-grandmother, Barka, 2020, Adelaide, Kaurna Country pigment inkjet print, 80 x 80 cm. Courtesy of the artist and Michael Reid Gallery. 6 February—10 April Tree Story Brook Garru Andrew, Yto Barrada, Christophe Berdaguer and Marie Péjus, Joseph Beuys, Tania Bruguera , Hayley Panangka Coulthard, Nici Cumpston, Agnes Denes, Yanni Florence, Ceal Floyer, Nicole Foreshew, Henrik Håkansson, Beth Mbitjana Inkamala, Judith Pungarta Inkamala, Tim Johnson, Reena Saini Kallat, Peter Kennedy, Olga Kisseleva, Janet Laurence, MAIX Reserved Forest, Brian Martin, Kent Morris, Peter Mungkuri OAM, Optronic Kinetics, Uriel Orlow, Jill Orr, Katie Paterson, Ed Ruscha, Yasmin Smith, Daniel Steegmann Mangrané, Stelarc, Linda Tegg, The Tree School.

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thealchemist.net.au

deansart.com.au

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Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 Tue–Sun 11am–4pm. See our website for latest information.

5 February—6 March Neon Parc Brunswick: Dale Frank

National Gallery of Victoria – The Ian Potter Centre NGV Australia www.ngv.vic.gov.au

National Gallery of Victoria – NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

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.

Riley Payne, Twenty Twenty, 2020, pencil and coloured pencil on paper, 42 x 35 cm. 5 December 2020—21 February 2020 National Works on Paper NWOP supports and promotes contemporary Australian artists working on or with paper with up to $50,000 acquisitions and awards (including the $15,000 Mornington Peninsula Shire major acquisitive award). Seventy-six artists from all corners of Australia have been shortlisted from over 1100 entries for the 2020 National Works on Paper (NWOP) prize. An MPRG exhibition.

Destiny Deacon, Kuku/Erub/Mer born 1957, Heart broken, 2006, lightjet photograph from Polaroid photograph, 80 x 100 cm (image). Courtesy of the artist © Destiny Deacon.

Atong Atem, Paanda 2015, 2019 printed from the Studio series 2015, digital type C print, ed. 5/10. 84.1 x 59.4 cm (image) 92.8 x 63.2 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2019. © Atong Atem, courtesy Mars Gallery, Melbourne. 19 December 2020—18 April NGV Triennial 2020

23 November 2020—14 February DESTINY

Neon Parc www.neonparc.com.au City: 1/53 Bourke Street, Melbourne, VIC 3000 [Map 2] Brunswick: 15 Tinning Street, Brunswick VIC 3056 [Map 5] 03 9663 0911 Thu to Sat 12–5pm or by appointment. See our website for latest information. Ivan Durrant , Feeding, 1970, synthetic polymer paint on composition board, 61.3 x 76.5 cm. Collection of the artist © Ivan Durrant. 23 November 2020—18 April Ivan Durrant Barrier Draw 23 November 2020– 8 March TIWI 27 June 2020—31 January Top Arts 2020 Dale Frank, Gamberetti, 2020, tinted varnish, epoxyglass on perspex, 200 x 150 cm.

17 August 2019—24 January Marking Time: Indigenous Art from the NGV

Peter Tully, Early flight attendants vest 1990, retrospectra graphic plastic, lamé, metallic thread, cotton, 48.5 cm (centre back) 48.0 cm (waist, flat). National Gallery of Victoria, Melbourne. Purchased from Admission Funds, 1991. © Courtesy of the copyright owner, Merlene Gibson (sister). This digital record has been made available on NGV Collection Online through the generous support of Professor AGL Shaw AO Bequest. 19 December 2020—29 August Spectrum: An Exploration of Colour 143

Image credit: Wyndham Art Prize 2020 Winner copywrong by Amala Groom

Wyndham Art Prize 2021

Entries Open 1 NOV - 21 FEB 2021 $12,000 Non-acquisitive Prize $5,000 Local Emerging Art Prize $ 2 , 5 0 0 P e o p l e â&#x20AC;&#x2122;s C h o i c e Aw a r d Exhibition 13 MAY - 27 JUN 2021 Wyndham Art Gallery Great Art. Deep West. 177 Watton St, Werribee Vic

#deepwest wyndham.vic.gov.au/arts wyndham.vic.gov.au/arts

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Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Thur to Sat 12noon–5pm. See our website for latest information.

Sean Meilak, Untitled, 2020, acrylic paint, Ply, mdf, polystyrene, steel, pva, liquid nails, 103 x 70 x 20 cm. 20 January—6 February Sean Meilak

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 Tue to Sat 11am–5pm and by appt.

No Vacancy Gallery www.no-vacancy.com.au 34-40 Jane Bell Lane, QV Building, VIC 3000 03 9663 3798 Tue & Wed 8am–4pm, Thu & Fri 8am–6pm, Sat 1pm–4pm. See our website for latest information.

PG Printmaker Gallery www.printmakergallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tues to Fri 10am–5.30pm, Sat 10am–5pm. See our website for latest information.

Jessi Wong , Cosmos, woodblock print, rolled paper in timber frame, 62 x 72 cm.

Harry Rothel, Cloaked figure, oil on canvas, 2020, 145 x 145 cm. 26 January—7 February terra incognita Harry Rothel

Old Quad www.about.unimelb.edu.au/old-quad Building 150, The University of Melbourne, Parkville Campus VIC 3010 [Map 5] Mon to Fri 10am—4pm. See our website for latest information.

11 February—25 February Aftermath and Rebirth Jessi Wong These 3-dimensional imagined sea- and landscapes draw inspiration from the effect of human activity on the environment. The dystopian landscapes are occasionally dark, barren and bleak in shades of grey and black in an imagining of the future. They are sometimes a strong bright red with yellow clouds, drawing reference to the skies after a nuclear apocalypse; or they can be deep blue, like a vast expanse of water engulfing the planet. Other 2-dimensional works on paper are borne from the misprints and offcuts of these works and rebirthed through a combination of collage, drawing, and print. These are more playful in nature and act as a contrast to their original intention. While different in subject matter, these works rely on the creation of the other and emerge as hope in the aftermath of the destruction.

Unknown (photographer), Bryan Dowling conducting MUCS at Tallebudgera campsite, Gold Coast 1961, graphic reproduction. Courtesy of Australian Intervarsity Choral Societies Association, Melbourne. Eleanor Louise Butt, Yellow blocked out sketch on brown ground, 2019, oil on cotton, 127 x 100 cm. 27 January—13 February Eleanor Louise Butt 16 February—6 March Rhys Lee

22 February—7 May Multivocal Multivocal celebrates the creation, performance and experience of music at the University of Melbourne, past and present. Showcasing the cultural collections of the University that focus on music in its many forms.

Kim Barter, NNW, 2020, limited edition monoprint on cotton rag paper, unique state, 39.5 x 39.5 cm. Shop online today: Featured works by Kim Barter 145

The Multiverse 16 January - 27 March 2021 Xanthe Dobbie | IMMI | Bhenji Ra as part of Club Ate with Justin Shoulder | Diego Ramirez | Kaylene Whiskey. Curated by Charlotte Christie

Li | Shannon Lyons 13 January - 27 March 2021

Through the hand to the mouth | Jeremy Eaton 13 January - 27 March 2021

www.bundoorahomestead.com

IMAGE: IMMI (Kaspar Schmidt Mumm) IMMI in The Multiverse, 2020 (detail) digital image. Courtesy of the artists

bundoorahomestead.com

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QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. See our website for latest information.

Michael Leunig, Enchanted Garden, 2020, acrylic on linen 51 x 51 cm.

Bryan Spier, Who’s zooming who, 2020, acrylic and varnish on archival card, 18 x 21 cm.

Richard J Manning, Dawn over Kati Thanda series #1, oil on linen, 152 x 92 cm. 3 January—16 January QUIET, Dawn over Kati Thanda, sunset from St Kilda Richard J Manning Painting from experience, Manning presents a series of reflective observations from a dawn flight over Kati Thanda floodwaters (Lake Eyre) in 2019 and sunsets over Port Phillip bay during the 2020 lockdown. This body of work responds to the awe inspiring quiet of the moment when focusing on these vast horizons. Opening Sunday 3 January, 3pm.

Elizabeth Banfield, Written at the Shore (With Amendments), 2019, linocut, kozo tissue, thread, 56 x 50 cm. 27 January—15 February Elizabeth Banfield and Kati Thamo Fragility and fable come together in this beautifully delicate exhibition of the works of Elizabeth Banfield and Kati Thamo. The complexity of the natural world and ever-changing landscape is celebrated by both artists as they tell the story of their own, individual relationship to nature and memory. Opening 31 January, 3pm–5pm.

Spencer Harrison, The Red Wheelbarrow, acrylic and varnish on wooden panel 21 x 30 cm.

ReadingRoom

28 January—13 February Isolation Paintings Bryan Spier

www.areadingroom.com

Queenscliff Gallery www.qgallery.com.au 81 Hesse Street, Queenscliff, VIC 3225 [Map 1] 03 4202 0942 Open 7 days, 10am–5pm. Closed public holoidays. See our website for latest information. 30 December 2020—25 January Michael Leunig Unafraid to comment on political, cultural and emotional life, Leunig’s work has been described – in the artist’s own words - as “messy, mystical and primal”, and often draws upon the things that Leunig loves most: nature; talking to strangers in the street; walks in the local park; morning coffees. Opening 3 January, 3pm–5pm.

37 Swanston Street, Room 4, Level 6, The Nicholas Building, Melbourne, 3000 VIC [Map 2] 0424 627 751 Weds to Sat, 12noon–5pm, and by appointment. See our website for latest information.

Sarah Scout Presents www.sarahscoutpresents.com 1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes. Fri and Sat 12noon–5pm and by appointment.

This is Bryan Spier’s seventh exhibition with the gallery, and continues his enduring exploration of colour and abstraction. Lyrical Metrical Spencer Harrison For the new Salon Projects series, gallery artists are invited to nominate an artist to present work in the gallery Salon, alongside their own solo exhibition. Bryan Spier has invited Spencer Harrison. Lyrical Metrical, Spencer Harrison’s new series of abstract paintings, draws on the formal properties of poetry as a basis for investigating the experience of colour. 19 February—27 March Not for the sake of something more Curated by Kiron Robinson. Janina Green, Tori Lill, Ali McCann, Sanja Pahoki, Aaron Christopher Rees, Kiron Robinson and Emanuel Rodriguez-Chaves. This exhibition is part of Photo 2021, International Festival of Photography. 147

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nicholasthompsongallery.com.au

VICTORIA

Shepparton Art Museum www.sheppartonartmuseum. com.au 70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 See our website for latest information. The new SAM building is due to open early this year and is an outstanding example of exciting, best-practice contemporary museum architecture, designed by one of Australia’s leading architects on the remarkable Victoria Park Lake, Shepparton, in regional Victoria. Designed by internationally renowned architects Denton Corker Marshall, the SAM is a five-storey building housing the Museum, Visitor Centre, and the Kaiela Art Gallery and Studio. The 5,300m2 building also houses a café and event space, with a roof top viewing deck.

Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1–5pm, Sat 11am–5pm & by appointment. See our website for latest information.

Sutton Gallery www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] Tue to Sat 11am–5pm. Sutton Projects: 230 Young Street, Fitzroy, Melbourne VIC 3065 [Map 3] Tue to Sat 1pm–5pm. 03 9416 0727 See our website for latest information.

David Rosetzky, Composite Acts (still), 2020. 6 February—6 March Sutton Gallery: Composite Acts David Rosetzky

STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Fri 10am–5pm, Sun 10am–4pm. See our website for latest information.

Official Exhibition - PHOTO2021 International Festival of Photography.

Emidio Puglielli, Untitled, bronze and ceramic, dimensions variable. 13 January—30 January As Usual Group exhibition. 3 February—20 February Peter Rowe 24 February—13 March Sheena Mathieson

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thu to Sat 10:30am–4pm, Sun 11am–4pm. See our website for latest information. Julia Trybala, Given required space (work in progress), oil on canvas, 107 x 122 cm. Courtesy of the artist and STATION. 23 January—20 February Julia Trybala The ashtray reader David Griggs 27 February—27 March Laith McGregor Jake Walker

Stockroom is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s Butter Factory across 1000 sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers. 30 January—14 March Gallery 1: Mathieu Briand Gallery 2: James Tylor and Rebecca Selleck Ceramic Space: Damon Moon

Digital image by Kiah Pullens and Guy Grabowsky. 6 February—6 March Sutton Projects: neither here nor there Guy Grabowsky and Kiah Pullens Official Exhibition – PHOTO2021 International Festival of Photography

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. See our website for latest information. 27 November 2020—17 January Safe Space Safe Space, a major touring exhibition of contemporary sculpture, showcasing the works of 12 acclaimed Australian artists: Abdul-Rahman Abdullah, Alex Seton, Claire Healy & Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, 149

Alison Percy QUIETUDE of the land, the figure and the flower Exhibition Runs 19 - 30 January 2021

Image: Alison Percy, From Last Spring, 2020, acrylic on canvas 126 x 126cm

fortyfivedownstairs.com

Tue to Fri: 11am - 5pm Sat: 11am - 3pm

VICTORIA Swan Hill Regional Gallery continued...

environment. Violent Salt invites artists to speak their truths about these experiences and offers an opportunity for understanding and connection, whilst seeking to celebrate and honour Australia’s unique multiculturalism and landscape.

journey help us understand and contribute to expanded sites of social engagement, dialogue, and creativity?

Violent Salt features works by Abdul Abdullah (NSW), Vernon Ah Kee (QLD), Richard Bell (QLD), Daniel Boyd (NSW), Megan Cope (QLD), Karla Dickens (NSW), S.J. Norman (VIC) Yhonnie Scarce (VIC/ SA) and Jemima Wyman (QLD). Violent Salt is an Artspace Mackay Touring Exhibition co-curated by Yhonnie Scarce and Claire Watson.

TarraWarra Museum of Art www.twma.com.au Alex Seton, Someone Else’s Problem, 2015, marble dust, epoxy resin, Tasmanian oak, cable ties, dimensions variable (approximately 300 x 200 x 200 cm). Photography by Mark Pokorny. Image courtesy of the artist and Sullivan+Strumpf, Sydney.

313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun, 11am–5pm. Open all public holidays. Open 7 days a week from Boxing Day to Australia Day.

Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French.

4 February—21 February LOOM Hope Lumsden-Barry LOOM is an ongoing series of ‘weavings’ created using python code. Presented as prints, LOOM explores the dematerialisation of making.

Safe Space is an initiative of Museums & Galleries Queensland developed in partnership with Logan City Council through Logan Art Gallery, and curated by Christine Morrow. This travelling exhibition is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians; the Queensland Government through Arts Queensland; the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory governments; and is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Charlotte Watson, Otara Reef, detail, 2020, pencil on paper, 100 x 15cm. 25 February—14 March Confluence Charlotte Watson

Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, acrylic and graphite on canvas, 250 x 181.5 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photo: Carl Warner. 28 November 2020—8 March Looking Glass: Judy Watson and Yhonnie Scarce

Tinning Street Presents www.tinningstreetpresents.com

Abdul Abdullah, For we are young and free, 2017, manual embroidery, 126 x 108 cm. Darebin Art Collection.

Hope Lumsden-Barry, LOOM #13, 2020, 42 x 59.4 cm, archival pigment print on matte, textured fine art paper.

5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thu to Sun 11am–5pm.

22 January—14 March Violent Salt

4 February—21 February Two Lines and Three Blocks Geoff Hogg, Nick Blackmore, Alisdair McKinnon and Paul Candy.

This exhibiton discusses issues surrounding racism and discrimination against First Nations peoples and minority groups as well as the lack of respect for, and desecration of culture and the natural

Beginning in Cuba, around the famous Hershey train line, this exhibition focuses on Melbourne’s Upfield Line and asks: How can the character of the railway line, its communities and the experience of the

Confluence follows Watson’s merging sense of home. Through drawing and storytelling this exhibition explores various meetings; history and the ocean, trees and the self, and how waterways carry stories that we cannot always see. 25 February—14 March Reinterpretation portraits Luke King Staring at the window, lockdown tells you to do this or that, isolation confuses and twists your stomach. During this time to contemplate, King searches our portraits and moments, relating and reinterpreting the feelings in the confined space.

Tolarno Galleries www.tolarnogalleries.com Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. 13 February–6 March Tachisme Justine Varga Part of the PHOTO 2021 festival of photography. 151

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Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Sat & Sun 11am–4pm.

Forms of photography that have been liberated from a traditional relationship between camera and print are explored as the selected artists negotiate the possibilities of installation, time and space, and early photographic techniques.

The Victorian Artists Society www.victorianartistssociety.com.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 1pm–4pm, during exhibitions. See our website for latest information.

Giovanni (John) Romeo, Globe Trotter, 2019, mixed media photography, paint, computer graphics, 100 x 100 cm. Image courtesy of the artist. 19 January—28 February Let’s Go! Giovanni (John) Romeo Harking back to the style and character of the 1920s and 1930s, Let’s Go! brings together a collection of recent works by artist John Romeo, saturated with colour and suffused with nostalgia. The series uses mixed media photography, with digital printing and 3D modelling, lending the works a graphic quality reminiscent of the hand-coloured advertising and poster-art of the era. Step out of the modern world and bask in the romance of travel and the spirit of freedom encapsulated by this period.

Jennifer Scholes, Australian Pink Salt Lake, acrylic and ink. 12 February—1 March VAS Summer Exhibition A curated collection of paintings and sculptures inspired by the season of Summer.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 See our website for latest information.

Izabela Pluta, Iterative composition 1979, (pages 17-18 Australia), 2020, pigment print on Eco Solvent Cotton Rag Paper, mounted on dibond, 124 x 200 cm. Image courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney. 23 January—11 April Reconfigured/Rediscovered Izabela Pluta Reconfigured/Rediscovered brings together a group of artists to extend our perceptions of photography and image-making into new realms. Highlighting the permeability of photography, this exhibition questions the relationship between image and reality, how images operate and how they can be created without a camera. 152

Tom Roberts, Shearing the rams 1890, oil on canvas on composition board, 122.4 x 183.3 cm. National Gallery of Victoria, Melbourne, Felton Bequest, 1932. 11 November 2020—17 January Revealed The Regional Digitisation Roadshow Wangaratta Art Galley Digitisation Project.

Wangaratta Art Gallery is one of six public galleries in Victoria to be selected for a pilot project by Creative Victoria to create digital records of the artworks in its collection. This initiative involves digitising the collection and assisting with the Gallery’s responsibility to care for the collection and make it more accessible. This project, and exhibition Revealed: The Regional Digitisation Roadshow gives our community the opportunity to come and watch the digitisation process reveal what happens behind the scenes and discover the hidden gems within the Wangaratta Art Gallery Collection. 30 January—28 February Shearing the rams, The artist, the painting, a moment in time Tom Roberts In 2021, a National Gallery of Victoria (NGV) Collection favourite, Tom Roberts’s Shearing the Rams, 1890, will tour to Wangaratta Art Gallery to coincide with the 130th anniversary of the work’s execution near Corowa, NSW. The single display of this key work will occur for a limited period of four weeks from late January until late February 2021 and is exclusive to Wangaratta. Shearing the rams, the artist, the painting, a moment in time is delivered in partnership with the National Gallery of Victoria and is fitting that, in the 130th year since Roberts laid down his last brushstrokes, the painting is to return to the area where it was originally conceived.

Walker Street Gallery and Arts Centre www.greaterdandenong.com/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 11am–5pm, Sat 11am–3pm See our website for latest information. 3 December 2020—23 January 9 by 5 Exhibition The Walker Street Gallery and Arts Centre’s 9 by 5 Exhibition has become a nationally recognised art event that celebrates diversity within the arts community. Artists from around Australia present their creativity on nine by five inch panels in a wide variety of styles. This long-standing exhibition, celebrating its 15th year in 2020, commemorates the original 9 by 5 Exhibition held in Melbourne in 1889 which featured Tom Roberts, Charles Conder, Arthur Streeton and Frederick McCubbin, where artists produced uniform artwork on nine by five inch cigar box lids. Visit the exhibition website page to get your art board. Entries are open until Friday 20 November for inclusion in the exhibition. More information: greaterdandenong.com/9by5. 4 February—13 March Changed Forever: Legacies of Conflict Description: Walker Street Gallery and Arts Centre

VICTORIA

Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information.

Installation shot from Of Colour and Light, 2018 Biennial. launch 19 January with guest speaker Leah Justin from Justin Art House Museum, Melbourne. Changed Forever: Legacies of Conflict. will be exhibiting The Shrine’s new touring exhibition Changed Forever: Legacies of Conflict. Changed Forever tells incredible stories of human endurance. The exhibition showcases poignant personal narratives of loss and reconciliation that that inspire. Accounts of conflict, dislocation and resettlement encompass experiences of veterans and migrants who have come to Australia because of conflict.

West End Art Space www.westendartspace.com.au 137 Adderley Street, West Melbourne 3003 [Map 5] 0415 243 917 Thur and Fri 11am–3pm. All other times by appointment only. See our website for latest information.

Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm. See our website for latest information. Whitehorse Artspace will be closed over January and re-open on 23 February. Curated to inspire, intrigue and challenge, the exhibitions at Artspace contain something for everyone. The gallery was established in 2007 and now holds an annual exhibition program, showcasing work from the Whitehorse Art Collection and artists who reside within Victoria.

Atong Atem, Towards, 2020. Image courtesy of the artist. 27 November 2020—18 January RED CENTRE Ash Keating, Atong Atem, Buff Diss, Carla Gottgens, Ceardai Demelza, Indigo O’Rourke, Jessica Jane, and Rukz One. RED CENTRE returns to Werribee this summer with an outdoor gallery of new, contemporary public art from leading local and Melbourne artists. Each artist was challenged to reference the colour red in a playful nod to the festive season. The free outdoor exhibition features six temporary works encompassing photography, street art, illustration and light-based installations.

Echo Wu, Spring blooming, 2020, Chinese brush painting © the artist. 23 February—10 April BLOOM

Jenny Reddin, Shaped by the Light, mixed media on canvas,2020, 1.4 x 1.2m. 16 December 2020—24 February Of Colour and Light 2020 This is the third abstract biennial Anna Prifti curates to provide a platform to women abstract artists from the state of Victoria. This initiative started in 2016 with the aim to showcase and advocate that women artists have been an integral part of the Abstract movement. Official

An exhibition of scrolls and paintings featuring nature, by students and teachers of ECHO WU’s Chinese Brushstroke Art Classes.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm,

Anastasia Klose, Miss Spring 1883, 2016. Image courtesy of the artist. 4 February—8 March PINK PINK, a hue where feminine and feminism collide. Presented in the lead-up to International Women’s Day this exhibition explores the use of pink and other feminine motifs in creative practice by womxn. Once maligned for being girly and diminutive, pink is reclaimed and presented in hues ranging from hot pink to millennial with works exploring the social, biological and performative intersections of colour in practice. 153

Aâ&#x20AC;&#x201C;Z Exhibitions

JANUARY/FEBRUARY 2021

New South Wales

Albermarle Street, Soudan Lane,

McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford

Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,

Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,

Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope

Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,

Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,

Old South Head Road

NEW S OUTH WALES

16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, by appointment only. See our website for latest information.

Bussaraporn Thongchai, Who deserves the ded?, 2017, drawing on paper, 130 x 120 cm. 6 February—13 March Pieces from Berlin Bussaraporn Thongchai In 2015 Thai artist Bussaraporn Thongchai relocated from Bangkok to Berlin. Once settled she began working in a small shelter home that provided services for migrant women from the Middle East and southeast Asia, who had often been the victims of human trafficking and the sex trade. Pieces from Berlin is the outcome of two years in the shelter, specifically designed to document the women’s stories and experiences as they passed through refugee case procedures and in many cases began rebuilding an identity for themselves. It was first presented at ARDEL’s Third Place Gallery, Bangkok in March 2018 and is being presented at 16albermarle to coincide with International Women’s Day on 8 March 2021.

Visions of Light: Works on paper Imhathai Suwatthanasilp, Jiratchaya Pripwai and Trinnapat Chiasitthisak This exhibition presents new work by three Thai artists with a commitment to exploratory forms of drawing. Imhathai Suwatthanasilp works in dense black graphite to produce works with a deep black patterned surface reminiscent of her finely wrought sculptures made from human hair. Jiratchaya Pripwai’s fine linear approach suggests light, billowing forms that fold and collapse upon themselves. Trinnapat Chiasitthisak, trained as an architect, employs heavy ruled ink lines to define ambiguous architectural spaces. In seeking to create a larger space for reflection around drawing, the exhibition explores drawing as artistic expression, but also as innate language and potential in human beings. By the simple act of looking at a drawing one can see both inwards and outwards, immediately encountering the drawer’s relation to the world.

4A Centre for Contemporary Asian Art www.4a.com.au 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm.

Mohamad Faizuan Bin Mat, Boat as a subject-matter to produce usungan, 2018. Photo courtesy of Mohamad Faizuan Bin Mat. Ongoing online 4A Papers Issue 9 Contributors: Eunice Andrada, Vladislav Sludskiy, Mikala Tai, Mohamad Faizuan Bin Mat, Luise Guest, and Reina Takeuchi. Edited by Mariam Arcilla.

Artbank www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information. Jiratchaya Pripwai, Conversation of breath 2, 2015.

Our showroom in Sydney will be open by appointment only. Please contact Artbank to make an appointment.

20/20: Shared Visions, Artbank, Sydney, November 2020. Photo: Silversalt photography. 20 November 2020—March 20/20: Shared Visions 40 years of Contemporary Australian Art. 20/20: Shared Visions celebrates 40 years of Artbank. A dense web of connections stretches across the Artbank collection. The artworks held within our stores tell stories of familial connection, intergenerational inspiration, shared experiences and convictions and evolving practices. This exhibition presents 20 pairs of works that illuminate these relationships and illustrate the wonderfully diverse landscape of Australian contemporary art. As the title implies, 20/20 celebrates the great vision and foresight shown in establishing a sustainable artistic support program, which has culminated in the development of a significant collection that tells the story of Australians and their art from 1980 to 2020. Featured artists: Ian W. Abdulla, Khadim Ali, Richard Bell, Gordon Bennett, Robert Campbell Jnr, Barbara Cleveland, Richard Crichton, Isabel Davies, Linda Dement, Walter Ebatarinja, Bonita Ely, Sally Garromara and Nellie Nambayana, Raafat Ishak, Harley Ives, Kitty Kantilla, Deborah Kelly, The Kingpins, Maria Kozic, Dhuwarrwarr Marika, John Mawurndjul, David McDiarmid, Lenie Namatjira, Reinhold Inkamala, Ivy Pareroultja and Myra Ah Chee, Maureen Poulson Napangardi, Nasim Nasr, Jimmy Njiminjuma, Bronwyn Oliver, Mary Pan and Nyurpaya Kaika, Thom Roberts, Julie Rrap, Kate Scardifield, Madonna Staunton, Darren Sylvester, Ken Thaiday Snr, Kaapa Mbitjana Tjampitjinpa, Jenny Watson, Kaylene Whiskey, Roy Wiggan, Kunmanara (Mumu Mike) Williams, Paul Yore, Nyapanyapa Yunupiŋu.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm. See our website for latest information. Until 10 January Archibald, Wynne and Sulman Prizes 2020 The Archibald, Wynne and Sulman Prizes is an annual exhibition eagerly anticipated by artists and audiences alike. Until 10 January Archie Plus 155

ar t g ui d e .c o m . au Art Gallery of NSW continued... A free portrait-focused program of art, music, performance and dance that marks a year of challenge and change and pays tribute to the acts of care, support and human resilience that have lifted, protected and inspired during 2020.

Artereal www.artereal.com.au 747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 Wed to Sat 11am–5pm, or by appointment. Closed public holidays. See our website for latest information.

James Ettelson, Rain, hail or shine, acrylic and mixed media on canvas, 125 x 150 cm. 10 February–27 February Are We There Yet? James Ettelson Danie Mellor, A time of the world’s making, 2019. Collection of the artist © Danie Mellor.

Artspace www.artspace.org.au

Until 7 February Real Worlds: Dobell Australian Drawing Biennial 2020 Real Worlds presents the work of eight contemporary Australian artists who have created extraordinary new worlds in distinctive drawings evolving from place, memory and imagination.

Patrizia Biondi, Postnormal Economic Deficit Disorder, 2020, cardboard and paint, 95 x 57 x 11.5 cm. Image courtesy of the artist and Artereal Gallery. 5 February—27 February It’s A Circus Out There Patrizia Biondi

Arthouse Gallery www.arthousegallery.com.au 66 McLachlan Avenue, Rushcutters Bay, NSW 2011 [Map 10] 02 9332 1019 See our website for latest information.

Arthur Streeton, From McMahon’s Point — fare one penny, 1890. National Gallery of Australia, Canberra, purchased 1972. Until 14 February Streeton

43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] Mon to Fri 11am–5pm, Sat and Sun 10am–5pm. See our website for latest information.

Art Space on The Concourse www.willoughby.nsw.gov.au/Community/Arts-Culture/Visual-Arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri, 11am–5pm, Sat & Sun, 11am–4pm. See our website for latest information. Art Space on The Concourse is an intimate and sophisticated 92 sqm exhibition space located within The Concourse’s Performing Arts Centre. Equipped with professional track lighting and gallery hanging systems, it is the ideal venue for small touring exhibitions and curated shows. It offers a professional gallery space to exhibit a range of high quality art, craft, cultural and design exhibitions.

The most significant retrospective of Australian impressionist artist Arthur Streeton ever held. Until 21 March Pat Larter: Get Arted This first solo exhibition of Australian artist Pat Larter, reveals a collaborative, provocative, humorous and ultimately joyful artistic practice that challenged conventions of the male gaze and stereotypes of female desire and sexuality. 30 January—2 May Margel Hinder: Modern in Motion This exhibition reveals the work of one of the most important and dynamic, yet underrated, Australian sculptors of the 20th century. 156

Nicole Kelly, An echo of rain, oil on polyester, 91 x 71 cm. 12 January—30 January Under the Sun Group Showcase 10 February–27 February Nicole Kelly

Chin Lin Fong, My Dream City, 2017, poster colour. 12 January—31 January Global Art Exhibition Willoughby City Council View work created by children aged 3–13 from far reaching corners of the world.

NEW S OUTH WALES This exhibition, brought to you by the Family Festival and by Global Art, will feature work made by little artists from right here in Australia to other countries like Thailand, Hong Kong, Canada and Brunei! Free art and craft sessions available on weekends only. Bookings essential.

BAMM is a regional art institution with a difference. For thirty years we have worked to enhance the cultural life of Moree with a changing schedule of exhibitions that educate, challenge, and delight our local audience and visitors to the region.

Ellen Draper, Come with me I’ll make you fishers of men, 1998, oil on linen hardboard, 90 x 121 cm.

humour and wit. Her survey Adrienne Doig: It’s All About Me! draws upon the past three decades of the artist’s practice, which fuses historical references and humour to respond to the everyday and reflect on now. Using a variety of media, including embroidery, applique, sculpture and video, Doig playfully explores intimate aspects of her life, from having a cup of tea to performing mundane housework. Embedded within her practice are layered responses to universal themes that have social, environmental and political narratives. By manipulating, reworking and combining imagery from multiple sources, Doig records her own experiences within a larger context. Hence, It’s All About Me! A Bathurst Regional Art Gallery touring exhibition curated by Emma Collerton.

22 January—27 February Key works from the collection Ellen Draper BAMM holds one of the largest collections of contemporary Indigenous art in regional NSW.

Cindy Yuen-Zhe Chen, Fluvial Dynamics: Rain, Wind, People, 2020, ink on Wenzhou paper. 3 February—28 February Resonant Flows Cindy Yuen-Zhe Chen In partnership with Chatswood Year of the Ox Festival, Willoughby City Council presents an exhibition of installation, drawing and video by Cindy Yuen-Zhe Chen to celebrate Lunar New Year 2021. Resonant Flows explores the interdependent relationship which exists between our bodies, places and water. Chen responds to the continual flux of atmospheric changes and sonic events through experimental drawing, listening and sounding processes. In doing this, her work examines the reciprocal effects of her interactions with bodies of water such as Middle Harbour, Lane Cove River and Parramatta River. By acknowledging the manifold cultural, environmental, social and economic factors that shape our relationship with water in Australia, Chen’s work draws attention to the meaningful connections that we create as individuals. Resonant Flows is part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore.

Bank Art Museum Moree (BAMM) www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm, Sun closed. See our website for latest information.

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm. public holidays 11am–2pm. See our website for latest information Programs include a variety of activities including: artist & curator floor talks; workshops; master classes; weekend art classes; concerts; film nights; school holiday workshops and guided tours on request.

Jurgis Miksevicius, Twin Moons (II), 1972, oil on hardboard, 47 x 66 cm framed. Courtesy of the artist’s estate. 11 December 2020—7 February In the light of the sun and shadow of the moon Jurgis Miksevicius Lithuanian born artist Jurgis Miksevicius (1923–2014) immigrated to Australia in 1947. The exhibition will chart Miksevicius’ displacement from war torn Europe, his time at Bathurst Migrant Camp, the development of his practice with particular focus on the region and conclude with paintings relating to his In the light of the sun and shadow of the moon paintings. A BRAG exhibition. Linda Chant: Hold me, cover me

Adrienne Doig, AD Gloriam, 2011, embroidery on tapestry. Collection of Lloyd Harris and David Collins, image courtesy of the artist and Martin Browne Contemporary. 11 December 2020—7 February Adrienne Doig: It’s All About Me! Through the lens of self-portraiture, Blue Mountains-based artist Adrienne Doig (b1963), tackles the everyday with good

Cowra-based multidisciplinary artist Linda Chant’s work explores the conceptual and material nature of objects. Originally trained in painting and printmaking, Chant recently ventured into sculpture. Her small, delicate sculptures—glasses, bottles, vases and lamps manipulated, shrouded and bound with fabric—offer moments of curiosity and wonder. Literally and figuratively, they hold a moment, a memory, a thought, an action. They also allude to notions of fragility and protection. Chant explains, “Sewing to surround glass, over and around metal, is a risky procedure which draws parallels to the notion of fragility and protection.” A BRAG Foyer Space Exhibition. 12 February—5 April Just Not Australian Presenting Australian practitioners at the forefront of national debate and practice. Drawing together 20 artists from diverse cultural backgrounds, their differing ideas and perspectives on nationhood coexist within this timely thematic show. 157

ar t g ui d e .c o m . au Bathurst Regional Gallery continued...

Blue Mountains City Art Gallery

Showcasing the common sensibilities of satire, larrikinism and resistance so as to present a broad exploration of race, place and belonging, Just Not Australian interrogates what it means to be Australian at this challenging point in time.

www.bluemountainsculturalcentre. com.au 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.

Artists include Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey, Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Joan Ross, Tony Schwensen, Raquel Ormella, Ryan Presley, and artistic duo Soda Jerk.

5 December 2020—17 January Revenant Judith Martinez Estrada

Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW.

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. See our website for latest information.

A Blue Mountains Cultural Centre Exposé Program exhibition.

Image of Amy Toma in costume from Say Swear workshop series at The Leo Kelly Blacktown Arts Centre, September 2020. Photograph by Jade D’Amico. 6 February—27 February Say Swear Amy Toma, Emily Ngo, Ethan Neish, Jayda Neish, Justine Youssef, Leila El Rayes An exhibition exploring world-building, placemaking and code-switching, bringing together the work of young people local to the Blacktown area. Peter Adams, Eddie Adams, 1992, archival print on Canson Infinity Rag Photographique 100% cotton, 310 gsm. Courtesy of the artist. 12 December 2020—17 January A Few of the Legends Peter Adams

Barbara Cleveland (formerly Brown Council), The One Hour Laugh, 2010 57:12 minutes, Single-channel digital video. Image courtesy the artists and sullivan+strumpf, Sydney. 22 January—20 March Medium Body Contemporary Australian Video PracticeCurated by Dr Markela Panegyres & Dr Paul Mumme

Dennis Golding, The Block, 2018, photograph. 6 February—13 March POWER Dennis Golding in collaboration with the Aboriginal and Torres Strait Islander students from Alexandria Park Community School.

Eric Bridgeman, Philip Brophy, Eugene Choi, Barbara Cleveland, Kuba Dorabialshki, Heath Franco, Adam Geczy, Robin Hungerford, Mimi Kelly, Todd McMillan, Kate Mitchell, Archie Moore, Paul Mumme, James Nguyen, Jill Orr, Markela Panegyres, Mike Parr, Jane Polkinghorne, Tony Schwensen, Mark Shorter, Salote Tawale, Christian Thompson, Angela Tiatia and Justene Williams.

POWER celebrates the strength of culture and identity through the practices of Kamilaroi/Gamilaraay artist Dennis Golding in collaboration with the Aboriginal and Torres Strait Islander students of Alexandria Park Community School as part of Carriageworks’ Solid Ground residency program. The exhibition will showcase 100 superhero capes that each depict visual representations of memory, lived experiences, connections to Country and superpower.

Blacktown Arts

13 February—27 March Pemulwuy and The Naming of Things Darrin Baker

www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. See our website for latest information. 158

This exhibition explores the history of the site of the western Sydney suburb known as Pemulwuy, through a multiscreen and surround sound installation featuring animated video and interviews with knowledge holders about Pemulwuy, the man, the legend and the suburb.

The exhibition A Few of the Legends brings together a selection of over 60 of the 280 portraits by this photographer’s photographer. A Blue Mountains City Art Gallery Program exhibition.

Gary Shinfield, Fire, smoke and ash 3, 2020, relief print, 100 x 60 cm. Courtesy of the artist.

NEW S OUTH WALES 23 January—7 March Landscapes of Anxiety Gary Shinfield

Curated by Daniel Mudie Cunningham.

A Blue Mountains Cultural Centre Exposé Program exhibition. 23 January—7 March Blue Mountains Portraits 2021 Blue Mountains Portraits is the Cultural Centre’s annual celebration of the local community and its diverse members. A Blue Mountains City Art Gallery exhibition.

Broken Hill Regional Art Gallery

Gil Farla, Past Present Future, 2019. 18 November 2020—27 January My Secret Urban Sanctuary Gil Farla

www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 Open via ticketed entry. Tue to Sat 10am–3pm. See our website for latest information. Opened in 1904 Broken Hill Regional Art Gallery is the oldest regional gallery in New South Wales. The beautifully restored emporium displays a selection of works from the City of Broken Hill’s art collection and a quality program of temporary exhibitions by local, state and national artists along with touring exhibitions. 15 November 2020—21 February Sample John Hart

In times of alarmingly diminishing art school options in the tertiary and higher education systems, Space YZ, curated by Daniel Mudie Cunningham, draws inspiration from the visual arts legacy of Western Sydney University (formerly known as University of Western Sydney). The exhibition presents significant early works created by 88 Visual Arts and Electronic Arts alumni during their undergraduate studies or within two years of graduation. Including early work by Brook Andrew, Liam Benson, Raquel Ormella, Savanhdary Vongpoothorn and Justene Williams among many others, Space YZ celebrates the vibrant artistic practices that have flourished from this important institution, while advocating for better access to art school education in Western Sydney and across Australia. Visit www.spaceyz. com.au to find out more.

Cement Fondu www.cementfondu.org Koreena Leverett, If Our Ancestors Could see, 2019. 18 November 2020—27 January The 29th Annual Mil-Pra AECG Exhibition 18 November 2020—27 January The 23rd Annual Liverpool Art Society Exhibition

36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 Thur to Sun 11am–5pm. See our website for latest information.

23 January—21 February Blake Established Artist Residency Exhibition Tracey Clement 13 February—11 April The 66th Blake Art Prize

Campbelltown Arts Centre Max Berry, Landscape Effect, 2020, acrylic on canvas. 15 November 2020—21 February Monument Max Berry

Casula Powerhouse Arts Centre

www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information. Christopher Ulutupu, The Romantique Picturesque: The Postcard Trilogy, 2018, video still. Image courtesy of the artist.

www.casulapowerhouse.com

16 January—7 March Attention Tourist Christopher Ulutuptu, Ryan Trecartin and Lizzie Fitch.

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Mon to Fri 9am–5pm, Sat & Sun 9am–4pm. Closed pub hols. Casula Powerhouse Arts Centre is a multi-disciplinary arts centre that has six galleries (with changing exhibitions produced and presented by Casula Powerhouse), a 326-seat theatre, artist studios, Clayhouse Ceramics Studio, live-in facilities for artists, internal and external public artworks, collection storage facility, retail areas including café and bar, and green open spaces.

Ryan Trecartin, Mark Trade, 2016, video still. Image courtesy of Electronic Arts Intemix (EAI).

Luis Martinez, Sheriffs deputies have found a reported dozen coffins robbed…, 2004 , oil on canvas, 55 x 40 cm. Collection: Drew Bickford. 7 January–14 March Space YZ

In our annual pairing of an early career Asia-Pacific artist with an esteemed international artist, Cement Fondu presents Samoan New Zealander Christopher Ulutupu alongside US artistic duo Lizzie Fitch and Ryan Trecartin, whose critically acclaimed multimedia installations have been exhibited at the Prada Foundation, Milan (2019), the Venice Biennale (2013) and the Whitney Museum of American Art (2006). Opening 16 January, 5pm–8pm. 159

$10,000 major award

Cybele Cox, Constellation (2019)

Call for Artists Sculptures - Students - Films

Honorariums for all artists selected to exhibit their work in Sydneyâ&#x20AC;&#x2122;s historic Rookwood Cemetery. Total awards and honorariums valued at over $40,000. Proposals close 9 April 2021 www.hiddeninrookwood.com.au

Outdoor Sculpture Walk Start your walk from Rookwood General Cemetery main office on Hawthorne Ave. Exhibition open 4 September - 4 October 2021 hiddeninrookwood.com.au

NEW S OUTH WALES

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm. See our website for latest information. David Daymirriŋu Malangi, 1927–1999, Manharrŋu clan, Dhuwa moiety, worked Milingimbi. Biw’yunnaraw warrakan ŋatili dawurr, black cockatoo feather fan c. 1984, feathers, beeswax and wood, 49 x 34.5 x 1.5 cm. Collected by D Mundine 1980s, purchased JW Power bequest 1984-85. JW Power Collection, University of Sydney, managed by Museum of Contemporary Art, Power collection. Until August Gululu dhuwala djalkiri: welcome to the Yolŋu foundations

Amber Boardman, Movie Night, 2020, oil on canvas, 183 x 183 cm.

A major showcase of art from eastern Arnhem Land, exploring 100 years of Yolŋu knowledge sharing. For Yolŋu people, paintings and sculptures embody their spiritual, philosophical and legal foundations. Produced in collaboration withthe Yolŋu communities of Milingimbi Ramingining and Yirrkala.

Daniel Boyd, installation using a model of the Acropolis at Athens, 2020. Amber Boardman, Civil Planning, 2020, oil on linen, 183 x 183 cm. 28 January–27 February Decision Fatigue Amber Boardman Boardman’s fourth solo exhibition at Chalk Horse, consists of nine paintingsranging from medium to large scale works (1 –3 metres). These brightly coloured, densely layered works follow on from the general theme in her work which examines crowd behaviour, and the role of the internet in shaping ever-changing social norms.

Chau Chak Wing Museum www.sydney.edu.au/museum The University of Sydney, University Place, Camperdown, NSW 2006 [Map 9] 02 9351 2812 Open 7 days, free entry. Mon to Fri 10am – 5pm, Thurs until 9pm, Weekends 12noon–4pm. See our website for latest information.

Until June Contemporary art projects #1: Pediment/Impediment Daniel Boyd Pediment/Impediment is the Chau Chak Wing Museum’s inaugural contemporary art project in the Penelope Gallery. Daniel Boyd’s immersive installation incorporates objects from the Nicholson and Macleay collections to examine the Enlightenment origins of the museum.

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. Until 7 February Yvonne Boag :Travelling, Leaving, Settling, Scotland, Korea, Australia: Paintings, Works on Paper and Artist Books For more than 20 years, Yvonne Boag has divided her time between South Korea

Yvonne Boag, Lockhart Houses, 2004, acrylic on canvas (diptych), 18 x 27 cm. Image courtesy of the artist. and Australia. This exhibition intends to focus on artworks depicting her own personal experiences with migration, immersed in the deep links and multilayered relationship between Scotland, Korea and Australia. Curated by Akky van Ogtrop. PLUS The Collection in Focus: Recent Acquisitions Featuring works by Tam Cao, Dagmar Cyrulla, Sinead Davies, Ivan Goodacre, Rowen Matthews, Max Miller and Christine Wrest-Smith.

Jamie North, Remainder N0 12 (incline), 2017, Cement, blast furnace slag, marble dust, steel, 300 dia, slide 37 x 200 x 30 cm. Image courtesy of Jamie North, Sarah Cottier Gallery, Sydney. 14 February—21 March 2021 CONCRETE: art design architecture This is a major exhibition exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st Century. Curators are Margaret Hancock Davis and Brian Parkes. The exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia. Artists in the exhibition are AbdulRahman Abdullah (WA) Adam Goodrum (NSW) Alexander Lotersztain (Qld) Anna Horne (SA) Baldasso Cortese Architects (Vic) Candalepas Associates (NSW) CHEB – Deb Jones and Christine Cholewa (SA) Convic (Vic) Durbach Block Jaggers Architects (NSW) Edition Office (Vic) Elvis Richardson (Vic) Glenn Murcutt (NSW) Kyoko Hashimoto and Guy Keulemans (NSW) Inari Kiuru (Vic) Jamie North (NSW) Megan Cope (Vic) Rhiannon Slatter (Vic) Tom Borgas (SA) Sanne Mestrom (Vic) SMART Design Studio (NSW) WOOD Melbourne (Vic). A touring exhibition by the JamFactory.

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The Cross Art Projects www.crossart.com.au 8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 Thur to Sat, 11am–6pm. By appointment in January. See our website for latest information.

Life on earth began in a swirling cloud of stardust. Approximately Infinite Universe considers the multiple meanings found in imaginative and traditional mappings of time, life and death. Naminapu paints the night sky and light that has been travelling for thousands, sometimes millions of years across space and time; she studies the Milky Way as a three-dimensional forest or rivers of galaxies. Her sister Galama Maymuru contemplates death here on earth. Both are part of the same complex mortuary and belief system that is “everywhen”. (W.E.H Stanner, The Dreaming, 1953).

30 January—27 February Quilts Jess Johnson and Cynthia Johnson.

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey. Wed to Sat 11am–5pm. See our website for latest information.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm. See our website for latest information.

AWC artists, John McDonald and AWC staff, 2020. 17 February—24 March Australian Wildlife Conservancy Exhibition Tim Allen, Alison Coates, David Collins, Peter Stevens and Mary Tonkin. Opening Sunday 14 February, 11am–4pm. Naminapu Maymuru-White, Milŋiyawuy / River of Stars, 2020. (#2628-20), bark painting, 140 x 84 cm.

Douglas Lance Gibson, Palestine, 8000 BCE – Randwick, 2012 CE, photograph, Ed.3 + 1AP, 20 x 25 cm. 30 January—27 February A History of Humankind Douglas Lance Gibson

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information. 7 January—18 January Suspended scenery - Three approaches to landscape Jun Chen, Sandra Barnard and Kurt Sorensen Decision Paintings Sophia Fleming 7 January—18 January Nests in Isolation Rachel Anne Buch

Naminapu Maymuru-White, Milŋiyawuy / River of Stars, 2020. (#1086-20), bark painting, 93 x 50 cm. 4 December 2020—28 January. Approximately Infinite Universe Naminapu Maymuru-White / Gulama Muymuru / 162

Jess Johnson and Cynthia Johnson, Chitinous Cruciform, 2019, quilt made from digital print on cotton with pieced fabric border, assorted textiles, thread, 199.5 x 99 cm.

Elise Stanley, Vulnerable Tendencies, 2019.

NEW S OUTH WALES 7 January—18 January Beautiful Bodies David Lindesay and Elise Stanley. 21 January—1 February An Uncaptured Imagination Andrew Ensor Impressions Leila Frijat, Monisha Chippada, Raya Tolentino and Sivaan Lansdowne Walker. 21 January—1 February Fondest Regards Marcus Wisman 4 February—15 February Editions in Dialogue Elizabeth Wallace Becoming Bishoujo Amy Meng 2 minutes to midnight Maryanne Christodoulou You will never own me Jacqueline Meng and Emma Rani Hodges.

Climate change, current issues and the beauty of the coastline is featured. Opening night Wednesday 20 January, 6pm–8pm. 19 January—30 January Far Horizons, Jewel Seas Diana Borinski The artist’s series of paintings is inspired and invigorated by the love of the ocean. The seascapes of Sydney and Northern NSW with their scale and diversity of forms, textures and vibrant colours ask the painter for a delicate balance between technique and a creative flow, echoing the boundless energy of air and water. Opening night Wednesday 20 January, 6pm–8pm. In Conversation with Margaret Vickers and Diana Borinski, Saturday 23 January 11am. Both artists will talk about their individual practice, followed by a discussion on different approaches to the theme of coastlines and seascapes. 19 January—30 January Art from the Heart Cindy Cooper Local artist Cindy Cooper’s practice transforms traditional textile embroidery into contemporary art incorporating analog and digital techniques of collage. cindycooper_opening.eventbrite.com.au

Lynn Smith, Shoes in Op Shop window. 18 February—1 March Grounded Andrew Drabarek, Sally McInerney, Justine Roche, Shawn Sijnstra, Anke Stacker (Sydney), Julie Williams (Blue Mountains), Lynn Smith (Illawarra), Mike Reed (Melbourne), Rebecca Wiltshire (Perth). Curated by Lynn Smith.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. Gallery closed until 3 January. See our website for latest information. 9 December 2020—16 January Cloudzones Paul Bennett A solo exhibition of recent paintings and sculptures that explore the spectacular endless variety of clouds in the elements. 9 December 2020—16 January My Mother My Muse Thea Weiss

Glass Armours explores the tension between the image we think we project and the reality of our experiences donning the armour of pride. It shows something that is ornamental and fragile rather than strong and solid, something heavy and burdensome rather than functional and light. The artist uses glass to create a phantom of ego we wrap around ourselves for protection, letting its translucency show its lack of substance, and beauty to show how highly we elevate its importance. Glass Armours is part of Lunar North Confluence, exhibitions celebrating Lunar New Year on the North Shore. Opening night and public program events: visit www.gallerylanecove.com.au

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat & Sun 10am–2pm. Closed Public Holidays. Fully wheelchair accessible. Street parking and easy public transport access. See our website for latest information.

Rafael Butron, 98 Columbus New York , oil and acrylic on canvas, 2020. 3 February—27 February Common Ground Rafael Butron Rafael Butron’s art practice explores personal interpretations of the landscape. Within this exploration, the artist has developed two distinct ways of creating an image. Stylistically, this translates to a representational series focused on realistic depictions and the other; an expressive collection of urban-scapes and landscapes reflecting on memories and experiences. Opening night Wednesday 3 February, 6pm–8pm. Printmaking Workshop with Rafael Butron, Wednesday 17 February 6.30pm–9.30pm, $85 per person. In Conversation with Rafael Butron, Saturday 20 February, 11am.

A solo exhibition of prints, paintings and sculptures that revolves around the subject of the artist’s mother Anne Wolfson. 19 January—30 January Drawn to the Edge – Coastlines Margaret Vickers A compilation of images that have attracted the artist’s eye over the last 12 months.

3 February—27 February Glass Armours NC Qin

NC Qin, Head Case, cast crystal glass, Photography by Felix Esteban.

Maggie Hensel Brown, Self Portrait in Pandemic, Lying Scrolling. 30 January—4 March Festival of Lace Historic and contemporary lace from the NSW National Trust, Australian Lace Guild, Embroiderers’ Guild NSW and contemporary lace makers. The Festival of Lace is a unique exhibition bringing together pieces from some of the foremost lace collections in the country, along with a variety of contemporary work pieces by practising Australian lace artists. From C17 Venetian lace to contemporary ‘pandemic lace’ pieces - this is lace as you’ve never seen it before. The festival also includes workshops in contemporary or traditional lace and a two-day conference: Lace Looking Forward // Lace Looking Back. Don’t miss the Festival of Lace at Gallery76 this February. 163

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Gallery Sally Dan-Cuthbert www.gallerysallydancuthbert.com 20 McLachlan Avenue, Rushcutters Bay, Sydney, NSW 2011 [Map 10] 02 9357 6606 Tues to Fri 10am–6pm, Sat and Sun 12pm–4pm. See our website for latest information.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information.

17 December 2020—31 February Conversations and Collaborations Group Exhibition

27 November 2020—23 January Infinities Harriet Body (AU), Serena Bonson (AU), Tina Havelock Stevens (AU), Markus Hoffman (DE), Basim Magdy (EG), Chulayarnnon Siriphol (TH), Jenna Sutela (FI), Hossein Valamanesh (IR/AU). Curated by Lauren Reid.

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 See our website for latest information.

Tony Albert and Vincent Namatjira, Australia’s Most Wanted Armed with a Paintbrush, 2018, archival pigment print on paper, found patches, fabric, 100 x 100 cm. Courtesy of the artist and Sullivan + Strumpf, Sydney and Singapore. 5 December—28 February 2021 Weapons for the soldier

Nuha Saad, Ornamental Fancies III, 2020, acrylic on turned posts (5 posts), 180 x 60 x 60 cm approx. Photo: Docqment. 10 February—14 March The Folly of Colour Nuha Saad

Weapons for the soldier is a major and ambitious exhibition bringing together Indigenous and non-Indigenous Australia artists who have made new work to examine complex and varied responses to weaponry, warfare, and their connection to protecting land and country. Weapons for the soldier is the first Anangu-curated exhibition involving non-Indigenous artists, and the second major partnership project between APY Art Centre Collective and Hazelhurst Arts Centre in southern Sydney. Weapons for the soldier fosters dialogue around multi-geographical and multi-generational fights for land, Country and freedom experienced by Australians, both Indigenous and non-Indigenous, as well as the Indigenous experience in Australian military history. Weapons for the soldier is a project by the APY Art Centre Collective and Hazelhurst Arts Centre. The exhibition tour has been assisted by the Australian Government’s Visions of Australia program.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au Damian Dillon, about something #3, unique C-type print, 2020, 100 x 90 cm. 10 February—14 March Handgun BBQ Damian Dillon 164

Markus Hoffman, Bent to infinity, 2018, pine from the nuclear exclusion zone in Chernobyl, whose growth was altered by the influence of radioactive radiation, 40 x 20 x 25 cm. Courtesy of the artist.

184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. See our website for latest information.

Infinities presents works that defy our human-scale conceptions of time: from the microbial-scale of bacterium inside our bodies, to the planetary-scale of the spinning of the Earth and beyond. Curated by Berlin-based curator, Lauren Reid, Infinities brings artists and ideas from across the globe into Goulburn for the very first time. Through an immersive combination of contemporary video work, sculpture, installation and new commissions, Infinities provides an opportunity to step into different temporal methods of relating to the often imperceptible processes, environments, life forms and experiences around us.

David Ryrie, Drowning No 5, 2019, pigment ink on archival art paper, 101 x 150 cm. 27 November 2020—23 January John Hart Canberra based artist John Hart’s works have increasingly been informed by his interest in science, and particularly with trying to render scientific concepts, which are fascinating, but often counter intuitive or obtuse, beautiful. 5 February—20 March Otherwise Arbitrary Moments David Ryrie The artistic practice of David Ryrie is resonant of the encounter at its most bare and honest. Otherwise Arbitrary Moments is an exhibition of new work that pairs these seemingly ordinary encounters with the question of human scale. Preserving an array of moments through large scale photography, Ryrie posits our grown and assumed relationship to things as fluid, changeable and dreamlike. Just

NEW S OUTH WALES

Granville Centre Art Gallery → Install shot of Ngaliya Diyam courtesy of Document Photography. as we may recall an event or a fleeting moment in a new way each time we remember it, these images offer new detail and revelations at each viewing.

Granville Centre Art Gallery

Grace Cossington Smith Gallery

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 See our website for latest information.

www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. See our website for latest information.

www.cumberland.nsw.gov.au/arts

6 November 2020—24 January Ngaliya Diyam Co-curated by Dennis Golding and Rebekah Raymond, Ngaliya Diyam celebrates strength and resilience through the art of local Darug artists and artists from other language groups and nations who call Darug nura home. This exhibition highlights stories of Country, and the many cultural identities and practices of our peoples.

For non-Western cultures time is not linear but rather a spiral or a cycle, in the present tense we become the embodiment of both our ancestral histories and our projected futures. This group exhibition brings together photographic and moving image practices to explore the way in which time is ever present and how it is woven throughout our connections to culture, people and place.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—2pm, Sun 2pm—5pm. See our website for latest information. 31 October 2020—31 January Capturing Nature: Early photography at the Australian Museum 1857–1893

Melinda Marshman, Forest Panorama, oil on polyester, 61 x 132 cm. 23 January—20 February Forested A suite of new works by Sydney-based artists Jan Handel, Melinda Marshman and Lisa Woolfe made in response to the practice of Shinrin-yoku or Forest Bathing.

Selina Ershadi & Azita Chegini, still from Amator, 2019 18 February—9 May The Past is the Present is the Future Curated by Talia Smith

In Capturing Nature, we travel back to a time when photography was revolutionising science, art and society. These images, dating from 1857 to 1893, have been printed from the Australian Museum’s collection of glass plate negatives and are some of Australia’s earliest natural history photographs. Sitting at the nexus of science and art, they tell both the story of pioneering research as well as the advent 165

KATHARINE BULJAN Represented by Eden and the Willow

edenandthewillow.com.au 16 King Street Newtown NSW 2042 gallery@edenandthewillow.com.au Follow us on instagram @edenandthewillow edenandthewillow.com.au

Launcestonâ&#x20AC;&#x2122;s Twilight Spirit, 2015 oil and acrylic on canvas 40.05 x 50.05 cm

NEW S OUTH WALES Hurtsville Museum & Gallery continued...

Debbie Mackinnon, Blowing in the Breeze, 2020, mixed media on paper. Sperm Whale flipper, Megaptera longimana. Photo © Australian Museum. of photography in Australia less than 20 years after the birth of photography in Europe. A touring exhibition created by the Australian Museum.

Michelle Cawthorn, Double crescent blood moon, 2020, oil and archival pen on polyester.

Making My Mark is a celebration and conversation about drawing in all its forms. Debbie Mackinnon has made at least one drawing every day of 2020. Throughout the uncertainty and devastation caused by the bush fires and COVID-19 pandemic, drawing provided solace for the artist in such uncertain times.

21 November 2020—31 January Hazelhurst 20 Years A major exhibition celebrating 20 years of Hazelhurst Arts Centre and featuring more than 350 southern Sydney artists who have contributed to its success including Michelle Cawthorn, Marc Etherington, George Gittoes, Nicole Kelly, Ildiko Kovacs and Peter Sharp.

Louise Zhang, Scholar Mound (with Rope) Study, 2019, foam clay, polyurethane, wood, flatpack pearls. Photograph: by Silversalt Photography. 3 February—28 February Precious Treasures Amy Fu, Jason D Phu, Justin Qian, Guan Wei, Yang Xifa, Louise Zhang

Stephen Quick, Rebel Rebel, aerosol and ink on canvas. 6 February—2 May 2019 Stencil Art Prize Edgy, political, cheeky and pop-culture inspired – The Stencil Art Prize is the largest stencil event in the world. The Prize is a snapshot of the grassroots stencil art form that has undergone resurgence in recent decades and is now thriving on the streets in every country around the globe. The Stencil Art Prize global community of finalists push the boundaries of the ‘stencil definition’ utilising a diverse range of techniques, materials and technology. From photo-realist stencils, dozens of layers, to intricate hand-cut stencils on delicate paper— The Stencil Art Prize is the authority on all things “stencil art”. A touring exhibition curated by Jacinta Fintan.

Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission. See our website for latest information.

Kristela Mozo, Robert Townson High School, The Colours of My Other Home – Manila (detail). 13 February—5 April ARTEXPRESS Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of media and pushing aesthetic, thematic and formal boundaries. Presented by Hazelhurst in partnership with NSW Department of Education and NSW Education Standards Authority, this exhibition includes artwork by some of New South Wales most talented young artists.

Incinerator Art Space www.willoughby.nsw.gov.au/ Community/Arts-Culture/Visual-Arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information.

In partnership with Australia-China Institute for Arts and Culture at Western Sydney University, Willoughby City Council presents an exhibition by six Chinese artists to celebrate Lunar New Year 2021. Curated by Guan Wei, Precious Treasures is derived from the oldest Chinese dictionary, “Shuowen Jiezi”, in which treasure is defined as “precious”. The artworks in this exhibition create links of kindness and beauty between artist, viewer and the world, also known as “precious treasures.” This exhibition features both established artists and a young generation of Chinese Australians, who grew up in the western world, but the cultural heritage from their parents still flows in their blood. In their search for self-identity, the exhibiting artists have learnt to embrace and incorporate their unique bicultural make-up into their artistic practice. An exhibition of painting, installation and sculpture, these artists use contemporary media to demonstrate a strong sense of self and the power of fusion. Precious Treasures is part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore.

20 January—31 January Making My Mark: A Year of Daily Drawing Debbie Mackinnon 167

Summer Exhibition Continues Works by: M Olley, T Storrier, J Coburn, D Boyd, R Crooke, J Olsen, G Proud, M Woodward and many others

Margaret Olley, Proteas & Desert Roses, 0il on Board, 75 x 120 cm.

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616. www.fmelasgallery.com.au e: art@fmelasgallery.com.au fmelasgallery.com.au

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The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

This exhibition plunges into the world of sentō—the history of the public bath, the importance of its preservation and the future of Japanese communal bathing culture. Through a diverse selection of works including historical artefacts, retro-pop ephemera, mural painting, contemporary photography, illustration, and local community art, STEAM DREAMS presents an introduction to the multifaceted sentō culture of Japan.

12 January—23 January Monoprints Elisabeth Cummings and Idris Murphy

The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5.30pm. See our website for latest information.

Telly Tu’u, Petrichor, 2020, oil on canvas, 183 x 183 cm. 27 January—13 February Telly Tu’u 16 February—13 March Andrew Christofides

Hiroshi Nagai, Downtown Sunset Poolside, 2009, acrylic on canvas. © the artist. 25 September 2020—23 January Hiroshi Nagai: Paintings for Music This is the first international solo exhibition of esteemed illustrator Hiroshi Nagai, whose cover art for Eiichi Ohtaki’s A Long Vacation and numerous other iconic record jackets propelled Japan’s city pop music culture through the 1980s. Nagai’s dreamy visual palette and associated city pop hits epitomised the cultural reverberations of Japan’s economic boom, providing a soundtrack and aesthetic for young urbanites lusting after endless summers by the poolside and an indulgent city nightlife. Hiroshi Nagai: Paintings for Music presents 20 of the illustrator’s original works as well as a collection of record jackets made for a variety of music styles from Japan and around the world, including soul, funk, pop, reggae, boogie and more.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information.

Ken Done, Morning swim reef, 2020, oil and acrylic on linen, 102 x 82 cm. 17 December 2020—11 February Recent Works Ken Done

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat, 10am–6pm. See our website for latest information. Rosie Deacon, Budgie Hoops, 2018, ceramic garden ornaments, plaster, acrylic paint. Photo: Zan Wimberley. 5 December 2020—31 January How Do I Know If My Parrot Is Happy? Rosie Deacon 6 February—11 April False Sense of Security Fernando Do Campo, Heath Franco, Doug Heslop, Tracey Moffat and Gary Hillberg, Halinka Orszulok, Shevaun Wright and Giselle Stanborough.

Kotaro Imada, Koto-ku Tokiwayu, 2009. © the artist. 12 February—22 May STEAM DREAMS: The Japanese Public Bath

Elisabeth Cummings, Pilbara 2, 2006, monoprint, 56 x 76 cm.

False Sense of Security is curated by Halinka Orszulok. 169

$50,000 PAINTING I $10,000 WORKS ON PAPER I $10,000 CERAMICS entries open 1 November 2020 and close 31 January 2021 muswellbrookartprize.com.au Muswellbrook Regional Arts Centre Corner of Bridge & William St, Muswellbrook Tue to Fri 10am - 5pm T: 02 65493800 E: arts.centre@muswellbrook.nsw.gov.au www.muswellbrokartscentre.com.au

Artwork: Zoe Tjanavaras, Parched Abundance 2019, reclaimed stoneware, underglaze and silica glaze, high temperature kiln fired, 212 x 210cm; Winner 47th Muswellbrook Art Prize 2019, Ceramics; Muswellbrook Shire Art Collection. muswellbrookeartprize.com.au

NEW S OUTH WALES

Macquarie University Art Gallery www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 11am–4pm. Group bookings must be made in advance. See our website for latest information. 5 August 2020—22 January UNCURATED The gallery’s lead installer was asked to hang available works from the collection without any appeal to medium, content, context, size, artistic reputation or thematic narrative—just hang! The result is transformative, not simply as a means of reviving the life of the gallery space, but as a think tank of fresh aesthetic ideas generated by the juxtaposition of works which consciously may never have been consummated in a professionally researched and curated exhibition. Dedicated to artist Mark Davis.

10 February—31 March The Pandemic Bodies Fan Dongwang Reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of humans regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalised, suspended, fragmented, perplexed, and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post-pandemic psyche. Covid-19 is a wakeup call for us to rethink our relationship with technology and the environment to create new control, purpose, and identities for future generations to survive. The Pandemic Bodies is part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore. The Pandemic Bodies is proudly supported by 2020 COVID-19 Response Funding from: Create NSW Australia Council of the Arts and National Association of Visual Arts.

Maitland Regional Art Gallery www.mrag.org.au

Nathalie Hartog-Gautier, Looking for Paradise. Courtesy of the artist. 20 November 2020—22 January Looking for Paradise Nathalie Hartog-Gautier This project is a reminder of Australia’s responsibility as a first signatory of the United Nation Human Rights Charter. Over 12 handmade and bound books, Nathalie Hartog-Gautier is bringing the stories of refugees, often relegated to the margins of society, to the centre page. They contain scholarly written articles and testimonies from refugees embedded in delicate handmade pages. The books are presented in barbwire cages. This display is a collaboration with Broken Yellow in the creation of a video that animates these books. Symposium surrounding the issues of refugees on Wednesday 25 November, 1pm–2pm. Book early as seats are limited.

21 November 2020—21 February About Maitland Holly McNamee

230 High Street, Maitland, NSW 2320 [Map 12] 02 4934 9859 Tue to Sat 10am–5pm. Café open from 8am. Free entry, donations always welcomed. See our website for latest information. 28 November 2020—7 February Fieldwork: Landscapes west of Sydney An Art Gallery of NSW touring exhibition. Various artists.

Made/Worn: Australian Contemporary Jewellery, Liam Benson, Coat of Arms, 2009. Image: Steven Cook. 13 February—2 May Made/Worn: Australian Contemporary Jewellery An Australian Design Centre national touring exhibition, presented with assistance from the Australian Government through the Australia Council, its arts funding and advisory body. 13 February—2 May Terminus Jess Johnson and Simon Ward 20 February—23 May An Unending Shadow Ann and Sophie Cope 27 February—30 May Maitland International Salon of Photography Various artists 27 February—30 May ARTEXPRESS Various artists.

Manly Art Gallery & Museum www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. Free entry. Closed Mon and pub hols.

Ken Done, Violet coral head, (detail), 2011-16, oil and acrylic on linen, 152 x 122 cm. Courtesy of the artist and Ken Done Gallery, Sydney. 21 November 2020—21 February Paintings You Probably Haven’t Seen: Selected Works 2000–2017 Ken Done Touring from Ken Done Gallery. Fan Dongwang, Pandemic Body, 2020, acrylic on canvas, 36 x 46 cm.

28 November 2020—7 March Survey into the Crestaceous Andrew Sullivan

Laura Jones, Arcadia, 2020, oil on linen diptych, right panel, 183 x 198 cm. 4 December 2020—14 February Laura Jones: The Garden Jones’ continuing connection to the Hawkesbury, Ku-ring-gai and Blue 171

Thresholds Julia Davis and Lisa Jones in collaboration Tin Sheds Gallery School of Architecture, Design & Planning 148 City Rd, Darlington The University of Sydney, NSW, 2006 21 Jan - 19 Feb 2021 T +61 2 9351 3115 See website for opening hours and public programs E tin.sheds@sydney.edu.au | W sydney.edu.au/tin-sheds Julia Davis and Lisa Jones, Thresholds - a chorus, 2016, production still. Photograph: Richard Glover. This artwork was made with the support of The Copyright Agency’s Cultural Fund, Sydney Trains and GREYSPACE.

sydney.edu.au/tin-sheds

4 December 2020 to 24 January Patchwork 4 Exhibition and sale of 15 x 15 cm collectable art by some of the regions finest artists.

@4a_aus 4A.com.au +61 2 9212 0380 hello@4a.com.au

C3/60 Caves Beach Road, Caves Beach, NSW

FiniteGallery.com info@FiniteGallery.com 0419 471 660 10am – 4pm Every day except Thursdays during January 10am – 4pm Friday – Sun & Public Holidays at other times.

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NEW S OUTH WALES Manly Art Gallery continued... Mountains regions has led to the creation of a new body of work in response to these unique landscapes. Combined with works from her recent Arcadia series, this exhibition is a personal exploration of the fragility and resilience of ecosystems and of the cycle of life.

18 December 2020—4 February TENSION(s): 4th Tamworth Textile Triennial

History Repeats – Q Station Three contemporary artists collaborate for the first time to create an immersive exhibition experience in response to issues around migration and quarantine at the former quarantine station at North Head. Jo Neville, Julie Paterson and Fiona Chandler work with paper, textiles and paint, drawing from their unique areas of practice. Presented in partnership with Q Station, Manly.

Stieg Persson, Pomodori Secchi, 2019, oil on linen, 97 x 77 cm. 7 January—31 January Summer Group Exhibition Trevor Weekes, Tiger, oil on canvas. Image courtesy of the artist. 18 February—4 April To be Humanised 2 Trevor Weekes

Nicholas Harding, The Resistible Rise of Arturo Ui, Hugo Weaving. 4 December 2020—14 February The Theatre Sketchbooks Nicholas Harding:

Trevor returns for his unique look at the natural world and wildlife. His absolute love of animals has been a major topic of interest during his career.

A significant annual curated exhibition of artworks by HSC Visual Arts students from the 20 high schools across Sydney’s Northern Beaches. Represented are diverse bodies of work including multimedia, digital, sculpture and drawing.

4 February—28 February Venetian Painting Stieg Persson

Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–5pm, closed public holidays. See our website for latest information.

A unique exhibition of remarkable portrait sketches of the people who make up one of our nation’s great theatre companies, the Sydney Theatre Company. From thousands of drawings and dozens of sketchbooks, the artist and curator will select an exhibition from Harding’s theatre ‘residencies’. 19 February—28 March Express Yourself 2021

teamLab

Part of Mark O’Brien’s extensive record collection. 18 February—4 April For the Record More from the record collection of Mark O’Brien, a lifelong collector of the iconic vinyl.

2021 Artists’ Book Award In partnership with MAG&M, Northern Beaches Council Libraries holds an Artists’ Book Award featuring selected entries from around the world. From the exhibited selection of finalists, judges choose several books to be acquired and added to the Library’s collection which is unique in our community and the only one of its kind in a NSW local government library collection.

Manning Regional Art Gallery www.manningregionalartgallery.com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–5pm, Sun 1pm–4pm.

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm. See our website for latest information. Martin Browne Contemporary is dedicated to showing the finest in Australian and international modern and contemporary works of art. The gallery combines a program of new work by its exhibiting artists with curated exhibitions of selected works from the secondary market.

Wendy Sharpe, Self Portrait with Three Ghosts, 2018, oil on canvas, 154 x 122 cm. Photo: Martin Lane. 16 December 2020—7 March Ghosts Wendy Sharpe In this new exhibition, Wendy Sharpe will create a series of major new site specific ephemeral mural paintings specifically designed for Mosman Art Gallery. The ephemeral mural works will be accompanied by other oil paintings and works on paper from Sharpe’s studio based 173

Michael Bell STUDIO HEAD

Michael Bell, Dog with 2 Heads.

6 to 27 February

61 Flinders Street, Surry Hills, NSW 2010 02 9380 5663 info@flindersstreetgallery.com www.flindersstreetgallery.com flindersstreetgallery.com

NEW S OUTH WALES Mosman Art Gallery continued...

Andrew Tetzlaff (AU), Bridget Chappell (AU), Christophe Charles (JPN), Daniela d’Arielli (ITL), Felix Wilson (AU), Gabi Schaffner (DE), James Geurts (AU), Lesley Duxbury (AU), Madelynne Cornish (AU), Michael Vorfeld (DE), Philip Samartzis (AU), Sabine Vogel (DE), Shannon Leah Collis (CAN).

practice that explore the intersection between the real and the imagined worlds— the seen and unseen—and our human experiences of the spirit world.

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4pm. Admission free. See our website for latest information.

Hannah Quinlivan, Shroud 2, (detail), 2020, acrylic and aluminium annealed wire, dimensions variable. Courtesy of the artist. 7 November 2020—31 January Compression Hannah Quinlivan This new installation work by Canberra-based Hannah Quinlivan responds firstly to the black summer with which the year 2020 began, the subsequent health and economic crisis, and the fissures they have riven in our collective mood. After a year of grief and fear, the work asks its audience to take time to pause. To listen and hold close our ardent longing for the futures we once possessed but that dissolved into smoke, and to find the fortitude to care for each other through the uncertain future.

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. 30 October 2020—31 January 20:20 Twenty artists have been commissioned by Murray Art Museum to make new work in this time of pandemic, isolation, uncertainty and social reckoning. It is moments like these when artists both need our support and need to be listened to. The 20 new works in 20:20 will share visions of a changed world, a more just society, critiques of environmental policy, and the fight for racial justice. 20:20 witnesses our current calamity and seeks insight, kindness and hope. Artists include: Aida Azin, Archie Moore, Ashlee Laing, Biljana Jančić, Dale Harding, Lisa Sammut, Luke Parker, Mary Jane Griggs, Matthew Griffin, Newell Harry, Nicole Foreshew, Rita Wenberg, Robert Hirschmann, Shan Turner-Carroll, Shireen Taweel, Susie Losch, Tané Andrews, Tarik Ahlip, Tiyan Baker and Zoe Marni Robertson.

Archie Moore, Unholy Trinity (Colonialism, Christianity and Capitalism), 2020, mixed media installation. Courtesy of the artist and The Commercial Gallery, Sydney.

Bethany Thornber, Thylaseen, 2020, MAMA installation view. Photo: Jeremy Weihrauch. September 2020—February Thylaseen Bethany Thornber Wiradjuri artist Bethany Thornber’s large scale installation is inspired by Yeddonbah, a sacred site in Chiltern—Mt Pilot National Park that holds an ochre painting of a thylacine. Thornber’s work explores ideas of sacredness and our shared responsibility in maintaining natural and cultural places. 26 February—27 June Bogong Centre for Sound Culture: Notes From the Field Notes from the Field presents work from the 10 year history of the Bogong Centre for Sound Culture (B-CSC), an artist residency and forum for experimental practices, situated in the foothills of Victoria’s Alpine National Park. Notes from the Field gathers works by recent B-CSC residents who have travelled from across Australia and from around the world to the tiny village of Bogong. The exhibition presents a series of sound based and visual artworks, including field work from the residencies including photographs, installations, maps, drawings, and sound works that have been made in and in response to the Bogong landscape . Artists include Adam Pultz Melbye (DE),

Jeremiah Bonson (Jinang/Marung peoples), Warrah Bun Bun, 2010, synthetic polymer paint on wood. National Gallery of Australia, Canberra. Purchased 2010. © Jeremiah Bonson, licenced by Elcho Island Arts. 5 December 2020—14 February Body Language As a direct response to the United Nation’s International Year of Indigenous Languages, the National Gallery of Australia is touring Body Language, which explores the identity of Australia’s diverse Aboriginal and Torres Strait Islander people and communities. Curator: Kelli Cole. A National Gallery of Australia touring exhibition. 12 December 2020—7 February Lake Art Prize 2020 Finalist Exhibition Launched in August, the biennial art prize was open to artists Australia-wide and offers a total acquisitive prize pool of $25,000. Artists, working across all mediums, were invited to submit works which reflect on the theme ‘Where there is Water’. 6 December 2020—7 February Art in Your Community – Water MAC is sitting on the largest saltwater lake in the country, we live near some of the most beautiful beaches in Australia. Water is crucial to survival. In this exhibition MAC invited creatives to submit 2D works inspired by the artists’ relationship to water. 175

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Museum of Contemporary Art → Jumaadi, Siapa yang menjelma sungai & siapakah perampoknya [And who is the river and who are the thieves] (detail), 2019, installation view, Connected: MCA Collection, Museum of Contemporary Art Australia, Sydney, 2020, acrylic on cotton cloth primed with rice. Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2020. Image courtesy and © the artist, photograph: Anna Kučera.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 We now open Tue to Sun 10am–5pm. Closed Mondays. See our website for latest information. 2 October 2020—28 February Lindy Lee: Moon in a Dew Drop Lose yourself in the work of influential Australian Chinese artist Lindy Lee. Slow down and take in shimmering, meditative and thought-provoking works in her largest survey exhibition to date, which draws on her experience of living between two cultures. 2 October 2020—2 May Connected: MCA Collection Bob Burruwal, Rosalie Gascoigne, Mabel Juli, Jumaadi, Noŋgirrŋa Marawili, Jack Nawilil, Alick Tipoti, Bede Tungutalum, Kunmanara Williams. Celebrating some of our most significant recent acquisitions alongside MCA Collection highlights, Connected brings together a selection of works by Australian artists that explore ways in which we might interpret and interact with the world and each other. 2 October 2020—2 May Anywhere but here: MCA Primavera Acquisitions 176

Suzannah Barta, Dion Beasley, Shaun Gladwell, Matthew Griffin, Felicia Kan, Paul Knight, Moya McKenna, Jess MacNeil, TV Moore, Nell, Keg de Souza, Hiromi Tango, Emma White. This exhibition responds to the global upheaval of the coronavirus (Covid-19) outbreak.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Tues to Fri 10am–5pm, Weekends 10am–1pm. See our website for latest information. Muswellbrook Regional Arts Centre presents travelling exhibitions, local exhibitions and art prizes (including the biennial Muswellbrook Open Art Prize), along with periodic selections from the Max Watters and Shire Collections. 11 January—27 February The School Quadrangle Garrie Collins “My art has been my life. It has been the focus of my childhood identity, educational career and retirement years.” On recently reaching his 80th birthday, it became obvious to Garrie that he should complete this journey by now presenting who he is and what he hopes can be our future. The imagery, engagement,

Garrie Collins, Bush Burn 2, 2020, digital print of recycled acrylic on paper construction, 60 x 60 cm. inventiveness and candour within his artwork are testaments to a creative life lived and a guide to cultural activists. This exhibition intends to blend development and performance to guide the advancement of education and the arts in schools and communities. The works displayed in The School Quadrangle are essentially graphic, direct, regional, experimental, and exploratory - retaining a deep commitment to the artist’s connection to the Hawkesbury and Hunter Valley regions and his insights of children. It celebrates reflections into the adventures, friendships and beginnings of a creative life. “Now is the time to think deeper, move slower and laugh regularly.” – Garrie Collins.

NEW S OUTH WALES resent many aspects of life—the flower vase for ceremony and remembrance, the platter shared in celebration and tea bowls representing tradition and custom.

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 #nandahobbs See our website for latest information.

NAS Graduate Exhibition. Photograph: Peter Morgan. 11 February–21 February The Postgrad Show Discover Australia’s next crop of emerging artists at the annual exhibition by graduating MFA students.

Paul Ryan, Not a Sound Out of the Hills, 2020, oil on linen, 200 x 320 cm. 21 January—6 February PLACE An exhibition that locates us in this land. It draws upon the history of our visual narrative with significant works from the past, alongside contemporary interpretations that challenge entrenched views and point to new perspectives for our land and its peoples.

Newcastle Art Gallery www.nag.org.au 1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 Tue to Sun 10am–5pm. Open every day during school holidays. Open public holidays except Good Friday, Christmas Day and Boxing Day. 1–5pm on Anzac Day. See our website for latest information.

Photographer: Luke Kellett. 14 November 2020—14 February WE CAN BE HEROES: a backstage pass

James Drinkwater, Untitled, oil on linen, 200 x 160 cm. 9 February—27 February THE BOXER When I was young I said my prayers James Drinkwater

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sun 11am–5pm. See our website for latest information.

Over the summer of 2020 Newcastle Art Gallery presents a behind the scenes tour seen through the lens of artists capturing intimate moments of Australian and international musicians. The exhibition puts the spotlight on individual stories that highlight similarities between international superstars and those seeking to achieve their dream of becoming heroes. WE CAN BE HEROES: a backstage pass celebrates the connection and relationship between the photographer and their subject, in this case the musician, through rarely seen touring images, backstage portraits and views from the stage that very few of us get to experience.

James Tylor, (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013, Inkjet print on hahnemühle paper with hole removed to a black velvet void, 63 x 63 cm framed. Courtesy of the artist and UTS Art Collection. 13 February 2020—18 April VOID The void is a multifaceted concept, not simply of presence and absence, but a place that exists between distinct worldviews, is occupied by meaning and is imbued with personal, historical and ancestral significance. The artists presented in this exhibition do not simply define the void as denoting a lack, but rather they utilise form to represent the formless. Void brings together contemporary Aboriginal artistic practice from across the country. Curated by Emily McDaniel, the exhibition features existing works across the mediums of drawing, painting, sculpture, ceramics, textiles, video and photography by artists including Pepai Jangala Carroll, Jonathan Jones, Mabel Juli, John Mawurndjul AM, Hayley Millar-Baker, Mick Namarari Tjapaltjarri, Rusty Peters, Doreen Reid Nakamarra, Andy Snelgar, Dr. Thancoupie Gloria Fletcher AO, Freddie Timms, James Tylor, Jennifer Wurrkidj, and Josephine Wurrkidj. An exhibition curated by Emily McDaniel, in conjunction with UTS Gallery and Bathurst Regional Art Gallery, presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

New England Regional Art Museum www.neram.com.au

28 November 2020—31 January DOMESTIC BLISS: functional works from the collection

106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun, 10am–4pm.

This exhibition brings together ceramic works of art by leading artists and a new generation of ceramic practitioners, including recent acquisitions to the Newcastle Art Gallery collection. Discover domestic and functional wares that rep-

20 November 2020—31 January Compass: Generations of Walcha artists Kate Durack, Julia Griffin, Myfanwy Gullifer, Paula Jenkins, Gemma King, Stephen King, Ross Laurie, Angus Nivison, James Rogers, Ben Tooth and Rosie Waugh. 177

Max Berry Monument

Broken Hill Regional Art Gallery 20 November 2020 - 21 February 2021 bhartgallery.com.au

bhartgallery.com.au

NEW S OUTH WALES New England Regional continued...

Gary Heery, Sea Eagle, 2010, edition 1 of 9, archival pigment print, 105 x 130 cm. 20 January—6 February Gary Heery

Benjamin Murphy, HYPERION, 2020, charcoal on raw canvas (fixed), framed in a hand-carved artist’s frame, 37 x 47 x 2 cm. 11 February—28 February In Defence of Darkness Benjamin Murphy, Valerie Savchits Paul Weiner

James Rogers, Summer, 2019, waxed steel. Walcha, in the Northern Tablelands of NSW, is renowned for its public art and the number of artists who call it home. This exhibition features established senior artists of the region and the new generation coming into their own with works spanning painting, printmaking, ceramics and sculpture.

Parramatta Artists’ Studios www.parramattastudios.com.au Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] Tim Summerton, Last Light III, 2019, 152 x 101 cm. 10 February—27 February Tim Summerton

PIERMARQ* Gallery

Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere NSW 2116 02 9806 5230 Open during events. Studio visits by appointment. Admission free. See our website for latest information.

www.piermarq.com.au Lionel Lindsay, The Crab, 1931, wood engraving, printed in black ink on paper. 20 November 2020—31 January Lionel’s Place: Lionel Lindsay from the Maitland Regional Art Gallery Collection Lionel Lindsay

76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 Mon to Sat 10am–5pm, Sun 10am –2pm. See our website for latest information.

20 November 2020—31 Jan uary Dark Light – Fierce Love Liz Priestley

Akil Ahamat in his studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat, 10am–5pm, Closed Sun and Mon. See our website for latest information.

Matthew Kentmann, Magpie, Garru, Messenger Bird 2, 2020, oil on linen, 46 x 51 cm. 21 January—7 February Craig Handley, Matthew Kentmann and Gemma King

Kirtika Kain in her studio at Parramatta Artists’ Studios, 2020. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. 179

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, tel 02 8274 4599, www.kendone.com Detail: Morning swim reef, 2020, oil and acrylic on linen, 102 x 82cm

kendone.com

NEW S OUTH WALES 26 November 2020—31 January Boundless Paul McCarthy, Debbie Mackinnon, Phil Stallard, Pamela Honeyfield, Claire Tozer, Keith Betts, Sally Stokes, Marek Herburt, Luke Wagner, Shannon Garson, Barbara Goldin, Joanne Duffy, Felicia Aroney. Collectors Gallery: Ken Knight, Jacqueline Fowler, Mitsuo Shoji.

Parramatta Artists’ Studios continued... 1 January—28 February 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Lill Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor, Justine Youssef.

At no greater time have we appreciated the transformation of our world through art. Their vision became our window. Boundless.

1 January—28 February 2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo, Yasmin Smith.

Roslyn Oxley9 Gallery

Saint Cloche

www.roslynoxley9.com.au

www.saintcloche.com

8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. See our website for latest information.

Nyapanyapa Yunupingu, Djulpan (seven sisters), 2020, natural earth pigments on board, 365.5 x 244 cm. 29 January—27 February Nyapanyapa Yunupingu 29 January—27 February Stone Idols Kirtika Kain

Rochfort Gallery

37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information.

Evi O, Syntax Eclipse, acrylic on panel with painted frame, 45 x 35 cm.

Saint Cloche is a contemporary gallery situated in the heart of Paddington, Sydney. We believe that collaboration cultivates creative potential, making Saint Cloche a unique space to explore creativity.

S.H. Ervin Gallery

9 December 2020—10 January Nautilus Evi O, Emily Imeson, Hannah Nowlan, Anthea Kemp, Elise Cameron-Smith, Mel Lumb, Emily Brookefield, Lucy Anderson, Britt Leech, Natalie Rosin, Asahi So, Tracey Deep, Amanda Dziedzic, Stacey Rees, Indivi Sutton, Milly Dent. 11 December 2020—10 January Secret Garden Bridgette McNab, Justin Scivetti, Carissa Karamarko, David Whitworth, Alex Xerri, Saxon Quinn, Ella Bendrups, Susan Jacobsen. 13 January—24 January Pied-à-terre Carissa Karamarko and Emily Brookfield.

10 February—21 February Giant Evi O

www.shervingallery.com.au 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. See our website for latest information. The S.H. Ervin Gallery is one of Sydney ’s leading public art institutions housed in the historic National Trust Centre on Observatory Hill, The Rocks in Sydney. The Gallery’s exhibition program is designed to explore the richness and diversity of Australian art, both historical and contemporary, and present it in new contexts.

www.rochfortgallery.com 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 See our website for latest information.

Peter Kingston, Lady Herron II, 2014, oil on canvas, Private Collection. 5 December 2020—14 February First Light: the art of Peter Kingston Peter Kingston

Emily Imeson, Moonlight Range, acrylic on canvas, 123 x 11.5 cm. 27 January—7 February Ancient River, River Red Emily Imeson Paul McCarthy, Angophora Ridge, 148 x 148 cm, oil on linen.

10 February—21 February David Whitworth

This major survey exhibition of works by Peter Kingston focuses on his passion for Sydney Harbour, its character and changing moods, the perpetual ebb and flow of ferries. Curated by Barry Pearce, author of the artists recent monograph, the exhibition comprises key paintings and drawings from the early 90s onwards, as well as Kingston’s books, prints, memorabilia and items of nostalgia. 181

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Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. Gallery closed until 6 February. The gallery hosts a continually changing exhibition calendar and showcases the work of both established and emerging artists. Exhibitions include painting, photography, sculpture, wearable art, ceramics, video, and performance.

14 February—4 April The Millennials New furniture born from original thinking by Rolf Barfoed, Elliot Bastianon and Andrew Carvolth.

STATION www.stationgallery .com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Wed to Fri 12noon–6pm, Sat 10am–4pm. See our website for latest information.

Sullivan+Strumpf www.sullivanstrumpf.com 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. 28 January—6 February Summer 21

11 February—27 February The Care Project - Contemporary Art and Feminism Curated by Assoc. Prof Jacqueline Millner.

Sturt Gallery & Studios

Lindy Lee, Under the Shadowless Tree, 2020, wax and acrylic on aluminium, 164 x 493 cm. 18 February—13 March Love Letters Between the Rain and the Fire Lindy Lee

www.sturt.nsw.edu.au Cnr Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm. See our website for latest information. Sturt was established in 1941 and is a nationally significant and award winning centre for the teaching, sale, production and exhibition of contemporary Australian craft and design. Sturt offers an annual program of courses and residencies in the disciplines of woodwork, metalwork, textiles, design and ceramics.

Yevgeniya Baras, Untitled, 2015–19, oil, wood and paper pulp on canvas, 66 x 81.3 cm. Courtesy the artist, STATION, Australia, and Nicelle Beauchene Gallery, New York. 12 December 2020—6 February Invisible Line Yevgeniya Baras

Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am –4pm, Sun 10am–4pm. Closed Public Holidays. See our website for latest information.

Annika Romeyn, Guerilla Bay, 2019. 11 December 2020—7 February The sound of blue – ceramics, textiles, photography, furniture A celebration of new work by Keiko Matsui, Julie Shepherd, Niharika Hukku, Emma Peters, Catherine Capan, Amy Kennedy, Leila Jeffreys, Annika Romeyn, Grant Donaldson.

Sam Martin, Fetters Of Matter, Written In Rain, 2020, cotton thread and synthetic polymer on canvas over wooden board, 55.5 x 44.5 cm. Courtesy the artist and STATION. 13 February—13 March The Other Double Sam Martin

Elliot Bastianon, Mochi seating. 182

Linda Erceg, Biomorph, 2020, mixed plastics, 300 x 500 x 250 cm. Photography Miranda Heckenberg. 1 August 2020—23 October 2022 Tension[s] 2020 Tamworth Textile Triennial Curator: Vic McEwan The 4th Textile Triennial Exhibition, Tension[s] 2020 is going on National Tour. The 4th Tamworth Textile Triennial, Tension[s] 2020 national tour, launched at the Tamworth Regional Gallery on the 1st of August 2020. The Tamworth Textile Triennial, held every three years, showcases the best of textile

NEW S OUTH WALES art from across the country attracting artist participation from all states in Australia. Tension[s] 2020: Tamworth Textile Triennial has been curated by Vic McEwan creating an important record of the changing nature and progress of textile practice from a national perspective. Tension[s] 2020 acknowledges that the world has long been a place under various tension[s], both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality. Artists from all across Australia will be represented in the Triennial, as we celebrate the work of textiles artists around the country and acknowledge the important role that our regional gallery plays not just locally, but across the country. The national tour will visit Tamworth, Mosman, Wagga Wagga, Ararat, Mornington, Wangaratta, Canberra, Bowen Hills, Mackay, Murwillumbah, and Taree throughout 2020, 2021 and 2022. It will also be provided as an online exhibition to allow anyone anywhere to access the exhibition.

Thienny Lee Gallery www.thiennyleegallery.com

exhibition by further exploring the complex and inseparable relationship between people and place. This new exhibition employs pastels and oils to portray the wild movement of life by examining the impact of the environment on the human psyche. Through a culmination of fluent techniques from both the portrait and landscape traditions, Tweedie gently fuses the separate forms of the land and the figure to accentuate the inextricable connection between the two—despite the occasional departure of the people from the place, they are nonetheless affected by the landscape and vice versa.

Tin Sheds Gallery www.sydney.edu.au/tin-sheds School of Architecture, Design and Planning 148 City Road, Darlington, The University of Sydney, NSW 2006 02 9351 3115 See our website for latest information.

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun 10am–5pm. See our website for latest information. 27 November 2020—14 March Planes, Trains and Bubble’O Bills Kenny Pittock 4 December 2020—9 May Archive Victoria Reichelt Featuring works spanning Reichelt’s career, Archive brings together works that explore contemporary detritus, from stacks of books and magazines and empty public libraries, to plastic cups and takeaway containers.

The Tin Sheds Gallery provides a platform for public debate about the role of architecture, design and planning in contemporary society through the production of research-led exhibitions, publications and related activities.

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Tue to Fri 10am–4pm, Sat 11am–4pm. See our website for latest information.

Arthur Boyd, Shoalhaven as the River Styx, c1996, oil on canvas. Boyd Family Collection. 8 January—28 February Arthur Boyd: Landscape of the Soul A Bundanon Trust touring exhibition.

Julia Davis and Lisa Jones, Thresholds – a chorus #28/01/17, 2017. Photograph: Richard Glover. This work was made with the support of the Copyright Agency’s Cultural Fund, Sydney Trains and GREYSPACE. 21 January—19 February Thresholds

Howard Arthur Tweedie, North Sydney with Metro, oil on linen, 79 x 63 cm. 18 February—9 March Embodied Landscape II Howard Arthur Tweedie In Embodied Landscape II, Howard Arthur Tweedie builds on his previous

Presenting recent collaborative work by Sydney-based artists Julia Davis and Lisa Jones that explores transience and embodiment of place. Curated by Claire Taylor, the exhibition reveals layers of the built environment rarely encountered: a subterranean landscape under Sydney’s CBD. The artworks include photographs and 3-channel video with imagery that depicts details of ethereal, liminal sites lying in a state of suspended animation and large-scale drawings that capture the materiality of a particular time and place.

Abdul Abdullah, Archibald Prize 2020 finalist, Untitled self-portrait, oil and aerosol on linen, 183 x 163 cm. © the artist, photo: AGNSW, Jenni Carter. Sitter: Abdul Abdullah – artist. 22 January—7 March 2020 Archibald Prize Regional Tour 183

Current exhibition:

Sue Macleod-Beere Sydney Vignettes Australian modern, contemporary and Indigenous works of art. Approved valuer for the Australian Governmentâ&#x20AC;&#x2122;s Cultural Gifts Program.

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 See our website for our latest opening hours. brendacolahanfineart.com Sue MacLeod-Beere b.1956- NZ, Australia, Wet Day â&#x20AC;&#x201C; Pier 1, 2018, oil on canvas, 92 x 46cm.

brendacolahanfineart.com

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NEW S OUTH WALES

UNSW Galleries → Archie Moore, Family Tree, 2018. Conté crayon on blackboard paint. Installation view: Griffith University Art Museum, Brisbane. Image courtesy: the artist and The Commercial, Sydney. Photograph: Carl Warner.

UNSW Galleries www.artdesign.unsw.edu.au/ unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm. Closed public holidays. See our website for latest information. 16 January—6 March The Colour Line Archie Moore and W.E.B Du Bois A presentation of works by Kamilaroi/ Brisbane artist Archie Moore in dialogue with drawings by influential African American scholar and activist W.E.B Du Bois. Presented in association with Sydney Festival. 16 January—17 April Fractures & Frequencies Megan Cope A survey of works by Quandamooka artist Megan Cope investigating listening practices and extractive industries in Australia. Presented in association with Sydney Festival.

workers’ struggles against threats to more than 50% of Australia’s Northern Territory from shale gas fracking.

The University Gallery www.newcastle.edu.au/community-and-alumni/arts-and-culture/ the-university-gallery

GS Building, University of Newcastle, University Drive, Callaghan NSW 2308 [Map 12] See our website for latest information.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission. See our website for latest information.

16 January—17 April INFRACTIONS Rachel O’Reilly INFRACTIONS is a feature documentary in dialogue with frontline Indigenous cultural

31 October 2020—31 January Hardenvale – our Home in Absurdia Kellie O’Dempsey, Catherine O’Donnell and Todd Fuller This project draws on the artists own childhoods and adolescence in suburban and regional Australia, spanning three decades of Australian culture from the 60s and into the 90s. 31 October 2020—24 January Miyagan (Relations) To care for the future we practice culture. With senior cultural practitioners, daughters and sons, aunties and mums, siblings and grandchildren this exhibition will look at contemporary art practices across generations throughout different cultural regions of what we know today as NSW. Curated by Hannah Donnelly and Jonathan Jones.

3 October 2020—7 February TitleForms and Echoes: from the National Art Glass Collection BlurbForms and Echoes showcases works within the National Art Glass Collection that explore the use of multiple elements to create and expand upon a single powerful idea.

Rachel O’Reilly, INFRACTIONS (video still) 2019. HD video, split screen with text, Dolby 5.1, 1:03:00. Image courtesy of the artist.

Smith’s paintings lay bare the conventions and challenges of the medium. Wry, witty yet critically perceptive, her works are active sites of negotiation in which opposing elements defiantly co-exist.

24 October 2020—17 January The Masks I Wear to Pass Ben Rak This exhibition is an attempt to shed light on the ways in which people (including the artist) conceal or reveal themselves in order to gain visibility, avoid marginalisation, and enjoy the privileges afforded to dominant groups. Form is temporary, class is permanent Kate Smith

8 Doors, a collaborative installation by PAS artists Lill Colgan, Kirtika Kain, Gillian Kayrooz and Wagga-based artists Alice Peacock, Greg Carosi, Pat Ronald and facilitators James Farley (CSU) and Hayley Megan French (PAS). 31 October 2020—31 January On The Space of Artists – 8 Doors PAS artists Lill Colgan, Kirtika Kain and Gillian Kayrooz with Wagga-based artists Gregory Carosi, Alice Peacock and Pat Ronald, facilitated by Hayley Megan French (PAS) and James Farley (CSU). 185

DAMIEN MARCH 5 Januaryâ&#x20AC;&#x201C;19 January

ARO Gallery, 51 William Street, Darlinghurst NSW 2010 Image: Damien March, Monumental Splash, detail. arogallery.com

NEW S OUTH WALES Wagga Wagga Art Gallery continued... The 8 Doors installed on the Morrow Street wall of the Wagga Wagga Art Gallery are provocations to ask where the space of artists is—to open up the doors of our studios and homes and show where we make, what we make, and what we surround ourselves with to do what we do. This collaborative exhibition is a partnership between Parramatta Artists’ Studios (PAS), Eastern Riverina Arts and Charles Sturt University (CSU) and has been supported by Create NSW Project Grant.

Wallarobba Arts and Cultural Centre www.hornsby.nsw.gov.au/culture 25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] 02 9847 6845 Daily 10am–4pm.

Watt Space Gallery www.newcastle.edu.au/wattspace 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open 7 days 10am–4pm. Daily 10am–4pm. Closed Good

Friday, Christmas Eve & Day, Boxing Day and New Year Day. See our website for latest information. Ongoing Animal in Art: The Collection The only regional gallery in NSW to home a permanent collection, the WPCC collection focusses primarily on the animal. This is a rich vein of exploration for artists and the collection features a dazzling variety of mediums, styles and approaches to the subject. Form oils to printmaking, installations to digital media, the WPCC collections features surprising and engaging works from some of Australia’s best contemporary artists. 28 November 2020—7 February 200 Years On: Ronnie Grammatica 200 Years On features photographic works by Port Macquarie based artist Ronnie Grammatica. In this body of work, the artist retraces the journey of 19th Century British explorer John Oxley

Western Plains Cultural Centre → Joseph McGlennon, Agnus Dei, 2012, giclée digital print on Hahnemühle Fine Art paper, 100 x 100cm. Donated through the Australian Government’s Cultural Gifts Program by Kimberly Holden, 2016. 187

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ROCHFORT GALLERY 317 PACIFIC HIGHWAY, NORTH SYDNEY NSW 2060 0438 700 712 | WWW. ROCHFORTGALLERY.COM rochfortgallery.com

NEW S OUTH WALES Western Plains Cultural Centre continued...

Wentworth Galleries www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 02 9222 1042 [Map 8] 1 Martin Place, Sydney, NSW 2000 02 9223 1700 Open daily 10am–6pm, See our website for latest information.

Kerry Dunne, Water is Precious, oil on canvas, 76 x 61 cm.

Ronnie Grammatica, Gurinder, Tamworth, 2019, inkjet print. Courtesy of the artist. through Regional Australia. In acknowledging his own cultural identity and sense of belonging, Grammatica has documented some of the individuals he encountered along the way, revealing a diverse and interconnected human landscape.

David Hinchliffe, City Lights, 2020, acrylic on canvas, 101 x 153 cm. 28 January—11 February Martin Place: City Lights David Hinchliffe

200 Years On highlights the growing diversity of our communities in regional NSW, exploring the stories of individuals and places, and how each has developed since Oxley’s day.

James White, Boorolong memory, water colour on paper, 37 x 28 cm.

24 October 2020—23 May True to Life Likeness: A History of Vincent’s Studio, Dubbo

4 February—7 March Riding on the Sheeps Back James White

Vincent’s Studio was a photographic studio that operated in Dubbo and region from the early 1900s to the late 1970s. Before phone cameras and social media, photographic studios played a crucial role within a community, documenting and producing photographs of weddings, debutante balls, engagements, couples, nurses, service personnel, elected officials, sporting teams, portraits, passport photographs, families, children, babies, and assorted buildings. The collection of negatives, logbooks, and other materials that made up the Vincent’s Studio collection had begun to significantly deteriorate by the time they were donated to the Dubbo & District Family History Society (DDFHS). Over a number of years, DDFHS volunteers have tirelessly cleaned, scanned, catalogued, and researched the collection, allowing it to be accessed and utilised by the general public. This exhibition charts the history of photographic studios, the Vincent’s Studio collection and the invaluable work of volunteer-run organisations like DDFHS in preserving our material culture. This exhibition is a collaboration between Western Plains Cultural Centre, Local Studies and Dubbo & District Family History Society.

14 January—31 January A Fraction of the Whole Kerry Dunne

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org

Emily Kame Kngwarreye, Yam Dreaming, 1995, synthetic polymer paint on canvas, 93 x 62 cm. 16 February—28 February Phillip Street: Utopia Emily Kngwarreye and Minnie Pwerle

Weswal Gallery www.weswalgallery.com.au 192 Brisbane Street, East Tamworth, NSW 2340 [Map 12] 02 6766 5847 Thur and Fri 10am–4pm, Sat & Sun 10am–2pm. See our website for latest information.

30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. The gallery will be closed from 18 January—5 March as we prepare for our next exhibition Lumen. See our website for latest information. Judith Neilson founded the Gallery in 2009 to share her private collection of 21st-century Chinese contemporary art with the world. Admittance to the Gallery is free, and we operate as a registered charitable institution funded solely by Judith Neilson. 11 March 2020—17 January AND NOW Group Show Gone are the bold declarations and audacious iconoclasm that once 189

ar t g ui d e .c o m . au White Rabbit Collection continued...

only documents Illawarra regional histories and art practices, but also reflects developments and issues in art of local, national and international relevance. Our diverse program includes exhibitions and activities that highlight the unique energy and creativity of the Illawarra region, as well as those derived from partner institutions around Australia and the world. 21 November 2020—7 February Just Not Australian

AND NOW exhibition. characterised contemporary Chinese art. The artists in AND NOW represent the vanguard of global contemporary art, their works no longer merely reflect the transformation of China but, instead, echo an entire world in flux. Eco-anxiety, governmental crackdowns, digital imprisonment disguised as liberation– it’s a brave new world that we share.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Mon to Fri 10am–5pm, See our website for latest information. Wollongong Art Gallery, managed by Wollongong City Council, is one of the largest regional art museums in Australia. Our aim is to enhance the understanding and enjoyment of the visual arts for the people of the Illawarra and visitors to the region. Wollongong Art Gallery has an important collection of Australian, Aboriginal and Asian art. The permanent collection not

Just Not Australian presents Australian practitioners at the forefront of national debate and practice. Drawing together 20 artists from diverse cultural backgrounds, their differing ideas and perspectives on nationhood coexist within this timely thematic show. Showcasing the common sensibilities of satire, larrikinism and resistance so as to present a broad exploration of race, place and belonging, Just Not Australian interrogates what it means to be Australian at this challenging point in time. Curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. 5 December 2020—28 February Riste Andrievski: Pecalba Photography and printmaking by local artist Riste Andrievski which reflects the Illawarra as a culturally diverse area. Through his work the artist explores how a sense of place is integral in the development of personal and cultural identity. Drawing on memories of growing up among the fibro houses and pervasive industry of Cringila and Port Kembla the exhibition is a personal testament to the migrant experience and how that has informed his sense of self.

Lorraine Brown and Narelle Thomas, Owls, 2020, acrylic on canvas, 61 x 61 cm. Sarah Tedder Photography. Until 21 March Coomaditchie– Keeping Culture Alive Connecting cultures and transferring cultural knowledge, wisdom, history and stories through art to our younger generations and wider community. With artists Lorraine Brown, Narelle Thomas, Shane Brown, Allison Day, Dereke Brown, Jessica Mook-Brown, Tynan Lenihan, Meahala Langlo-Brown and curated by Lorraine Brown, Narelle Thomas and Kristy Thomas. Until 11 July Every Body: works from the collection An exhibition of narrative, mythological, historical and reflective depictions of the human body. Including painting, photography, sculpture, ceramics, drawings, film, collage and prints from the Asian, Contemporary, Early Australian, and Indigenous collections.

Wollongong Art Gallery → Liam Benson, Red Flag, 2017, glass beads, seed beads, sequins, cotton, 30 x 59 cm. Courtesy of the artist and Artereal Gallery, Sydney. Photo: Zan Wimberley.

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Aâ&#x20AC;&#x201C;Z Exhibitions

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Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

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Andrew Baker Art Dealer www.andrew-baker.com 26 Brookes Street, Bowen Hills, QLD 4006 [Map 15] 07 3252 2292 0412 990 356 Wed to Sat 10am–5pm. See our website for latest information.

Art from the Margins Gallery and Studios www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm. See our website for latest information.

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat to Sun 10am–3pm. Free entry. See our website for latest information.

Matthew Lys and Louis Lim, Dark Moon Rising. 6 February—26 March Dark Moon Rising

23 October 2020—17 January Jabu Birriny Edna Ambryn, Michelle Yeatman, Ruben Ambryn, Valmai Pollard, Philomena Yeatman, Elverina Johnson, Eric Orcher 5 December 2020—14 Febuary Light on Landscape Lyn Laver-Ahmat

Emerging from the rainforest canopy of Far North Queensland and a culture spanning countless generations, Manggan – gather, gathers, gathering shares knowledge through the recent works of 19 Indigenous artists from Girringun Aboriginal Art Centre alongside collection objects from the South Australian Museum. Manggan – gather, gathers, gathering is a travelling exhibition in partnership between Girringun Aborginal Art Centre, the South Australian Museum, and toured by Museums & Galleries Queensland. This exhibition is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians. It is supported through the Australian Government’s Indigenous Visual Arts Industry Support program and the Queensland Government; and proudly sponsored by Conrad Gargett, Urban Art Projects and TED.

Artspace Mackay

Edna Ambrym, Mayi bugaam – sea (detail) 2017, etching on paper, 40 x 40 cm. Photo: Mick Richards Photography. Image courtesy Yarrabah Arts and Cultural Precinct.

19 December 2020—6 February Manggan – gather, gathers, gathering

A collaborative body of work created by Matthew Lys and Louis Lim. The work showcases Matthew’s extravagant performance in front of the lens and reveals his humorous ingenuity.

Caboolture Regional Art Gallery

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays. See our website for latest information.

www.moretonbay.qld.gov.au/ caboolture-gallery 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 Mon to Sat 10am–4pm. See our website for latest information.

Nadège Philippe-Janon, At the core is another (detail), 2018, materials include salt, glass prisms, motors, animation, sound, dimensions variable. Image courtesy of the artist.

Emmanuel Moore, Chatswood Leaves, 2020, acrylic and aerosol on wooden panel, 64 x 54 cm. Courtesy of the artist.

11 December 2020—14 February Systematic

11 December 2020—7 February Constructing Landscape – urban visions

Bill Hart, Ian Burns, Jacob Leary, Laura Woodward, Nadege Philippe-Janon, Patrick Pound, Tega Brain, and Tricky Walsh.

Mark Alequin, Aaron Craig, Matthew De Moiser, Cattaneo Giulia, Shae Gregg, Dorothy Haig, Keith Haring, Pat Hoffie, David Houghton, Lukas Kasper, Denise Lamby, Claire Matthews, Blair McNamara, Alison Mooney, Emmanuel Moore, Jake Moss, Fleur Muffatti, Ken Munsie, Raquel Ormella, Laurie Oxenford, Catherine Parker, Scott Redford, Susan Schmidt, Pamela See, SodaMouf, Thom Stuart, Kym Tabulo, AJ Taylor, Nicole Voevodin-Cash and Kieron Wilson.

2 February—16 May Tony Druery 19 February—16 May A Changing Ecology Danie Mellor 15 February—12 May The Wall Dylan Mooney 192

Group of 3 Bagu, artists left to right: Emily Murray, Theresa Beeron, Ninney Murray, 2011-16, ceramic of various sizes. Photography by Valerie Keenan, Girringun Aboriginal Art Centre.

QUEENSLAND 5 December 2020—6 February Twelve Artists and Twelve Ways

Jemima Wyman, Haze, 2020, handcut digital photo collage, 124.5 x 183 cm. Courtesy of the artist, Milani Gallery, Brisbane, and Sullivan + Strumpf, Sydney. 30 January–20 March On fire Gordon Bennett, Naomi Blacklock, Paul Bong, Hannah Brontë, Michael Candy, Kinly Grey, Dale Harding, Erika Scott, Madonna Staunton, Anne Wallace, Judy Watson, Warraba Weatherall and Jemima Wyman.

Alison Mooney, Night Swim Under Lights (detail), 2019, mixed media on canvas, 150 x 150 cm. Gift of the artist, 2019. Courtesy of Sunshine Coast Art Collection. Photo Carl Warner. 12 February—14 March Latest & Greatest: Sunshine Coast Art Collection recent acquisitions Bianca Beetson, Johanna DeMaine, Roley Drysdale, Joe Furlonger, Natalya Hughes, Alison Mooney, Joy Roggenkamp and Elizabeth Willing.

Jennifer Herd, Crucifixion, 2020, archival ink and pinholes on 320gsm Sihl paper, 150 x 79 cm. 13 February—20 March Pat Hoffie and Jennifer Herd

GALA Gallery www.galagallery.com.au Level 1/35-37 Macaree Street, Berserker, QLD 4701 [Map 14] 07 4921 0241 Mon to Thurs 8am–6pm, or by appointment. See our website for latest information.

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 Wed, Fri and Sat 12noon–5pm. See our website for latest information.

This exhibition profiles contemporary Queensland art in a time of significant ecological change. It situates this analysis during the emergence of what fire historian Stephen Pyne describes as the Pyrocene—the fire equivalent of an ice age, with Australia as one of its major epicentres. One year on from Black Summer, the devastating 2019-20 bushfire season, the work of thirteen emerging, established, and posthumous artistic voices are presented here to frame an understanding of this theory of a new, incendiary era, and engage with closely related themes of global warming and climate threat in this state.

FireWorks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. Gallery closed until 27 January.

Cailtin Franzmann, Achira, 2020, digital collage. Courtesy of the artist. Theodore Kennett-Raj, Ghosts of Extinction Past, detail. 3 January—28 February Life in Eden Theodore Kennett-Raj

Institute of Modern Art www.ima.org.au

Rosella Namok, Two Moieties (next generation), 2019, acrylic on canvas, 110 x 90 cm.

Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Wed to Fri 10am–5pm, Sat 10am–3pm. See our website for latest information.

30 January–20 March To the curve of you Cailtin Franzmann Working closely with collaborators from different disciplines and with the particularities of sites, Franzmann creates participatory works which take shape around slow practices, conversation, critical listening, and collective forms of care. Co-commissioned with TarraWarra Biennial, To the curve of you is a series of sonic and relational artworks focused on the movement and connections of plants, people and microbes. The project experiments with gardening, foraging, fermenting, and flower essences as embodied processes. The IMA iteration of the project is unique to the urban context of the gallery and to plants that are ‘wild’ and medicinal within the city environment. A selection of displaced plants that survive on disturbed and untended land will co-mingle with existing plants in the IMA garden. 193

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Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. See our website for latest information.

2 December 2020—16 January Gathering gold Richard Blundell The Krabi Project Merri Randell and Chris Denaro Logan treasures: art, craft and design pop-up store

6 February—28 February A drowning Sim’s cry for help This work humorously tries to make sense of the absurdity of the everyday, mental health, and mortality by taking cues from computer games and children’s entertainment and the ways content is often censored to provide temporary relief from reality.

Nicholas Aloisio-Shearer. 6 February—28 February Flight into the Unknown Lei Xu, Man Tou (steamed bread), 2018, oil on canvas. 22 January—27 February Of the desert Helena Jackson-Lloyd The smell of memory Lei Xu Elements Richard Connors Mark Tweedie, One is the loneliest number (Misery Beach), 2020, oil and acrylic on canvas, 122 x 86 cm. 23 February—13 March Gallery 1: Motionless Keith Burt Gallery 2: Before and After Mark Tweedie

Logan Art Gallery www.logan.qld.gov.au/artgallery

Urban menagerie Ronelle Reid Natural resilience: inner feelings, outward reflections Chloe Wigg

Metro Arts

Through the use of 3D imaging, drawing machines and AI networks, this exhibition questions how we understand historical genres of art and how they inform our contemporary view of the world.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm.

www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm.

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm. See our website for latest information.

Patricia Piccinini, Teenage Metamorphosis, 2017, silicone, fibreglass, human hair, found objects, 25 x 137 x 75 cm. Purchased 2018 Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery.

Photograph: Kyle Weise. 12 December 2020—23 January New For Old

Faraimo Paulo, Toku mataua, 2014, acrylic and textile ink on canvas. 2 December 2020—16 January Eleni – Navigators of Polynesia Faraimo Paulo 194

Bringing together work by Australian and international artists, New for Old uses the figure of an obsolete screen technology, to reflect on the relationship between technology and memory. Curated by Kyle Weise, featuring work by Jeron Braxton, Stanton Cornish-Ward and Trent Crawford, Susan Hawkins, Danny Jarratt, Daniel McKewen, Penelope Umbrico.

Yandell Walton, Uprise, 2019–2021, 4 channel projection installation with sound, dimensions variable, sound design by Michele Vescio with William Elm, Animation by Tobias Edwards.

QUEENSLAND 5 December 2020—30 January Curious Affection Patricia Pinninini 13 February—10 April Shifting Surrounds Yandell Walton

Noosa Regional Gallery www.noosaregionalgallery.com.au

On loan from the State Archives and Records Authority NSW

Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.

extraordinary stories of men, women and children incarcerated in NSW gaols during 1870–1930.

Philip Bacon Galleries

Noosa Regional Gallery is the leading public gallery on the Sunshine Coast. See our website for latest information.

www.philipbacongalleries.com.au

Michael Boiyool-Anning, Big-uun gidilagay (Child’s shield) (detail), 2017, Natural ochres and charcoal on softwood rainforest timber, 71 x 40 x 7.5cm. Photo: Mick Richards. Courtesy of the artist and Onespace Gallery.

Michelle Hamer, There is no threat, 2020, hand-stitching, mixed yarn on perforated plastic, 51 x 198cm. Courtesy the artist. 14 November 2020—23 January Furusato: Patterns from Pilgrimage Elysha Rei Miscellaneous Assemblies Daniel Agdag New York Rambling Miriam Innes 29 January—21 March Shannon Garson Are You Having A Good Night? Michelle Hamer Casuistry Yanni Van Zijl

Onespace Gallery

globetrotting is on hiatus for now, so we look toward the borderless art world instead. The exhibition will present work by Ross Booker, Amy Carkeek, Sebastian Di Mauro, Dan Elborne, Tamika Grant-Iramu, James Hornsby, Sebastian Moody, Matthew Newkirk and Thomas Oliver 5 February—13 March OLD SHIELDS NEW WAYS Guest Curator: Trish Barnard Old Shields New Ways will feature artworks by Indigenous artists from north Queensland such as Michael Boiyool-Anning (Dulgu-barra Yidinji), Paul Bong Bindur-Billin (Yidinji), Abe Muriata (Girramay) and Napolean Phillip Oui (Djabugay). The exhibition presents contemporary interpretations of the elaborate traditional historical shields that were decorated with important totemic designs associated with Aboriginal cultural groups who inhabited the rainforest region of north Queensland.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. Closed until 27 January. See our website for latest information.

Tim Storrier, A Repose (In the plague year), 2020, acrylic on canvas, 76 x 152 cm. 27 January—13 March Summer Exhibition

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 Mon to Sat 10am–4pm. See our website for latest information.

www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. 11 December 2020—30 January DEPART Guest Curator: Taylor Hall Our final exhibition for 2020 provides artists with the space to reflect on their departing thoughts before entering into the new year. As civilization wrestles with its own impermanence, creativity offers a way of being that navigates the uncanny, transcends borders, and provides a tether to alternate worlds. The luxury of

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm See our website for latest information. 6 October 2020—19 February Captured: Portraits of Crime 1870–1930

Pine Rivers Art Gallery is moving to a new location in early 2021. The gallery is now closed while we prepare the new venue. Please visit the Moreton Bay Regional Council website to stay up to date with upcoming exhibitions and programs.

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Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 See our website for latest information.

Unknown Jeweller, Australia, Goldfields brooch and chain (crossed pick and shovel with bucket and nuggets), c.1880–1915. Purchased 2011 with funds from Margaret Mittelheuser AM and Cathryn Mittelheuser AM through the QAG Foundation. Collection: QAGOMA. Photograph: Natasha Harth.

QUT Art Museum www.artmuseum.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat and Sun noon–4pm. See our website for latest information. QUT Art Museum and our sister gallery, William Robinson Gallery, are two of Queensland’s premier visual art institutions, situated in one of the CBD’s most attractive locations on the Brisbane river. QUT Art Museum presents a diverse program of contemporary art exhibitions drawn from the University’s extensive art collection, as well as commissioned art projects, and touring exhibitions.

Queensland Art Gallery (QAG): Andrea Huelin, Man with Canvas (detail) 2020, gouache on paper, 35 x 28 cm.

Until 31 January Two Sisters, A Singular Vision

27 November 2020—7 February Men and Cones Andrea Huelin

Until 7 February Mavis Ngallametta: Show Me the Way to Go Home

High-vis, yet invisible, they are among us. Where there’s traffic to be managed, or roads to be worked, you will find them. Men and Cones turns the generator-powered spotlight onto the reflective workwear of our suburban heroes.

Gallery of Modern Art (GOMA): Until 21 March Unfinished Business: The Art of Gordon Bennett

All the Single Ladies Regi Cherini Life Lines Leonie Woods

The first large-scale exhibition of Bennett’s oeuvre since 2007. The exhibition showcases Bennett’s key series in depth, his most important and admired works, and includes many works which have rarely if ever been exhibited.

miffy and friends. Image © Mercis bv. 21 November 2020—14 March miffy & friends Dick Bruna, Stephen Bird, Sadie Chandler, Nadia Hernández, Carla McRae, Nell, Brian Robinson and Vipoo Srivilasa. Featuring original illustrations, posters and first edition books by Dick Bruna the exhibition discovers the artist’s influences and working process, placing them alongside seven contemporary Australian artists who find inspiration in the iconic figure of Miffy.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery Majestic c.1929, Collection: Bobby Haas and Haas Moto Museum© Haas Moto Galleries LLC. Photographer: Grant Schwingle. Until 26 April The Motorcycle: Design, Art, Desire

Roland Nancarrow, Kanifushi Coral Garden No 6 (diptych), 2018, Kanifushi watercolours. 22 January—28 March Maldives Artworks Roland Nancarrow 196

This world-exclusive exhibition, only in Brisbane, will showcase the art, design and history of one of the most iconic objects of the last 150 years, the motorcycle. Featuring more than 100 innovative and influential motorcycles from the 1860s to present day, it will consider the iconic vehicle from the perspective of social history, popular culture, design and technology.

1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 Mon to Sat 10am–4pm. See our website for latest information. 5 December 2020—27 February 15 Artists 2020 The 15 Artists annual acquisitive prize seeks diverse voices and ideas about culture, spirit, identity and place. Recent works from invited Australian artists compete for the $15,000 prize, and a place in the Moreton Bay Regional Council Art Collection. The 2020 artists are James and Eleanor Avery, Sam Cranstoun, Jennifer Herd,

QUEENSLAND Naomi Hobson, Locust Jones, Jumaadi, Leah King-Smith, Shivanjani Lal, Jenna Lee, Claudia Nicholson, Jason Phu, Izabela Pluta, Sancintya Mohini Simpson, Natasha Walsh, and the winner of the 2020 Redcliffe Art Society Exhibition of Excellence.’ Award developed by Moreton Bay Regional Council.

13 December 2020—31 January Artistic Endeavour

10 December 2020—31 January A Space Within: Stanthorpe Pottery Club

7 February—21 March Drawn

This exhibition is a collection of works that are inspired by the opportunity to create art from space. The use of the space that was created remains a mystery to the creator. This mystery is given to the audience.

Rockhampton Art Gallery www.rockhamptonartgallery.com.au 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 Find us on Facebook. See our website for latest information.

Kai Wasikowski, Realtree #4, 2018. Colour inks on paper. Courtesy and © of the artist. 12 December 2020—27 February Oceans from here Oceans from here is an exhibition of contemporary photography exploring the aesthetics of water from mountain glaciers to the open seas. Exhibiting artists have responded to water as a vital element, which flows through the land to the seas and fills the atmosphere of our planet. Several of the works reinforce notions of an Australian identity so closely tied to the oceans that surround this nation island. While others immerse the viewer in a metaphorical ocean that surrounds, defines and moves through us all. A touring exhibition from the Australian Centre for Photography, curated by Allison Holland.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Stanthorpe Regional Art Gallery www.srag.org.au Weeroona Park, 56 Lock Street, Stanthorpe, QLD 4380 07 4681 1874 Sat & Sun 10am–1pm, Tues to Fri 10am–4pm. See our website for latest information.

This prize has been run biennially since 1972 and is one of the most valuable regional art prizes in Australia with prize money of $50,000. Shortlisted works will be on exhibition from Friday 19 February - Sunday 18 April 2021. All works will be available for purchase. Opening night and awards 19 February. Stanthorpe Artists’ Festival 20 February.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10:30am–3:30pm, Sun 1pm–4pm. Closed Mon & Public Hols. Free entry. See our website for latest information.

Cheryl Moggs, Kinship. 10 December 2020—31 January Back to the Dreaming: Cheryl Moggs Cheryl Moggs has been out to country to create this amazing exhibition. Back to the Dreaming gives insight into the Dreaming concept embedded in the ancient culture of Indigenous society.

17 October 2020—12 January In Focus 2020 16 January—16 March Sunset at Wellington Point Kathryn Blumke

edland Art Gallery, R Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information.

19 February—18 April Stanthorpe Art Prize

Maryke Miller, Embers.

Edna Ambrym, Mayi Bugamm – Sea, 2017, two plate colour etching. Courtesy of YACP. 30 January—14 March Jabu Birriny (land + sea) Jabu Birriny, meaning ‘land’ and ‘sea’, celebrates the unique environment of Yarrabah and its ongoing importance to culture and people. Located on the shore of Cape Grafton in Far North Queensland, Yarrabah is the traditional Country of the Gunggandji people. It is a dynamic Aboriginal community surrounded by tropical native bushland and mountain ranges united by sandy coastlines and coral reefs. Jabu Birriny brings together stories rich in lineal, past and recent histories through vibrant prints, intricately woven vessels and textured ceramics that embody the land and sea. The exhibition has been co-curated with Yarrabah Arts and Cultural Precinct, a branch of the Yarrabah Aboriginal Shire Council. Yarrabah Art Centre artists, Philomena Yeatman, Michelle Yeatman, Valmai Pollard, Edna Ambrym, Ruben Ambrym, Eric Orcher and independent artist, Elverina Johnson are renowned for their production of distinctive contemporary work in the 197

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QUEENSLAND Toowoomba Regional Art Gallery continued... mediums of ceramic, textile, fibre, print and painting. Each artist has their own unique approach to their art making which celebrates the community’s cultural identity of the land and sea and continues the cultural practices and stories unique to the area. Jabu Birriny (land + sea) was developed by State Library of Queensland in partnership with Yarrabah Arts and Cultural Precinct (YACP). Flying Arts Alliance is touring the exhibition with a full suite of arts and cultural engagement programs Queensland-wide 2019–2021.

stimulate dialogue and debate. We’re committed to opening up dialogue with the faculties, research institutes and centres of the University, and to place education at the core of our activities.

Umbrella Studio Contemporary Arts

13 February—19 June Occurrent Affair proppaNOW: Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey, and Laurie Nilsen.

408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

13 February—19 June The City of Ladies Zanny Begg and Elise McLeod.

www.umbrella.org.au

Daniel McKewen and Anonymous, chat with anon (production still from The ideo-log Project), 2020, found iPhone, digital images and videos, dimensions various. Image courtesy of the artist and Milani Gallery, Brisbane.

Percy Lindsay 1870-1952, The digger n.d. , oil on canvas, 6. x 51.5 cm. Lionel Lindsay Gallery and Library Collection 016, Reproduced by kind permission © the artist.

21 August 2020—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman. 3 August 2020—19 June DEMOS Andreas Angelidakis

Barbara Dover, Suffocate, 2018, found plastic rope washed up on far north Queensland beaches, found marine charts, glass bell jar and moulded resin, 45 x 25 x 25 cm.

21 November 2020—14 March Rainbow Gold: Oil paintings from the Lindsay Collection Named after an image from Dorothea Mackellar’s popular poem about Australia, My Country (1908), this exhibition highlights oils by Frederick McCubbin, Tom Roberts, Percy Lindsay and other painters represented in the Lionel Lindsay Gallery and Library Collection.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm. Closed 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. We aim to connect each visitor with new ideas in creative practice, and with learning in its many forms. We collect and exhibit progressive works of art, which

Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney. Courtesy of the artist and KRONENBERG MAIS WRIGHT, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Zan Wimberley. 22 February—16 January Centre of the Centre Mel O’Callaghan 22 February—16 January To Speak of Cities Sam Cranstoun 21 March—16 January Music of Spheres Lincoln Austin, Eugene Carchesio, Daniel Crooks, Michaela Gleave, Tjungkara Ken, Peter Kennedy, Lindy Lee, Dylan Martorell, Leonie Pootchemunka and Rosalind Atkins, Koji Ryui, Sandra Selig, David Stephenson and Guan Wei.

Barbara Dover, Decoy, 2018, found far north Queensland squid hooks, metal, glue, 35 x 35 x 25 cm. Photo: Michael Marzik. 29 January—28 February Disquiet: Ecological Anxieties and Transformation Robyn Glade-Wright and Barbara Dover. This touring exhibition considers the millions of tonnes of plastic that are discarded into the environment every year, and the resultant feelings of anxiety, anguish and grief. Artists Barbara Dover and Robyn Glade-Wright use found plastic marine debris to create works that amplify and raise questions about such ecological destruction and how to move forward as individuals and a nation.

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JANUARY/FEBRUARY 2021

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

Aarwun Gallery www.aarwungallery.com

27 January—14 February Pinched Paintings Abbey Jamieson and Rowan McGinness.

11 February—28 February Journey Dean Bowen Prints and works on paper.

11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening. See our website for latest information.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Open daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.

Ali Nobile, Flag for a Secret Society: Hope Conjurors, 2020, handsewn velveteen, thread, glue, felt and dowling rod, 20 x 200 cm. 24 February—14 March Supernatural Light Affinity Yvette Hamilton, Ali Noble, Lisa Sammut and Helen Shelley.

Beaver Galleries Margaret Hadfield, Happys Hut (destroyed Black Summer). Exhibiting the fine art of Margaret Hadfield-Zorgdrager on a permanent basis and also a large collection of antique and preloved artworks which have been collected in response to the discarding of our culture. Folk Art, needlework, Marquetry are all appreciated here. This privately run gallery is a celebration of Australian history and culture through art. In the heart of industrial Canberra. Performances every weekend.

www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm. Gallery and café will be closed until 18 January. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

13 January—14 March The Redemption of Colour Scott Chaseling

Kyeema Gallery at Capital Wines www.capitalwines.com.au/kyeema-gallery/ 13 Gladstone Street, Hall Village, ACT 2618 02 6230 2022 Thurs to Mon 10.30am–5pm. See our website for latest information.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12–5pm. See our website for latest information.

Scott Chaseling, 99 Bottles, (detail), 2013, blown glass, metal frame. Courtesy of the artist.

Alex Asch, Unfamiliar sky, painted metal, formply, concrete residue, 65 x 155 cm. 11 February—28 February Axis Alex Asch Assemblages.

The Kyeema Gallery in Hall Village in operates in conjunction with Capital Wines Cellar Door, 15 mins from the Canberra CBD. The gallery features regular exhibitions of works by Indigenous, established and emerging Australian artists including local Canberra regional artists.

M16 Artspace www.m16artspace.com.au

Abbey Jamieson and Rowan McGinness, Pinched Paintings – Stacked, 2020, mixed media on ceramic, dimensions variable. Image: Kerry Martin.

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun noon–5pm. See our website for latest information. Dean Bowen, Retrieving Dog, monotype, 44 x 60 cm.

14 January—31 January Double Standard 201

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M16 Artspace continued... Skye Jamieson, Adina West, Tom Buckland, Rowan Mcguiness, Belle Palmer, Patrick Larmour, Rico Rossini and Jess Semler. Curated by Belle Palmer. M16 Chairs Prize Amy Powell Showing the work Amy Powell, selected by the Chair of M16 as part of the ANU Emerging Artists Support Scheme.

AUSTRALIAN CAPITAL TERRITORY Colony meets Colony Karynne Ledger 25 February—14 March Pantone 311 The Marsden Art Group Framework of Injustice Melissa Beowulf

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.

Melbourne Fragments Phil Page

Al Munro, Square Fold 2, 2020, acrylic paint on constructed wood panel, 40 x 40 cm. Photo courtesy of the artist. 4 February—21 February Pattern/Pleat Al Munro Futures Past Luna Ryan

Angharad Dean, Rest, 2020, solar plate etching on paper, 30 x 21 cm.

Hilda Rix Nicholas, Une Australienne, 1926, oil on canvas, National Gallery of Australia, Canberra, purchased 2014. © Bronwyn Wright.

25 February—14 March I AM STRONG Angharad Dean

14 November 2020—4 July Know My Name: Australian Women Artists 1900 to Now

National Gallery of Australia → XU ZHEN®️ European Thousand-Armed Classical Sculpture, 2014, installation view, XU ZHEN®: ETERNITY VS EVOLUTION, National Gallery of Australia, Canberra, 2019, White Rabbit Collection, Sydney ©️ the artist. XU ZHEN®: ETERNITY VS EVOLUTION is presented with the support of Dr Judith Neilson AM and the White Rabbit Collection, Sydney. 203

ar t g ui d e .c o m . au National Gallery of Australia continued... More then 300 works, highlights include a floor-to-ceiling presentation of artists’ portraits in a variety of mediums, the work of pioneering performance artists Bonita Ely and Jill Orr, and a complete edition of Tracey Moffatt’s first major series of photographs, Something more 1989. Gemma Smith has been commissioned to paint the walls of the galleries.

Until 22 February 2021 This is my place

Until 14 March XU ZHEN®: ETERNITY VS EVOLUTION XU ZHEN

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information. Until 14 February Pub Rock

David Rosetzky, Jessica Mauboy, 2018. Until 21 March Before hand: the private life of a portrait

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tues to Sat 10–4pm. See our website for latest information. Based at the Manuka Arts Centre in Canberra, PhotoAccess is a leading Australian centre for contemporary photography, film-making and media arts. We are an experienced non-profit visual arts organisation, presenting each year a dynamic program encompassing exhibitions, artist residencies, workshops, events and publications. 4 February—27 February VIEW2021

Nicholas Harding, Robert Drewe (in the swell), 2006.

PhotoAccess’ annual early career artists showcase, VIEW2021 features the ACT and regions’ future leaders in photo-media practice. Presenting challenging and diverse new work in analogue and digital

Maddie Hepner, Golden Lady, 2019, digital inkjet print, 54 x 40 cm. photography, alternative processes, video and experimental photo-processes.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. Closed until 12 January. See our website for latest information. 6 February—13 March Various Artists Inc. Margot Sirr, Kate Buerckner, Alex Parrinder 6 February—3 April Jack, John and Kempsey Jack Featherstone

Tuggeranong Arts Centre → Jack Featherstone, Sydney Harbour Christmas Party (Redfern Series), 1983, oil on board, 25.5 x 51 cm. 204

Aâ&#x20AC;&#x201C;Z Exhibitions

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Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

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Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. See our website for latest information.

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun noon–5pm. See our website for latest information.

15 January—6 February Parallel lines: Drawings from my archive David Keeling

The award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee. 11 December 2020—23 January Road to Somewhere Part of the 2020 Little Gallery Emerging Artist Program. Susan Simonini’s abstracted landscapes and painted ceramics reflect the artist’s personal and transformative journey and permanent move to north west Tasmania. The works in this exhibition are a visual exploration of the connection she feels with the local landscape and its unique beauty.

12 February—6 March Group exhibition

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information.

Fernando do Campo, To companion a companion. 23 January—28 February To companion a companion Fernando do Campo

Devonport Regional Gallery www.paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat 9am—2pm, Sun & pub hols: closed. See our website for latest information. 5 December 2020—30 January tidal.20: City of Devonport Tasmanian Art Award

Richard Dunlop, Liffey Falls (Birthplace of the Tasmanian Greens), oil on Belgium linen, 168 x 170 cm. 29 December 2020—18 January Birds Returning; New Images from North Tasmania Richard Dunlop

tidal is a contemporary art award linked to the theme of water and tides to acknowledge Tasmania’s rich maritime history. Since 2010, the exhibition has been an acquisitive award. However, to relate more strongly with the Gallery’s Acquisition and Collection policy, tidal 20 will now be open to artists who identify as Tasmanian by either birth, or by demonstrating a strong and ongoing association with Tasmania.

Milan Milojevic, Flora 2/3, 2020, archival inkjet with etching overlay, 30 x 44 cm. 6 February—20 March Terra Incognita: A duck-billed what? Milan Milojevic This is an exhibition of prints and three-dimensional objects that continues to explore contemporary cultural identity and the complexities of a cross-cultural position. Milojevic is a first generation Australian of German/Serbian parents, and for four decades he has engaged with the dilemma of growing up and belonging to three countries and finding a space ‘in between’, an imagined and unknown place constructed from collected stories of a homeland he never witnessed and is based instead upon memory, myth, fiction and fact.The synthesis of fact and fiction play a pivotal role in his practice, content that is informed and inspired by the aesthetics and visual language developed by 18th and 19th century engravers and naturalist artists. The fictitious flora and fauna are constructed through a combination of digital and traditional print technologies. Reference to engravings and woodcuts stems from his interest in the role these early prints played in disseminating visual information through compendiums and encyclopaedias. Opening 5 February. 6 February—1 May Recollections: Revisiting the beginnings of the Devonport Regional Gallery Permanent Collection

Robert Brown, Yellow and Green (Kingston Rocks), oil on canvas, 102 x 102 cm. 26 January—16 February Coast Robert Brown 206

Susan Simonini, A Little Closer, 2020, acrylic and pencil on board, 20 x 25 cm.

The Devonport Regional Gallery evolved from the inception of the Little Gallery, which was founded by Jean Thomas as a private commercial Gallery in 1966. The Devonport Regional Gallery’s collection has its beginnings in the works collected by Jean Thomas for The Little Gallery, beginning in 1966 with an exhibition of works by Tasmanian artist Christopher Pyett. This exhibition looks back on the artists represented in the original Little Gallery, featuring works from the Permanent Collection that was built from Jean Thomas’ original vision.

Handmark

11 December 2020—19 January The Wind Wanders Around My Bones

www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm, or by appointment. See our website for latest information.

Jock Young, Light breeze, Geilston bay, 2020, oil on linen, 72 x 138 cm. 8 January—25 January Summer Salon Handmark artists

Anne Zahalka, Artist with Macquarie Island diorama, 2020, digital photograph.

Maz Dixon, Lusitanic, oil and graphite on polyester, 51 x 46 cm. 5 February—23 February Getaway Maz Dixon

Through his love for Tasmania’s natural environment and native bird species, coupled with a Fine Arts degree, Mooney has been able to create captivating displays built from recognisable local imagery and intricate hand crafted Huon pine sculptures of native birds both small and large. Influenced by his early childhood in George Town, Mooney’s blend of artisan skills and creative visual narratives create an incredible opportunity for exploration of the natural world right here in our very own backyard. 5 December 2020—24 October On display at the Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka Have you ever wondered where old habitat diagrams go once an exhibition comes to an end? For our latest exhibition, Lost landscapes, artist Anna Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary representation of the Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth.

Nathan Grey, Natalie, acrylic on board, 98 x 87 cm. 29 January—15 February New paintings Nathan Grey

Nicole Robson, Dirty Linen.

19 February—3 March New jewellery design Linda Van Niekerk

26 February—22 March Dirty Linen Nicole Robson

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Wed to Mon 10am—6pm. See our website for latest information.

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.

By using the original taxidermied specimens, digital imagery manipulation and elements brought in from the natural landscapes, Zahalka has created an immersive three dimensional experience showcasing our nature, culture, and changing relationship to the environment.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information. 5 December 2020—21 November On display at the Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney In Nest you’ll find artist Alistair Mooney breaking out of the traditional gallery experience.

Garry Greenwood, Praxis, 1998, wet formed laminated and carved cow hide. Collection of the Queen Victoria Museum and Art. 207

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Tasmanian Museum and Gallery → David Keeling (b. 1951), To the island, 1990, oil on linen, 119 x 164 cm. Collection: David Ellison. QueenVictoria Museum continued... 5 December 2020—22 May 2022 On display at the Queen Victoria Art Gallery, Royal Park: Skin Garry Greenwood Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood in our latest exhibition as part of the Summer Season program at QVMAG Royal Park. Known globally as a pioneer of his field, Greenwood’s work has amassed a world-wide following for his ability to create art that transcends the mind to an alternate reality of fashion, masks, accessories and musical instruments. 5 December 2020—13 February 2022 On display at the Queen Victoria Art Gallery, Royal Park: Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the nineteenth century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that this December we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries. 15 August 2020—28 March Queen Victoria Museum, Inveresk: 208

The Estuary kanamaluka/Tamar estuary has been an important part of the lives of Tasmanians for more than 40 000 years. Today this complex waterway is central to the identity of people living in Launceston and the Tamar Valley. The estuary faces big challenges: climate change, population growth, pollution, and invasive plant and animal species.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au

Viola hederacea, Chantale Delrue, 2020. Photograph: Wind Song, Matthew Baker, Tasmanian Herbarium, TMAG. 20 December 2019–ongoing This Too Shall Pass Henry Hunter

Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Open Tues to Sun, 10am–4pm. Free entry, bookings required.

This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things.

20 November 2020—14 February David Keeling: Stranger

6 September 2019—24 January Extinction Studies

A survey exhibition featuring the work of critically acclaimed Australian artist David Keeling, who has spent nearly 40 years exploring Tasmania and its narratives, past and present.

A long-term daily durational performance by Tasmanian artist Lucienne Rickard who seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure.

4 December 2020—28 February Discovering the Flora of Wind Song: Botanical Art and Science Works by artists from the group Botaniko, inspired by their time accompanying TMAG botanists on the 2017 Expedition of Discovery to Wind Song on Tasmania’s East Coast.

Aâ&#x20AC;&#x201C;Z Exhibitions

JANUARY/FEBRUARY 2021

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

A Monash Gallery of Art (MGA) travelling exhibition 12 October 2020 – 5 February 2021* Flinders University Museum of Art Flinders University I Sturt Road I Bedford Park Monday to Friday 10am – 5pm or by appointment Thursday until 7pm flinders.edu.au/museum-of-art Robyn Stacey, The first cut (detail), 2009, chromogenic print, 120.0 x 159.5 cm, collection of the artist, © the artist, courtesy Darren Knight Gallery, Sydney and Jan Manton Gallery, Brisbane. * Closed 24 December 2020 - 10 January 2021 flinders.edu.au/museum-of-art

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Fri 11am–4pm, Sat 10am–5pm.

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified.

As South Australia’s flagship contemporary art gallery, ACE Open presents a year-round program of free exhibitions by practicing South Australian, Australian and international artists. Its exhibitions, talks and events are held at its Lion Arts Centre home in the west end of the city. In name and nature, ACE Open forges the future with an approach that is flexible and constantly evolving, placing values of ambition, integrity, openness and criticality at its core. ACE’s programs extend the edges of contemporary visual art practice, embrace diversity and provide a space for artists and audiences to take risks. ACE Open publishes periodic artist monographs and hosts an on-site studio program, as well as providing mentorship, professional development, advocacy and opportunity to South Australian artists, curators and art writers.

sunrise, through to the hush of sunset and finally a return into the enveloping mists of nightfall. 130 paintings are drawn from national public and private collections, and highlights include the artist’s famed ethereal images of commonplace motifs such as lone figures, waves, trams and cars. Tickets on sale now.

Flinders University Museum of Art www.flinders.edu.au/museum-of-art

Elisa Jane Carmichael, Ngugi/Quandamooka people, South East Queensland, born 1987, Brisbane, Sonja Carmichael, Ngugi/Quandamooka people, South East Queensland, born 1958, Brisbane, Yagabili wunjayi (make today), 2019, Minjerribah (North Strdbroke Island), Queensland, cyanotype on cotton, 240 x 270 cm. Courtesy the artists and Onespace Gallery. Photo: Grant Hancock.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed until 10 January. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

16 October 2020—31 January Tarnanthi: Open Hands

2020 Helpmann Academy Graduate Exhibition. Photo: Georgia Matthews and Russell Millard. 28 January—13 February 2021 Helpmann Academy Graduate Exhibition

Hotel (Pripyat), Chernobyl exclusion zone (2019). Image courtesy Yhonnie Scarce and Lisa Radford. 26 February—24 April The Image Is Not Nothing (Concrete Archives) The exhibition will present new and existing work in a range of material forms by over 20 artists from Australia, the Pacific region, Europe and Asia, including Hayley Millar Baker, Rosemary Laing, Megan Cope, Unbound Collective and more.

Open Hands is this year’s inspiring focus exhibition of Tarnanthi, the Art Gallery of South Australia’s annual celebration of contemporary Aboriginal and Torres Strait Islander art. Open Hands pays tribute to the work of senior artists who pass on vital cultural knowledge to younger generations as the future leaders of their Aboriginal and Torres Strait Islander communities. Through the act of making, they channel deep connections to Country and culture as they relate knowledge and expertise, stories and experiences.

Robyn Stacey, The first cut from the series Empire line, 2009, chromogenic print, 120 x 159.5 cm. Collection of the artist © the artist, courtesy of Darren Knight Gallery, Sydney and Jan Manton Gallery, Brisbane. 12 October 2020—5 February Robyn Stacey: as still as life A Monash Gallery of Art (MGA) travelling exhibition. This exhibition leads audiences into the tantalising world of the still life tradition. Stacey is one of Australia’s leading photographic artists whose fascination with the still life genre inspired the selection of works for this exhibition. Through the contemporary medium of photography Stacey brings historical collections to life on a monumental scale, interrogating what these collections may have meant for their original owners and interweaving personal historical narratives.

Clarice Beckett, Australia, 1887-1935, Summer fields, 1926, Naringal, Victoria, oil on board, 24.5 x 34.5 cm; Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019, Art Gallery of South Australia, Adelaide. Photo: Saul Steed. 27 February—16 May Clarice Beckett: The present moment The Art Gallery of South Australia’s upcoming major exhibition Clarice Beckett: The present moment takes you on a sensory journey from the first breath of

22 February—16 April The Guildhouse Collections Project: Ritual Nature Ray Harris A new series of evocative performative videos by South Australian artist Ray Harris, that explores ritual actions in connection to cleansing and death. Her work is the result of a research-based residency investigating the conceptual art collection at Flinders University Museum of Art. The Collections Project is a collaboration between Guildhouse and Flinders University Museum of Art. 211

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GAGPROJECTS / Greenaway Art Gallery www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12noon–4pm, closed Mon. See our website for latest information.

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am– 4pm. Closed Mon and pub hols.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Mon to Sat 10am–5pm. See our website for latest information. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Daily 11am–5pm.

Safe Space is a major touring exhibition of contemporary sculpture, showcasing the works of 12 acclaimed Australian artists. Safe Space is an initiative of Museums & Galleries Queensland developed in partnership with Logan City Council through Logan Art Gallery, and curated by Christine Morrow. This travelling exhibition is supported by the Visions regional touring program, an Australian Government program aiming to improve access to cultural material for all Australians; the Queensland Government through Arts Queensland; the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory governments; and is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Nexus Arts Gallery Jess Johnson and Simon Ward, Terminus, 2017-18 (still), virtual reality experience in five parts: colour, sound. National Gallery of Australia, Canberra. Commissioned with the assistance of The Balnaves Foundation 2017. Purchased 2018. 5 December 2020—17 January Terminus Jess Johnson and Simon Ward

www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information.

Inspired by Sci-Fi, comics and fantasy movies, Terminus is a virtual reality (VR) installation that transports the viewer into an imaginary landscape of colour and pattern with human clones, moving walkways and gateways to new realms.

Jordan Leeflang, Cab Chair, 2020. Photo: Josh Geelen. 4 December 2020—7 February Adelaide: Generate 2020

Terminus: Jess Johnson and Simon Ward is a National Gallery of Australia exhibition and is touring Australia as part of the National Gallery of Australia’s travelling exhibitions program. The National Gallery of Australia acknowledges funding support from the Visions of Australia touring and the National Collecting Institutions Touring and Outreach Programs, both Australian Government programs aiming to improve access to the national collections for all Australians. Terminus was commissioned with the assistance of The Balnaves Foundation. Exhibition dates are subject to pandemic restrictions. Please visit murraybridgegallery.com.au for updated information closer to the time.

Abrahim Mohammadi, The Migrated Words, 2017, gouache on Vasli, 23 x 23 cm. 18 February—19 March The Migrated Words Abrahim Mohammadi This exhibition from emerging artist Abrahim Mohammadi explores the plight of the Hazara community of Afghanistan and Pakistan, who comprise one of the biggest communities of forced migrants in the world. Drawing on his background in Mughul painting techniques, Mohammadi works to contemporise them and cast them in a new light.

Newmarch Gallery www.newmarchgallery.com.au Sera Waters, Basking, 2016–17. Photo: Grant Hancock. 11 December 2020—31 January Seppeltsfield: Domestic Arts Sera Waters

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Rosie Miller, Paper Town time-based installation for Tinkering Tank, 2018, timelapse digital animation on flat screen, duration 4 min 18 sec. Photograph by Lily Castleman. Image courtesy of the artist. 30 January—14 March Safe Space Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French.

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thurs 9am–7pm, Sat 9am–4pm, Sun Closed.

S OUTH AUSTRALIA

Newmarch Gallery → Ann Newmarch, View of Peppermint Gums, (detail), pastel on paper. 11 December 2020—25 January Ann Newmarch Survey Ann Newmarch OAM A curated exhibition of selected works by a preeminent Australian artist and resident of Prospect.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm, or by appointment. See our website for latest information. Bianka Kennedy in the studio with work in progress for SUGAR, George Street Studios. Photo: Jake Shaw. Dr. Matthew Briggs, Bianka’s sculptures have been created through exploration of complex sugars in the body. A family and access encouraged event.

Riddoch Arts & Cultural Centre

Eleanor Zecchin, #413-1000 Ways to Rainbow, watercolour on cotton rag, 11.4 x 16.2 cm. 29 January—28 February 1000 Ways to Rainbow Eleanor Zecchin Metaphorical readings of rainbows are used to explore the inexhaustible potential of watercolour in parallel with the disci pline and pursuit of an optimistic mind.

Bianka Kennedy, Orbs (paper models of work in progress), 2020-21, mixed media, dimensions variable. Courtesy of the artist. 11 February—6 March SUGAR Bianka Kennedy Sugar? Sweet! But what do sugars in our body look like? Take a walk through an engaging exhibition of new works by visual artist and theatre designer Bianka Kennedy. Inspired by the research of scientist

www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am-5pm, Sat & Sun 10am-2pm. See our website for latest information. 18 December 2020—26 January JamFactory ICON Angela Valamanesh: About being here Angela Valamanesh 213

ar t g ui d e .c o m . au Riddoch Arts& Cultural Centre continued...

Artist in Residence Exhibition: Hard Shadows Rita Kellaway Ancient geological rock formations within the Onkaparinga Region are highlighted in an exploration of form and line in cast glass. 12 December 2020—31 January Artist in Residence Exhibition: A line, a curve, a river, a song Sonja Porcaro

Angela Valamanesh, Been here and gone #7, 2006. Photography by Michael Kluvanek. JamFactory’s Icon series celebrates the achievements of South Australia’s most influential artists working in craft-based media. Inspired by the symbiosis between science and poetry Angela Valamanesh’s artworks elicit intrigue and a strong sense of personal investigation as she manipulates seemingly familiar anatomical, botanical and parasitic forms in beguiling and unusual ways. Primarily known for her biomorphic ceramic sculptures, this exhibition also celebrates the artist’s evocative drawings, watercolours, and mixed media works from her developing style of the late 1990s until present. 18 December 2020—7 March My 2020 - Poster Exhibition Various artists 2020 has been a strange year for everyone, but it’s our individual stories that give this time meaning. The Riddoch asked members of the public to submit their own movie poster design, capturing their 2020. The resulting exhibition is a celebration of the good and bad times, a chance to reflect and be creative. 6 February—7 March South East Art Society: Open Art Awards Various artists

An exploration of Sauerbier House and its surrounds, including the cultural/historical significance of the Ngangkiparinga (‘women’s river’) and the colonial implications – via the visual, tactile and audible.

South by South Gilbert Roe

Jesse Jones, Tremble Tremble, detail, 2017. Courtesy of the artist.

What constitutes my world, my universe?

26 February—1 April 2021 Adelaide//International:

Fragments / ichnography / integrated / schemata / interrogations / matter/ underlying / self.

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Tremble Tremble Jesse Jones Essays in Vibrational Poetics Fayen d’Evie The Darkness of Enlightenment James Tylor Tsomi, Wan bel Taloi Havini From its inception in 2019, the Adelaide// International has been intended as a flexible framework from which to examine ideas prevalent across national and international art, each with an eye on the specifics of temporality – contending with the past, experiencing the present and, in 2021, considering the future.

www.onkaparingacity.com/sauerbierhouse

12 December 2020—31 January

University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information.

6 February—20 March [GRAFTd] exhibition | Adelaide Fringe Festival 2021:

Sauerbier House culture exchange

Sauerbier House is an innovative artspace providing a platform to support cultural exchange through contemporary visual arts. We offer established and emerging contemporary artists site responsive residency (non-resident) and independent exhibition opportunities.

www.unisa.edu.au/samstagmuseum

Gilbert Roe, Untitled, 2020, archival pigment print, 25 x 20 cm. Image courtesy of the artist.

South East Art Society Inc. encourages the practice of Visual Arts and their promotion throughout the Limestone Coast and surrounding regions. The Open Art Awards will feature works on paper, paintings, sculpture, ceramics, textiles, photography and video.

21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10–4pm, Sat 1–4pm. See our website for latest information.

Samstag Museum of Art

Neville Cichon, Uprising, 2020, digital photograph. Image courtesy of the artist. 6 February—20 March [GRAFTd] exhibition | Adelaide Fringe Festival 2021: Uprising Neville Cichon Signs are emerging. The ocean, and all within it, break their silence on the unsustainable human impacts they have endured.

The 2021 Adelaide//International views the future as an unmade shared space. In its preceding year a global pandemic has made clear the myriad of ways in which we are connected or distanced from others around the world. This experience, shared on an unprecedented scale, will inevitably colour our view of art and how we view it. With the world paused, the question is: when we resume, where to from here? To continue, or to reinvent? In 2021 we will acknowledge the situation we find ourselves in by presenting five exhibitions that encourage us to imagine new ways of being by drawing upon the communal, the potential and the alternative.

Aâ&#x20AC;&#x201C;Z Exhibitions

JANUARY/FEBRUARY 2021

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

83 BUSSELL HIGHWAY MARGARET RIVER WA 6285 WWW.JAHROC.COM.AU | 08 9758 7200

EXHIBITION - SOUTH WEST SHORELINES 27TH DECEMBER - 17TH JANUAY 2020

LEIGH HEWSON-BOWER

ASTRID DAHL

EXHIBITION - NATURES SMILE 2ND JANUARY - 31ST JANUAY 2020

JAHROC FURNITURE

THE BESPOKE BURLWOOD COLLECTION UNIQUE DESIGNS INSPIRED BY NATURE

jahroc.com.au

WESTERN AUSTRALIA

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12–4pm, or by appointment. See our website for latest information.

Each carries an urban note – a shopping list, a poem, a love letter, an artist brief, a recipe for sponge cake.

Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Please check the Gallery’s website and follow us on social media for the latest information and collection news. Until 15 March Carla Adams Albert Tucker sorry I was/am too much

Trevor Richards, C5 (Contact), 2020, acrylic on canvas, 122 x 122 cm. 6 February—6 March C-Change Trevor Richards Trevor Richards presents a new body of work that showcases the full breadth of his practice, encompassing a singular colour palette and all created within the unusual confines of 2020. Paintings and 3D forms in the gallery are complemented by architectural interventions outside in the Urban Art Gallery of Cathedral Square.

This exhibition pairs works by Contemporary Western Australian artist Carla Adams and one of Australia’s most foremost modernist artists, Albert Tucker. The show includes Adams’ paintings, textiles, ceramics and mixed-media objects, drawings and visual diaries that emerge from her experiences in the contemporary dating world. This is juxtaposed against a selection of Tucker’s drawings and paintings from the Gallery’s Collection, produced between 1943 and 1989. Both figurative artists, they employ highly-personalised and charged versions of expressionism as the vehicle for an ongoing struggle with feeling; connections and mis-connections between people; the blurring of the private and public self; carnal and romantic desires and their constant frustration; and gender roles.

Jani Ruscica, Human Flesh, 2019, 2k video, stereo sound, 16 minutes. On loan from the artist. © Jani Ruscica, 2019. Until 1 March BODIED

Jon Tarry, Catching the Moment, 2019, archival digital print on Hahnemuhle paper, series of 12, ed. 7, 42 x 29 cm. 6 February—6 March Catching the Moment Jon Tarry Jon Tarry exhibits a series of photographic works created during a residency in The Netherlands. A crumpled piece of paper, tossed into the air, eventually rests in a moment, folding into a new context.

BODIED locates performative, physically-focused video works and printed matter with galleries that were designed by in 1895 and used for the application of law in the colony. Works by Gordon Bennett (AU), Cheryl Donegan (US), Alin Huma and Cheiko Kawaguchi (RO/JP), Wong Ping (HK), Jani Ruscica (FI), and Kawita Vatanajyankur (AU/TH) span the 1990s to the present day and speak across and between these spaces. BODIED is a deliberate crossing of voices and physical gestures that moves from high-tech to decidedly lo-fi, the humorous to the unnerving, and from the constrained body to the decreated self. 30 January—22 March Tim Minchin and Tee Ken Ng Leaving LA

Film still of Tee Ken Ng’s zoetrope-animated video for Tim Minchin’s Leaving LA, 2020. Photographer: Tee Ken Ng. From working with Grammy Award winning musicians to commissions from the likes of Google, Twitter, Netflix and Perrier, Tee Ken Ng is a Perth-based artist, filmmaker and designer with a global reach and reputation. This exhibition focuses on his recent animated music video for another Perth luminary, Tim Minchin. Presented as an installation of the swirling hand-made zoetropes that bring Minchin’s song Leaving LA to visual life, it reveals the unique and exquisite charm, art and craft of Ng’s animation practice. Combined with live video projections of the zoetropes in action and an accompanying soundtrack, Ng creates a sense of being within the animation itself as the entire piece becomes a living artwork that fully encompasses the viewer.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787, 0418 900 954 See our website for latest information. Established in 2004 by Directors Anna Kanaris and Arthur Clarke, Artitja Fine Art Gallery invites you to view art in a home environment by appointment. Specialising in art from remote Aboriginal art centre communities, the Directors’ focus has been in making cultural connections through art. Since its inception the Gallery has grown to become one of Perth’s most reputable and accessible Aboriginal art galleries, holding up to six exhibitions in public spaces annually; more details of which can be found on the website.

Cassaria Young, Hogan, 91 x 91 cm. Courtesy of the artist and Artitja Fine Art Gallery. 217

ar t g ui d e .c o m . au Artitja Fine Art Gallery continued... 9 January—31 January SUMMER SALON 2021 Group show EXHIBITION VENUE: EARLYWORK, 330 South Tce, South Fremantle A group exhibition of art and sculptural objects from remote community artists from as far away as the Tiwi Islands, the APY lands and remote WA. This annual summer exhibition has a casual feel with a fine art essence.

Bunbury Regional Art Gallery www.3brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. See our website for latest information. 31 October 2020—17 January Unfolding The South West Printmakers A group of artists based in the south west and southern coast of Western Australia. Each member operates their own studio from Donnybrook, Dunsborough, Bridgetown to Kronkup, and collaborate regularly to exhibit their work. The artists attend an annual art camp, which has become an important part of the group’s activities. The art camp provides time to explore, be inspired and collaborate, which contributes to personal and professional development. This fascinating exhibition is the result of these efforts. 14 November 2020—10 January Christmas Shop 2020 There is nothing more wonderful than receiving a handmade fine art object in your Christmas stocking, and the Christmas Shop exhibition has always been a perfect opportunity to find that truly unique gift for your loved ones. It’s also an important exhibition for artists – offering a chance to earn some much needed Christmas income.

21 November 2020—21 February Eight: The Shift Christpher Young An exhibition of photography by Western Australian artist Christopher Young. Uncovering end-of-life cultural experiences, the work explores how people respond to the experiences, environments and institutions they encounter during such times. The project was made possible by the Australian Government’s regional arts program, the Regional Arts Fund. The Regional Arts Fund is administered in Western Australia by Regional Arts WA. The regional tour is also supported by the Department of Local Government, Sport and Cultural Industries. 19 December 2020—14 February A Sorrowful Act: The Wreck of the Zeewijk Drew Pettifer This exhibition derives from a broader investigation within Drew Pettifer’s work to unearth hidden queer histories through archival art practices. Through photographs, video, audio and installation, this exhibition recontextualises social histories to help us rethink our present. Sorrowful Act: The Wreck of the Zeewijk has been supported by Perth Institute for Contemporary Arts, Australia Council for the Arts, Kingdom of the Netherlands, RMIT University and the City of Melbourne. 6 March—7 June Bunbury Biennale 2021 – HE | SHE | THEY The Bunbury Biennale is a major contemporary art exhibition in Western Australia. For the first time in the history of the Biennale, artists have been invited to explore a theme. HE | SHE | THEY is a journey into gender identity. The exhibition will explore notions of inclusion and diversity, celebrating the heterogeneity of gender within Western Australian culture and community. This exhibition presents among the most extensive surveys of contemporary art about gender in Western Australia to date. 37 WA artists explore the theme with performance, painting, photography, sculpture, video and more.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information. 28 November 2020—24 January DesignFreo Spaceagency architects, Squarepeg Home, Monster_Alphabets_Dilemma, Tiller Rides, Winterwares, Chil3, Ohlo Studio, Remington Matters and more.

Christopher Young, Eight #42, 2019, LightJet Print, 80 x 60 cm. 218

Design is everywhere and we all make design decisions every day – what to wear, where we live, what we buy and how we get from A to B. DesignFreo looks at Fremantle through the lens of design and draws attention to how design shapes our experiences as individuals and as a

community. The exhibition explores our relationship to designed objects, places and spaces and features local architects, furniture makers, and fashion, industrial, urban, interior and graphic designers.

Elen Smith, project 17 AC4CA public projects 2005-2011 (Series 2 #8). Image courtesy of the artist and AC4CA. 28 November 2020—24 January Watch this space! An exhibition of 15 screenprints drawn from the Australian Centre for Concrete Art (AC4CA) print folios published in 2004 and 2011. Each folio of prints displays a series of painted wall projects that span a decade of collaborative practice by AC4CA artists in Fremantle and Perth. Watch this space! includes a new painted commission designed by AC4CA artists Trevor Richards and Alex Spremberg which encompasses all walls of the Collection Gallery. This exhibition acknowledges the important contribution to AC4CA by senior Australian artist John Nixon (1949–2020). 4 February—21 March A Forest of Hooks and Nails Dan Bourke, Phoebe Clarke, Angela Ferolla, Liam Kennedy, Rob Kettels, Maxxi Minaxi May, Hugh Thomson, Phoebe Tran, Tyrown Waigana, Zev Weinstein and Hansdieter Zeh. Curator and Install Coordinator: Tom Freeman. See the traditional gallery dynamic flipped on its head as the install crew step into the limelight for A Forest of Hooks and Nails. Fremantle Arts Centre’s world class gallery program has an invisible heart—its install team. Working with artists, curators, designers and other staff, they combine their varied, ever-expanding skills to create elegant and complex exhibitions. Yet the best installers are invisible, essential yet unrecognised. In A Forest of Hooks and Nails these installers, all artists in their own right, use their years of insider knowledge and intimate behind-the-scenes experience to produce site-specific artworks that engage with the building, its history, the community and the politics and aesthetics of this much-loved Fremantle icon.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat 12noon–2.30pm. See our website for latest information.

WESTERN AUSTRALIA locations that best express the grandeur of the ocean in this part of the world. I guess you could say that water flows through my work….I will rarely create a painting that does not include a representation of it. The first time I visited Rottnest back in the nineties was the beginning of my involvement with realism as an artist. It was a liberating experience to simply try my best to represent something in paint. And I shall continue to do exactly that” – Leigh Hewson-Bower 2020.

Darryn Ansted, Return, 2012, oil on board, 120 x 120 cm.

Jeremy Kirwan-Ward, Time and Time Again, (detail), 2019.

1 February—19 February Paint A revival of painting in an age of technical manipulated imagery. Paint celebrates the development of ideas in painting emanating from post grad study during the decade of exchanges between students at Curtin University and the Painting Coordinator, Darryn Ansted. Includes our graduates Ian Williams, Marina Van Leeuwin, ex TAFE art lecturer Alex Spremberg. Alan Muller, Moora Katta South Western View, 2020.

Leonie Ngahuia Mansbridge, Portrait of Rewi, Reputation Cloak and Rangatiratanga Cloak, 2017, Blankets, cotton thread, feathers, found objects and metals. February Residency Dr Leonie Ngahuia Mansbridge Leonie is a NMTAFE grad (2003) who went on to obtain a PhD. Her research and artwork are born from her experience as Māori, living a life of being colonised through assimilation. She engages with postcolonial dialogues around wider social political concerns.

28 September 2020—7 February Holmes à Court Gallery at Vasse Felix: Tracing the Swan Kelsey Ashe, Deborah Bonar, Portia Bennett, Lance Tjyllyungoo Chadd, Frederick Clause, Valentine Delawarr, Eva Fernandez, Norman Hawkins, W.J. Huggins, Johannes Keulemans, Bethamy Linton, Walter Meston, Alan Muller, Ron Nyistzor, Ross Potter, John Sands, Leslie van der Sluys, John Tallis, Rover Thomas, Pauline White, Charles Wittenoom.

JahRoc Galleries www.jahroc.com.au

Astrid Dahl, Orchid Love, 117 x 117 cm. 2 January—31 January Nature’s Smiles Astrid Dahl “My new collection is based on the universal language of flowers. We give them to each other after picking them or buying them in a flower shop. They help us say, hello, I love you, I am sorry, lets be joyful, welcome to the neighborhood, I want to get to know you, and as a final farewell, they grace our coffins. Flowers are like people with a kaleidoscope of different personalities, shapes and forms. They are all remarkable and beautiful.” – Astrid Dahl 2020.

Japingka Gallery www.JapingkaAboriginalArt.com

83 Bussell Hwy PO Box 1265 Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm. See our website for latest information.

47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information.

Leigh Hewson-Bower, Redgate Beach, 193 x 110 cm.

Winnie Reid Nakamarra, My Country, acrylic on canvas, 90 x 60 cm.

27 December 2020—17 January South West Shorelines Leigh Hewson-Bower

4 January—31 January Sounds of Summer

Holmes à Court Gallery www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm. See our website for latest information. 6 February—13 March Holmes à Court Gallery at No.10: Reflection/Submersion Erin Coates, Carmela Corvaia, Julia Davis, Lesley Duxbury, Jeremy Kirwan-Ward, Hiroshi Kobayashi, Sue Lovegrove, Clyde McGill, Roy Wiggan, Cecile Williams.

“For this show I have chosen scenes from the South West of the state, an area of unparalleled natural beauty. I chose

This exhibition of recent paintings from gallery artists whose work resounds with the feelings and rhythms of summertime. We felt that this was a positive resolve 219

ar t g ui d e .c o m . au Japingka Gallery continued... after the unusual year of 2020. Aboriginal artists have continued to paint in studios and communities around the country— these paintings testify to the resilient culture of the artists and their persistent inclination to express their heritage.

intrigue and a palpable presence that can be both playful and terrifying. Filling the entire John Curtin Gallery, Everything Is True is an emotionally charged journey through the memories, dreamscapes and spiritual imagination of one of Australia’s most compelling contemporary artists.

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth WA 6000 [Map 19] 0414 210 209 See our website for latest information. Jude Adams, [It couldn’t happen here], c. 1975, collage on brown card, 57.8 x 46.2 cm, Cruthers Collection of Women’s Art, The University of Western Australia. Copyright and courtesy of the artist.

Sonya Edney, Seven Sisters, acrylic on canvas, 93 x 79 cm. 19 February—31 March Gascoyne Night Skies Sonya Edney Edney returns after her highly successful debut solo exhibition at Japingka Gallery. Sonya revisits many of the sites from her childhood growing up in the Gascoyne region of Western Australia. One of the strongest memories is of stories of the Milky Way and Seven Sisters, told as they gazed at the luminous night skies over vast spinifex country near Mt Augustus.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat & Sun 12noon–4pm (February), Sun 12noon–4pm (March and April). See our website for latest information.

Nicolas Bijakowski, 2 Soot black stone, 2020, 50.5 x 65.5 cm. 11 December 2020—30 January Modern Holiday Tony Jones, Ross Potter, Michael Doherty, Alex Maciver, Nicolas Bijakowski, Brigita La, Sarah Thoronton Smith, Charmaine Ball and others.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information.

Abdul-Rahman Abdullah, Pretty Beach, 2019, painted wood, silver plate ball chain, crystals, audio. Courtesy of the artist and Moore Contemporary. 5 February—23 April Abdul-Rahman Abdullah: Everything is True Everything Is True is the largest ever assembly of sculptural work by Perth-based artist Abdul-Rahman Abdullah. This exhibition presents audiences with a blend of exquisite technical virtuosity, material 220

13 February–5 June Paper Cut Artworks from the Cruthers Collection of Women’s Art by Jude Adams, Barbara Brash, Joy Hester, Mary MacQueen, Rosella Namok, Ann Newmarch, TextaQueen and Lesbia Thorpe, among many others. 13 February–5 June Creatures: Ochred, Pokered, Carved and Twined Artworks and objects from the Collection of the Berndt Museum of Anthropology.

Olga Cironis, Alexandra, 2013, archival digital print, 120 x 80 cm, Collection of the Art Gallery of South Australia. Copyright and courtesy of the artist. 13 February–5 June Dislocation Olga Cironis Presented in association with Perth Festival.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 6465 4314 Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055

Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 2116 Fri to Sun and public holidays 11am–5pm or by appointment.

endless possibilities of discovery and invention have me hooked for life. The method may change from time to time as in this exhibition—some are mixed media, others painting only and some are close to abstraction.” Adrian Lockhart.

Bringing together Aboriginal artists from across Western Australia with connections to Aboriginal Art Centre Hub of Western Australia (AACHWA) and Midland Junction Arts Centre, Yoowalkoorl, meaning come on, come here in Bibbulmun/Noongar is a blend of exhibition and marketplace celebrating the work of Indigenous artists from across the state. 13 February—24 April Out of the Sea In response to the site of the iconic Canal Rocks near Margaret River, artists and designers explore qualities of place at the edge of land and sea via a breadth of media; including laser scanning, photogrammetry, photography, drawing, video and sound recording. I’m a Married Man Chloe Nolan An immersive video installation work by emerging artist Chloe Nolan drawing on the myth of Medusa to reimagine and disrupt the male gaze in Michael Douglas films.

Karlee Rawkings, Purple Crowned Lorikeet with Shadow Feet, 2020, acrylic and charcoal on cotton, 71 x 61 cm. Until 30 January West Perth: Light and Shade Gallery Artists Light and Shade is the theme for our group summer exhibition this year, a year in which many lives have been turned upside down; some in confronting ways, while others have found a new awareness and opportunities for change and reflection. Our much loved gallery artists have created a memorable finale to the challenging year of 2020 and a beacon of light leading into 2021.

Brett Canét-Gibson, Peter, 2020, digital photographic print, 90 x 60 cm. 6 February—28 February Mandoon Estate Gallery: Light Enters Upside Down Brett Canet-Gibson Canét-Gibson’s portraits are made using natural light, a portable backdrop and people he has met on the street. He uses the city as his casting agency and the sidewalk as his studio. With a career spanning over 25 years, Brett Canét-Gibson is a seasoned image maker and communicator in portrait, still and commercial photography, graphic design and visual arts.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. See our website for latest information.

Elham Eshraghian-Haakansson, The End is Glorious, If We Only Persevere (detail still), 2019, three channel video 14:51 mins. Courtesy the Artist and MOORE CONTEMPORARY 13 February—13 March Elham Eshraghian-Haakansson

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Adrian Lockhart, Wading AL1943, 2016, mixed media on canvas, 134 x 100 cm. Until 24 January Cherubino Wines Margaret River: Sea Level Adrian Lockhart “I never tire of drawing and painting the figure. Especially after a morning surfing at the beach. Rather than accepting the notion that it’s all been done before, the

Tjyllyungoo Lance Chadd, Toolybinup, 2012, acrylic on canvas, 80 x 90 cm.

30 January—21 March Traces Vicki Ames

Until 30 January Yoowalkoorl – Come On, Come Here

Using textiles to explore the visual language of architectural facades in an 221

ar t g ui d e .c o m . au Mundaring Arts Centre continued...

Bridget Reweti, Damien Shen, and James Tylor. ‘the gathering’ is an invitation for audiences to reconsider histories, our new realities and our shared humanity, at a time when the world is united in so many ways, but increasingly divided by others. Presented in association with Perth Festival.

Vicki Ames, Balustrade 02, 2020, Shibori and hand-stitching, 52 x 62 cm. Photograph by Dave Carson.

James Tylor, (Deleted scenes) from an untouched landscape #2, 2013. Courtesy of the artist.

urban setting, Vicki Ames’ solo exhibition Traces highlights ephemeral surface qualities and what they reveal about the past in the contemporary period.

9 February—18 April The gathering Curated by guest curator Glenn IsegerPilkington.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information.

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The gathering is a reflection upon the act of gathering—of bringing together of peoples, words, politics, objects, images, identities, histories, dreams and concerns. In the here and now, First Peoples and People of Colour find themselves simultaneously navigating a global health crisis and a historic moment of global awareness of systemic racism and the continued oppression of communities based on race and colour. Showcasing existing and newly commissioned sculpture, video, photography, painting and installation from artists Jasmine Togo-Brisby, Dean Cross, Sharyn Egan, Peggy Griffiths Madij, Yabini Kickett,

kamilegallery.com

Patrick Carter, BLOOM #2 (still), 2018. Image courtesy of the artist. 9 February—19 April SONGS Patrick Carter SONGS from Patrick William Carter collects recent works into an evocative survey of Carter’s artistic practice. It tracks explorations in narrative, gesture and dance and the development of significant collaborations with filmmakers and musicians. It also premieres a newly commissioned film in which the element of wind, the colour black and the beat of drums signal powerful acts of transformation. Presented in association with Perth Festival.

Aâ&#x20AC;&#x201C;Z Exhibitions

JANUARY/FEBRUARY 2021

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

ar t g ui d e .c o m . au

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.

Eko Nugroho, Kekerasan dan Korupsi, 2007, hand drawn machine embroidered rayon thread with Calico interfacing, 43 x 79 cm. MAGNT Collection.

8 August 2020—31 January Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Indigenous art from around the country, from emerging and established artists. he Telstra National Aboriginal & Torres T Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists. Telstra NATSIAA is Australia’s longest running and most prestigious art awards for Aboriginal and Torres Strait Islander artists. Each year Telstra NATSIAA sees

Opening 23 January Fresh: Connecting New & Old Art Ngarralja Tommy May, Wirrkanja, 2020, etching on metal and enamel paint. Artwork courtesy of Ngarralja Tommy May and Mangkaja Arts. 2020 Telstra Art Award Winner. an increasing variety of art forms and media, collectively demonstrating the richness and diversity of current contemporary Indigenous artistic practice, and the pre-eminence of Aboriginal and Torres Strait Islander voices, nationwide, within the visual arts.

Bringing together works from the Aboriginal, Australian and South East Asian art collections. This exhibition will reveals diverse stories from within these collections and the broad geographic regions they represent. The fascinating threads that weave these collections together provide audiences with a rare opportunity to explore and engage with a number of the Northern Territory’s artistic treasures. Through the display of recent acquisitions alongside historical collection items, Fresh celebrates the continued development of the Museum and Art Gallery of the Northern Territory’s art collection.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols. See our website for latest information.

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information. RAFT is nationally and internationally renowned for its unique style and carefully considered exhibitions. Since its inception, the gallery has set an agenda promoting community interest in the region and provoking an extensive critical discourse.

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raftartspace.com.au

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ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory 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 23 Urban Cow

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“Mum also has a tendency to go rogue for a few days, then she’ll send a picture of some half-completed thing that we haven’t discussed with a prickly question mark.” — J E S S J O H N S O N , A R T I S T, P. 5 5

“I’m thinking about gesture as a subtle, poetic way of seeing the world.” — L I S A S A M M U T, A R T I S T, P. 5 6

“Is cooking a meal for our loved ones a work of art? What about completing our daily chores, caring for family, taking a long walk around the neighbourhood, or knitting a beanie for a friend?” — S O P H I A C A I , W R I T E R , P. 9 4

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