Art Guide Australia — January/February 2023 by Art Guide Australia

C ON T E N T S

Exhibitions Editorial Exhibitions listings Victoria New South Wales Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory Maps

Image: Caroline Rothwell, Proplift fern, NZ (after Banks Florilegium) 2, 2022 metal leaf, epoxy glass, canvas, hydrostone, steel, sealers 80 x 23.5 cm

Caroline Rothwell

Roslyn Oxley9 Gallery

3 March–1 April 2023

8 Soudan Lane Paddington NSW 2021

roslynoxley9.com.au

annaschwartzgallery.com

artgallery.nsw.gov.au

A WORLD EXCLUSIVE EXHIBITION

hota.com.au

10 December 2022 – 19 March 2023

Zach Blas, Tega Brain & Sam Lavigne, Lauren Lee McCarthy, Machine Listening, Mimi Onuoha, Winnie Soon

Plus the Data Relations Summer School Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne, Australia acca.melbourne v

acca.melbourne

CURATED BY ANTHONY FITZPATRICK

26 NOVEMBER 2022 13 MARCH 2023 SUPPORTED BY

MAJOR EXHIBITION PARTNER IMAGE: Peter Booth Painting 2018, oil on canvas, 152.5 x 243.84 cm, Photo: Charlie Hillhouse Courtesy of the artist and Milani Gallery, Brisbane © Peter Booth

twma.com.au

16 Dec 2022 - 19 Feb 2023 Free exhibition plus film, workshops and talks program acmi.net.au Image credit: Scripture for a smoke screen: Episode 1 – dolphin house, 2022, Amrita Hepi

acmi.net.au

maas.museum/powerhouse-museum

Image credit: Nafea e te fa‘aipoipo? When will you marry? (After Gauguin), 2020 by Yuki Kihara from Paradise Camp series. Courtesy of Yuki Kihara and Milford Galleries, Aotearoa New Zealand.

From a deep valley

W OR 25 artists 15 scientific researchers

26 Nov to 12 Mar

bundanon.com.au

RADICAL UTOPIA AN ARCHAEOLOGY OF A CREATIVE CITY 21 FEBRUARY – 27 MAY 2023 Rennie Ellis, Marietta in Clarence Chai jumpsuit, 1978 © Rennie Ellis SLV

rmitgallery.com

onespace.com.au

Hendrik Kolenberg Urban / Industrial

4 February - 16 April 2023 Laurence Edwards, Walking men (detail), 2018 - 2022, bronze, 2.4 m (h). Photography: Bill Jackson

orange.nsw.gov.au/gallery

Goulburn Regional Art Gallery presents

21 oct. — 21 jan.

Yvette Coppersmith, Untitled Movement (Magenta), 2022, oil on jute, 122.5cm x 152.5cm, Private Collection. Image courtesy the artist and Sullivan + Strumpf. Photo Matthew Stanton.

Bright

Emma Beer Vivienne Binns Yvette Coppersmith Lara Merrett Gemma Smith Esther Stewart Margaret Worth

Goulburn Regional Art Gallery is supported by the NSW Government though Create NSW

goulburnregionalartgallery.com.au

alcastongallery.com.au

CURATED BY SALLY GRAY | 3 DECEMBER 2022 – 5 MARCH 2023 A contemplation on the politics and pleasures of colour. Thinking Through Pink includes works from the Wollongong Art Gallery collection; decorative arts from the Powerhouse collection, Sydney; posters from the archives of second-wave feminist artists Jan Fieldsend and Marie McMahon and works by invited contemporary artists Christine Dean, Deborah Kelly, Frida Las Vegas, Elvis Richardson, Ebony Russell and Paul Yore.

Thinking Through Pink generously supported by Mr. Ian Dickson.

wollongongartgallery.com

PETER TYNDALL

02.12.22– 16.04.23

Artwork Peter Tyndall, courtesy Anna Schwartz Gallery, Melbourne

buxtoncontemporary.com

Lucky Rabbit showcases the customs and traditions of Chinese New Year and the Chinese Zodiac, through a rich visual narrative of colour and pattern, history and legend. Curated by artist Chris Chun. Museum of Chinese Australian History 22 Cohen Place, Melbourne www.chinesemuseum.com.au Daily 10am-4pm (closed public holidays) chinesemuseum.com.au

meet a WitneSs. become One. mhm.org.au Holocaust survivor Andy Factor. Photographed by Simon Shiff.

mhm.org.au

lindenarts.org

5 Nov 2022 – 26 Feb 2023 Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren 3805

bunjilplace.com.au/rosie-deacon bunjilplace.com.au

ANNE & GORDON SAMSTAG 2023

VISUAL ARTS SCHOLARSHIPS

Image: Inneke Taal, Vectorial Sketches (I, II, III), 2022, photographic prints of moving and still images

INTERNATIONAL

Announcing the 2023 Samstag scholars The University of South Australia congratulates Inneke Taal (SA), Lauren Burrow (VIC) and Sam Mountford (TAS). Established in 1992, Samstag Scholarships are open to students, recent graduates — and, for the first time — to applicants who have been graduates of more than five years standing.

unisa.edu.au/samstagmuseum

Samstag Museum of Art University of South Australia 55 North Terrace, Adelaide 08 8302 0870 unisa.edu.au/samstagmuseum

An Umbrella Studio Contemporary Arts exhibition

29 OCTOBER TO 19 FEB 2023 Rockhampton Museum of Art 220 Quay Street Rockhampton | rmoa.com.au rmoa.com.au

in Contemporary Japanese Art July 29 2022 — Jan 28 2023 The Japan Foundation Gallery

Artists Masahiro Hasunuma Yuichi Higashionna Tomoko Konoike Maki Ohkojima Fuyuhiko Takata

Curators Mayako Murai Emily Wakeling

Presented By

Supported By

jpf.org.au

COLLECTION+ Judith Alexandrovics /Julian Opie

10 DECEMBER 2022 19 FEBRUARY 2023 CURATED BY ANGIE TAYLOR Julian Opie Walking in the rain, Seoul 2015 colour screenprint ed. 11/50 National Gallery of Victoria

FREE ENTRY Open Tuesday–Sunday 11am–4pm

MORNINGTON PENINSULA REGIONAL GALLERY EXHIBITIONS / ARTIST TALKS WORKSHOPS / KIDS PROGRAMS ONLINE ACTIVITIES AND MORE Civic Reserve, Dunns Rd, Mornington

mprg.mornpen.vic.gov.au

National Collecting Institutions Touring & Outr each Program

sheppartonartmuseum.com.au SAM-ArtGuide-Ceremony_FP.indd 1

8/11/22 9:42 am

Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and JamFactory

GLASS ART OF PROMISE

GLASS ART OF PROMISE Louis Grant, thought you’d never be replaced, 2022. Photo by Ashley St George / Pew Pew Studio.

waggaartgallery.com.au

BROOKLYN WHELAN KINGDOMS 9 – 25 FEBRUARY, 2023 Image: It Cuts Like Neon, (det), 2022, Oil and mixed media on canvas, 106.7 x 122cm

12 – 14 Meagher Street

nandahobbs.com

Chippendale \ NSW \ 2008

info@nandahobbs.com

nandahobbs.com

Ian Friend

Lux Æterna

17 January - 4 February 2023 janmantonart.com | 54 Vernon Terrace, Teneriffe Qld 4005 | @janmantongallery janmantonart.com

qm.qld.gov.au

AUSTRALIAN DESIGN CENTRE

26 NOVEMBER 2022 - 29 JANUARY 2023

MADE / WORN Australian Contemporary Jewellery

LIVING TREASURES

Masters of Australian Craft \ Prue Venables

Open 10am-4pm daily*

FREE ENTRY A major summer exhibition series showcasing jewellery, ceramics and objects from over 90 acclaimed national and international artists and designers.

PROFILE

Contemporary Jewellery and Object Award

Hazelhurst Arts Centre 782 Kingsway Gymea T 0285365700 hazelhurst.com.au

Made/Worn: Australian Contemporary Jewellery, Zoe Veness, Return Loop: Double Loop (detail), 2020. Image: Zoe Veness | Prue Venables, Black Tea Caddy, Black Oval Forms, Yellow Sieve and White Bowl, 2017. Image: Terence Bogue | Profile: Contemporary Jewellery and Object Award, Jacki Stone, Galactica and Stella Erratica, 2020. Image: Courtesy of the artist. For full acknowledgments and sponsors please visit australiandesigncentre.com *Visit hazelhurst.com.au for opening hours over the Christmas period.

hazelhurst.com.au

umbrella.org.au

NET WORTH 12 January to 26 February 2023

Canberra Glassworks

LOUIS GRANT JESSICA MURTAGH MADISYN ZABEL

1 1 Wentworth Ave Kingston ACT W canberraglassworks.com T 02 6260 7005 E contactus@canberraglassworks.com open Wed to Sun, 10am to 4pm

Jessica Murtagh, Centerlink amphora, 2021, blown glass. Courtesy of the artist.

canberraglassworks.com

rochefoundation.com.au

Martin King

14 February - March 11

diary of lost souls pages from the diary of lost souls 2022 etching, chine colle, hand colour 100 x 120 cm edition of 10 (detail)

T: 61 2 9360 9727

kingstreetgallery.com

art@kingstreetgallery.com @kingstreetgallery

Dean Cross, gunalgunal (A Contracted Field), 2021-22, Sydney and Adelaide, wall paper, steel, wire, 8W LED slim bar lights; Courtesy the artist; featuring Theodore Gericault, Le Radeau de la Méduse (The Raft of the Medusa), 1818 ©RMN-Grand Palais (Musee du Louvre) and Noman Tindale, Map showing the distribution of the Aboriginal tribes of Australia ©estate of Norman Tindale, Art Gallery of South Australia. Photo: Saul Steed

PERFORATED SOVEREIGNTY An exploration of divergence and dialogue from South East Asia to Australia 02 January — 26 March 2023

Jim Allen Abel Katherine Boland Eric Bridgeman Susan Chancellor Lissy Cole & Rudi Robinson Dean Cross Cheryl Davison Timo Hogan Sang Hyun Lee

Maharani Mancanagara Noŋgirrŋa Marawili Emily Phyo Dias Prabu Joan Ross Citra Samistra Greg Semu Wukun Wanambi

South East Centre for Contemporary Art / Bega

Open daily 10AM–5PM Zingel Pl, Bega secca.com.au

secca.com.au

2023 at the IMA

ima.org.au

EXHIBITION

2 8 JA N UA RY– 2 9 A P R I L

Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rīvus Zheng Bo, Casino Wake Up Time, Jessie French, Clare Milledge, Marjetica Potrč with Ray Woods, Duke Riley, Torres Strait 8, Hanna Tuulikki, and Zenadh Kes

EXHIBITION

PRIZE

2 0 M AY–1 9 AU G U S T

EXHIBITION

2 0 M AY–1 9 AU G U S T

Raphaela Rosella: You'll Know It When You Feel It With Dayannah Baker-Barlow, Kathleen Duncan, Gillianne Laurie, Amelia Rosella, Nunjul Townsend, Tammara Macrokanis, Laurinda Whitton, Tricia Whitton, and family

EXHIBITION

9 S E P T E M B E R–1 6 D E C E M B E R

the churchie emerging art prize

Daniel Boyd: Rainbow Serpent (version)

Curated by Sebastian Henry-Jones

Curated by Liz Nowell

Call for entries open on Monday, 16 January, and close on Monday, 13 March, at 5pm

Institute of Modern Art ima.org.au Tuesday–Saturday 10am–5pm PR IN C IPA L F U N D E RS

Ground Floor, Judith Wright Arts Centre 420 Brunswick Street Fortitude Valley QLD 4006 ME MB E R

The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

IMAGES (LEF T TO RIGHT, TOP TO BOT TOM)

ONLINE EXHIBITION

L AU N C H I N G J U N E

Now You're Speakin' My Language IMA × NOWNESS Asia digital commissions Jenna Lee, James Nguyen, Chi Tran, Gutiŋarra Yunupiŋu, and more Curated by Kate ten Buuren

Daniel Boyd, Untitled (27°27’34.9”S 153°02’12.4”E), 2022. Installation view, This language that is every stone, 2022. Photo: Joe Ruckli. Yessie Mosby, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep, sitting peacefully upon the waters), 2022 (detail); Torres Strait 8, Poster wall, 2022 (detail). Posters by Mooki Pen, Dylan Mooney, Guy Ritani, BlakSeed, Waniki Maluwapi, and Jaelyn Biumaiwai. Installation view, 23rd Biennale of Sydney, rīvus, 2022, Pier 2/3 Walsh Bay Arts Precinct. Photography: Document Photography. Installation view, Agus Wijaya, Jejadian, 2022. Photo: Joe Ruckli. Chi Tran, There Is Nothing Else Known In The Sky That Does That, 2022. Video still courtesy the artist. Dayannah Baker Barlow, Kathleen Duncan, Gillianne Laurie, Tammara Macrokanis, Amelia Rosella, Raphaela Rosella, Nunjul Townsend, Laurinda Whitton, Tricia Whitton and family, You'll Know It When You Feel It (installation detail), 2011–2022. Photo: Raphaela Rosella. Installation view, Daniel Boyd: Kaldor Public Art Project 34: Asad Raza, Absorption, Carriageworks, Sydney (3 May–19 May 2019). Photo: Michael Waite. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

leonardjoel.com.au

12 Nov 2022 – 5 Mar 2023 Vincas Jomantas / Julius Kane Inge King / Clifford Last / Lenton Parr Norma Redpath / Teisutis Zikaras

Curated by Jane Eckett McClelland 390 McClelland Drive, Langwarrin Open Wednesday–Sunday 10am to 4pm mcclelland.org.au mcclelland.org.au

3 DEC 26 FEB 2023

A COLOURFUL LIFE by Robyn Bischoff

Image:

Robyn Bischoff, Abundance (detail), 2009, oil and acrylic on linen, 121cm x 101cm.

64 Wittenoom Street, Bunbury WA 6230 Open Wednesday to Sunday, 10am - 4pm 08 9792 7323 / artgallery@bunbury.wa.gov.au Entry is always free @ b ra g wa / b ra g . o rg . au brag.org.au

hinton.neram.com.au

Directors’ Choice Until 26 February Subiaco and West Perth

Denise Lithgow, ‘Bilby’ 2019, Felt merino wool, 81 x 57 x 26 cm

Peter Griffen, ‘Rocks and Trees [Amber]’ [detail] 2022, Acrylic on canvas, 51 x 61 cm

Magda Joubert, ‘Ghost Lake 1’ [detail] 2021, Acrylic on canvas, 140 x 180 cm

Ted Secombe, ‘After Dark’ 2021, Porcelain, wheel thrown gloss crystal with titanium, twice fired in post fire reduction, 23 x 22 cm

Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 3300 info@lintonandkay.com.au

West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 9388 3300 perth@lintonandkay.com.au

lintonandkay.com.au

10 DEC 6 MARCH 2023

EPIC WORKS

Selections from the Lloyd and Liz Horn Collection Works by Kelsey Ashe / Philip Berry / Tom Gibbons / Akio Makigawa / Paul Moncrieff / Miriam Stannage / Jon Tarry / Valerie Tring / Trevor Vickers

Image: Kelsey Ashe. 'Deep Time Future X to XVIII', 2022 (detail), screen print in indigo, myrolaban, ceylon botanical dyes and wax on canvas, mounted on wood. 204cm x 650cm x 4cm.

64 Wittenoom Street, Bunbury WA 6230 Open Wednesday to Sunday, 10am - 4pm 08 9792 7323 / artgallery@bunbury.wa.gov.au Entry is always free @ b ra g wa / b ra g . o rg . au brag.org.au

STILL LIFE ARTWORKS: Cameron Gresswell, Lewis Quinn, Ian Gold, Sam Ashdown © Copyright the artists Represented by Arts Project Australia

artsproject.org.au

4 Feb – 12 Mar 2023

LAUNCH / SATURDAY

February/ 6:00 PM 04 FEB / 12 MAR

CARLY FISCHER & EDWINA STEVENS Velodrome

STOCKROOM

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

Velodrome (2022-23) In collaboartion with Edwina Stevens Sculptural and audiovisual installation, mixed media, dimensions variable Photo: Edwina Stevens stockroom.space

CALL FOR ENTRIES

OPEN FOR 2023

CLOSES JAN 31 '23

APPLY ONLINE NOW! www.swellsculpture.com.au

PEOPLE ART PLACE

CURRUMBIN BEACH QUEENSLAND

SCULPTURE: Salvage Selvage by Brigid Vidler | IMAGE: Leximagery swellsculpture.com.au

26 NOVEMBER 2022 to 12 FEBRUARY 2023 ~ ARTSPACE MACKAY www.artspacemackay.com.au IMAGE: Niloufar LOVEGROVE Oﬀerings 2022, lino print on lokta paper, edi�on 30. 53.5 x 31cm. Image courtesy the ar�st.

artspacemackay.com.au

January/February

2023

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Tiarney Miekus WEBSITE AND SOCIAL MEDIA COORDINATOR

Get in touch EDITORIAL

editors@artguide.com.au ADVERTISING

Minna Gilligan

advertise@artguide.com.au

GRAPHIC DESIGNER

SUBSCRIPTIONS

Jack Loel

artguide.com.au/subscribe

ADMINISTRATION ASSISTANT

GENERAL ENQUIRIES

Caitlin Shearer

info@artguide.com.au

CONTRIBUTORS ISSUE #141

STOCKISTS

Timmah Ball, Andy Butler, Steve Dow, Briony Downes, Tiarney Miekus, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Autumn Royal, Barnaby Smith, Andrew Stephens, Hamish Ta-mé, Chloé Wolifson.

Art Guide Australia can be found at galleries and museums, art supply shops, independent bookstores and newsagencies. FOLLOW US

facebook.com/ artguideaustralia IG instagram.com/artguideau TW twitter.com/artguideaust #artguideaust FB

Art Guide Australia Suite 7/15, Vere Street, Collingwood, Victoria 3066 Art Guide Australia is an independent bimonthly publication produced by Print Ideas P/L. PUBLISHERS

Graham Meadowcroft Kim Butterworth 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. artguide.com.au

Cover artists: Thea Anamara Perkins

front Thea Anamara Perkins, Tent Embassy, 2019, acrylic

on clayboard. ar aluen art collection. courtesy of and © the artist.

back Thea Anamara Perkins, Bungalow 5, 2021, acrylic on

clayboard. courtesy of the artist and n.smith gallery. © the artist.

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 © 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

Swelter Zoe Freney: Work from Home Barbara Hepworth: In Equilibrium Shuo Shu Ochre Painters of the Kimberley Mandy Martin: A Persistent Vision Niloufar Lovegrove: Too Little, Too Much Unpopular Data Relations Robyn Bischoff: A Colourful Life F E AT U R E

Pink Is the New Pink Dylan Mooney: It Must Be Love INTERV IEW

Thea Anamara Perkins S T U DIO

Julia Gutman F E AT U R E

Testing Grounds: Bonita Ely, David Chesworth, Diego Ramirez, Kenny Pittock and Michael Lindeman INTERV IEW

Andy Butler, Lisa Hilli and James Nguyen C OM M E N T

When Money Costs Too Much F E AT U R E

20 Questions with Jasmine Togo-Brisby Tomás Saraceno: Web of Life Gail Mabo: From Memory

Issue 141 Contributors is an artist, writer and curator based in Naarm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and Frieze.

A NDY BUTLER

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.

TIMM A H BA LL

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. creates and curates exhibitions that shift narratives and art histories with a Melanesian feminine lens. She has specialist knowledge of lens-based practices, interpretation of museum collections and the language of textiles. She is currently pursuing a PhD by creative works in the School of Culture, History & Language, ANU College of Asia and the Pacific, Australian National University.

LISA HILLI

is the editor of Art Guide Australia and a freelance writer whose work has appeared in The Age, The Saturday Paper, Sydney Review of Books, un Magazine, Meanjin, Disclaimer, Memo Review, Overland and The Lifted Brow. She is the producer of the Art Guide Australia podcast.

TI A R NEY MIEKUS

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

is a visual artist creating work in Australia and Vietnam. His practice is a mix of research, videos, installations and actions that open up conversations on what it means to be an artist in a changing world. Ranging from the diasporic absurd to representational refusal, everything and anything is up for grabs.

JA MES NGU Y EN

JA NE O’SULLI VA N is an independent art writer.

She has contributed to VAULT, ArtAsiaPacific, Ocula, Flash Art, Art Monthly and Running Dog, and is also a former editor of Art Collector. creates drama, poetry and criticism. Autumn is the founding editor of Liquid Architecture’s Disclaimer journal and interviews editor at Cordite Poetry Review.

AUTUMN ROYA L

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.

BA R NA BY SMITH

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.

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.

H A MISH TA-MÉ

CHLOÉ WOLIFSON is a Sydney-based independent

arts writer, researcher and curator whose work includes reviews, catalogue essays, and reports on exhibitions and art fairs throughout the Asia-Pacific. Her writing is published in mastheads and magazines across the region.

A Note From the Editor Representation in art—from who is depicted, to who exhibits, to who holds positions of power—is central to this moment. Arrernte and Kalkadoon artist Thea Anamara Perkins captures this through her beguiling, thoughtful landscapes and portraits. For all her work’s gentleness and quiet movement, it looks at how First Nations people are portrayed in contemporary Australia—and grappling with both beauty and politics weaves throughout this issue. Our profile on Dylan Mooney looks at representations of love between queer Indigenous people, Gail Mabo is capturing the tides of memory and history, and Jasmine Togo-Brisby generously talks through the history behind her works; her great-great-grandparents were part of the Pacific slave trade in Australia. These artists work between identity, history and place, the intersections of which are incredibly distilled in a three-way conversation between artists Andy Butler, Lisa Hilli and James Ngyuen. While each of the artists’ work acknowledges family histories of migration from Southeast Asia and the Pacific, the group talk about how they now navigate institutions and spaces founded on exclusion and prestige. Meanwhile, the question of boycotting and protesting came to the fore in 2022. Timmah Ball looks at the complexity of protesting unethical funding—and how boycotting is often its own privilege. Finally, all art starts somewhere. In 2023 we’ll no doubt wrestle with ongoing issues of arts funding, but it’s significant to remember that artists often forge careers in ad hoc and experimental places. We asked five artists—Bonita Ely, David Chesworth, Diego Ramirez, Kenny Pittock and Michael Lindeman—to each write on an early seminal work, showing the necessity of non-institutional places in establishing an art practice. There will be a lot to celebrate, and to think about, in 2023—and we wish everyone a happy and safe year. Tiarney Miekus Editor-in-chief, Art Guide Australia

“. . . Grappling with both beauty and politics weaves throughout this issue.” 51

Previews W R ITERS

Briony Downes, Giselle Au-Nhien Nguyen, Autumn Royal, Barnaby Smith, Andrew Stephens.

Caboolture Swelter

Caboolture Regional Art Gallery Until 4 March

Kenny Pittock’s arresting sculptures of melting icecreams are especially evocative of Australia’s extreme hot weather. With ‘punny’ titles like It’s way too sunny, boy, the realist but slightly off-kilter works might make us think of the instant, but temporary, relief an ice-cold treat can offer. Pittock is not alone: curator Hannah Williamson, Kenny Pittock, Frosty & Fruitless, 2022, acrylic on who sought out existing works for Swelter, as well as ceramic, 20 x 7 x 2.8 cm. courtesy the artist and commissioning fresh pieces, says her aim is to canvas mars gallery. experiences of summer from a physiological point of view. She continues, “It is also about climate change, and about the experience in this region—the way Queenslanders seek respite, and work with their existence in this environment.” Swelter is part of an overarching summer theme in South East Queensland’s Moreton Bay region, alongside Sunburnt in the Suburbs at Pine Rivers Art Gallery and Like Yesterday at Redcliffe Art Gallery, the latter looking at beach culture with a nostalgic lens. While Pittock has created an activity-based installation about sun hats in one of Caboolture’s three exhibition rooms, Abigail Varney is presenting a series of prints that centre on the intense build-up season in Darwin, when humidity soars before the monsoon hits. Another artist, Amelia Hine, is taking over a second gallery room to have its heating dial turned up. A worker in the mining industry, as well as an artist, Hine’s sound-based piece focuses on research into mining communities—people whose existences are often centred in extreme hot climates. Visitors will get to feel this. Other new works are more cooling: Katharine Parker’s series of swimming pool paintings; Hailey Atkins’s sculptures of frozen tea-towels (she used to resort to them during her air-conditioning-free childhood); and Salote Tawale’s Pocari Sweat video work, shot in a pool of cool water. —A NDR EW STEPHENS

right Abigail Varney, The build-up, 2018, archival inkjet print on Hahnemuhle, 66 x 100 cm. courtesy of the artist.

Adelaide Work from Home Zoe Freney

Newmarch Gallery 24 February—25 March

“Few tasks are more like the torture of Sisyphus than housework . . .” wrote French feminist philosopher Simone de Beauvoir. “The clean becomes soiled, the soiled is made clean, over and over, day after day.” Adelaide-based artist Zoe Freney mentions this quote when talking about Zoe Freney, Work From Home, 2022, tulle, Work from Home at Newmarch Gallery. polyester thread, dimensions variable. Freney explains how the show’s title is a play on photogr aph: gr ant hancock. domestic and professional work occurring in the home, and how this labour became either encouraged or mandated during pandemic restrictions. While Freney understands that working from home benefited some, she ultimately focuses on how it impacted women. “There are lots of studies that the Covid-19 working from home regulations meant a return to earlier models of gender roles in the home.” After recently completing a doctorate in visual art on feminist representations of motherhood, Work from Home extends this research. However, Freney says she’s now “experimenting with materials that feel a bit freer and more intuitive”. Spanning drawing, painting and textiles, the show “explores ideas of the body and the mother’s body in the home and the domestic sphere”. Work from Home includes two contrasting textile sculptures of double fronted houses—one made from tulle, the other linen. Inspired by a wooden doll’s house—which Freney referred to when developing the show—these works poignantly speak to the ambivalence of home and what the concept evokes. Of the tulle sculpture, Freney explains how the almost weightless material plays with the concept of invisible labour: work that’s unpaid, socially under-recognised, and primarily undertaken by women and mothers. “I recognise there are all forms of motherhood and I like for the works to open out to, and to be read as, representing care beyond stereotypical notions of motherhood.” —AUTUMN ROYA L

Melbourne In Equilibrium Barbara Hepworth

Heide Museum of Modern Art Until 13 March

Considered one of the most important artists of the 20th century, British artist Barbara Hepworth is also one of the few women artists to achieve international recognition during their lifetime. Focused on figurative Barbara Hepworth, Eidos, 1947, stone, and naturalistic forms made from stone, wood, metal and synthetic polymer paint, 37.2 x 50.7 x 28.2 cm. bronze, Hepworth’s sculptural work is deeply influenced by national gallery of victoria, melbourne. nature, with the gentle curvatures of her polished forms barbar a hepworth © bowness. often resembling nautilus shells and smooth river rocks. In Equilibrium features such forms and is the first major survey exhibition of Hepworth’s work in Australia; its title alludes to Hepworth’s ability to meld empty space with solid form, texture and colour to create a unified whole. Heide Museum of Modern Art artistic director, Lesley Harding, points out Hepworth “made a number of artistic innovations, but we

should draw particular attention to her unprecedented ‘piercing’ of the threedimensional form in 1932, an invention often incorrectly ascribed to her associate Henry Moore”. Moore and Hepworth were close friends and worked as sculptors in the same time period. Moore often purported he was the first to use the pierced form in 1932, yet Hepworth had already been experimenting with the technique at least 12 months earlier. With this innovation, “space could be a form itself in sculpture, and give meaning to the idea of absence”. While she travelled regularly, Hepworth spent much of her life in Cornwall, England, following the turn of seasons and observing the cyclical ebb and flow of the rugged coastal landscape. Located near her home were groups of Neolithic standing stones—huge ancient relics imbued with mystery and a sense of magic. Expanding on these influences, curator Kendrah Morgan says, “Many of Hepworth’s sculptures have a talismanic quality and psychological power that draws you in. She had a fundamentally humanist, even spiritual vision, and although her work is abstract, it is very accessible because it is underpinned by an exploration of human relationships, and the relationship of the human figure to the landscape and the cosmos.” —BR ION Y DOW NES

Sydney Shuo Shu

White Rabbit Gallery 22 December 2022—May

The art of storytelling has been integral to Chinese culture and history for thousands of years. From engraved oracle bones to calligraphy on tortoise shells, stories have been passed down through generations in myriad ways. In today’s digital age, it can seem like a dying tradition—but some artists are finding their own ways to keep this timeless practice alive. Shuo Shu brings together 29 contemporary artists to explore hidden language and propaganda; storytelling and ancient myths; calligraphy and language. Curator David Williams selected the works from the Gu Wenda ⾕⽂达, Tian Xiang: Forest of Stone existing collection at White Rabbit, with some of them Steles (Sixth Series), 2017, marble, 24 pieces, making their public debut. “The tradition of Shuo Shu— dimensions variable. storytelling—directed the curation, with artists dealing with mythical, classical and political language,” he says. “It’s always fascinating to see how Chinese artists use classical inspiration in a very contemporary practice.” Some of the pieces respond to other works of literature and art, such as Yang Jiechang’s Tale of the 11th Day, which adapts classical techniques and materials to allude to Giovanni Boccaccio’s collection of 14th-century short stories, Decameron. Others directly correspond to Chinese history, such as Gu Wenda’s Tian Xiang: Forest of Stone Steles (Sixth Series), an installation of 24 ru stones with etymological ties to Confucian scholarship. And there is Mao Tongqiang’s Leaseholds, which incorporates land ownership papers over various time periods. Williams is especially excited about one work, which tracks the making (and includes a 30-minute preview) of multidisciplinary artist Sun Xun’s animated film, Magic Atlas. It follows a young boy travelling through different countries and political systems. “We will be presenting a number of works including woodcuts, character studies and sketches that have been used in the making of the featurelength animation,” he says. —GISELLE AU-NHIEN NGU Y EN

Perth Ochre Painters of the Kimberley Japingka Aboriginal Art 24 February—22 March

Ochre is a natural formation of clay deposits and sediments collected from the earth, varying across white, yellow, orange, red and pink pigments. For tens of thousands of years, ochre has been significant for the cultural and artistic practices of the Warmun community in the East Kimberley region of Western Australia. Jock Mosquito, All Around the Duncan, 2008, ochre As David Wroth, curator at Japingka Aboriginal Art, on canvas, 150 x 120 cm. explains, “Although people often think of traditional Aboriginal art as having this connection to the ochre colours from the earth, there’s only a few groups of artists and communities who continue to use ochre pigments in their artwork.” Ochre Painters of the Kimberley focuses on smaller works from formative and senior artists of the Warmun community including Jack Britten, Shirley Purdie, Queenie McKenzie, Beerbee Mungnari and Rover Thomas. Featuring more than 18 paintings made between the late 1990s to early 2000s, many works have never been publicly displayed until now. All artists are united through their dedicated and innovative practices, each working with ochre sourced from Country. “The land is providing the materials that they paint with, and this is significant as most of the paintings are about such surrounding land,” explains Wroth. Each painting encapsulates the Gija cultural practice of recording landscape as well as revealing the rich personal histories from each contributing artist. “All of the works are connected between geology, the location of place, creation stories, and that particular individual artist’s private life,” says Wroth. As the curator further points out, “The tradition of ochre painting is alive and well in this part of the country . . . it’s a living tradition. Even though the exhibited works are only 20-25 years old, they are certainly markers along a transition to see where the ochre paintings are going.” —AUTUMN ROYA L

Geelong Mandy Martin: A Persistent Vision Geelong Gallery Until 5 February

Mandy Martin was an uncompromising and deeply committed artist. Born in 1952, and passing away in 2021, her work spans vast territory. The new retrospective A Persistent Vision makes this clear, covering Martin’s 45-year practice and emphasising her long-term Mandy Martin, Unknown industrial prisoner II, 1977, involvement in fighting for the wellbeing of the screenprint; edition 8/35. geelong gallery, gift Australian environment. of the artist 2021. © estate of mandy martin. Geelong Gallery CEO and director Jason Smith says photogr aph: andrew curtis. Martin, who first rose to prominence in the mid-1970s, was an artist with something serious to say. In 2020-21, before her death, Martin worked with Smith to select 67 works for A Persistent Vision—pieces which were also donated to the gallery’s existing holdings of her work. Smith describes her as an exploratory artist whose reputation for politically charged and socially progressive subject matter is evident in the show, where the power of industry, and the impact of humans on the environment, are represented.

“In putting together the works for Geelong—drawings, prints and paintings— we focused on the ‘industrial’ story and imagery,” says Smith. “It is remarkable that in some of the 1970s political prints we see industrial complexes through the windows of the offices of corporate bosses, and then shift our focus to the sawtooth factory images from the 1980s that propelled Mandy to wide acclaim.” One of the legacies of Martin’s work and her teaching at the Canberra School of Art was her insistence that art practice is a serious business and, Smith says, “that artists have an essential role in critiquing the cultures” in which they live and work. “Mandy made stark, powerful pictures and sometimes strangely, lyrically beautiful paintings of tough industrial or landscape subjects, but there was substance to the style. I think the core value of Mandy’s vision and art was that it was uncompromising in its messages.” —A NDR EW STEPHENS

Mackay Too Little, Too Much Niloufar Lovegrove Artspace Mackay Until 5 February

The works of printmaker Niloufar Lovegrove in Too Little, Too Much represent a deft fusion of cultures that not only allows profound new perspectives on environmental crises, but also acts as an exploration of the artist’s personal identity. Too Little, Too Much is a meditation on water through linocuts. The works were created over the last three years, during a time when eastern Australia experienced multiple disasters: drought, bushfire and catastrophic flooding. While these environmental catastrophes weighed Niloufar Lovegrove, Equable Goddess, (detail), on Lovegrove, her centering of water themes is delivered 2022, linocut print, 80 x 210 cm. image courtesy via an almost otherworldly, figurative visual language of the artist. informed by her background. “You’ll see the use of ancient mythology and historic motifs from my Persian heritage to retell our current news, in order to specify the timelessness of the theme,” she says. “My first sketches were directly taken from the extremes of flood and fire, translating into misery and sorrow. Gradually they shifted away and started to picture an ideal habitable land instead.” Lovegrove, who is originally from Iran and now lives at The Caves in Central Queensland, is drawn to the imagery and mythology of Persia for its oneiric, otherworldly qualities and escapism, as well as its “mystical poetry”. “For me, the sense of rhythm and idealism in Persian artforms is fascinating, and [represents] a desire to open the window to an almost unearthly love, by the adoption of symbolic elements.” The show also addresses Lovegrove’s personal history, as she reconciles living in rural Queensland with her earlier life. “I have found myself trying to recapture memories by using these Persian motifs and stories to express a feeling or react to a current event. This helps me personally, in connecting my old knowledge to my current lifestyle, as well as offering the viewer a quick escape to another world: Iran.” —BA R NA BY SMITH

Sydney Unpopular

Powerhouse Museum Until 3 June

“I didn’t want this to just be some retrospective memorabilia show,” says Stephen Pavlovich about Unpopular, an exhibition that delves into the veteran music entrepreneur and promoter’s vast archives. Unpopular is certainly not that. Granted, this assemKurt Cobain of Nirvana, Big Day Out, Hordern blage of over 200 objects, from photographs to posters Pavilion, 1992. photogr aph: neil wallace. to fanzines to personal letters—and pretty much everything in between—is a homage to the global 1990s bands that might loosely be defined as ‘alt-rock’. Think major names like Nirvana, Pavement, Fugazi and Sonic Youth, but also the likes of Rancid, Jawbreaker and The Amps. Yet Pavlovich, in partnership with Powerhouse chief executive Lisa Havilah, has ensured there is a contemporary edge to the show beyond displaying artefacts. In addition to Pavlovich’s 90s ephemera are separate collaborations with two contemporary artists: US-based video artist Julian Klincewicz, and Melbourne collage artist Lillian O’Neil. “I took footage we filmed at a festival in 1995 called Somersault,” says Pavlovich. “We gave that to Julian, a video and film designer, and he created this 20-foot installation, a wall of crowd footage that is all blended, tripped-out and slow-mo.” Similarly, Pavlovich gave O’Neil a trove of photographs and negatives, from which she produced three large-scale collages. Unpopular is also a display of photography, largely from Australian concerts of various sizes, with many captured by renowned rock photographer Sophie Howarth. “The more fucked they are, the better,” says Pavlovich when asked what he looked for in selecting the photographs. “There’s a particular energy bands have when they’re in a small space, and the energy comes through in black-andwhite photography. The lighting is very simple, and it gives it a tone and a quality. It feels really alive, I find it really beautiful.” —BA R NA BY SMITH

Melbourne Data Relations

Australian Centre for Contemporary Art Until 19 March

For better or worse, data is intrinsic to modern life. In recent months with various data breach scandals, Australians have been reminded of its omnipresence— and in Data Relations, artists explore how data manifests Mimi Onuoha, The Hair In The Cable, (installation both personally and societally. detail), 2021. courtesy the artist and the austr a“I’m very interested in the way artists work with lian centre for contempor ary art, melbourne. technology as a medium, and think about it as a facet photogr aph: emile askey. of our culture and everyday life,” says guest curator Miriam Kelly. “The show distills this in the way that artists think about data as something that might become the format of their work, and a structure and a way of relating to each other.” Spanning video, sound and performance, the show also features sitespecific installations and augmentations. Artists including Zach Blas, Lauren Lee McCarthy, Mimi Onuoha and Winnie Soon integrate questions about contemporary issues, such as abortion and climate change, into their work with data,

reflecting on global and individual concerns in different cultural contexts. Data Relations will also include the launch of the Australian Centre for Contemporary Art’s new Digital Wing with Tega Brain and Sam Lavigne’s Offset. In addition is the Data Relations Summer School, increasing data literacy among the public with workshops and performances both onsite and at relevant locations. “We are conceptualising the data school as an artist in the exhibition. Most of the artists in the show are academics, so they have a real interest in pedagogy, learning and knowledge exchange,” says coordinating curator Shelley McSpedden. “We’re trying to mirror in some ways a learning institution, but changing it up, playing with it and experimenting. There’ll be lots of interventions on our digital platform as well. It’s iterative and expansive—an interplay between cultural production and cultural knowledge.” —GISELLE AU-NHIEN NGU Y EN

Bunbury A Colourful Life Robyn Bischoff

Bunbury Regional Art Gallery Until 26 February

West Australian artist Robyn Bischoff moves between mediums with ease—from drawing and painting to ceramics and sculpture. Creating work that possesses lyrical applications of colour, throughout her decadeslong career, Bischoff has become known for her vibrantly impressionistic landscapes and abstract explorations of hue and texture. “What we will be exhibiting really shows the progression of an artist who has always created from Robyn Bischoff, Deep Majestica, 2010, oil, acrylic necessity,” says Bunbury Regional Art Gallery director, on canvas, 170 x 170 cm. Michael Bianco. “She hasn’t gone to art school or locked herself into a style. She has used painting, drawing, ceramics and even performance to explore different ideas relating to her engagement with the world.” Living and working in the coastal town of Bunbury in South West WA, Bischoff’s oeuvre has been heavily influenced by the surrounding landscape. Travel to Europe has also impacted Bischoff’s way of working, and she has cited German expressionists Wassily Kandinsky and Gabriele Münter as particular inspirations. Reflecting the expressive energy of Kandinsky’s work, paintings like Bischoff’s Deep Majestica depict nebula-like blooms, while others are more earthbound; domestic interiors and forest landscapes flushed with rich colour and painterly brushstrokes. “There is a distinct energy to what Robyn makes,” explains Bianco. “Lately she has been working with materials she has on hand and has been constructing a multi-layered orb sculpture from chicken wire. Each shape on the wire is painted and the whole structure hangs from the ceiling. In addition, she has also made a type of cubby house that relates to the idea of accessing one’s inner child. Looking over all of Robyn’s work, it’s a great moment to acknowledge her career and the enduring practice she’s had.” —BR ION Y DOW NES

Pink Is the New Pink Why are we so hard on pink? Thinking Through Pink revels in a lush, complicated colour. W R ITER

Jane O’Sullivan

Peter Tully, Brooch, acrylic, c. 1990. sydney, new south wales, austr alia, powerhouse collection, sydney gift of david mcdiarmid.

A Bunnykins figurine. A floral John Brack painting. A contemporary ceramic urn. These might not seem to have commonality but they do share one thing: the colour pink. These surprising objects come together in Thinking Through Pink, a genre-defying exhibition that explores concepts of taste and culture. “I wanted to talk about the idea of pink, not the colour,” says curator and cultural historian Sally Gray. “How do you feel inside colour? What does it mean to you? How does it affect you?”

Ebony Russell, Decorative Urn: Pink and Useless, (detail), 2020, piped porcelain and stain, 43 x 30 x 30 cm. courtesy of the artist. photogr aph: simon hewson.

Pat Brassington, Parachute, 2005, pigment print, 82 x 62 cm. wag collection.

Pink has a strange history. When synthetic dye was developed in the mid-19th century, colour entered Western fashion in a bold way, and the upper classes recoiled. Bright colours were seen as cheap, artificial, childish or déclassé. Pink, especially, was OTT. Too pretty. Too decorative. Those attitudes have been reinforced and altered over the years. Consumer markets expanded, along with the pressure to individualise—and we got pink for girls and blue for boys. In World War II, pink triangles were used to mark certain kinds of prisoners. In the following decades, the colour has been flipped and reclaimed in queer culture and feminism, with far-reaching impacts. In 2018, FitNYC’s influential exhibition Pink: The History of a Punk, Pretty, Powerful Color tracked these changes through fashion. While Thinking Through Pink includes some fashion—a necklace by Schiaparelli, the designer behind ‘shocking pink’, for instance—the curator wanted to expand the conversation by exhibiting a mixture of mediums, eras and registers. Gray looked for pieces that were “aesthetically compelling, either because they were absolutely beautiful or because they were very decorative and engaging”. Works were drawn from the Wollongong Art Gallery and Powerhouse collections alongside invited artists. The goal was both playful and deeply serious: Thinking Through Pink connects ideas about excess, adornment and camp, but also taste, class and cultural hierarchies. It’s “about pleasure and suspension of judgment”, says Gray. The heart is perhaps a set of rainbow aphorisms by the late David McDiarmid. They draw on queer vernaculars and experiences with charged phrases like “Darling, you make me sick.” Their optic and emotional intensity—and Gray’s connection to them as both a friend and the executor of his estate—help explain the ambition of this exhibition: Gray is approaching the cultural and personal associations of pink. Many of the artists, including eX de Medici and Paul Yore, use pink in highly strategic ways. Pat Brassington, in Parachute, 2005, deploys pink like a narcotic, using it to wash her strange scene in a dreamy and unsettling light. Elvis Richardson, in Settlement #1 2018-21, reworks a metal gate in pink, deftly connecting the ideals of homemaking with the violence of settlement. Ebony Russell makes her ceramics with piping bags and cake decorating nozzles but rather than piping them onto supports, they’re all ‘decoration’. The method developed out of an interest in gendered aesthetics and labour, the kind seen in Women’s Weekly birthday cake books and wedding bomboniere. She wanted to create a “profusion of decoration and over-the-top layering”, she says. “Then I was just pushing that further and further, trying to create objects that defied their own making.”

Two works in the exhibition, Decorative Urn: Pink and Useless, 2020, and Decorative Urn: Blue and Hopeless, 2020, reference fertility and motherhood, and also nod to the lingering hierarchies around ceramics and fine arts. Another two were made while on a prize residency at a porcelain factory in Jingdezhen in China in 2019. As Russell watched the workers make high end, slip-cast vases, she was astounded by how much material was rejected to make the perfect object. She began incorporating some of these failed pieces—petals, wings and hands—into her own Waste Not pots. “I painted them in neon colours, like really bad colour combinations,” Russell says. “It’s that push-and-pull, that attraction-repulsion. You want it so much but it’s also overwhelming.” Deborah Kelly’s After The Madonna of the Pinks, 2012, draws out different cultural associations. The photographic portrait restages a 16th century painting, Madonna of the Pinks, of Madonna and infant Christ holding pink flowers. Kelly’s version is arresting. The child is luminous. The portrait marries adoration and the mundane. It was part of Kelly’s major series The Miracles. Years in the making, this series evolved in response to comments made by the pope, decrying in vitro fertilisation (IVF) and ‘inauthentic’ families. Kelly took 37 religious Renaissance paintings, all of disputed provenance, and recast them with families that had used assisted reproductive technologies. “That was the thing that really dawned on me: these are quotidian, daily miracles of virgin births,” Kelly says. “And these miracles are all around us.” While Madonna of the Pinks, attributed to Raphael, used the pink flower as a symbol of Madonna’s tears, in Kelly’s work it becomes a vivid reminder of human fragility, and has quieter, familial associations too. “When I was a baby, my parents were florists. There are often flowers in my work,” she says. While fragility and family are tender undercurrents—as seen in Katthy Cavaliere’s work too—the show also includes feminist posters from the 1970s and 1980s by Jan Fieldsend and Marie McMahon, a graphic work from Frida Las Vegas, and a monochrome by Christine Dean, as well as work by Frederick McCubbin, Matthys Gerber and Jacky Redgate. Of this personal selection, Gray quotes Susan Sontag: “A sensibility is one of the hardest things to talk about.” Gray invites viewers to think about who they would curate, and why? “Culture is always changing. It’s always unfolding into new or renewed sensibilities, preoccupations, politics and aesthetics.”

Thinking Through Pink Wollongong Art Gallery (Wollongong NSW) Until 5 March

It Must Be Love In stunning scenes of joy and connection, Dylan Mooney’s art depicts the love between queer Indigenous people. W R ITER

Giselle Au-Nhien Nguyen

Dylan Mooney’s work unapologetically centres queer desire. In bold colours, the Yuwi, Torres Strait and South Sea Islander artist depicts the love between queer Indigenous people, bringing out the joy and solidarity that is the cornerstone of his community. “The works are about lived experiences and the love we have for one another, showing our thriving resilience and survival, growing through all these obstacles and hurdles,” he says. Born and raised in Mackay and now based in Brisbane, Mooney became interested in art as a teenager. His skills developed through taking art lessons, where he learned how to use charcoals and draw portraits, the latter of which is now his focus. Studying Indigenous art at university brought him further into his current practice. “That really helped me, just finding out more about queer identity and my culture,” he says. “Moving to Brisbane has really helped me connect with a lot of mob and other queer Indigenous folk.” Mooney works primarily with digital illustration, incorporating elements of traditional Indigenous culture into his own distinctive style. “I’ve never done traditional art—when I did start making work, it’s always been of people,” he says. “I’m trying to create a style for myself—something that people can clearly see that it is Indigenous work as well, when I add text or put ochre on the work.” Mooney was the youngest artist to be included in the National Gallery of Victoria’s (NGV) major 2022

exhibition Queer. It featured his striking work Stuck on You, which depicts two Indigenous men embracing, backdropped by a brilliant moon. There’s a raw emotion that emanates from Mooney’s portraits, shown in Stuck on You by the two men making direct eye contact with the viewer. It’s a beautiful defiance; an unwavering statement of selfhood and pride. “It’s helped me be more confident with myself, especially in my art career,” he says of the NGV exhibition. “Before that body of work, I would have never had the courage or the confidence to actually create those types of works.” The artist’s identity as a queer Indigenous man is central to his practice, exploring the places where these experiences intersect. “I’ve been doing a lot of research about Indigenous culture and queerness, and looking at my queerness from an Indigenous context,” he says. “It’s been around since the beginning of time—we have languages for it, and hearing my family talk about it as well. I’m trying to put those two relationships together, and decolonise that framework.” Mooney’s new body of work, Still here and thriving at N.Smith Gallery, continues in this vein. Exhibiting as a part of Sydney WorldPride 2023 (an amalgamation of the travelling WorldPride event and Sydney’s iconic right

Dylan Mooney, Still Thriving 2, 2022, watercolour and ink, 120 x 80 cm. courtesy of the artist and n.smith gallery, sydney.

Dylan Mooney, Still Thriving 3, 2022, watercolour and ink, 120 x 80 cm. courtesy of the artist and n.smith gallery, sydney.

“I never grew up with representation in those queer spaces, so creating my own works has really helped.” — DY L A N MO ON E Y

annual Mardi Gras festival), the show combines digital illustration with large-scale watercolours. “I first started art in drawing and watercolour, so I’m going back to my origins in a sense,” he explains. “A lot of people do know me by my digital work, so it’s showing the public that I can use these other mediums as well.” For Still here and thriving, Mooney spoke to queer Indigenous people of different ages, gathering their stories and experiences to create a patchwork of lives in his portraits. He also incorporated his own story when developing the works. “I feel like having these personal stories added to the works gives that strong foundation and continues that truth-telling within an Indigenous context.” Flags feature often in Mooney’s work. The Aboriginal flag is emblazoned on characters’ clothing, and in his new series, ribbons in the colours of different pride flags—the rainbow LGBT flag, the blue and pink trans flag—wrap around the figures. Mooney also takes an interest in nature—he was commissioned in 2021 to draw a botanical cover for Rolling Stone Australia, and plants are often featured in the background of his portraits. “I’ve been studying

a lot of plants—just looking at books and doing my own research, and learning from other Indigenous people how we are connected to the landscape around us, and how plants have helped us sustain ourselves for thousands of years,” he says. “Incorporating these plants into my work, I just wanted to show continued culture and a continued connection to the land, but also to each other.” Representation is the primary motivator for Mooney to create, celebrating shared experiences as well as differences in the queer Indigenous community. “I never grew up with representation in those queer spaces, so creating my own works has really helped,” he says. “I hope it’s helped other Indigenous queer people as well on their journeys, finding who they are.”

Still here and thriving Dylan Mooney

N.Smith Gallery (as part of Sydney WorldPride) (Sydney NSW) 8 February—4 March

Interview

Thea Anamara Perkins Thea Anamara Perkins is an Arrernte and Kalkadoon artist who creates evocative portraits and landscape paintings exploring being a First Nations person in contemporary Australia. Often drawing from family photographs, Perkins’s work is celebrated for its cinematic yet poignant depictions of family, acts of First Nations resistance, and its strong connection with Perkins’s local Redfern community. We speak with Perkins in her Carriageworks studio, a site where her grandfather, Uncle Charles (Chicka) Madden, spent over 50 years working on the railroads. Perkins’s mural Stockwoman will grace the walls of Carriageworks for Sydney Festival. W R ITER

Autumn Royal

right Thea Anamara Perkins, Tent Embassy, 2019, acrylic on clayboard. ar aluen art collection. courtesy of and © the artist.

“Communicating through love is also an ultra-powerful way of communicating an idea or message.” — T H E A A N A M A R A PE R K I NS

AUTUMN ROYA L

You’ve spoken about how portraiture can be a welcoming way of introducing people to uncomfortable themes and truths, as well as representing First Nations people. Can you say more about this? THEA A NA M A R A PER K INS

For me, portraiture is something that started with my family archives and being drawn to certain images and feeling a compulsion to paint them. It was this process that formed my understanding about the complexity of painting these images. While growing up in Sydney and still having that connection to Central Australia and the painting movement there—which has an incredibly vibrant and powerful history of painting—I would also go to galleries on the east coast and see portraits on walls, and formed an understanding of who gets painted and why they get painted. All these codified elements tell us about the time, place, the artist and the sitters. The paradigms of these times are contained in those portraits. By taking this vernacular, I am using it to express what I want to express. I was also seeing so much misrepresentation and misinformation about First Nations people in the media and so painting was my way of responding to this and taking charge of representation. I always like to speak from what I know. So, my own family photos and history became a vehicle for expressing what I knew about First Nations people—and the strength and love of our families and communities has meant we’ve survived. I feel a real compulsion to paint these stories. I like the idea that this also ends up speaking to something personal that can also speak to something universal. I love when people say things like, “Oh, I have a photo just like that and of me with my siblings” or

“My parents and I went to that place.” Or they can just relate even from the mood or atmosphere in my work. AR

I think portraiture can have an unassuming way of demonstrating powerful histories and personal ideas—what do you think of this? TA P

Yes, it’s also a form of leading with love and I think that things can be communicated with a gentle process. And communicating through love is also an ultra-powerful way of communicating an idea or message. I think people are receptive to that. AR

Your work highlights the significance of First Nations matriarchy and relationships between women. How has exploring your family through your work developed over your practice? TA P

Something that is very much a part of my work is the fallibility of memory. It’s fascinating because our memories have literally shaped us. They’re so tied to who we are, but they’re also fundamentally unknowable. You can’t go back to that time, only recounts of that time, especially if you’re a small child. Also, the retelling of these stories is totally subjective. Beautiful things happen when details of a story are embellished, or bits are lost—and that’s the same with memory. By the same token, there’s a through line that draws us back to certain memories and a compulsion to understand. Especially with my portraits, I think it’s been picked up that there’s a cinematic quality to them because they’re from photos on film. If you take this notion of film, then these photos would be stills of the action, and it’s the movement that’s happening around these moments that fascinate me. Photos are

Artist Thea Anamara Perkins at the Clothing Store Artist Studios, Carriageworks 2022. photogr aph: jacquie manning.

in and of themselves very interesting. When I work, I’ll start with a photo and then I take very specific drawings of a scene. Then it’s a free-for-all and things become altered, shifted, saturated, desaturated; all these technical considerations flow into it. AR

You’re showing a mural work, Stockwoman, as a part of Sydney Festival. Can you talk about this? TA P

It’s a massive undertaking because I’m scaling up my practice which has been on a smaller and intimate scale. This new work will bring a host of new implications and I’m excited for the challenge. This mural work is looking at my family history, but this time it’s my great-grandmother Hetty Perkins that I’m considering. Specifically, her life at the Telegraph Station [in Alice Springs], which is where my pop [civil rights activist Charles Perkins] was born. Nana Hetty worked at a place called Arltunga, which is over 114 kilometres from Mparntwe/Alice Springs, and it was where colonisers first built when they came to Central Australia. The work will focus on landscapes, but then it’ll have figures of Nana Hetty earlier in her life when she was about 14 years old, and also of her later on as a stockwoman.

The idea came about after looking at works from artists like Sidney Nolan and Russell Drysdale and thinking about so-called Australia as a concept, and how their works formed the popular imagination— and how it compared to my views as a First Nations person. When I look at the landscape of these places, these views are just a few degrees of separation apart. This got me thinking about figures like Ned Kelly and those who we mythologise. To me, as a First Nations person, it’s people like my great-grandmother, who had to deal with unfathomable and colossal changes in their lifetime, who should be known. When we think about The Frontier arriving, we often think of it being in Sydney, but it spread over the continent and these women had to contend with the state, the church, all these forces—and they survived with strength and resilience. These women are literally national treasures and there are so many figures that we should all feel proud of and connected with—they should be the heroes of our collective imagination.

Stockwoman Thea Anamara Perkins Carriageworks (Sydney NSW) Until 12 February

Studio

Julia Gutman “We’re all shaped by one another, always interacting with someone’s past, heritage, experience or relationships.” — J U LI A GU T M A N

PHOTOGR A PH Y BY

Hamish Ta-mé 72

AS TOLD TO

Chloé Wolifson

Julia Gutman works with textiles donated by family and friends, creating layered figurative tableaux referencing personal and shared histories, which often recall imagery from canonical paintings. In mid-2022 she presented her first solo exhibition, Muses, at Sullivan+Strumpf in Sydney, prior to which she was a finalist in the 2021 Ramsay Prize and was awarded the 2020 NSW Visual Arts Emerging Fellowship. Ahead of her inclusion in Primavera 2022 at the Museum of Contemporary Art—a show featuring artists under age 35—we stepped inside Gutman’s studio in Lewisham in Sydney’s inner west, learning how connection is central to her practice.

PLACE

JULI A GUTM A N: I’ve been in this space for about a

year-and-a-half. I share it with a close friend who’s a director. It’s nice to have that collaborative energy in the studio. We have a lot of thematic overlaps, but different kinds of work, so it’s nice exchanging ideas. I was in the Waverley Artist Studios, and when that ended at the end of 2020, I started looking for a space. This is close by to where I live, and I like how it feels. It’s got so much character, it’s a good size, and it’s cosy. I spend most of my time here . . . a little home away from home. My work is very labour intensive, and it’s nice to have a lot of time and space to focus. I get easily distracted. When there are lots of people around I have amazing conversations, it’s very inspiring—but I don’t get quite as much done. [It’s a balance] between having the time to actually make the work, and making sure that you have community around you. During Covid-19 lockdowns, even though I was in Waverley, a lot of work happened in my bedroom. [Now I’m] able to work at scale and have space to organise all my things. PROCESS

JULI A GUTM A N: I have all the materials that get

donated to me colour-coordinated into a big palette, which makes working easier. I have an abundance now, which means I can do more. In earlier work, I was trying to create a figure out of fabric that didn’t intuitively lean towards that. Now there are more options.

I like working with transparency. I love tulle; anything that I can lay out in a painterly way to create tones. Because the process of making the work is so laboured, and gives an imprint of time, the images tell [multiple] stories at once. They’re often referencing something from a canonical painting. The second layer is the moment that I shared with the person who’s in the work, who it is representing. You’ve also got the stories of all the donated materials, and [another] story is the studio, you can see the energy and pacing. So even though they’re static images, they play with time. I hope, when you look at them, you get a sense of process and are thinking about the action of making them. I still work with everything that’s donated to me by people in my life. But something that’s shifted is [that] I feel more trust in what I’m doing and people around me do too, so more precious things can enter the work—with faith that they’ll be safe and worked into something else, thoughtfully. In the Primavera work, there’s a little tapestry that was made by my great-great-great-grandma that’s been sewn in, and some things from my late grandmother. My mum, when she was pregnant with myself, my sister [and] my brother, [made] needlepoint tapestries. We grew up with a set of chairs that [featured] the tapestries . . . they’re 30 years old now. I’ve consulted the whole family, and I’m going to make a work with those tapestry tops. Sometimes we’re too worried about mementoes, and then they end up not being seen.

PROJECTS

JULI A GUTM A N: The work for Primavera plays with

perspective and [includes] figures coming in and out of portals. The figures . . . feel like they’re getting swallowed up by this fabric or by [the] familial history in this work. It’s that tension between moments when you feel like a distinct individual, and moments when you feel like a small part of a whole, or of a lineage or community. It’s called, Isn’t it just one long conversation? I’ve been thinking about this sense that we’re all conversing with people we’ve never met. We’re all shaped by one another, always interacting with someone’s past, heritage, experience or relationships. I think there’s something beautiful about the fact that the figures I’m creating are people in my life, and all the materials are donated by people in my life, but those people don’t all know each other. They are interconnected, and are shaping each other, it’s just not direct. There’s a beautiful essay on borders that was the catalyst for this work, from Siri Hustvedt’s book Mothers, fathers and others. It draws together individual experiences of borderlessness, that

moment of the boundary between self and other breaking down, but uses it as a way to talk about political borders. She writes about motherhood and birth as a moment where there is no physical border between mother and child. This work was made while my sister was pregnant. There’s a monumental figure of her with my niece in her belly and she is made from something of mine, something of my mum’s, something of my grandma’s. I’m doing some residencies in 2023. I’ve been in nonstop production mode. I just want to teach, travel and experiment. In June I’m going to be in Palazzo Monti in Italy, which I’m really excited about. I turn 30 in July, then in August I’m going to Fountainhead in Miami. I didn’t like the idea of travelling and having these experiences with a deadline—I feel like I wouldn’t be able to totally engage.

Primavera 2022

Museum of Contemporary Art (Sydney NSW) Until 12 February

Testing

Grounds Artist-run and experimental spaces are central to the story of Australian art, giving emerging and barrierpushing works a place to be exhibited. While scores of such spaces exist throughout Australian art history, we asked five artists to tell us about their early works in experimental spaces and how these formative experiences became pivotal to their practices. At a time when the resourcing of such spaces is in constant jeopardy, these artists show the necessity of non-institutional exhibiting. BY

Bonita Ely, David Chesworth, Diego Ramirez, Kenny Pittock and Michael Lindeman.

Bonita Ely, Murray River Punch, Rundle Street Mall, Adelaide, 1976. photogr aph: david kerr.

Bonita Ely

After five years overseas in London and New York, I returned to Australia in 1975. A report on the Murray River was released which detailed salination and other pollutants, motivating me to draw people’s attention to the river and its imminent degradation by ‘taking them there’—not everyone can drop everything to travel 2,108 kilometres, observing, exploring, making art. Brought up on the Murray in the soldier settlement town of Robinvale, the river is my ‘Heartland’, so to speak. With summer temperatures in the 30s and 40s, families cooled down in the river, picnicking nearby, kids playing together until after dark. When invited to participate in the performance event ‘Women at Work’ at the Ewing and George Paton Galleries, Melbourne University— asked by director Kiffy Rubbo and curator Meredith Rogers—I also coincidently saw a cooking demonstration in the Myer department store, a novelty back then. My mind flipped into parody mode, conjuring the performance; I dressed demurely, delivering charming chit chat commercialising housework, while cooking up a disgusting, stinking brew titled Murray River Punch (pun intended). The next year the performance was repeated in Rundle Street Mall in Adelaide. Received with groans, laughter and horror to my delight, it foreshadowed the environmental disasters to come.

David Chesworth, Clifton Hill Community Music Centre.

David Chesworth

Running from 1976 to 1983, Clifton Hill Community Music Centre (CHCMC) was a community-founded experimental music venue located, rent free, in an old organ factory in Clifton Hill, Melbourne. It was indirectly assisted by the Whitlam government’s support for community projects and took off because punk and post-punk inspired a ‘just do it’ attitude, and audiences and makers began to coalesce around nascent sub-cultures that ignored the mainstream. It was a lively place where artists from two distinct generations created, performed, debated and occasionally shirt-fronted each other. In the small rooms of the organ factory, an emerging postmodernism rubbed up against counterculture aesthetics. Boundaries of performance, music-making, filmmaking and installation were dissolved. Musicians made films, visual artists made music, critics and theorists performed. Importantly, artist Ron Nagorcka made the events free and artists received no payment. The performers and audience were on an equal footing, where anyone could perform, often utilising cheap and available technologies, rather than traditional instruments. It was a place to begin, trying anything we wanted. It was also where I mustered the courage to perform for the first time, both as a solo artist and with the minimalist music group Essendon Airport, alongside coordinating the venue between 1978 to 1982. Paul Taylor, who founded the art journal Art & Text, was a frequent visitor, even presenting a work. In 1982, Taylor’s breakthrough Popism exhibition at National Gallery of Victoria would feature many CHCMC artists.

Michael Lindeman, Thong on Wheels, 1998, rubber thong, trolley castors, dimensions varied. First Draft Gallery, Surry Hills. photogr aph: marian abboud.

Michael Lindeman

Toward the end of my undergraduate in the late 1990s, I founded Michael & Michael Visual Arts Project Management with Michael Dagostino. With a healthy dose of irreverence and a DIY philosophy, it was a serious joke—an artwork itself. Key to becoming productive irritants while having fun were artist-run spaces around Sydney and interstate such as First Draft, Herringbone, Rubyayre, 151 Regent St., Grey Matter and Smith & Stonely. Pooling our resources with artists including Paul White, Jonathan Wilson and others, artist-run spaces allowed us to gain experience with all facets in developing a show—guerrilla style promotion, considering the exhibition space, baiting critics (got some good nibbles from the Sydney Morning Herald), and discussing one’s practice. I have no doubt that certain people around town still hold a grudge for our deadpan aping of institutional models and unmasking of their barriers. Nonetheless, it was entertaining, ballsy, and illustrated an aversion to passive compliance—that’s a good thing, right? Alongside cultivating an environment which agitated systems of inclusion and exclusion, the non-institutional spaces gave me licence, a freedom to develop a series of absurd Duchampian rectified readymades—dictated by a student’s budget and my prosaic surroundings. The wit and attitude of my formative works, facilitated by artist-run spaces, continues to reverberate throughout my work today.

Kenny Pittock, Bertie Beetle Bag at TCB, 2013, acrylic on ceramic and board, dimensions variable. photogr aph: kenny pittock.

Kenny Pittock

In 2013 a friend and I put on a show at the Naarm/Melbourne artist run gallery TCB. For the exhibition I created ceramic sculptures of the contents of a Bertie Beetle showbag, and also gave out free actual Bertie Beetle showbags to the first 50 people who came to the gallery. The Italian arts writer Naima Morelli happened to see the show and amazingly the following year she invited me to travel to Italy for an exhibition at Galleria 291 Est, an artist-run gallery in Rome. It was my first time exhibiting overseas and a big step for my career at the time. As a lot of my work responds to contemporary Australian culture, I was excited for the opportunity to exhibit outside of this context. It was so special to see how people on the other side of the world, who, despite our language barrier, were able to laugh and connect over the work. I’m grateful for artist-run galleries for giving me the platform that allowed my first experience exhibiting in an international context. It helped me consider ways my practice can be global while also remaining personal—an insight that still plays into my work today.

Diego Ramírez, Once More, With Diversity Feeling, live performance, Hellmouth backdrop by Mel Deerson, acrylic on canvas drop sheet, 2.6 x 3.6 m, Kings ARI, 2019. photogr aph: keelan o’hehir.

Diego Ramirez

One of my ‘signature moves’ is to consider the social coding of my position in the arts and upset its meaning within a virtue economy. In other words, I am very sarcastic. Artist Mel Deerson, after an original commission by the online platform Recess, helped me develop this sensibility in 2019, when she asked me to participate in A night in Hell, a public program to her show A show about hell at Kings ARI in Melbourne. She curated a series of performances to activate this huge medieval backdrop she created; it was like a stage. It’s Deerson’s angelic pattern to appear every couple of years in my life with grassroots energy, then momentarily disappear to become the light in someone else’s dark world. Thanks to her appreciation, I performed Once More, With Diversity Feeling, an ‘audition’ for a Mexican vampire in the canned Buffy The Vampire Slayer reboot, which was promoted as emphasising diversity. Inspired by novelty acts, I sang pitchy songs with over-the-top lyrics—like a goth softboi—hoping to get ‘cast’. The audience wanted to laugh at me but didn’t want to be ‘problematic’. This kind of perverse tension is now a staple in the push and pull that characterises my output.

Exploring a Collective Unease IN CON V ERSATION

Andy Butler, Lisa Hilli and James Nguyen

Andy Butler, The Agony and the Ecstasy, 2022, video still. courtesy of the artist.

Andy Butler, Lisa Hilli and James Nguyen each engage with institutional collections and the power dynamics that shape public culture. Their works are informed by personal histories of migration from Southeast Asia (Butler and Nguyen) and the Pacific (Hilli), and they have a mutual crossover of experience—being one generation away from the village, they now navigate spaces founded on exclusion and prestige, like universities and museums.

Collective Unease is an exhibition of new commissions by the three artists, showing at the University of Melbourne’s Old Quad—a gallery space located in an original university building, constructed in 1853. The artists responded to the University collection—which contains objects and artefacts from the university’s history, art and culture, sport and medicine— drawing out the complexity of the institutional history. Here, the artists talk together about why and how they work with collections, what they’ve created for Collective Unease, and what it means to keep your knife sharp when carving out paths in spaces never meant for you.

LISA HILLI

I started working with collections accidentally. I didn’t even know collections existed until 2010. I was so naïve, and that just speaks volumes about who collections are for. This auntie from Bougainville told me, “Oh, you should go to Sydney! There are these things in the museum and there’s this woman there called Taloi Havini.” A Pasifika artist, Taloi worked at the Australian Museum years ago. [I went to the Australian Museum and] I looked at their three levels of storage, and it blew my mind. I’m one generation away from the village in PNG [Papua New Guinea], helping out my mum with social security forms, interpreting things for her. And here’s this institution that’s been collecting artefacts from home since the 18th century. And I was just like, “Why, why, why?” JA MES NGU Y EN

There’s a creepiness to collecting. As our families left their home during moments of conflict or upheaval, there’s two parallel paths. One is escaping to the West, out of the village, looking for a better life—we leave with nothing and resettle. But then, magically, through these Western collections, the people who are displaced end up living a few suburbs over from the museums holding objects relating to the places they were displaced from. There are these objects that are part of you and your history, but they’re sitting inside archival boxes. It’s so weird how they separate the humans from the objects; they separate the messiness of migrants

and refugees from these objects. Institutions have this power to control the narratives over these objects. A NDY BUTLER

I guess that’s why I’m drawn to collections. There’s such a friction between their desire for equality and justice and change, and the inability of the collecting structures to do so. This is a good time to talk about the work in Collective Unease. Do you want to start, Lisa, talking about Meg Taylor and your project Birds of a Feather? LH

I’ve made five banners focused on the first woman from Papua New Guinea to go through the University of Melbourne: Dame Meg Taylor. The Old Quad is such a historically loaded building. I was previously a Museum’s Victoria employee, so knew that the University and the Melbourne Museum were historically intertwined. But then I found out that the Old Quad was where the collection all started, where they displayed artefacts. Dame Meg Taylor from PNG studied in that building too, but was never written into history. No reference to her at all having graduated. AB

While James and I have heard about Meg Taylor, can you give a sense of how wild it is that she was excluded from University of Melbourne history? LH

Meg was a trailblazer for PNG women. She graduated from studying law in 1973, still under the White

James Nguyen, An Australian National Song, 2022, video still. image courtesy of: james nguyen, donica tran, amy you & rollin zhao.

Australia policy, while PNG was still an Australian colony. Then she went off to Harvard. She was the first woman to be admitted to the bar in Papua New Guinea, and the first Papua New Guinean woman to be admitted to the bar in Australia. She was the first ever female secretary general of the Pacific Islands Forum, which is one of the most important inter-governmental political bodies in Oceania. For Birds of a Feather, I wanted to see birds of paradise feathers everywhere and present them in a way that Papua New Guinean people understand them—the connection we have to birds of paradise, culturally, spiritually, as a form of body adornment and identity. That’s my understanding of birds of paradise, not these collection taxonomies and scientific names that separate animals from humans. JN

The way you talk about those feathers, Lisa, reminds me of something like tartan. As an outsider you don’t realise that woven into it are stories and family and history. It’s so much more than just the aesthetics of it. It’s not like a David Attenborough documentary! LH

That’s right. It’s exactly that. I wanted to go beyond that surface level, against the reductive portrayal of people and animals from PNG. Which is why I didn’t want to include any images of Meg herself, but just her words. One of the key works for me is Mek. It represents Meg because local people refer to her as “Mek”, which means the bird of paradise with long

black feathers. So that bird is her! And that’s the bird that is represented in that fabric panel. JN

l love how your work really gives voice to the academic achievement, and attests to the power of Meg through her words. But also thinking about how linguistically her people call her Mek, that’s knowledge that isn’t understood by the academy because they never valued it. It’s cultural knowledge that some people will never have real access to. The work is speaking in a covert way to people in the space who’d culturally understand that reference. LH

Thanks, James. You’ve articulated that really well, in terms of what some covert aims are of that work. AB

Do you want to talk about your work, James, An Australian National Song? JN

I was interested in the period of Australian federation, with this vision to create a white paradise and eradicate everything else. There’s some super grandiose music to celebrate that period. And the University had a music collection from that era. I found this new song for Australia, celebrating the vision of a white utopia. Then, I worked with other Asian-Australian musicians who are a lot better than me! We all played violin in this work, using a very Western instrument to detune the music. As we were playing we improvised, like some musicians pulled

Lisa Hilli, Birds of a Feather, 2022, digital print on fabric. courtesy of the artist.

their violins apart, changed the bridge, rubbed violins together—things you’re not meant to do within the confines of an orchestra. It was like we could use this music as an excuse to play, but with an edge of retribution to it. It’s kind of like trolling. AB

I love the playfulness. It really underpins so much of your practice, James. Even though the things you’re looking at are pretty dark, you bring so much humour and joy to your work, while hanging out with friends. JN

Well, our parents and ancestors were exposed to so many unspeakable horrors, violence and oppression. So they’re sometimes considered a bit ‘crazy’ or whatever. But they survived, and they retained this sense of humour. But now we have the privilege of entering these spaces, because we can speak in a certain way, because we can weasel in through art. I find if I focus on that horror or trauma, you end up being trapped. Despite not belonging, being ostracised, and being crushed, some of our people that came before us thrived. They stood in their power. Like Meg Taylor, you know? And same with us. I think we can find fun and joy and hope in that. I think that’s what your work speaks to, Andy. It’s this thing of elation; every time I see it, it lifts my spirit. It’s so hilarious and playful and human. It’s like whatever is thrown at us, we can survive and thrive. AB

Thanks, James. That’s so nice! With my work The Agony and the Ecstasy, I was thinking about the complexities of hope, joy and optimism. You can feel like such a fish out of water in these spaces [universities], you know? I studied in that very building, Old Quad, doing my Honours in Philosophy. And it’s this disconnect where you feel so proud that you’ve achieved the working-class migrant dream of going to a prestigious institution, but then you get there and the veil drops and it’s this bizarro world. I did competitive ballroom dancing as a kid, and there’s some crossovers with competitive cheerleading. There’s makeup and pageantry, and while it’s kind of misunderstood as a team sport, there are these micro-communities of care and support that are formed in gyms. For my video work, I spent time going to Melbourne University Cheer and Dance training sessions. What really jumped out at these sessions was the sheer athleticism: the grit, the sweat, the intense teamwork, the months and months of training and body conditioning that goes into this

two-and-a-half-minute routine that’s a distillation of uplifting energy. All the athletes are current students of the University, and there’s this kind of ‘Gen Z energy’ with a desire for social transformation, for something that’s different from the institutions and world we’ve inherited. There’s a fluency in talking about equality, the climate crisis and things like that. It’s a weird position to be in. We’re embedded in these spaces that have such dark histories that we’re trying to change. I’m still figuring out how to navigate that tension, I think a lot of people are. It’s like from that diasporic position where you don’t feel like you belong anywhere. JN

That sense of belonging, Andy, I feel as I’ve gotten older, I’ve stopped giving a shit. I think what you’re describing is about more than just decolonising or whatever—it’s a deeply human experience of trying to find your place in the world. You perform a particular way, a particular version of yourself in these institutions to survive and thrive, to get credits or distinctions or scholarships or whatever. But once you learn to speak in a particular way, or think in a particular way, you become severed from your family, and your “culture”, whatever that is. So, I think it becomes much more about—how do you find a sense of belonging in any particular moment in time, or find joy and happiness in your own voice at any particular moment, and carving out and creating spaces for other people. LH

I completely relate to what you’re saying, James. I don’t really ask that ‘belonging’ question anymore. It’s about carving out spaces for others who have similar experiences. I resonate with Meg Taylor so much for what she carved out for a lot of women like me to follow. I have this mantra about how you’ve always gotta keep your bush knife sharp. In PNG you live in a jungle, so you’re cutting pathways through this grass. It feels like now in the wake of people like Meg Taylor I’m able to carve my own pathway if I keep my knife sharp, and carve out a space where I find some sense of belonging. There’re moments where you can find a space for yourself and for others following you.

Collective Unease Andy Butler, Lisa Hilli and James Nguyen University of Melbourne, Old Quad (Melbourne VIC) Until 2 June

When Money Costs Too Much Many artists have boycotted arts events and organisations over unethical funding and partnership concerns. But should this burden always be placed on artists alone, particularly when the ability to boycott is its own privilege? W R ITER

Timmah Ball

Recently in Australia, the question of whether an artist should boycott an event, program or exhibition due to perceived unethical funding has come to the forefront in the arts. But is boycotting the only response? How do we balance sustainable art practices and integrity, under questionable funding models? In a recent essay for Meanjin, writer and organiser Muhib Nabulsi expands on two highly publicised boycotting campaigns in 2021 and 2022, where artists revoked their participation in arts events due to unethical sponsorship. Nabulsi explains that the “Boycott, Divestment, and Sanctions (BDS) movement is enjoying new visibility in so-called Australia.” They continue, “The recent boycotts of Melbourne Queer Film Festival (MQFF) and Sydney Festival have had a profound effect on the Australian arts landscape, with many in the industry wary of replicating these festivals’ disastrous responses to initial community requests and subsequent boycott campaigns alike.” In 2022, this echoed across the festival circuit as artists and arts organisations became equally concerned about our climate future and began refusing problematic sponsorships, choosing to protest and boycott instead. Such movements have led to Santos ending its sponsorship of Darwin Festival, and Perth Festival dropping United States fossil fuel giant Chevron after a decade-long partnership. While these events reflect a refusal to participate in the “greenwashing” or “artwashing” of oil and gas companies, these decisions also have consequences for artists and arts workers. Beyond monetary loss, which is exacerbated by our financially precarious arts industry, tensions also arise for those who choose to remain involved in festivals or projects funded by problematic entities—and this is often for reasons beyond an artist’s singular control. As boycotts have intensified, I have caught myself judging those who continue to work with

organisations that I resolutely avoid. Yet my surface disapproval was erasing my deeper awareness that not all of us are able to refuse paid work from organisations with a dubious ethical standing. This feeling reinforces a ‘right or wrong’ binary that obfuscates much needed systemic changes, instead of pushing people to choose a side. It assumes that left-wing progressive politics is enough to absolve artwashing. As Nabulsi laments, “With a distinct lack of political imagination, progressive politics asserts that the world’s political structures don’t need to be fundamentally transformed, just emptied of their current content, as if that were possible.” Nabulsi’s perspective suggests the difficulty of demanding systemic transformation—and how focusing on protest can unconsciously uphold the very systems that maintain inequity. For instance, some artists may boycott festivals, institutions, and arts organisations believing that they will then empty these entities of their ‘immoral’ content. Structurally, however, nothing changes. This also ignores the obvious, often racial and class-driven reasons, why others often from minority and working-class communities cannot always participate in the politics of refusal. Their livelihoods and careers are on the line. Expecting people to boycott or protest can miss broader opportunities to critique how systems like capitalism restrict people’s choices when placed in these situations. While it is important to acknowledge that community action has led major festivals to cut environmentally and politically unsound funding, it is also vital to acknowledge how public judgement of involved artists arises. An unspoken and unjust assumption is that all artists can refuse involvement with any association that is funded, sponsored, or partnered by questionable companies. This maintains the neoliberal centring of individual rather than collective action,

Emily Johnson, Collateral.

allowing us to believe that we are all equal enough to lose income for the greater moral good. Such a myth causes distress for artists who are called out for continuing to participate in events like last year’s Sydney Festival, after it came under scrutiny for having Israeli funding. Recently, in the Australian state most associated with mining, I was optimistic to attend the Chamber of Arts and Culture WA’s forum ‘Navigating Ethics in Arts Partnerships’ in Perth. I was eager to hear from others in the industry offering possible ways forward in an economic landscape marred by insecure funding and unliveable wages. With diverse speakers from the arts as well as climate change academics, philanthropists, activists, and environmental consultants, the forum empowered people to make informed decisions about considering sponsorships or funding partnerships. The discussion provided important guidance for companies and institutions reliant on funding by offering decision-making matrixes which removed fossil fuel companies from the equation and provided information on mining companies that do less harm. Meanwhile, others such as Nathan Bennett, executive director of Perth Festival, strongly advocated for new partnerships with government, which move away from precarious funding cycles and grants, pushing for financial support that could be reframed

as investment in cultural tourism and increasing jobs. Overall, there was groundswell support to transition out of fossil fuel partnerships, believing that the art sector should unanimously commit to ending these partnerships by 2025. This was affirming to witness. Yet people also reinforced the role of artists to critique and advocate for change, and I was again left wondering whether these artistic acts of protests are only available to practitioners who are well resourced—and further questioning what it means for artists to present political work within dubious funding arrangements. There remain no clear answers but a myriad of complexity and ambiguous relationships to navigate. However, I remain comforted by a lasting remark from Eva Grace, a panellist and artistic director of Yirra Yaakin Theatre Company. She compassionately argued for greater understanding among artists on our difficult journey where mistakes are unavoidable, stating, “We have to be generous with each other.” It’s an important reminder that judging people’s decisions to participate in platforms that you refuse often ignores the economic imbalances across the sector. As we all seek alternatives and solutions that reflect our integrity, it is vital to recognise this. We need to care for each other in a work environment that remains ripe with contradictions.

20 Questions

With Jasmine Togo-Brisby Jasmine Togo-Brisby is a fourth-generation Australian South Sea Islander artist. Her great-great-grandparents were taken from Vanuatu as children during the Pacific slave trade and made to work in Australia. Togo-Brisby explores this dark history, and its present-day ramifications, through photography, filmmaking and sculpture. Ahead of her inclusion in Other Horizons at Fremantle Arts Centre, we asked Togo-Brisby 20 questions. W R ITER

Tiarney Miekus

Jasmine Togo-Brisby. photogr aph: nadai wilson.

Describe your practice in seven words?

Unapologetically Australian South Sea Islander all day.

Your first art love? Adrian Piper.

Why do you think you were drawn to art making?

I’ve loved creating ever since I can remember. Growing up we didn’t have much, so me and my three big sisters were always using our imaginations to keep ourselves occupied. One of my favourite things as a child was to rearrange the furniture in our house. I was intrigued by the way I could manipulate and transform spaces just by shifting things around. It drove my mother crazy; she’d often come home from work late at night and trip over my new layout in the dark. That process of playing with space is part of my practice today. So, I think it was my natural ability and passion combined with wanting to say something to the world.

It’s said that your first memories of looking at South Sea archives is how your interest in photography began. What are those first memories?

It probably started earlier than that. My first memories of photography and South Sea archives are my family’s archive. I remember sitting at Nan’s, Auntie’s and Uncle’s houses with old biscuit tins holding our most treasured possessions, all piled on the kitchen table, with photographs handed around. There’s something quite special and almost ritualistic about those moments, learning who we are and where we come from. The institutional archives provide a different experience: when we are in that space, we are usually researching family history, using photographs and documentation to retrace vital missing links of our ancestors’ stories and their journeys to Australia.

Your research examines ‘blackbirding’, a colloquialism for the Pacific slave trade where between 1847 and 1904 over 62,000 Indigenous peoples across the Pacific were displaced and enslaved on sugar plantations in Queensland. How did this become central to your work?

It’s central to who I am and the reason why I became an artist. Our ancestors were forced to migrate to Australia and their experience is what created our culture as a uniquely Australian Pacific slave diaspora. Our history and contemporary culture is still relatively unknown—I like to look at my practice as a way of creating South Sea spaces of belonging. It was after I had my daughter Eden in 2006 that I decided to pursue studies and a career in the arts, attempting to make change the only way I know how. I wanted Eden’s experience as a South Sea Islander to be easier.

Your art not only centres on past injustices of slavery, but also the very real and present-day effects, even as lived by yourself—how did you come to that focus?

It’s all around us, but many people don’t look at the world that way. It’s often not questioned how and why things are valued and preserved, or how wealth is built. It’s always been in my work, but I started to be more overt with this concept when my Auntie gave me a pivotal piece of evidence which links my great-great-grandparents to the family who enslaved them. Due to that family’s wealth and status, I was able to research them, their business and their travels extensively. I spent months online and in research rooms, hoping to find further hints of my own family. That time spent trawling archives was incredibly emotional and heartbreaking for me. It became evident that the treatment of mundane business documents was given more value than our ancestors’ bodies, who were often not recorded or were recorded incorrectly. So, through my work I’m looking at that disparity between preserving the public legacy of slave owners and the invisibility of the Pacific slave trade.

Jasmine Togo-Brisby, From Bones and Bellies II, 2022, pigment print on backlit film, LED lightbox, 110 x 170 x 7.5 cm.

The former prime minster Scott Morrison erroneously, and terribly, declared in 2020 that there had been “no slavery” in Australia. Do remarks like that have ramifications for your art?

Not particularly. I wish I could say I was surprised to hear his comments, but I’ve heard it all before. That type of ignorance just reaffirms why I do this in the first place.

Your works often feature black, white, grey and sepia tones—is there a reason for these colours in particular? It just happened. Working with materials like sugar, paper sugar bags and ambrotypes solidified that pallet. I don’t force a colour upon a work: during experimentation stages I obviously try different colours, but the materials always resist if it isn’t right.

Among painting and sculpture, your practice also involves working with early photographic techniques. What techniques are these, and why have you chosen them?

My research guides my practice. Between 2015 and 2018 I was quite deep into South Sea archival image research. I was spending a lot of time online and also in Queensland State Archives where I could be with our images physically: this made me consider the space in which our ancestors’ images live and how they are available to the public and used by anyone writing on our history. I was thinking of other ways we could be represented and decided to create a counter archive. That’s when I attended workshops to learn how to produce wetplace/ambrotype (collodion process) photographs, a medium which was frequently used by historical photographers capturing South Sea imagery.

left Jasmine Togo-Brisby, Passage, 2022, crow wings, crow feathers, pexiglass, stained wood, mixed media, 174 x 102 x 32 cm.

“There’s something quite special and almost ritualistic about those moments, learning who we are and where we come from.” — J A SM I N E T O G O -BR ISB Y

Jasmine Togo-Brisby, Centre Flower no. 335', 2020, backlit film, aluminium lightbox, 125 x 125 x 15 cm. photogr aph: ryan mccauley.

What does a normal day look like for you?

It depends what I’m working on. When preparing for photoshoots much time is spent making costumes, test shoots and compositions, as opposed to what I’m working on now which involves full days of mould making and casting. Alongside making, the days have handfuls of emails, calls and meetings, plus tending to our new puppy Peanut and running my daughter Eden around. I try to leave the studio by 6pm, then I usually go back or spend time in the office for a few hours once Eden and Peanut are asleep.

If you could collaborate with any artist, dead or alive, who would it be?

I don’t think I’d be any good at collaborating! I’ve tried in the past but I’m too focused on outcomes. Although it would be cool to hang out with Carrie Mae Weems.

Quick advice for young artists?

Know who you are and what you stand for; always follow your own north star.

Best time of day to create?

First thing in the morning at 5am. Everything is quiet, nobody is calling or emailing, and my brain is fully fuelled. It doesn’t get any better than working in my pyjamas.

Are you a good cook? Any signature dishes?

I’m told that I am: I get asked to make my coconut fried scones and my slow cooked pork.

The most interesting thing someone has said to you about your work?

There’ve been quite a few stories over the years but in the interest of keeping it short: “I can hear them.”

How do you decide what medium to create with for any given work? While it’s all intertwined, I will usually decide on the medium first, selecting it for conceptual reasons. I’m often thinking of materials that our South Sea community would be able to see themselves within and/or resonate with, at other times I’m speaking directly from my family’s story.

As political as your art is, I also find it very exquisite. Do you find there’s a balance between a political work and a beautiful one?

I don’t see my work as very political: it’s more that identifying as South Sea Islander is inherently political. I enjoy the challenge of making beautiful work because this subject matter could quite easily be grotesque. I love that point where beauty meets disturbing, and how it’s jarring for the viewer. I consider my approach as subverting ‘blackbirding’. My ancestors were lured onto ships with trinkets and beautiful things, mirrors shining in their eyes from the ships, for example. I like to think that I use a similar tactic to lure the viewer in.

An art experience that’s stuck with you?

One is visiting Plantation Voices: Contemporary Conversations with Australian South Sea Islanders at the State Library of Queensland. I was living in Aotearoa, New Zealand, at the time and the day I visited a big group of South Sea Elders walked through the door: they had spent the day travelling to see the show. It was a special moment to be in that space with them, connect through our families, and talk about the archives and art.

Best advice you’ve been given about making art?

The advice that I didn’t take: “Tone it down a little, you’ll scare people off!” This was early in my art journey and it’s great advice because it made me think about who I was and what I was doing—and if I wasn’t going to give it everything then there was no point in making art.

What will you be showing in Other Horizons?

A selection of works created over the last four years, including a suite of ambrotypes from my Adrift, 2018-19, series, a selection of sculptures created from crow wings and crow feathers, some plaster ceiling rosettes, and a moving image work.

Other Horizons

Fremantle Arts Centre (Fremantle WA) 4 February—23 April

Web of Life From working with spider diviners to creating solarpowered hot air balloons, Tomás Saraceno’s exquisite art shows what we can learn from nature to rethink everything from climate change to wealth inequality. W R ITER

Steve Dow

In this web of life, Argentinian-born, Berlin-based artist Tomás Saraceno suggests humans have a lot to learn from animal bioindicators: the notion that we might better understand climate through changes of behaviour in various species. Ants, for example, make their way into our homes when the rain is heavy outside. Dogs are known to have acute hearing and smell beyond human range. Bees see the world partly through a combination of yellow and ultraviolet light known as ‘bee’s purple’, invisible to humans. Insects, arachnids and certain other animals share communal knowledge of survival, suggesting Western society can learn from such knowledge in the natural world. Saraceno, born in San Miguel de Tucumán in 1973, recites a proverb in Italian—and then in English—that he remembers hearing as a child after his family of five lived in exile in northern Italy for several years, having fled the military dictatorship during Argentina’s Dirty War (1974 to 1983). It goes: “When the clouds appear like sheep, the rain will come soon.” Science informed Saraceno’s childhood, but so did the wonder of spider webs in the family attic. His father, who had spent nine months in jail in Argentina before the right-wing coup in 1976, was an agronomist; an expert in soil and crops. His mother, a botanist working on the morphology of plants, would press vegetation samples between the pages of books. Their artist son came to understand more ways of seeing the world than Western scientific

encapsulations, or the Western centring of individual consumers in the “Capitalocene”: the exhaustive extracting of fossil fuels and the toxifying of the air, causing a much higher mortality rate among the world’s poor. Sporting a beard and bold, red-rimmed spectacles, Saraceno asks now: “What happens if you fold a leaf?” He holds his hand aloft, curls his fingers, and turns the hand over, talking about “veins and nerves and filaments”, and variegations in colour. “Then you see the other side of the leaf—you know what I mean, as a metaphor?” That other side, Saraceno suggests, could be adopting the Indigenous practice of controlled burning, to help country regenerate and flourish. Having studied architecture in Buenos Aires, and moving to Germany’s Städelschule in Frankfurt to complete postgraduate studies in art and architecture, where he opened his first studio in 2005, Saraceno often speaks in metaphoric poetics. Meanwhile, his desire to “render visible” other cultures’ and species’ connections to the natural world results in projects combining the practical with the wondrous. In 2019, for example, in a small village in Somié, located in Cameroon near the northern border with Nigeria, he collaborated with spider diviners. This resulted in a website (nggamdu.org) where binary right Tomás Saraceno, Webs of At-tent(s)ion, 2018.

“You have to hear much more than you have to say.” — T OM Á S S A R ACENO

Tomás Saraceno, A Thermodynamic Imaginary, (detail), 2020.

100

Tomás Saraceno, Fly with Aerocene Pacha, 2020. .

‘yes’ or ‘no’ questions can be asked to the grounddwelling spiders, with questions written on cards produced from stiff plant leaves. “It’s very beautiful,” says Saraceno. “There’s a tradition of voodoo or a shaman who is able to communicate with spiders. They go up into the forest, where the spiders come out of their hole. The diviner translates the question to the spider by banging a stone on a piece of metal, because spiders talk through vibration, right? “The spider [rearranges] these cards, and the diviner then interprets the answer. Sometimes the spiders are not so direct, which is unbelievable,” he laughs. “You can ask again and again.” As part of Saraceno’s current multisensory show Oceans of Air at Hobart’s Museum of Old and New Art (Mona), the artist’s team installed a series of intricate, hybrid webs, as the latest iteration of Saraceno’s international community research project Arachnophilia. Given arachnida—the name given to joint-legged invertebrate animals like spiders and scorpions— have roamed the planet for some 280 million years, he philosophises that spiders possess wisdom to survive environmental catastrophe. Having recently sustained a knee injury, Saraceno is nonetheless still hoping at the time of our interview—October 2022—to do the Wukalina walk in Lutruwita / Tasmania’s Bay of Fires, to have an encounter on Country with the Palawa people. “You go there, you spend time,” he says, keen to hear about Indigenous land management, having read Bruce Pascoe’s Dark Emu and Victor Steffensen’s

Fire Country. “You have to hear much more than you have to say.” Saraceno is always up for an adventure. In 2020 his Aerocene Foundation (a non-profit devoted to community building, scientific research, and artistic experience) flew a balloon powered by the sun, to promote the idea that “water and life are worth more than lithium”. In the Salina Grandes region of northern Argentina, local communities are fighting against industrial lithium extraction, which is used in phone batteries, because of the amount of water used. The artist explains we must change our consumption habits. “Let’s stop buying the latest iPhone,” he says, adding governments should create laws to force tech companies to change parts in laptops and phones, rather than throwing away devices when battery power wanes. Saraceno cites Oxfam figures from 2019 declaring the world’s 26 richest people own as much as the 3.8 billion people who make up the poorest half of the planet’s population (and the BBC reports that the world’s 10 richest men having since doubled their collective wealth in the first two years of the pandemic). “Why don’t we talk about the maximum income people can have?” he says, shaking his head. “You see how unhappy these people are, how alone they are? We should pity those people; you know what I mean?”

Tomás Saraceno: Oceans of Air Museum of Old and New Art (Hobart TAS) Until 24 July

101

From Memory Gail Mabo’s latest, poignant exhibition tells the story of her mother and father, Dr Bonita Mabo and land rights activist Eddie Mabo, alongside recollections of childhood. W R ITER

Andrew Stephens

Eddie Mabo used to hide a shotgun above the manhole in the ceiling of his family’s home. It was the late 1970s and there had been ASIO surveillance of the house, threatening phone calls, and other safety concerns. Protecting his family was uppermost in the mind of Mabo (1936-92), the Torres Strait Islands man who later became the famed land rights activist central to the High Court’s landmark 1992 decision to overturn the legal doctrine of “terra nullius”. His daughter Gail, one of seven children, well remembers the gun and what it symbolised, but she processes the experiences of her childhood years through the prism of creativity. A Townsville-based artist experienced with many modes of making— she started out in dance, but now has installation, sculpture, printmaking, painting and other skills in her extensive practice—Mabo has enjoyed great success in recent years. She was commissioned by the Art Gallery of New South Wales and by the Art Gallery of South Australia’s Tarnanthi Festival to make major new works, which entered their collections, and she was a finalist in the 2022 Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA), Australia’s richest Indigenous art prize. Now, she is now preparing for 2023 shows at McClelland Sculpture Park and Gallery and at Monash University Museum of Art, while her exhibition House of Cards remains on show in Rockhampton Museum of Art (RMOA) to engage

102

visitors with stories of her childhood, and those of her parents. “It is a living memory of what my parents told me,” she says of House of Cards. “These are the connections to space, made through the memories we forge, through the things we did. It is how the stories told around the kitchen table—about dad growing up and mum growing up—came to life.” Mabo says this show emerged from a “kneejerk reaction” when she was displaced from the family home, where she had continued to live in adulthood, as a result of a divorce-related court order. She had started living in that house when she was six months old in 1965. “But the house lives within me, the memories cannot be taken away,” Mabo says. “I said to my son, if I had a pack of blank playing cards, I could write 52 memories of me growing up in that house with my mum and dad and my siblings.” That is what she did: in the installation, a version of a part of that family home is wedged between representations of her mother’s and father’s childhood dwellings. On the walls she has hand-written a collection of memories, reminiscent of the way “a naughty child will do writing on the wall to get something out”. In the exposed ceiling of this part of the installation, a shotgun rests on the rafters. It’s a work bound to memories of her father, and surveillance. “He’d get a call and the person would say, ‘We know where you live, do you know where your [seven] children are?’ He’d line us up and count us—one, two, three, four, five, six—I was the one who was missing.

Gail Mabo, Party Dress 1, 2021, monoprint on paper, 112 x 76 cm (paper); 111 x 64 cm (print). printed by ron mcburnie of monsoon publishing, townsville. featured in gail mabo: house of cards. house of cards is an umbrella studio contempor ary arts exhibition.

103

Gail Mabo, Mum’s Childhood Home, (installation detail). photogr aph: k ate o’har a. house of cards is an umbrella studio contempor ary arts exhibition.

Gail Mabo, Dad’s Childhood Akur Meta, (installation detail). photogr aph: k ate o’har a. house of cards is an umbrella studio contempor ary arts exhibition.

104

“It is how the stories told around the kitchen table—about dad growing up and mum growing up—came to life.” — GA IL M A BO

I was the athlete, down the road running around the oval because I wanted to represent the State, go down to Brisbane.” She’d get in trouble with her dad for not being there. “It was only through fear that he did that. He would say, ‘My girl, you know I got that phone call again and I was scared for you.’ My tunnel vision was on running. Only now I realise how much pressure he was under, not just being the activist, but because he was part of the Communist Party and they were being watched.” While a related exhibition, Legacy: Reflections on Mabo, is also showing at RMOA, the three domestic settings in House of Cards manifest as both representational and dreamlike environments. Mabo’s mother, Dr Bonita Mabo, had lived in a place with tin walls and a dirt floor—it was her “happy place,” says her daughter—while her father spent his early years in a Mer island akur meta (house) made from bamboo. These two recreated spaces draw on the memories shared by Mabo’s parents and contain objects passed down to her, along with items specially made by her for the show. “It is all from memory,” she says.

Some things reflect a child’s over-active imagination: for example, the hole in the tin walls alongside where her mother and siblings used to sleep is larger than it probably was. Other aspects present Indigenous knowledge: the rocks on the floor covered in leaves around the perimeter of her father’s childhood hut indicate the local lore of boundaries where outsiders (the audience) cannot touch what is not theirs. “Building something, constructing—that is me,” Mabo says. “I’ll have a go—as an artist, I can step into that realm and have fun doing it. It is all about digging deeper into those memories and how I can portray it for people to see . . . to evoke a conversation. A lot of people connect to it, coming through and talking about their own memories [of a childhood house].”

House of Cards Gail Mabo

Rockhampton Museum of Art (Rockhampton QLD) Until 19 February

105

Enjoy reading about contemporary art in Australia? Subscribe to the Art Guide Australia newsletter and you’ll be delivered the latest in art news, features and interviews, plus our ‘Top 5 Exhibitions’, sent straight to your inbox every week. Scan the QR code or visit artguide.com.au to subscribe today

106

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

platformarts.org.au

VICTORIA

ACMI acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Open daily 10am–5pm. See our website for latest information. ACMI is your museum of screen culture. Navigate the universe of film, TV, videogames and art with us. Located in the heart of Melbourne’s Fed Square, ACMI celebrates the wonder and power of the world’s most democratic artform – fostering the next generation of makers, players and watchers. ACMI’s vibrant calendar of exhibitions, screenings, commissions, festivals, and industry and education programs explore the stories, technologies and artists that create our shared screen culture.

Anna Schwartz Gallery annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. 11 February—15 April Inside Out Callum Morton

Bren Luke, Mid City, 2021, ink on bristol board. Private collection. © Bren Luke. Until 5 February Streets of your town Bren Luke Ballarat artist Bren Luke creates extraordinarily detailed pen drawings. This exhibition features some Ballarat landmarks and some hidden corners of the city including laneways, mid-century buildings. Rose Nolan, AA Hydrotherapy Pool, 2022. Acrylic paint, found packaging. Overall dimensions 29 x 29 x 22.5 cm. Image: Christian Capurro. 18 March—15 April Working Title: Working Models Rose Nolan

Amrita Hepi, Scripture for a smoke screen: Episode 1 – dolphin house, 2022. 16 December 2022—19 February How I See It: Blak Art and Film Essie Coffey, Destiny Deacon, Amrita Hepi, Jazz Money, Steven Rhall, Joel Sherwood Spring, Jarra Karalinar Steel, Peter Waples-Crowe Spanning moving image, installation, documentary, photography and video games, How I See It amplifies the artists and filmmakers’ perspectives on representation, the gaze, colonial archives and knowledge systems. These eight creators consider how First Peoples have been historically represented on our screens as they also imagine alternate realities and futures. The exhibition showcases works that use diverse materials and ideas to disrupt and reimagine, as well as expand the artists’ practice, supporting experimentation with new technologies and mediums. How I See It, is curated by Kate ten Buuren (Taungurung).

Alcaston Gallery alcastongallery.com.au

An exhibition featuring collage and assemblage works by one of Australia’s most respected senior artists Murray Walker, documenting his life and travels.

Art Gallery of Ballarat artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm.

Until 22 January Under the black flag A selection of pirate themed works from the gallery collection.

ArtSpace at Realm and Maroondah Federation Estate Gallery artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm.

Anne Zahalka, Down on his luck, 1985, c-type print. Gift of the artist, 2022. Collection of the Art Gallery of Ballarat. © Anne Zahalka. 5 November 2022–19 February Beating About The Bush: A new lens on Australian Impressionism

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Open by appointment. See our website for latest information.

The Gallery’s amazing collection of paintings by Roberts, Streeton, McCubbin and other Heidelberg School artists are placed alongside works by contemporary Australian female photographers who are challenging traditional views on gender, the bush and nationalism.

1 February—10 March All About Art 2023 Annual Collectors’ Exhibition

Until 5 February Time traveller Murray Walker

James Tylor, Fire Country, Kangaroo Island 2, 2022. Courtesy the artist and Gagprojects. 26 November 2022—5 February ArtSpace at Realm: Of Embers James Tylor and Rebecca Selleck, 109

wyndham.vic.gov.au

VICTORIA ArtSpace at Realm continued... Katrin Koenning, Isabella Capezio and Tom Goldner. The Australian bushfires of 2019–2020 are still smoking in the mind. Of Embers brings together photographs, sculptures, videos and ceramics that respond to this episode and the cultural status of fire in Australia. James Tylor and Rebecca Selleck’s Fire Country installation speaks to an awareness that fire has always been here and exists within a totality of deep ecological and cultural time, folded into Indigenous knowledge and experience over millennia. Katrin Koenning’s photographs phrase an earthen poetics seen in the polarities of ash and snow found in Lake Mountain. Tom Goldner’s photographs to visualise the paradoxical status of both brumby and fire in the landscape and human imagination, while Isabella Capezio’s assemblage of photographs, videos, found and made objects addresses the slippage between image and a multi-sensorial experience of fire. 16 January—10 March Maroondah Federation Estate Gallery: OMISSION Ciaran Frame and Amber Cronin Emptiness is generative. In the act of making, space – that which is in between – activates production. OMISSION is a new co-authored collection of works by Ciaran Frame and Amber Cronin, combining the fields of sound, composition and object making. The work explores how ideas of ‘atmospheric engagement’ might become a leitmotif for the conception of a morethan-human future. OMISSION critiques the apparent emptiness of the breathing sphere, and through performative interventions (vocals, breathing, singing, sound objects) interacts with the often neglected medium of air, exploring the materiality, affective agency and intertwining aliveness of the planetary atmosphere.

hyper-visible and completely overlooked. Persephone Thacker’s exhibition of textiles and illustrations draws on the concept of ‘hidden in plain sight’. In/Visible bolsters fat representation and shares the experience of unlearning a lifetime of internalised fatphobia. By creating wearable forms, the artist enacts acceptance and reclamation of their body, space and self; subverting the contradictory nature of fatness and becoming wholly and unapologetically visible.

Ararat Gallery TAMA araratgallerytama.com.au

1 November 2022—26 February Notions of Care A Bus Projects exhibition touring with NETS Victoria.

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

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. Established in 1968, Ararat Gallery TAMA (Textile Art Museum Australia) holds a unique place amongst Australia’s public galleries, through its longstanding commitment to textile and fibre art. A curatorial and collection focus that began in the early 1970s. The TAMA Collection is an extraordinary repository that tracks the development of textile and fibre-based practice from this time, through to today.

Lydia Wegner, Green Wave, 2022, pigment ink-jet print, 95 x 63 cm. Installation view, The Lady Barbara Grimwade Collection. Photograph: MDP Photography and Video.

30 November 2022—4 February On Space Lydia Wegner

1 November 2022—19 March The Lady Barbara Grimwade Collection

8 February—5 March Group Exhibition

1 November 2022—5 February Carole Mules

Arts Project Australia artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–5pm, Sat & Sun 12noon–4pm See our website for latest information.

Persephone Thacker, In/Visible, 2022, mixed media 16 January—10 March In/Visible Persephone Thacker Existing while fat is a constant contradiction. It’s a difficult blend of being

Kate Tucker, Care Banner 2, 2021, 140 x 115 cm, calico, digitally printed cotton, bumph, acrylic, thread, linen, encaustic, oil, acrylic mediums, board, earthenware, underglaze, bronze rod. Courtesy of the artist and Daine Singer. Photograph: Christo Crocker.

We are a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice. Arts Project Australia has aimed high since 1974 when we set out to lead and innovate in the arts and disability sectors. Over Art Project Australia’s history, the quality of our exhibitions and artwork created in our studio has flourished, fed by a range of innovative programs and activities. 111

ar t g ui d e .c o m . au Arts Project continued...

7 February—25 February Melbourne Stock Rooms: Sculptural Silver Philip Noakes

Australian Tapestry Workshop

Samantha Ashdown, Untitled, 2022, felt tip pen, gouache, ink on paper Copyright the artist. Represented by Arts Project Australia, Melbourne.

austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm.

4 February—12 March Still Life Arts Project Australia presents Still Life, bringing together a suite of paintings, drawings, prints and ceramics from APA artists working from observation. The exhibition will also include an interactive still life installation which visitors and artists can engage with and respond to throughout the show. Represented APA artists include Anthony Romagnano, Lewis Quinn, Cameron Gresswell, Fiona Longhurst, Ian Gold and Samantha Ashdown, with more to be announced.

Australian Galleries australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am–6pm. 9 January—28 January Group exhibition

Philip Noakes (left to right): Waterfall VII, 2022, fine silver, 18.2 x 14 x 14 cm, 969 gms; Waterfall V, 2022, fine silver, 25.7 x 17 x 17 cm, 1607 gms; Waterfall VI, 2022, fine silver, 21.7 x 15 x 15 cm, 1219 gms. 9 January—28 January Melbourne Stock Rooms: Group exhibition 7 February—25 February Philip Davey 112

Data Relations features artist-led projects that lyrically wrestle with some of the key issues and challenges of our contemporary data-driven society. The exhibition includes major newly commissioned and site-specific installations, along with a new digital project, by Australian and international artists who critically and speculatively engage with the ways in which the data economy and related technological developments manifest in inter-personal and wider social relationships. The exhibition will be accompanied by a Data Relations Summer School, with guest artists, academics and technologists presenting interactive workshops, performances and talks, and a new Data Relations digital publication, ACCA’s inaugural free online project featuring newly commissioned essays, conversations and material related to the exhibition projects.

Imao Keinen, Two egrets in the rain at night, c. 1920, woodblock print, 38 x 24.5 cm. 7 February—25 February Melbourne Stock Rooms: Twentieth Century Japanese Prints

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

Lauren Lee McCarthy, still from Surrogate, 2021. Photograph: David Leonard. 10 December 2022—19 March Data Relations Zach Blas, Tega Brain & Sam Lavigne, Lauren Lee McCarthy, Machine Listening, Mimi Onuoha, Winnie Soon; plus Data Relations Summer School. Curated by Miriam Kelly.

Cheryl Thornton, Sicily Gold, 2020, linen, viscose and cotton, 17 x 17 cm. Photograph: Tim Gresham. 24 November 2022–24 February In House: Works by ATW Weavers Leonie Bessant, Susan Carstairs, Chris Cochius, Cresside Collette, Marie Cook, Amy Cornall, Rosemary Crosthwaite, Tim Gresham, Saffron Lily Gordon, Owen Hammond, Meryn Jones, Valerie Kirk, Sara Lindsay, Robyn Mountcastle, David Pearce, Hannah Rother-Gelder, Jennifer Sharpe, Joy Smith, Emma Sulzer and Cheryl Thornton. In House: Works by ATW Weavers celebrates the artistry and creativity of past and current weavers at the Australian Tapestry Workshop. Australian Tapestry Workshop (ATW) weavers often pursue their own personal artistic practices alongside their collaborative weaving at the ATW. Many have employed a multidisciplinary approach to making artwork beyond tapestry, using a broad array of media and techniques that include paper, wood, embroidery, quilting, crochet and costume design. As well as featuring work

VICTORIA by the current production team, this exhibition reconnects former weavers with the ATW. This reunion through artistic practice is a celebration of the creativity and wealth of imagination that has passed through the organisation and continues to flourish on and off the ATW studio floor.

Bendigo Art Gallery bendigoartgallery.com.au

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

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. Caroline Esbenshade, Don’t worry, its ok, Polaroid 600 film, Oct 2022, 10.75 x 8.84 cm (unframed).

Guan Wei, Water view no. 15, 2011, synthetic polymer paint on canvas. La Trobe University, Geoff Raby Collection of Chinese Art. © and courtesy of the artist. Photograph: Jia De.

Kerrin Samuel, Ode to joy and resilience, (detail), 2022, porcelain, repurposed glass, decals, glazes, underglaze and lustre, 25 x 30 x 20cm approx. Courtesy of the artist. 28 January—5 March Bayside Local Now in its fifth 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.

Brunswick Street Gallery brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. See our website for latest information. 7 January—20 January Small Works Art Prize 2023 Opening Friday 7 January, 6pm–9pm. Tripod shaped censer, Qing dynasty, 19th century, enamel, brass; with gilt metal handles and feet. Golden Dragon Museum. 20 August 2022—19 February In Our Time: Four Decades of Art from China and Beyond: the Geoff Raby Collection 20 August 2022—19 February Treasures of Dai Gum San: Chinese artistry

28 January—12 February 99 Names Ayman Kaake Searching for Paradise Otto Macpherson Things that shouldn’t last Caroline Esbenshade LIFE CYCLE Pia Guilliatt & Darcy Shilton Opening Saturday 28 January, 6pm–8pm.

Lance Zuniga, Replica, oil on stretched canvas, 66 x 91 cm. 16 February—5 March REPLICA Lance Zuniga Emerge: Eleventh Edition Group Exhibition Internal Soup Rilla Opening Friday 17 February, 6pm–8pm.

Bundoora Homestead Art Centre arts.darebin.vic.gov.au/ bundoorahomestead 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 Wed to Sat 11am–4pm. Bundoora Homestead Art Centre aims to deliver experiences with art and culture that inspire, challenge and empower our community. . 113

fortyfivedownstairs.com

VICTORIA Bundoora Homestead continued... 26 November 2022—4 March The Sun’s Kiss begins to Sting Lina Buck 26 November 2022—4 March Transition between States 切换于境界间 Jack Lee

Elyss McCleary, Radius of dapple Mirror Taxi, Mantle pond, (detail), 2022, oil on linen, 122 x 107.5 cm. Image courtesy of the artist. 26 November 2022—4 March Outline Imager Elyss McCleary 26 November 2022—4 March THE WITCH LAYS HER EGGS IN TERRIBLE CLUMPS Katy B Plummer 26 November 2022—4 March A Fragile Beauty Curated by Michaela Bear. Artists: Catherine Bell, Mia Boe, Caitlin Dear, Hannah Gartside and Pilar Mata Dupont. With sensory interventions and performances by: Dhana Merritt, Ebony Muller and Kit Scott.

Bunjil Place Gallery bunjilplace.com.au 2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm.

Rosie Deacon, Koala Snuffle Shuffle, 2022, mixed media, installation variable, Photography: Bri Hammond. Until 26 February SPAGHETTI-STACK-SNUFFLE-SHUFFLE Rosie Deacon

Burrinja burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. 3 December 2022—26 February Burrinja Climate Change Biennale: THE HEAT IS ON

Neville Cichon, Climate Report, 2021, pigment print, 40 x 30 cm. Burrinja Climate Change Biennale returns this summer with an expanded program which includes 60+ artists and spans the Yarra Ranges. Under the theme The Heat Is On, the Biennale seeks to champion and amplify the voices of artists whose worksreflect on the past, interrogate the present and speculates on a future of shared responsibility that we so desperately need. 3 December 2022—25 February Burrinja Climate Change Biennale Award Exhibition Amanda Page, Amanda Ruck, Anthony Breslin, Anton Hasell, Callum Watson, Cara-Ann Simpson (QLD), Cathy Ronalds, Ches Mills, Chris Lawry, Clare James, Elizabeth Gleeson, Emily Lowe, Emma Jennings, Fast Fashun, Florence Wang, Jacqueline Christians, Jenny Reddin,

Bundoora Homestead Art Centre → Pilar Mata Dupont, still from La Maruja, 2021, single-channel video with sound, colour, 11:48 mins. Courtesy of the artist and MOORE CONTEMPORARY. Commissioned by Prototype. 115

Splendid THE ROGER BROOKES BEQUEST

SPLENDID | magnificent; gorgeous; sumptuous; glorious; brilliant; dignified; impressive; excellent; very fine.

28 SEPTEMBER 2022 – 26 FEBRUARY 2023 INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

johnstoncollection.org

HELLO@JOHNSTONCOLLECTION.ORG | +61 9416 2515 KEEP INFORMED – CONNECT WITH US

image | hallmark of Joseph Craddock (registered London 1825), retailed by J[oseph] Widdowson (English, ?-?), coursing cup and cover, London, 1829 bequest of Mr. Clive Hele (Roger) Brookes, Melbourne, 2021 in memory of his parents Sir Wilfred Deakin Brookes, CBE, DSO, AE and Mrs. Betty (née Heal) Brookes (A1569), photograph by Mitchell Luo, Melbourne

WEDNESDAY – SUNDAY 10:00 AM | 12:00 PM | 2:00 PM CLOSED PUBLIC HOLIDAYS

johnstoncollection.org

THE JOHNSTON COLLECTION IS A GIFT BY WILLIAM ROBERT JOHNSTON (1911-1986) TO THE PEOPLE OF VICTORIA

VICTORIA Burrinja continued...

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

Kenny Pittock, The World’s Gone Pear Shaped (Twice-bitten), acrylic on ceramic, 11 x 8 x 8 cm, Edition 2 of 6. Jessie Yvette Journoud-Ryan, John Krzywokulski, Joy Serwylo, Katherine Boland (NSW), Kenny Pittock, Kerri Hollingsworth & Norton Fredericks, Kirsten Laken, Laki Sideris & Gretel Taylor, Lesley Rosochodski, Liz Walker, Martha Breninger, Marylin Litchfield, Neville Cichon (SA,) Nina Killham, Poppy Somers, Rain White, Rebecca Wolske, Robyn Veneer Sweeney (NSW), Sarah Delaney (NT), Sarah Dute, Sarah Newall, Shani Black (NSW), Shyanne Clarke (QLD), Simon Welsh (NSW), Steven Firman, Zoe Irving. 3 December 2022—11 February aerie gallery at Burrinja:

Peter Tyndall, courtesy Anna Schwartz Gallery, Melbourne. Private collection.

27 January—9 April The Quickening: Ying Ang With a multifaceted and layered approach to imagery and process, The Quickening by Ying Ang documents the transformational experience of pregnancy and early motherhood. Haunting pictures captured on baby monitors are juxtaposed with soft photographic studies to convey the transition into motherhood, capturing feelings of anxiety, depression, and claustrophobia, as well as joy and tenderness.

9 December 2022—16 April Peter Tyndall This is the first major retrospective exhibition of one of Australia’s most influential artists, Peter Tyndall. Maintaining a rigorous studio practice spanning 50 years, Tyndall‘s expansive works contemplate the fundamental questions about the construction of meaning.

Top 50 Green Emotions George Akl Top 50 Green Emotions provides an opportunity to reflect on the multidimensional complexities of climate change. A deeply distilled documentary presented in a rhizomatic installation. Allowing the viewer to go on an adventure via their own political aesthetics by exploring the cacophony of voices, images, theories, propaganda, geo-politics and personal interests that have been captured in the work. Find out more about the expanded program via exhibitions. burrinja.org.au

CAVES 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. See our website for latest information.

Buxton Contemporary buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information. Buxton Contemporary opened in 2018 at the University of Melbourne’s art school, the Victorian College of the Arts. Designed by renowned architects Fender Katsalidis, the museum is comprised of four public exhibition galleries, teaching facilities, and the largest outdoor screen in Australia dedicated to the display of moving image art. The museum is located in the heart of the Melbourne arts precinct where it provides a creative forum through which the University engages local, national and international audiences with the best of contemporary Australian and international art.

Miriam Charlie, Getting to Borroloola, 2022. © Image courtesy of the artist / N.Smith Gallery. 27 January—9 April Getting to Borroloola: Miriam Charlie In Getting to Borroloola, Yanyuwa Garrwa artist Miriam Charlie captures her return to her hometown in the Northern Territory. The instantaneity of the Polaroid process gives Charlie complete agency over her image-making, and she depicts both intimate, off-hand familial moments and the vast expanse of the landscape, as witnessed during her journey. 27 January—9 April Dairy Character: Odette England Through a combination of recent photography, family snapshots and found imagery, Odette England chronicles and reflects on her experience growing up on a dairy farm in rural south Australia. The series considers the marginalisation of girls and women in rural culture, while drawing comparisons between the objectification of women and dairy cows.

Naomi Eller. Courtesy of the artist. 3 February—25 February Index of transformation Naomi Eller

27 January—9 April Behind Glass: Lisa Sorgini While capturing the unique experience of lockdown during the COVID-19 pandemic, Lisa Sorgini’s Behind Glass offers a broader exploration of motherhood as framed 117

everywhenart.com.au

VICTORIA Centre for Contemporary Photography continued...

Dokola, Thomas Yeend, Three Litres and Caro Pattle. An exhibition in the Craft Atrium space honouring celebratory vessels. Cheers! 24 November 2022—28 January It’s not just blue A gathering of blue works by Australian artists, craftspeople and designers, in a maximalist exploration of the relationship between maker and material. Crafted in glass, wood, fibre, metal, ceramic and stone and more, all works embody innovation in contemporary making and the maker’s careful consideration of both material and process. The artists explore rich ideas through material transformation and storytelling— from tensions between function and aesthetic to technology and nature, culture and identity. 2 February—4 March Interior Landscapes

Odette England, from the series Dairy Character, 2021. © Image courtesy of the artist.

Interior Landscapes presents seven leading Australian glass artists exploring narratives of the Australian landscape and its influence on an evolving cultural identity. Guest curated by Margaret Hancock & Holly Grace.

through the domestic space. Mothers are captured through glass, separate and detached, and thus the series brings into view the collective maternal experience, one which can remain widely unseen.

Dominic White, Hoodie Suit.

Charles Nodrum Gallery

Creative Producer and artist Kate Gorringe-Smith mounts our first 2023 exhibition BIRD.

charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm. See our website for latest information.

CLIMARTE Gallery climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon–5pm. See our website for latest information.

Kate Gorringe-Smith, Western Port Icon.

8 Febuary—11 March BIRD

Commissioned artists included are Fono McCarthy, Perdita Phillips and Rachel Mounsey. Other artists are The Bowerbird Collective (soundtrack and animation); Heather Hesterman; Dominic White; Alexis Beckett; Eugenia Lim and Beth Croce.

Craft Victoria craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via exhibitions that combine mastery of materials with innovative techniques and big ideas and our rich program of festivals, talks, and community events. We offer workshops and on-demand tutorials designed to support makers’ professional development, and join forces with Australian architects and artists to realise ambitious public and private commissions. Craft’s showcase space presents a curated collection of objects—both sculptural and functional— celebrating the breadth and dexterity of contemporary craft. 1 November 2022—7 January Cheers Anna Varendorff, Drew Spangenberg, Julian Leigh May, Katie-Ann Houghton, Kenny Yong-soo Son, Rowsaan Studio,

Mark Douglass, Morph, 2022. Photographer: Amelia Stanwix. 2 February—25 March Morph Glass artist Mark Douglass presents a new body of bold and colourful work in the solo exhibition Morph. Mark Douglass is an established glass artist based in Naarm/ Melbourne. The exhibition is proudly presented as part of Ausglass Conference 3 February–5 February.

Counihan Gallery moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. See our website for latest information. 119

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

D’Lan Contemporary dlancontemporary.com.au Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tues to Fri 10am–5pm, Saturday 11am–4pm. See our website for latest information.

20 January—19 February Light and Space Joe Whyte, Riccardo Angelo, Nicolas Chen, Lana Daubermann, Florentina Munteanu, Sarah Summers, Jane-Frances Tannock. Curated by Joe Whyte. The Australian landscape is as varied as it is unique. Our individual experiences of the landscape differ so widely, from the wild nature of the Australian bush, right through to the quiet suburban streets that so many of us call home. In Light and Space, seven local Melbourne artists share their personal experiences of the land as they see and understand it.

An exciting venue for the University’s program of exhibitions and arts events, including exhibitions drawn from the University’s art collection, group and solo exhibitions by Australian artists and selected student, staff and alumni work.

Everywhen Artspace everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Open January 7 days a week. February Fri to Tues 11am–4pm. Everywhen Artspace specialises in contemporary Aboriginal art from 40+ Aboriginal owned art centres around Australia. As well as regularly changing displays, the gallery presents a programme of specialised and themed exhibitions. Directors Susan McCulloch OAM and Emily McCulloch Childs.

Artist Unknown, Untitled - Charts of the North-West Wind, circa 1950s, natural earth pigments on eucalyptus bark 37 x 58 cm. 16 January—24 February Bark + Wood Bark + Wood is a group exhibition of bark paintings, objects, and carvings from the 1940s through 1960s, including a collection of extremely rare paintings from Groote Eylandt which were collected by prominent anthropologists and visiting Westerners since the early 20th century. Their unique pared back images of sailing vessels, hunting, fauna, inspired by observation, story-telling and the rock art of their country reached a peak in the 1960s and 70s, but was sadly disrupted by the commencement of manganese mining in the area.

Divisions Gallery arts.pentridgecoburg.com.au/ divisions-gallery Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thur to Sun 12noon–6pm. Divisions Gallery is a brand-new art space by Pentridge Arts. Drawing from the history of the site as well as contemporary practices, Divisions Gallery is dedicated to showcasing the work of our resident artists and those further afield.

Em Jensen, Dust from a distant sun, 2019, photography, 29.7 x 42 cm. Model: Dominik Shields. 24 February—26 March Gems: So Far Belle Formica, Brigit Annie Lambert, Carly Candiloro, Claudia Fletcher, Eliza Freeman, Ellen Muller, Emma Sjaan Beukers, Em Jensen, Esther Sandler, Freya Alexander, Holly Gregory, Isabella Kottek, Monica Tran, Nani Puspasari, naomi meg, Nea Valdivia, Niesha Feng, Sarah McDonald, Savi Ross, Scarlet Sykes Hesterman, Stephanie Hicks, Vonne Beyer and more. Curated by Tegan Iversen. In this group art exhibition, we asked twenty-four Naarm-based women and non-binary artists who have featured in the pages of Gems zine* to present work each representing a theme of a previous issue. *A zine is a self-produced, published & distributed small handmade book or magazine.

Deakin University Art Gallery at Burwood deakin.edu.au/art-collection/

Joe Whyte, By the Creek, oil on linen, 16.5 x 22.5 cm. 120

221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 11am–5pm during exhibitions. Closed public holidays.

Janice Stanley, Pantu (Salt Lake), acrylic on canvas, 179 x 169 cm. Courtesy the artist and Ernabella Arts. 23 December 2022—7 February The Summer Show 2023 Grand Design Featuring Aboriginal art of large scale and high quality from the APY Lands, Arnhem Land, the Kimberley, the Pilbara, the Western, Central and Eastern Deserts, Utopia, the Kimberley and Victoria. Artists include Kunmanara Pepai Jangala Carroll, Atipalku Intjalki, Candy Nelson Nakamarra, Charmaine Pwerle, Dominic White, Djul’djul Gurruwiwi, Muluymuluy Wirrpanda, Janice Stanley, Lizzie Moss Pwerle, Mabel Juli & Atlanta Mercy Umbulgarri, Raylene Walatinna, Yatjiki Vicki Cullinan and many more. 10 February—28 February Two Masters of Maningrida Art Barks by Ivan Namirrki and Spirit Poles by Jack Nawilil Barks featuring Mimih Spirits and the Rainbow Serpent in an exhibition of new works by senior, highly-collected Kuninjku artist Ivan Namirrkki and unique Spirit Poles and Morning Star Poles by awardwinning sculptor Jack Nawilil.

VICTORIA

Federation University Post Office Gallery

Footscray Community Arts

federation.edu.au/pogallery

footscrayarts.com

Institute of Education, Arts and Community, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tues by appointment. Gallery closed until 4 January.

45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm.

Kenneth Kronberger, Funky Fresh Discotheque, 2021, cardboard, prefabricated models, rotating mirror ball, LED lighting, animated film and sound, 31 cm x 31 cm x 23 cm (scale: 1:12). Courtesy of the artist. Program (RTP) Fee Offset Scholarship through Federation University.

Flinders Lane Gallery flg.com.au

Belinda Michael and Tiffany Titshall, A Gothic Tale 9, 2021, earthenware with slips and oxides, sgraffito, once fired. Courtesy of the artists.

Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tues to Fri 11am–5pm.

14 January—26 March Hidden Footscray David Hourigan, Deb Bain-King, Jody Haines, Kerrie Poliness, Jason Waterhouse, Felicity Watson and John Weldon. Delve deep enough beneath the cosmopolitan charm of Footscray, you can find hidden stories of lost heritage, unknown traditional cultural practices, forgotten memories and more.

fortyfivedownstairs

14 December 2022—3 February The Chosen Vessel Belinda Michael and Tiffany Titshall In an exhibition showcasing the collaborative work of Belinda Michael and Tiffany Titshall, these two important central Victorian artists present a powerful new series of drawings and ceramic vessels of immense beauty and intrigue. Set within the colonial Australian gold rush era, the artists challenge stereotypical narratives, recreating traditional scenes with a powerful female protagonist avenging the murder of her mother by performing wild and powerful acts on her harem of enslaved men. Here, accepted histories are upended replaced by a potent gothic mythological tale of female power, lust and revenge!

David Hourigan, Footscray TV and HiFi Repair, 2019.

fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 12pm–7pm, Sat 12pm–4pm. Warlu artist Tina Martin at work, 2022. 17 January–4 February New Works from Warlukurlangu

22 February—17 March Behold The Animated Diorama! Kenneth Kronberger: Through an investigation into the historically intriguing, silent and static miniaturised world of the diorama and the contemporary art of animation, Kenneth Kronberger’s new work and PhD examination exhibition integrates these seemingly incompatible imagined formats, creating his own metamorphised ‘worlds’ and fantastical illusionistic spaces. This exhibition constitutes the visual outcomes emerging from a practice-led Doctoral research project at the Institute of Education, Arts and Community, Federation University, Australia. Kenneth Kronberger is supported by an Australian Research Training

Chelsea Gustafsson, Elephants, 2022, oil on board, 30 x 40 cm. 7 February–4 March Lives of Their Own A group exhibition exploring the deeper narratives housed within intimate objects. Featuring new still life works by FLG artists Margaret Ackland, Julie Davidson, Chelsea Gustafsson, Bronwyn Hill, Michelle Molinari, Hobie Porter, Michael Simms and guest artist Christine Webb.

CJ Starc, Garçon Ange [Angel boy], polyester wool on silk chiffon in wooden hoop, 34 x 42.5 cm. 7 February—18 February Transcending Spaces Midsumma Multidisciplinary. 7 February—18 February Solo Exhibition Soile Paloheimo Installation. 121

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

Fox Galleries foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon and Wed to Sat 10am–6pm, Sun 11am–4pm. Open by appointment Tuesday. See our website for latest information. 10 December 2022—29 January Fools Gold Barry Tate

Frankston Arts Centre thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. See our website for latest information.

14 November 2022—25 February Resistance Mark Stuart Opening event of Overreaction: Friday 27 January, 6pm. Registration essential online or 03 784 1060. Sculpture by Mark Stuart that embraces the European sensibility of marble. All pieces are made by hand, as a rejection against the quasi-industrial processes of sculpting. His art is about curiosity for the world and a certain resistance to precepts. In a second neighbouring exhibition Overreaction, misophonia has led him to look at his own reaction to the world with more intention. These paintings are a layered response to stillness and movement, apathy and energy, sound and silence. Light is disrupted and the possibility of chance becomes a driving force. 10 November 2022—28 January Only when the last tree has died, we will realise we cannot eat money.. Peter Biram and David Karoly An exhibition that explores the theme of land ownership and usage within an environmental framework, highlighting the notion of human impact on the natural environment. Exhibition title credit: Alanis Obomsawin.

Nigel Sense, Darwin Shibuya Crossing, 2021, acrylic on canvas, 120 x 140 cm. 10 December 2022—29 January Going Troppo: The Darwin Years Nigel Sense

Barry Farrugia, Untitled, digital print on paper. 20 October 2022—28 January Pages From The Diary Of Dyslexia Barry Farrugia Local Frankston artist, Barry Farrugia has endured a lifelong struggle with the written word and dyslexia, yet the associated ability to think in images and an aptitude for two-dimensional visual representation and three-dimensional constructs has informed his art in unique and wonderful ways. 20 October 2022—28 January Coastal Rock Forms Ann McGillivray

FUTURES futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0450 103 744 Thu to Sat 12noon–5pm. See our website for latest information. FUTURES is a new commercial project space conceived by Steven Stewart and Zara Sigglekow with the express purpose of exposing important work of contemporary artists in the city of Narrm/Melbourne.

Ann’s inspiration from extensive travel throughout the Northern Territory and her respect for our environment is explored in her figurative representations of the Australian landscape, using thickly textured applications of oil paint and mixed media, including organic material.

Hootan Heydari, 1979, 2021-1979, photographs, plaster, steel, glass, 95 x 72 x 13 cm.

Jo Darvall, Winged Realm No 40, 2021, 78 x 53.5 cm framed. Photograph: Miles Noel Photography. 4 February—5 March Morning Bell Esther Erlich, Barry Tate, Harold David, Jason Moad, Joanna Gambotto, Jane Giblin, Mark Dustin, Murray Walker, Nigel Sense, Odelle Morshuis, Peter Thomas, David Asher Brook, Jo Darvall, Richard Dunlop, Tim Clarkson, Victor Rubin, Stephen Glassborow, Bec Juniper, Eddie, Botha, Al Poulet, Shannon Smiley, Nick Longford.

122

2 February—4 March Hootan Heydari

Gallerysmith gallerysmith.com.au

Mark Stuart, Sky fell in, black carrara marble.

170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm. See our website for latest information.

VICTORIA 4 February–13 March Future Creatives

Gallery Elysium galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Wed to Fri 10.30am–4.30pm, Sat and Sun 11am–5pm. Mon & Tue by appointment only. See our website for latest information.

John Shirlow, The gate of the city, (detail) 1924, etching, Colin Holden Charitable Trust. of the Australian Painter-Etchers’ Society: John Shirlow, AH Fullwood, Sydney Ure Smith, and Jessie Traill. The Australian Painter-Etchers’ Society was established in 1920 by artists committed to the practice and promotion of etching in Australia.

Bronte Stoltz, male anatomy renewable smoothing, velvet, 2020, 40 x 60 cm.

In this inaugural exhibition, Geelong Gallery celebrates the achievements and creative practice of young emerging artists living in Geelong and the surrounding region who completed their Victorian Certificate of Education in 2022. The Future Creatives exhibition showcases young peoples’ creative talents in art and design and provides a valuable opportunity to support the professional development of career pathways and future tertiary studies in art and design.

Gertrude gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tues to Sun 11am–5pm. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12noon–5pm.

14 January—5 February New Works Bronte Stoltz

Jon Campbell, Yeah/Gertrude, 2013, Geelong Gallery, Gift of Bob and Gail Bett through the Australian Government’s Cultural Gifts Program, 2020.

Gertrude Contemporary:

Until 13 March The Gertrude Editions Paul Laspagis, Limnos, ( detail), oil on canvas, 98 x 81 cm. 11 February—11 March Visions Various Artists

Geelong Art Space geelongartspace.com 89 Ryrie Street, Geelong, VIC 3220 [Map 1] Please check our website for opening hours and latest information.

Geelong Gallery geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. Free entry. See our website for latest information. Until 13 March A Tale of Two Cities—Prints from the Colin Holden Collection This exhibition is drawn from the extensive Colin Holden Collection of prints held at Geelong Gallery. It presents a selection of early-twentieth century depictions of Melbourne and Sydney by key members

In 2020, Geelong Gallery received the gift of fifteen Gertrude Editions from local collectors Robert and Gail Bett and family, who had collected works since the release of the first edition by Gertrude Contemporary in 2002. The gift includes the work of some of the most highly regarded contemporary Australian artists working locally and abroad including Ricky Swallow, Kate Beynon, Emily Floyd, David Noonan, Jon Campbell, Nicholas Mangan, and Michelle Ussher, amongst others. Until 5 February Mandy Martin—A Persistent Vision

Ryan Presley, The Dunes (How good is Australia), 2021, detail, oil, synthetic polymer paint and 23k gold leaf on poly-cotton, 364 x 152 x 3 cm. Courtesy the artist and Milani Gallery, Brisbane. 11 February–26 March Fresh Hell Ryan Presley 11 February–26 March Nyctinasty Hayley Millar Baker Gertrude Glasshouse:

Mandy Martin (1952-2021) was a critically acclaimed Australian artist whose career spanned 45 years. An early reputation for political and socially progressive imagery established an ideological framework for a landscape-based art practice that examined the European and industrial colonization of Australia, and a long-term and active commitment to the Australian environment. Until 13 March Parallel Universe — Recent Acquisitions 2021–22 Parallel Universe is an exhibition of acquisitions brought into the collection over the past year, including artists Louise Paramor, John Nixon, Rick Amor, Robert Boynes, Dianne Fogwell, Martin King and Anne Zahalka. Over more than 120 years, the Gallery’s collection has grown through the generosity of private donors and this exhibition celebrates the collectors, artists and bequests that have contributed to the 108 works acquired in the 2021–22 Financial Year.

Arini Byng in collaboration with Rebecca Jensen, Lilian Steiner and Rohan Rebeiro, I felt it when you fell, 2021/2022, performance documentation, Contact High, Gertrude Glasshouse, Melbourne. Photo: Keelan O’Heir. Courtesy of Gertrude and Performance Review. 18 January–25 January Performance Review and Gertrude present: Contact High 3 February–4 March The drunkard’s cloak Simon McGlinn, Gavin Bell, Jarrah de Kuijer 123

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

Glen Eira City Council Gallery

Heide Museum of Modern Art

gleneira.vic.gov.au/gallery

heide.com.au

Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm. Closed public holidays. The Gallery will be closed from 19 December and will re-open 18 of January. See our website for latest information.

7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. See our website for latest information.

18 January—5 February Light with Hope - Sharing Jenny Zhe Chang

Annemieke Mein, The Morass—Sale, (detail), 1979, textile wall work, four panels, overall 103 x 400 cm. Collection Gippsland Art Gallery. Purchased with the assistance of the John Leslie Foundation, 2019. © The artist.

9 February—12 March International Baccalaureate Visual Arts Exhibition

Until 12 February, resuming 18 February The Art of Annemieke Mein

18 January—5 February Stories from the Art Collection

Gippsland Art Gallery gippslandartgallery.com Port of Sale, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm. See our website for latest information. 12 November 2022—26 February Jessica Page: Dandelion 3 December 2022—19 February Kevin Lincoln: Evoking Gippsland – Paintings and Drawings, 1981-2022

Ongoing and Evolving Borun and Tuk Gallery

Hamilton Gallery hamiltongallery.org 107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information. Hamilton Gallery presents a range of exhibitions, programs and events that stimulate understanding, awareness and enjoyment of the visual arts. The gallery, which is managed by the Southern Grampians Shire Council, is the most significant public cultural facility in the region.

Installation view, Barbara Hepworth: In Equilibrium, Heide Museum of Modern Art, photograph: Christian Capurro. Until 29 January Things That Will Not Sit Still Until 26 February wHole Until 13 March Barbara Hepworth: In Equilibrium Until to 19 March Animal Instincts: Moya McKenna and Albert Tucker

Horsham Regional Art Gallery horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information. 10 December 2022—5 March Expansive ground: Sidney Nolan in the Wimmera

Here and Now exhibition at Hamilton Gallery. 26 November—26 February Here and Now

Anna Farago, Ode to Hilma, Sue and John, 2022, synthetically and botanically dyed (eucalyptus leaves and bark from site of childhood home) cotton & linen fabric, worn clothing and thread, 45 x 45 cm. Courtesy of and © the artist. 3 December 2022—19 February Anna Farago: Threads 10 December 2022—19 February Cosmos 10 December 2022–19 February Wild Dogs from Down Under 124

Showcasing compelling works by four local contemporary artists identifying as women; Kathryn Ryan, Jasmine Mansbridge, Anne Middleton and Madi Whyte. Each artists’ distinctive visual language, fuelled by their diverse backgrounds and contrasting artistic visions, create dichotomic works that are both powerful and vulnerable. Employing their own genre, medium and subject matter, these artists’ converge in one place (Here). They provide important local cultural commentaryto understand identity and to give insight into their unique lived experience (Now).

The Wimmera had a profound effect on Nolan’s development as an artist. In 1942 Nolan painted in Dimboola whilst being stationed in the area on army duty during World War II. It was during this time he created some of his most iconic paintings. Selected from sketches & paintings created between 1942- 1943, this exhibition explores how Nolan saw the Wimmera region, its landscapes and people, as he developed a versatile visual language that re-envisaged the Australian landscape. Presented by Horsham Regional Art Gallery, with support from Principal Loan Partner, the National Gallery of Australia, and Heide Museum of Modern Art. The National Gallery’s Regional Initiatives Program is generously supported by Major Partner AWM Electrical and Data Suppliers.

VICTORIA

Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney, courtesy the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Zan Wimberley.

ritual of coming together and offering food. Tan’s ceramic food offerings were originally created in conversation with family and friends during COVID-19 lockdowns, over time and vast distances. Whilst navigating personal racial attacks, gender identity, migration and familial narratives, Tan translates these charged conversations into ceramic still-lives—or ‘soul foods’ as the artist describes—which are ceremonially presented within the gallery space to continue the conversation.

19 November 2022—29 January Centre of the Centre Mel O’Callaghan

Sidney Nolan, Farmers Wife, Dimboola, 1942, enamel on composition board, 91 x 61.2 cm. Heide Museum of Modern Art, Melbourne. Bequest of John and Sunday Reed 1982 © The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2022.

Ponch Hawkes, 500 Strong, 2019-2022, black and white photograph compilation. Courtesy of the artist. 10 December 2022—19 March 500 Strong : Ponch Hawkes In 2018 renowned photographer Ponch Hawkes embarked on a project to photograph 500 Victorian women. Challenging the notions of what real women look like, 500 Strong celebrates older women’s health, body image and wellbeing. Diverse women over the age of fifty from Horsham and across the state volunteered to be photographed in the nude. Curated by Jane Scott this exhibition is both irreverent and playful.

Hyphen — Wodonga Library Gallery hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm.

Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation. Mel O’Callaghan’s Centre of the Centre was curated and developed by Artspace, Sydney, and is touring nationally with Museums & Galleries of NSW. Centre of the Centre is co-commissioned by Le Confort Moderne, Poitiers; Artspace, Sydney; and The University of Queensland Art Museum, Brisbane. With Commissioning Partners Andrew Cameron AM & Cathy Cameron and Peter Wilson & James Emmett; and Lead Supporter, Kronenberg Mais Wright. The development and presentation of Centre of the Centre is supported by the Fondation des Artistes; Woods Hole Oceanographic Institution and the US National Science Foundation. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Incinerator Gallery incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. Incinerator Gallery is your community gallery located by the scenic Maribyrnong River. We have a diverse offering of solo and group exhibitions, which will delight and challenge our audiences as we explore new and fresh perspectives on contemporary art and life. 11 November 2022—15 January Ritual Ceng Beng Jayanto Tan Ritual Ceng Beng is an exhibition by artist Jayanto Tan celebrating the household

Keiran Butler, 80 years from now, installation view Verge Gallery, Sydney, 2022. Photography by Jek Maurer. 3 February—23 April Infinite Pleasures Infinite Pleasures explores the arcs, beats and spaces that house LGBTQIA+ communities. Through architecture, art, design, fashion, and music, this group exhibition (featuring the work of artists including Keiran Butler, pictured) brings together polyphonic textures and pluralistic structures that revel in the armatures we feel and embrace our queer selves.

J Davies, My Bed, After, 2020, analogue photograph. 3 February—23 April The Sentimentality of Something Unspecified: J Davies J Davies The Sentimentality of Something Unspecified is a photographic exhibition of new and archival works by artist J Davies exploring both the sensual and the sensuous experiences of queerness - from erotic embraces of candid couples; to lived-in and loved-in beds; to cinematic sunsets; to heaving, hazy dancefloors; and images of decay and destruction. 3 February—23 April Knot Locked: Debris Facility Debris Facility Knot Locked is an installation entangling the processes and history of waste management (within the Debris Facility and at the site of Incinerator Gallery) with ‘knit lock’ bricks as designed by Marion Mahoney and Walter Burley Griffin, the architects of the Essendon Incinerator. Debris Facility draws from queer architectural theory alongside industrial waste research to make installation, sculpture, and print works. 125

boroondara.vic.gov.au

VICTORIA

Ivanhoe Library and Cultural Hub → Niamh Noble and Emerson Zandegu.

Ivanhoe Library and Cultural Hub

Jewish Museum of Australia

banyule.vic.gov.au/ILCH

jewishmuseum.com.au

275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222

26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am— 5pm, Sun 10am— 5pm. (Closed on Jewish holidays).

Loft 275: 20 January—12 February The Gender Garden Curated by Emerson Zandegu. This exhibition is part of the official program for Midsumma Festival 2023. An exhibition of earthly delights by transgender and gender diverse artists, curated by Emerson Zandegu. Step into the Garden; lush, beautiful, dark and deep. Here, flowers bloom in colours you’ve never seen before. Strange creatures take respite in the shade of ancient trees. You feel the earth’s heartbeat under your feet, beneath the rich soil. What wonders await you? Opening Friday 3 February, 6pm–8pm. Art Gallery 275: 1 February—28 March Naked Force – the Art of Edward Heffernan Curated by Michael Currie in Collaboration with Jutta Pryor. Edward Heffernan (OAM,1912-92) was a noted Heidelberg artist, who won the City of Heidelberg Art Prize at the opening of the Heidelberg Town Hall in 1937. This selective exhibition of Heffernan’s artworks is curated from the perspective of his nephew Michael Currie, a musician and composer.

Edward Heffernan, Nude sketch. Heffernan’s nephew, Michael Currie, has produced the Windows of Longing project, a moving image and musical response to Heffernan’s art, created in collaboration with local multi-media artist, Jutta Pryor. This music and moving image homage was launched at the Ivanhoe Library & Cultural Hub in March 2021, and Windows of Longing has since toured regional Victoria, playing to communities that Heffernan lived and worked within. This tour was made possible by funding from Creative Victoria. Now, the Heffernan Project culminates with this exhibition of key works by Edward Heffernan, together with video projections and original music inspired by these artworks. Opening Friday 3 February, 6pm–8pm.

Helmut Newton, Elsa Peretti, New York, 1975. © Helmut Newton Estate. Courtesy Helmut Newton Foundation. 127

bendigoartgallery.com.au

VICTORIA Jewish Museum continued... 29 April 2022—29 January Helmut Newton: In Focus A definitive exploration of the work and life of visionary German-born photographer, Helmut Newton. This exhibition delves into Newton’s early life and career, shining a light on his Jewish roots and life in Berlin, his flight from Germany at the outbreak of WWII and his eventual internment at Tatura in regional Victoria as an enemy alien. It also explores his post-war life and work in Melbourne and shares details of his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs.

The Johnston Collection johnstoncollection.org 192 Wellington Parade, East Melbourne, VIC 3002 [Map 5] 03 9416 2515 Wed to Sun with three tours daily at 10 am, 12noon and 2pm. We are closed on public holidays.

Wed to Fri 9am–5pm, Sat 12noon–5pm. See our website for latest information.

Elijah Money (Wiradjuri), Namesake, 2022. Photograph: Fred Kroh.

Paula Lindley, Aftermath, (detail), 2022, oil on linen, 76 x 76 cm. G3 Artspace : 20 January—18 February Marking Time Presented by Paula Lindley Paula Lindley explores tidal shores, lake views, riverbanks, and imposing cliff faces discovered on coastal walks. By building up the paint layers, playing with light and dark she captures the essence of time and place.

24 September 2022—19 February Layers of Blak Thelma Austin (Gunditjmara), Mandi Barton (Yorta Yorta/Barapa Barapa/Wemba Wemba), Lorraine Brigdale (Yorta Yorta), Nikki Browne (Bidjara), Deanne Gilson (Wadawurrung), Tammy Gilson (Wadawurrung), Elijah Money (Wiradjuri), Yasmin Silveira (Palawa), Sammy Trist (Taungurung), Dominic White (Palawa) and Tracy Wise (Barkindji Ngiyampaa Maligundidj).

Latrobe Regional Gallery latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm.

Detail from Splendid: The Roger Brookes Bequest. Photo by Adam Luttick. 28 September 2022—19 March The Roger Brookes Bequest The Brookes Bequest is a carefully considered connoisseur’s collection of sumptuous sterling silver of outstanding merit due to the rigour involved in its distinguished selection. This impressive collection was amassed over a period of time, initially by the bequestor’s mother (Mrs. Betty Brookes (1900-1968), family gifts and bequests plus acquisitions by his father Sir Wilfred Deakin Brookes, CBE, DSO, AEA (19061997), and then added to in a deliberate and very focussed manner by Mr. Roger Brookes for over two decades.

Kingston Arts kingstonarts.com.au

Rebecca Marshall, The singing garden, 2022, acrylic on canvas, 152 x 122 cm. G3 Artspace : 24 February—25 March Remnant Wilderness Presented by Rebecca Marshall and Meredith Connie Rebecca Marshall and Meredith Connie collaborate to create an immersive experience of sound loops and visual work based upon their experience and time spent in the remnant wilderness found in the City of Kingston.

Koorie Heritage Trust koorieheritagetrust.com.au

G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 11am–4pm. Free entry.

Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 See our website for latest information.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale.

3 December 2022—19 February 10th Koorie Art Show

Polixeni Papapetrou, Miles from nowhere, 2008, digital pigment print, ed. 3/6, 105 x 105 cm. Latrobe Regional Gallery Collection, gift of Gael Newton and Paul Costigan, 2019. 12 November 2022—12 February In our own time Featuring work from the LRG Collection with invited artists, this exhibition showing over summer celebrates the season and the many things we devote our personal time to. In our leisure, methods of introspection, nurturing, engaging, discovery, learning and play shape our experience and identity. 19 November 2022—26 March Looking Glass Judy Watson and Yhonnie Scarce Looking Glass is an exhibition which brings together two of Australia’s most acclaimed artists – Waanyi artist, Judy Watson and Kokatha and Nukunu artist Yhonnie Scarce. Looking Glass is 129

horshamtownhall.com.au

VICTORIA 10 December 2022—26 February Left Behind Michael Kluge

Latrobe Regional Gallery continued... organised by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria.

LON Gallery

3 December 2022—12 February Fellow Travellers

longallery.com

Selected from the LRG Collection, local printmaker Jenny Peterson has curated an exhibition of prints, reflecting on the tendencies of collaboration and comradery formed when practicing in the field of printmaking.

136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. See our website for latest information. Robert Clinch, Spartacus, 2013, egg tempera on panel, 107 x 105 cm.

LON is an artist led contemporary art gallery that supports critically engaged art practices.

February Three Artists: Robert Clinch / Murray Griffin / Horace Hurtle Trenerry

Linden New Art lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun 11am–4pm. See our website for latest information.

Josephine Jakobi, detail from Observatorium series. Photograph by Jackson Gallagher.

Casey Jeffery, Tupperware Talks to Me, 2021, oil and acrylic on pine, framed , 40 x 50 cm.

14 January—9 April Observatorium Josephine Jakobi’s artwork is deeply concerned with the cycles and poetry of the natural environment, taking an approach that crosses between scientific observation and art.

Lauraine Diggins Fine Art

1 February–25 Feburary Casey Jeffery

Linden Postcard Show 2021-22. Photograph: Theresa Harrison Photography. 10 December 2022—26 February Linden Postcard Show 2022-23

Melbourne Holocaust Museum mhm.org.au Elsternwick VIC 3185 03 9528 1985

diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Gallery closed January.

Melbourne Holocaust Museum building. The Melbourne Holocaust Museum (formerly the Jewish Holocaust Centre) will open its doors to the public in early 2023.

Horace Trenerry, Dusk, Sydney Harbour, c.1922, oil on board, 16 x 22.5 cm.

Michael Kluge, Left Behind, 2022, digital inkjet print. Image courtesy of the artist.

With a collection of over 20,000 historical artefacts, and 1,400 Holocaust survivor testimonies, the museum is a leading institution for Holocaust education, preservation, and research in Australia. The museum will house two permanent 131

Modern Shapes Editions

The Front Room proudly introduces Belgian company Modern Shapes Editions to Australia with the first collection by 8 international artists; 47 objects, each masterfully crafted entirely by hand in salvaged Mahogany, Rosewood, Sycamore or Teak. Available exclusively via The Front Room. Visit us online or in the gallery to explore the collection.

Limited and open editions, available now.

‘PIPE’ by ABSID, Sweden, in black finished Salvaged Mahogany, from $980 inc. GST.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121 +61 3 9063 1222

thefrontroomgallery.com.au thefrontroomgallery.com.au

VICTORIA Melbourne Holocaust Museum continued... exhibitions – their main exhibition Everybody Had a Name and a youth-focused exhibition based on the concept of ‘hiding,’ throughout the Holocaust. Melbourne Holocaust Museum CEO Jayne Josem says, “we know that sharing stories is the best way to connect to our shared humanity,” and therefore the exhibition within the new museum will be based around this concept, with the experiences of Melbourne-based Holocaust survivors at its core.

Metro Gallery metrogallery.com.au 03 9500 8511 Currently trading online and by appointment only as we prepare our new gallery in Lennox Street, Richmond. Launching early 2023.

The permanent exhibitions will be installed in the new museum building alongside a special exhibition gallery, VR facility, learning areas, contemplative garden, memorial room, library, and two auditoriums. With construction almost complete, visitors can look forward to visiting the museum in early 2023.

Sir William Newenham Montague Orpen RA, 1878-1931, Mrs Melvill, (detail), 1920, oil on canvas. Mildura Arts Centre Collection. Senator R.D Elliott Bequest, presented to the City of Mildura by Mrs Hilda Elliott, 1956.

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

Michael Johnson, Five Walls, 2010-11, oil on linen, 153 x 122 cm. Representing a wide selection of paintings, works on paper, ceramics, sculpture, and limited editions by represented and selected stockroom First Nations, Australian and international artists, including Adnate, John Aslanidis, Carlos Barrios, Fabrizio Biviano, Andrew Bonneau, Eolo Paul Bottaro, Donovan Christie, Luke Cornish (Elk), Augustine Dall’ava, Tom Gerrard, Dean Home, Michael Johnson, David Laity, Bruno Leti, Ross Miller, James Money, Jorna Newberry, John Olsen, Louis Pratt, Mattew Quick, Saxon Quinn, Steve Rosendale, Llewellyn Skye, Loribelle Spirovski, Jim Thalassoudis, Anthony White, Bettina Willner, Jackie Wirramanda, Robby Wirramanda, Raymond Young, Richard Young.

Mildura Arts Centre milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. Clifford Last, Group invocation, 1964, Tasmanian oak, slate, 65 x 43 x 28 cm. Collection of McClelland, gift of the Estate of Mr David Wynn, 1996. 12 November 2022—5 March Centre 5: bridging the gap Vincas Jomantas, Julius Kane, Inge King, Clifford Last, Lenton Parr, Norma Redpath, Teisutis Zikaras. Curated by Dr Jane Eckett.

1 December 2022—15 January Masterpieces… from the Collection Mildura Arts Centre Collection Masterpieces… from the Collection invites visitors to explore a selection of works from Mildura Arts Centre’s founding collection, the Elliott Bequest. Step out of the heat this Summer and be dazzled by Masterpieces… from the Collection. Works by Degas, Brangwyn and Orpen are accompanied by that of Australian artists such as Frederick McCubbin and as well as the screening

of An Improbable Collection, a half-hour documentary film by the renowned film director, Bruce Beresford and photographer Cordelia Beresford, inspired by works from the Mildura Arts Centre Collection. 9 December 2022—29 January Special Forever: voices of the children Sunraysia primary schools Coordinated by Rosemarie Zalec, Special Forever: voices of the children, features the writing and artworks of the vibrant young ‘voices’ of children from Sunraysia schools communicating their passions for, and understanding of, their environments, as well as their reflections on local and global issues.

Loretta Clyne, Mildura City, 2021, mixed media. 16 December 2022—5 February Art Directions 2022 Arts Educators Art Directions 2022 celebrates the diversity and skills of Sunraysia’s arts educators. Art teachers 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. 28 October 2022—5 February Collected Vision III: Recent Acquisitions Mildura Arts Centre Collection The Mildura Arts Centre Collection is comprised of more than 2,000 items which include all areas of the fine arts, 133

e-artstore.net

omnusframing.com.au

mes.net.au

VICTORIA as well as antiques with significance to Rio Vista Historic House and the family of WB Chaffey. This archive of artworks and objects allows us to capture and tell the diverse stories of our region. Collected Vision III showcases some of the latest acquisitions to this valuable Collection. Included are works by Piero Garreffa, Oli Gasperini, Stephen Hederics, Pia Larsen, Katy Mutton, Sam Nightingale, Adam Nudelman, Colin Rowe, Arnold Shore, Wes Walters, John Whitney, and Pam Wragg.

Modern Times moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Tues to Sat 10am–5pm.

Monash Gallery of Art

25 November 2022–15 January Lovers and misfits Peter Milne Curated by Angela Connor, MGA Senior Curator. Lovers and misfits is an exhibition of portraits by Peter Milne taken during the formative years of his artistic practice.

Monash University MADA Gallery artdes.monash.edu/gallery Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Wed to Fri 10am–5pm, Sat 12noon— 5pm during exhibitions. Free entry. See our website for latest information.

mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tues to Fri 10am–5pm, Sat and Sun 10am–4pm.

10 December 2022 – 19 February Front Beach, Back Beach MPRG in partnership with Public Art Commission. The culmination of the Front Beach, Back Beach public art project, an ambitious multi-sited public art event commissioning leading contemporary Australian artists to respond to fifteen sites and stories that have shaped the Mornington Peninsula. Following the public art component in November 2022, this exhibition brings together remnants, objects, traces and documentation of the projects, interweaving and overlaying new perspectives from across the Mornington Peninsula.

Museum of Chinese Australian History chinesemuseum.com.au 22 Cohen Place, Melbourne, VIC 3000 [Map 2] 03 9662 2888 Open everyday 10am–4pm. Closed on public holidays. See our website for latest information.

Tamara Dean, Tumbling through the treetops, 2020, from the series High jinks in the hydrangeas, pigment ink-jet print, 110 x 160 cm. Monash Gallery of Art, City of Monash Collection, donated by Tamara Dean, 2022, Courtesy of the artist and Michael Reid Gallery (Sydney + Berlin). 25 November 2022–19 February Leave only footprints Tamara Dean A survey exhibition by leading photo media artist Tamara Dean.

Kristina Tsoulis-Reay, Bright Water, acrylic and oil on linen, 2022. 3 February—11 February Kristina Tsoulis-Reay 3 February—11 February Master of Fine Art Exhibition Indiana Cole, Maddison Anderson, Benjamin Bannan, Darcy Wedd

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

Peter Milne, The Boys Next Door, Tiger Lounge, 1978, pigment ink-jet print, 32 x 48 cm. Monash Gallery of Art, City of Monash Collection, donated by Helen Frajman 2021, Courtesy of the artist and M.33 (Melbourne).

10 December 2022–19 February Collection+ Judith Alexandrovics / Julian Opie The third iteration of the Collection+ exhibition series, pairs the work of internationally renowned British artist Julian Opie with the work of late Melbourne artist Judith Alexandrovics.

Jane Goh, Inaccuracies, 2021, oil on canvas. Courtesy of the artist. 16 January—14 March Through Time and Space Group exhibition organised by the Chinese Museum Arts Collective. Online exhibition launched in Beijing and Melbourne. Supported by the Australian Embassy, China.

135

ar t g ui d e .c o m . au Museum of Chinese Australian History continued...

2 December 2022—10 April Freedom of Movement: Contemporary Art and Design from the NGV Collection 2 December 2022—10 April Julian Opie: Studio for Kids

Fred Williams, Barges on London canal, 1952–56, pen and ink, brush and ink and ink wash, 19.2 x 25.9 cm (sheet). National Gallery of Victoria, Melbourne. Gift of Lyn Williams AM and Family through the Australian Government’s Cultural Gifts Program, 2022. © Estate of Fred Williams.

Chris Chun. Photo: Alberto Cosi. 20 January—14 March Lucky Rabbit: An exhibition celebrating Chinese New Year Guest curator and artist Chris Chun, Managing Curator: Rosemary Forde.

National Gallery of Victoria— NGV International ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. 27 August 2022—12 June Jewellery and Body Adornment from the NGV Collection 1 October 2022—23 April Richard Mosse: Broken Spectre 7 October 2022—29 January The Global Life of Design 6 October 2022—29 January MECCA x NGV Women in Design Commission: Tatiana Bilbao

Xu Zhen (designer and artist) MadeIn Company, Shanghai (manufacturer), New, 2016–17, painted bronze, 46.0 x 14.0 x 10.5 cm. National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Asian Art, 2020. © Xu Zhen®. 15 October 2022—19 February China – The past is present 22 November 2022—10 October 2022 NGV Architecture Commission: Temple of Boom 136

21 October 2022—29 January Fred Williams: The London Drawings

Frans Pourbus II, Portrait of Louis XIII, King of France as a Boy, c. 1616, oil on canvas, 54.61 x 44.45 cm (canvas), 72.39 x 62.23 x 3.81 cm (frame). Los Angeles County Museum of Art. Gift of Mr. and Mrs. William May Garland © Museum Associates/LACMA. 11 December 2022—16 April Alexander McQueen: Mind, Mythos, Muse

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

Tiger Palpatja, Wanampi Tjukurpa, 2007, synthetic polymer paint on canvas, 152 x 101.5 cm. National Gallery of Victoria, Melbourne Purchased, NGV Supporters and Patrons of Indigenous Art, 2007. © Tiger Palpatja, courtesy of Tjala Arts. 15 April 2022—29 January Indigenous Art from the NGV Collection 7 October 2022—29 January The Rigg Design Prize 2022

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

Old Quad, the University of Melbourne about.unimelb.edu.au/old-quad/ exhibitions Building 150 (Parkville Campus) The University of Melbourne, Parkville, VIC 3053 [Map 5] 03 9035 5511 Tue to Fri 10am–4pm, Sat 11am– 4pm. Summer closure until 13 February. See our website for latest information.

Andy Butler, The Agony and the Ecstasy, 2022, video still. Commissioned by the University of Melbourne. Courtesy of the artist. 9 December 2022—16 April Collective Unease Collective Unease is a bold exhibition of three new commissions inspired by the University of Melbourne’s students, archives and collections. The three works, by artists Andy Butler, Lisa Hilli and James

VICTORIA Nguyen, move beyond colonial narratives to a complex, multi-voiced understanding of Australia inflected by experiences of migration and diaspora.

repetitive mark-making with ink, these offbeat works include visions of frolicsome specters, haunted plains, quirky deities and playfully conjured creatures..

PG Gallery

Platform Arts

pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm.

platformarts.org.au 60 Little Malop Street, Geelong, VIC 3220 [Map 4] 03 5224 2815 Mon to Fri 9am–5pm. See our website for current weekend hours.

working in a not-for-profit queer-focused studio and the community they’ve built. The exhibition explores meme culture and how we use memes to communicate in a deeply coded, specific, vernacular language. Pink Ember Studio’s artists each express their unique relationship to memes: finding themselves in each other’s jokes, making light of suffering through shared culture, being in on the joke, or simply just being seen.

Project8 Gallery project8.gallery Wurundjeri Country Level 2, 417 Collins Street, Melbourne VIC 3000 [Map 2] 03 9380 8888 Weds to Sat 11am–6pm. See our website for latest information.

Noah Spivak, For Narcissus (1000 tears), paper cups, liquid ink, acrylic, dimensions variable, 2020. Image courtesy of the artist. 27 January—24 February A Less Vibrant Twin Noah Spivak A Mere Passing Thing Emma Winkler MO, Lost Civilisation (Camera), 2022, mixed media collage, 70 x 50 cm. 7 February—21 February Lost Civilisation MO If our civilisation could only be represented by the material objects we leave behind, what would future archaeologists glean from the welter of technological artefacts they would excavate? In Lost Civilisation artist MO’s playful collages explore our obsession with technology, proposing our machines and devices as new objects of worship in an increasingly secularised world.

Noah Spivak collaborates with the alchemical world, creating temporal artworks that express his deep adoration and understanding for his materials. His fascination with the invisible and obsession for process-led experimentation culminate at PLATFORM in a large-scale, site responsive installation. A Less Vibrant Twin investigates the liminal space between narcissism and self-loathing by allowing the artist’s own insecurities to manifest themselves in a body of work that puts the gaze on display.

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

Sisca Verwoert, Ferocious, 2022, oil on linen, 250 x 150 cm. 18 December 2022—5 January Sisca Verwoert 6 January—27 January VERSED Veronica O’Hehir, Amrita Hepi, Sarah Enticknap, Nathan Patterson, John Goetz USA, David Noonan AUS/UK. A group show curated by Veronica O’Hehir. 29 January—11 February Deborah Halpern 22 December 2022—6 January QDOS BLUE CHIP

Paul Compton, Coy, Roaming Cryptid, 2022, ink, watercolour & pencil on paper, 28.8 x 37 cm. 28 February—14 March Apparitions Paul Compton A deep interest in ghosts, the uncanny and hidden spiritual realms have influenced this collection of drawings and prints. Using brush and dip-pen work, linocut and

Aoife Billings, Meme Cat, painted ceramic, 2022. Image courtesy of the artist. 27 January—24 February It’s Mental Illness Luv Pink Ember Studio In their upcoming exhibition It’s Mental Illness Luv, Pink Ember Studio reflects on

This Summer Qdos Fine Arts will present a collection of significant BLUE CHIP Artists. The exhibition showcases a select number of works that we consider to be art assets. A collection of significant Blue Chip Artists, the offering comprises original artworks by Brett Whiteley, John Oslen, Howard Arkley, Fred Williams, Arthur Boyd, John Brack, Sidney Nolan, Cressida Campbell, Charles Blackman, Garry Shead, Ray Crooke and John Coburn. 137

99 Names by Ayman Kaake 99 Names by Ayman Kaake 28 January – 12 –February 2023 2023 28 January 12 February Brunswick Prize Winner: Small Works Art Prize 2022 2022 BrunswickStreet StreetGallery Gallery Prize Winner: Small Works Art Prize Gallery & Advisory Gallery & Advisory Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Image: The prayer rug, Ayman Kaake, inkjet print, 90x67cm

Image: The prayer rug, Ayman Kaake, inkjet print, 90x67cm

brunswickstreetgallery.com.au

VICTORIA QDOS Fine Arts continued...

8 January—27 January AGGREGATE Liz Blizzard, Tonya Blizzard, Vietta Steele, Yolande, Steve Sedgwick, Janine Strickland, Virginia.F.Aldred A group show curated by Veronica O’Hehir.

RMIT First Site Gallery rmit.edu.au/about/culture/ first-site-gallery Storey Hall Basement, 344 Swanston Street, Melbourne, [Map 2] 03 9925 1717 first.site@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries See our website for latest information.

Rennie Ellis, Jenny Bannister and Clarence Chai, Shieks Disco, 1981. © Rennie Ellis SLV. Melbourne in the 1980s was the site for new ideas to emerge, bend and transform a city, making its mark in post-modern design and media. Radical Utopia: an archaeology of a creative city explores the ways design and activism shaped the innovative cultural city we know today.

Shepparton Art Museum sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm.

Brother Bride, Orange Room, a series of 5 gouache painting on canvas, 2022. Image curtesy of the artist.

Until 26 February Fourth National Indigenous Triennial: Ceremony A National Gallery of Australia Touring Exhibition.

21 February—24 March OnSite: Lab 01

Until 30 April All Together Meredith Turner and Ross Coulter

OnSite is an artist-led and audience involved, growing exhibition. Join artist Aaron Billings onsite to be a part of the experience.

Until 4 February 2024 we can’t keep going the way we’ve been going but we know no other way to go Jess Johnson

Jess Johnson, Tower of Babel, (detail), 2022, digital print on silk. Courtesy of the artist. © the artist. Until 6 August Some of the things that have come and gone with the waters Jason Phu Until 12 February Between Scylla and Charybdis | Amphora SAM Spotlight: Alesia Miksad 18 February—23 April Fresh: GV Top Art & Design Until 19 February Social Ceramics: A SAM Collection Show Until 29 January Kaleidoscope: Ceramics from the SAM Collection

Sofitel Melbourne on Collins sofitel-melbourne.com

RMIT Gallery

Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information.

rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries See our website for latest information. 21 February—27 May Radical Utopia: an archaeology of a creative city

1 December 2022—31 March Atrium Gallery, Level 35, 7am–8pm: Emma Borland Presented by Murray White Room. Murray White Room is pleased to present an installation of both figurative and abstract fused glass panels by Melbourne based glass artist Emma Borland. Alesia Miksad, Circe, 2022. Courtesy of the artist. © the artist.

Borland’s original and personal imagery remains true to her ‘uncultured’ childhood 139

Sofi’s Lounge, Level One, 7am—8pm

5 November 2022—28 February 2023 Atrium: Donna Marcus For more than 20 years Donna Marcus has been creating imposing somewhat ‘familiar’ installations of anodised aluminium kitchenware sourced from friends’ kitchens, op shops and garage sales. Often brightly coloured, these teapots, saucepan lids, jelly and cake moulds and tins, steamers, bottle re-sealers and colanders are presented in a geometric format often based on the modernist grid format. Donna Marcus was the Sofitel Melbourne On Collins’ Artist in Residence in 2007 and the hotel is delighted to be showing her work again.

Sofitel Melbourne On Collins

25 Collins Street Melbourne 3000

(03) 9653 0000 sofitel-melbourne.com.au

Donna Marcus, Syrup (detail), 2022. Anodised aluminium.

The exhibition programme at Sofitel Melbourne On Collins is managed by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

gap.net.au

140 2021-Gould-Creative-@14-Art-guide-144x105-pink-FA-2mm.indd 1at14.com.au

13/9/21 7:28 am

VICTORIA Sofitel Melbourne on Collins continued...

Stockroom Kyneton stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs to Sat 10.30am–5pm, Sun 11am–3pm.

The Substation thesubstation.org.au 1 Market Street, Newport VIC 3015 [Map 4] 03 9391 1110 Wed to Sat 12noon–6pm.

Sullivan+Strumpf sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 [Map 3] 03 7046 6489 Tue to Sat 10am–5pm, or by appointment. See our website for latest information.

Emma Borland, Colour bank 1, 2020, fused Youghiogheny glass, 61 x 43 cm. drawings and sculpture pre-art school. Exhibition programme managed by Global Art Projects. gap.net.au. @ globalartprojectsmelbourne.

STATION stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm. See our website for latest information. 28 January—25 February To be Clever – To be Posh Dean Cross

Tom Borgas, Vertical Composition (Blue-green), 2022, wood, acrylic paint, spray paint, stainless steel screws, 117 x 22 x 11 cm. 3 December 2022—8 January Veiled Pleasures Rhett D’Costa Unfolding Angela Hayes Slack Ecology Tom Borgas 4 February—12 March Velodrome Carly Fischer and Edwina Stevens

Joanna Lamb, Donnybrook House 02 Study, 2022, acrylic on board, 61 x 46 cm. 2 February—11 February Annual Group Show Sullivan+Strumpf artists

Swan Hill Regional Art Gallery 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. Until 29 January On the Land Mark Dober Polly Borland, Nudie (1), 2019-2021, archival pigment print, 135.2 x 101.6 cm. Courtesy of the artist and STATION. 28 January—25 February Nudie Polly Borland

Jarrad Martyn, Refuge, 2022, oil on canvas, 89 x 91 cm. 4 February—12 March Polar Front Jarrad Martyn Vessel As Deity Minaal Lawn

Mark Dober is a landscape painter who lives in Castlemaine, central Victoria. He makes his work on site in the surrounding forest and pastoral landscape. Mark also paints further afield, and will be undertaking a residency in our region to make work for his exhibition of wall-sized watercolours at Swan Hill Regional Gallery. 141

The Stan Gallery is a newly introduced creative space centred around community values and the championing of local artists. Continuing to enhance the cultural fabric of the South-Eastern suburbs, The Stan is a small independent gallery that provides visitors with new exhibition openings every 3-4 weeks and a rotation of additional curated sometime overseas pieces for sale. The dynamic roster of art that The Stan oversees, takes on a curatorial aesthetic that proves to be both engaging and diverse in its range of disciplines. The Stan Gallery supports not only established artists, but also mid-career artists and those just emerging. Currently in its very first year, The Stan Gallery is thrilled to welcome you into a community-centred setting where artists, enthusiasts and admirers can experience the thought provoking and creative talent of art by local artists. For information on past, present and future exhibitions see our website. 49 Stanley Avenue, Mount Waverley, VIC 3149 PH: 1300 49 STAN Email: info@thestangallery.com www.thestangallery.com Opening Hours: Thurs and Fri 10am – 5pm, Sat and Sun 10am – 4pm. thestangallery.com

142

wangarattaartgallery.com.au

VICTORIA Swan Hill Regional Art Gallery continued... Until 29 January Retrospective - 21 Years of Mallee Artists Mallee Artists Swan Hill

Open 7 days a week from Boxing Day until the end of January. See our website for latest information.

Town Hall Gallery boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information.

Marco Luccio. 3 February—23 April Tales from the Greek Marco Luccio Five years in the making and an odyssey in its creation, Tales from The Greek is Marco Luccio’s artistic response to author John Hughes’ eight narrative adaptations of Greek myths and tragedies. This selection of Luccio’s artworks is dramatic and gritty; using a variety of mediums, he has produced a collection of works that sing alongside the words of award-winning Cessnock born author John Hughes.

TarraWarra Museum of Art twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm.

Peter Booth, Painting, 2013, oil on canvas, 153 x 112 cm. Private collection. © Peter Booth. 26 November 2022—13 March Peter Booth With a remarkable career spanning several decades, Peter Booth is a unique voice in Australian painting. This survey exhibition of paintings and works on paper will be presented thematically, honing in on and highlighting particular motifs, subjects and moods which have become hallmarks of Booth’s expansive oeuvre: stillness and turbulence, alterity and alienation, mutation and hybridity, the absurd and the grotesque, the road and the ruin, and the despoliation and the resilience of nature.

William Breen, Wet Paint, 2020, gouache on paper, 47 x 70 cm. Image courtesy of the artist and Flinders Lane Gallery. 18 January–15 April Romancing the Streetscape Rick Amor, William Breen, Andrew Browne, Mark Chu, Robert Clinch, Cathy Drummond and Dani McKenzie Romancing the Streetscape celebrates the streetscapes and buildings of Melbourne and surrounds. The featured artists slip between direct observation and imagination, revealing their unique perspectives of urban existence and our shared experiences of place. Highly realistic and evocative images of inner-city scenes reflect the romanticism often associated with traditional landscape painting.

TarraWarra Museum of Art → Peter Booth, Untitled, 1995, oil on canvas, 167.5 x 305 cm. The University of Melbourne Art Collection, Michael Buxton Collection. Donated through the Australia Government’s Cultural Gifts Program by Michael and Jane Buxton 2018. © Peter Booth. 143

zartart.com.au

VICTORIA

Tolarno Galleries

28 January—25 February Travis John Ficarra and Andrew Browne

tolarnogalleries.com

National Museum of Australia and Australian Geographic, celebrating the bush, the outback, the coast and the people who live there. 18 February—16 April Printed Habitat Anita Laurence, Fleur Rendell, Christine Upton, Bärbel Ullrich

Level 5, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm.

Printed Habitat presents the recent work of four prominent printmakers working in Northeast Victoria. Each artist brings a unique sensitivity and draws from the built and natural habitats in which they live and work, exploring the essence of these environments through various printmaking processes.

Walker Street Gallery and Arts Centre greaterdandenong.vic.gov.au/arts Jane O’Neill, Heathmont Wranglers I, 2022. Photograph: Christo Crocker. Courtesy of the artist. 2 March—25 March Jeans Party Jane O’Neill Wanapati Yunupiŋu, Gumatj, 2022, etched aluminium, 79 x 60 cm. 11 February—4 March ṉilŋṉilŋ’ (the spark) Wanapati Yunupiŋu

VOID Melbourne voidmelbourne.org Level 2, 190 Bourke Street, Melbourne, VIC 3000 [Map 2] 0420 783 562 Thur to Sat 12noon–5pm or by appointment. See our website for latest information.

Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm.

The starting point for Jeans Party was an earlier party, held in Brisbane in 1979. A garage was transformed with a blue light globe and there was blue punch, emblazoned t-shirts, lots of teenagers and a jeans-themed playlist. This exhibition creates a forum to explore connections with the textiles we wear, the conditions in which they are made and the social circumstances involving their use. Overlaid with varying shades of blue, the works draw on the polychromatic nature of the twill weave used to make denim.

Wangaratta Art Gallery wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm.

Shane by Bronwyn Watson. 29 November 2022—27 January Inked Celebrating the art of the thriving tattoo industry, photographers Bronwyn Watson and Tommy Kuo use their own unique photography styles to record Inked— intimate stories told in new ways.

Colin Beard, Along the Birdsville Track near Birdsville, Queensland. © Colin Beard. 5 November 2022—12 February A Portrait of Australia: Stories Through the Lens of Australian Geographic

Travis John Ficarra, Chocolate Goblin, 2022, digital image. Courtesy of the artist.

A Travelling Exhibition from the National Museum of Australia. Developed in collaboration with Australian Geographic. This touring exhibition is part of an unprecedented partnership between the

Neroli Henderson, Confinement, 2019, quilting and giclée print on silk habotai, 105 x 100 cm. 145

galleryelysium.com.au

VICTORIA

Whitehorse Artspace → Jesse Marlow, Untitled (Dragon) 2014. © the artist. Walker Street Gallery continued... 7 February—31 March SHE of mind and body With a legacy of over 20 years at Walker Street Gallery, the SHE exhibition is back celebrating women artists. Challenging and exploring historical views of women, SHE of mind and body depicts body image, women’s empowerment, mental and emotional health. It reclaims traditional perceptions of textiles and celebrates art by and for women.

Whitehorse Artspace whitehorseartspace.com.au

Wyndham Art Gallery wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information.

Between Us examines the nature of our most common relationships, friendship. Curated by Ivy Mutuku. Ivy is a Kenyan born, Melbourne based photographer and filmmaker with a fire for visual storytelling.

Wyndham City Arts & Culture creates and supports exceptional arts experiences and opportunities for its diverse community. Through our arts and culture programs we contribute to developing creative people, creative cities and vibrant places for people.

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.

Connor Ovenden-Shaw, Self Proclaimed Enigma, 2022, C-Type Photograph. Image courtesy of the artist. 19 January—19 March Content Warning: Queer, Fat, Sexy Connor Ovenden-Shaw

27 January—18 March On the Street Local photographers capture life on the street today, out and about in the lively multicultural City of Whitehorse. These images are shown together with powerful historic works by photo journalists such as Mark Hopper, Jesse Marlow, June Orford and Francis Reiss from the Whitehorse Art Collection.

19 January—19 March Between Us Kemka Ajoku, Bella Loke, Ivy Mutuku, Christina Nwabugo, Emerson Rocha, Najla Said, Tig Terera, John M Tubera, Ammar Yonis

Connor Ovenden-Shaw, Also Known as Foot, is a non-binary queer artist based on Wadawurrung land in Melbourne’s outer west. ‘Content Warning: Fat, Queer, Sexy’ represents true queer narcissism. Kemka Ajoku, Gestural Greetings (from the series Finding Common Ground), 2021, Photography. Photograph by Kemka Ajoku. 147

panaxeapaintings.com

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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 Until January Daniel Boyd: Treasure Island

4A Centre for Contemporary Asian Art

Treasure Island is the artist’s first major exhibition to be held in an Australian public institution. Featuring more than 80 works from across his nearly two-decade career, the exhibition unpacks the ways in which Boyd holds a lens to colonial history, explores multiplicity within narratives and interrogates blackness as a form of First Nations’ resistance.

4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 Richie Htet, Untitled, 2022, inkjet print on matte poster paper, 60 x 80 cm. 1 February—11 March Fighting Fear II: It Goes Without Saying

Rel Pham, Electric Dirge, 2021. 14 January—12 February Rel Pham: Cache Rel Pham: Cache unveils the all seeing eye behind our mundane rituals of logging on and scrolling feeds. Composed of video and installation, Pham brings to light social media and Internet usage in everyday life. The artist corrupts the architecture, sacred sculptures and idols of Cao Dai temples with high-end computer parts, creating a parallel universe of online worship. 20 January—16 February A Pair of Marbled Cone Snails Races to Chinatown for The Special Braised Eggplant Evi O Working with a refined hand and curious eye, Evi O’s colourful abstractions of our natural and urban environment will transform Sydney’s light rail into moving artworks throughout Lunar New Year and beyond. A Pair of Marbled Cone Snails Races to Chinatown for The Special Braised Eggplant celebrates Australia’s unique biodiversity and pays homage to one of Chinatown’s most iconic meals.

16albermarle 16albermarle.com 16 Albermarle Street, Newtown, NSW 2042 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–5pm, or by appointment.

It Goes Without Saying is the follow-up to 16albermarle’s May 2021 fundraising exhibition Fighting Fear: #whatshappeninginmyanmar, in which 11 artists from Myanmar made work responding to the military coup of 1 February 2021, which deposed the elected government, instituted military rule and deprived the people of democracy and freedom. The new exhibition, also a fundraiser, will revisit the ongoing struggle of the people in Myanmar. Coinciding with the second anniversary of the military coup, the exhibition will showcase the varied responses of artists to developments and the current situations in Myanmar now. It Goes Without Saying will examine more deeply what fear means in post-coup Myanmar and how people live with it. The revolution has changed and censorship has returned. But those artists still living in the country—whether in Yangon or safer areas—are finding new ways to work and exist despite the terrible day to day reality of living under a military regime. The exhibition will also explore the experiences of artists who fled the country for their own safety. They now face new and daunting circumstances living as refugees and immigrants, far from home and their families and having to cope with feelings of powerlessness about events in Myanmar.

Art Gallery of New South Wales - Original Building artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late.

Ongoing Elemental and Correspondence Asian Lantern Take a journey through the arts and cultures of Asia, looking at time, place and the natural elements. Displayed over two floors, the Art Gallery’s Asian Lantern galleries present works from the Art Gallery’s collection of Asian art, which stretches from Indonesia to Mongolia, from Japan to Iran. Until 12 February Sol LeWitt: Affinities and Resonances Discover the affinities and resonances between one of the 20th century’s most influential artists, Australian Central Desert painting, and contemporary American and Aboriginal musicians.

Rosemary Laing, brumby mound #6, 2003, Art Gallery of New South Wales © Rosemary Laing. 8 October 2022—19 February From Here for Now Presents works by Australian and international artists from the Gallery’s collection.

Art Gallery of New South Wales - New Building artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information. This once in a generation project is an important transformation of our flagship public institution into a two-building art museum that will almost double the space for the display and enjoyment of art, providing more art for more people.

Maung Day, Lost Children (Thrown in the River), 2022, inkjet print on matte poster paper, 29.7 x 42 cm.

Daniel Boyd, Untitled (PI3), 2013, private collection, Bowral. © Daniel Boyd. Photograph: Jessica Maurer, courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

A new standalone building, public art garden and revitalised historic building will bring together art, architecture and landscape in spectacular new ways, with dynamic galleries, site-specific works by leading Australian and international artists, and extensive outdoor spaces for everyone to enjoy. 151

ar t g ui d e .c o m . au Art Gallery of New South Wales continued... Opens 3 December 2022 Yiribana Gallery The newly relocated Yiribana Gallery is the first gallery that visitors encounter in the Art Gallery of New South Wales’ new building. The inaugural display is inspired by a word from the Aboriginal language of Sydney: burbangana. Meaning to ’take hold of my hand and help me up’, burbangana is akin to an invitation. It is imbued with generosity and care, and emphasises the connections between people.

Dwyer, Mira Gojak, Anish Kapoor, Tom Polo, Angela Tiatia and Cy Twombly.

Artsite Contemporary Australia artsite.com.au 165 Salisbury Road, Camperdown, NSW 2050 [Map 7] 02 8095 9678 Thu to Sun, 11am–5pm.

3 December 2022—mid 2023 The End of Imagination Adrián Villar Rojas In 2020, the Argentine-Peruvian artist Adrián Villar Rojas embarked on a remarkable sculptural experiment, which took place not in a physical studio but in times and places that no human has visited. Developing a new software system dubbed the ‘Time Engine’, he and his team created a series of intensely detailed and constantly evolving worlds, including those above, and placed virtual sculptures within them.

expands printmaking beyond its traditional limits. The work explores the original Hazelhurst cottage, its architecture, its history and the lives of original owners Ben and Hazel Broadhurst.

Art Space on The Concourse willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed, Thu, Sun 11am–5pm Fri and Sat 11am–8pm. See our website for latest information.

Christine Druitt Preston, Revisiting Earlier Days, 2022. Photograph: Document Photography. 14 January—29 January Preview [23] Artsite Contemporary Artists Preview [23] is a collector’s choice exhibition of new work by our artists. This is your opportunity to view new works and preview exhibitions to come.

Mai Nguyen-Long, Warrior Cat and Poo Balls, 2017-2023, unglazed and glazed clay.

Samara Golden, Guts, 2022, installation view, Night Gallery North, Los Angeles © Samara Golden, photo: Nik Massey.

18 January—12 February Inner Edge Drifting Casey Chen, Sai-Wai Foo, Hyun-Hee Lee, Karen Lee, Mylyn Nguyen, Mai NguyenLong, NC Qin, Zoe Wong, Wei Rong Wu and Tym Yee.

3 December 2022—late 2023 Dreamhome: Stories of Art and Shelter From Igshaan Adams in Cape Town to Samara Golden in Los Angeles and John Prince Siddon in Fitzroy Crossing, Western Australia, the artists in Dreamhome: Stories of Art and Shelter reflect on ’home’ from their own richly local perspectives, while also registering shared hopes and anxieties that are felt in many places at this time. 3 December 2022—2024 Outlaw Showcasing historical collection works that reveal how outlaw iconography has evolved over time, this exhibition on lower level 2 of the Art Gallery of New South Wales’ new building assembles an unruly cast of characters. Opened December 2022 Making Worlds Occupying the eastern end of the building, and with vistas over inner-city Woolloomooloo and Sydney Harbour, Making Worlds brings together new acquisitions with existing highlights from the Art Gallery’s collection, including works by Nina Chanel Abney, Atong Atem, Koo Bohnchang, Lubna Chowdhary, Mikala 152

Christine Druitt Preston, Bouquet For Hazel, 2022, hand rubbed lino block print on Wenzhou paper, 120 x 107 cm. Photograph: Silversalt. 4 February—26 February Still As Stilled Life Christine Druitt Preston Christine Druitt Preston predominantly works with printmaking which is often combined with textiles and embroidery. She is interested in the patterns of the domestic - the familiar and the everyday. For this exhibition she presents an ambitious multifaceted installation which

A Willoughby City Council curated group exhibition, Inner Edge Drifting explores the cultural space experienced by people living in Western cultures (and specifically Australia) who have Asian roots. This third cultural space (often referred to within the experiences of Third Culture Kid) is examined through different artistic mediums to provide an understanding of what it means to negotiate multiple traditions, influences and values. What grows out of cultural navigations is unique and expands on, and critiques, the set parameters we have applied to cultural identities. 16 February—5 March Unashamed David Charles Collins, Deborah Kelly, Samuel Luke Beatty, Dylan Mooney, Jeremy Smith and William Yang Curated by Paul McDonald, this group exhibition is part of World Pride 2023, exploring themes of strength, courage,

NEW S OUTH WALES Beyond design as usual provides a professional exhibition opportunity for students completing studies in social innovation, visual communication, photography, product design, and fashion and textiles. Connecting designers, institutions, and curators with students to encourage professional networks. This exhibition is presented in partnership with the School of Design, University of Technology, Sydney (UTS).

David Charles Collins, Watchtower of the Guardians of Earth, 2019-21, laser cut dye sublimation photographic prints on aluminium.

australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. See our website for latest information. 24 January—12 February National Art School Graduate Exhibition 21 February—12 March Julian Twigg 21 February—12 March David Jensz

Australian Design Centre australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Entry by donation.

A follow up to their memorable 2017 show at ADC, Phil Ferguson, aka Chili Philly, brings Object Space to life 24/7 school dance social-style. Working at the nexus of art, craft and social media, they transform everyday objects into covetable crochet creations.

bathurstart.com.au

Ema Shin, Hearts of Absent Women #5, 2022. Photo: Matthew Stanton. 22 November 2022—21 January Hearts of Absent Women

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat and Sun 10am–2pm, public holidays 10am–2pm, Closed Mon. Facebook: facebook.com/ bathurstart or Instagram: @bathurstregionalartgallery

Ema Shins’ soft and fleshy textile sculptures memorialise unnamed women in patriarchal traditions and folk-art histories. Their untold stories are celebrated in this feminine expression of cultural rebellion. 7 February—22 March Unravelling Queerly Unravelling Queerly focuses on artists who use textile and fibrecraft to express their unique voice and unpick complex subject matter. Practices such as weaving, crochet, embroidery, quilting, and sewing have a rich history with LGBTQIA+ artists, makers and designers. These labour-intensive processes enable sharing of personal and cultural narratives and create vibrant inter-cultural, intersectional and intergenerational sites for dialogue on contemporary queerness. Unravelling Queerly champions artists

Tempe Manning, Self-portrait, 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW 2021 © Estate of Tempe Manning. 26 January—26 March Archie 100: A Century of the Archibald Prize

Australian Design Centre is an independent impact organisation connecting people with good design, contemporary making and creative experiences. We produce exhibitions and events in Sydney including city-wide festival Sydney Craft Week, and across Australia through ADC On Tour our national exhibition touring program. Object Shop features outstanding contemporary craft and design by over 100 makers. Until 21 January Beyond design as usual

7 February—22 March Chili Philly: Crochet Social 2023

Bathurst Regional Art Gallery

diversity and ultimately pride in who we are. This exhibition celebrates our LGBTQIA+ communities and invites audiences to consider dignity and resilience in the face of adversity. Including photography, works on paper, multimedia works and textiles, this group of artists examine the shared experience of shame and create a safe space for visitors to engage in a dialogue around acceptance, love and understanding.

Australian Galleries

who embrace, rework and push the boundaries of textile-based art and craft form. Part of ADC’s Sydney WorldPride program, the exhibition will be accompanied by an exhibition in Object Space and Queer Mart: A Darlo Maker’s Market.

Celebrating 100 years of Australia’s most renowned portrait prize. The landmark exhibition Archie 100: A Century of the Archibald Prize explores the prize across its history, revealing fascinating stories behind 100 carefully selected artworks. It uncovers changes in society in engaging ways, enabling people to experience how artistic styles and approaches to portraiture have changed over a century. Chili Philly, Banana, 2016. Photograph by Chili Philly.

BRAG is the only NSW venue besides the Art Gallery of NSW to host this exhibition. 153

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

Blacktown Arts blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm.

violin, viola and cello as they solve a series of fun musical clues in a relaxed and accessible environment. Free for children 5 years and under. Tickets for all other attendees are $5 with proceeds going to Symphony for Life Foundation.

Broken Hill City Art Gallery bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tues to Sun 10am–4pm.

Joanna Cole, Post, (detail), 2021. 10 January—17 February Blacktown City Art Prize

Gregory Carosi, A to B, oil on aluminium, detail, 2022. Courtesy of the artist.

We are thrilled to announce that the Blacktown City Art Prize exhibition will open our 2023 summer program at The Leo Kelly Blacktown Arts Centre. The Blacktown City Art Prize is our much loved, open-themed art prize and exhibition. The exhibition showcases the work of the 72 finalists, a mix of emerging and established artists from across Australia, including a significant number of First Nations and local artists. The works span a range of styles and media including drawing, painting, printmaking, sculpture, ceramics, photo and mixed-media. A number of submissions reflect a growing sense of hope, resilience and positivity. Alongside the Art Prize, we will also be showcasing artworks from the Young Artist Prize. Kids and young people aged 3 to 14 years from Blacktown City were encouraged to create an artwork in response to the theme of Caring for Waterways. Entry is free and all are welcome.

Hypereel Brand. 28 January, 11am–11.45am. Emily Who & Sydney Symphony Orchestra 2023 Back by popular demand, Blacktown Arts in collaboration with Sydney Symphony Orchestra presents Emily Who & Sydney Symphony Orchestra. Join children’s singer Emily Who and world-class musicians of the Sydney Symphony’s string quartet and discover a musical world through an exciting, interactive mystery adventure. Created especially for kids 5 and under, but fun for kids of all ages and their families, little ears will love discovering the sounds of the 154

increase our awareness of both its shared and distinctive qualities.

Ruby Davies, Water as life: the town of Wilcannia and the Darling/Barka, 2007, giclee pure pigment print. Broken Hill City Art Gallery Collection. 8 July 2022—12 February returning to a subject through a lifetime Presenting work from the Broken Hill City Art Gallery Collection in conjunction with loans from artists and material from the Broken Hill City Library’s Outback Archive. The exhibition expands upon artist Hannah Bertram’s installation Temporarily Unavailable, refocusing interest in artistic practice in the Collection. The exhibition negotiates the terms of the archival through the work of artists, historians, and collectives whose outputs emerge from sustained engagement with Broken Hill and the Far West of NSW, its stories, people, and landscapes across many years.

Underpinned by the socio-economic tensions of two communities engaged in the complex transition away from fossil fuel extraction, the exhibition raises questions about 21st century conceptions of environmental progress. Taking its cue from the natural and human landmarks spread across the 500km doglegged road connecting two of Australia’s most interesting regional centres, Latitude offers audiences an immersive study of what it is we can and can’t see as we move from A to B.

Bundanon bundanon.com.au Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 See our website for latest information.

At the centre of the exhibition is a way of working that interrogates the very idea of what a Collection represents, and the systems of value used to acquire, maintain, and conserve objects. Ultimately, the exhibition asks: If the collection is an archive of artistic process in the past, how can the exhibition build an archive for our future? 25 November 2022—12 February Latitude Gregory Carosi Separated by less than two degrees of latitude, Broken Hill and the scientific research village of Arkaroola in the Northern Flinders Ranges are strikingly different in their natural and cultural topography. In documenting the changes that take place in the intervening spaces between them, Latitude’s large-scale combination of painting and sculpture offers audiences insights into the ways in which movement to and from a place can

Kate Scardifield, A weathering, 2022, algae biomass, oyster shell waste, powder coated steel and aluminium, repurposed and repaired fishing nets. Foreground: Susan Jacobs, Gutter Phonics, ceramic, mortar, jesmonite, acrylic, graphite, epoxy, enamel, bronze, brass, gallium, aluminium. Inside, Underground, installation view. Photo: Zan Wimberley. 26 November—12 March Inside, Underground

NEW S OUTH WALES Carolyn Eskdale, Susan Jacobs, Kate Scardifield, Lucy Simpson and Isadora Vaughan. Siteworks 2022: From a deep valley will present a major new exhibition in the Art Museum, titled Inside, underground exploring the concept of interior weather. Responding to the architecture of the Art Museum at Bundanon, five Australian artists will investigate the complex relationship between body and site using repurposed natural materials such as plant and animal matter, beeswax, oyster shells and algae. Raw physical materials will become containers of environmental and sensorial data informed by the artists’ personal encounters with Bundanon, generating new forms of material knowledge that reflect our changing relationship with the natural world.

Casula Powerhouse Arts Centre casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tues to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information. 15 October 2022—8 January Robyn Caughlin From the creation of Miss Australia gowns, to textiles for major hotel fit outs and over 100 art exhibitions, Robyn Caughlan art works have been part of Australian history for decades. This exhibition will give audiences the opportunity to appreciate the significant contributions to painting, design, fashion and public art during the artist’s career and give insight into her personal history. This major survey exhibition spans Robyn Caughlan’s 40 year career. It will feature work from private collections, the artist’s studio, institutions, as well as new work especially created for this exhibition. 15 October 2022—8 January Looking at Gold Blak Douglas, Amy Hammond, Megan Hanson, Ramesh Mario Nithiyendran, Monica Rani Rudhar, Marcia Swaby, Abdullah M.I Syed, Hiromi Tango, Tom Yousif. And a collection of silk batiks from the Utopia Collection Bequest to Tamworth Regional Gallery. 21 January—11 June FLIGHT FLIGHT is a six-month exploration of flight developed in anticipation of the 2026 take-off of the Western Sydney International (Nancy-Bird Walton) Airport and the surrounding Aerotropolis. Across every artform, we will dissect, discuss and deconstruct air travel, aviation, aerodynamics and the freedoms and perils that flight promises. The exhibition is simultaneously celebratory

Amy Perejuan-Capone, The Plane (dreamer), 2019, ceramic engine and parts, aluminium, found objects. Image courtesy of the artist. and critical, excited about the return of flight yet concerned about its ongoing impact on the environment. This will be an opportunity to re-engage with flight in all its forms after this unprecedented break from it and to critically engage with the impact of the airport and surrounding redevelopments.

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

Mian Cheng, Evening examination, 1965, relief print, University Art Collection.. selections from the Powerhouse and the White Rabbit Collection, and from private collections and artists. Until 2 April Australian Seashores This exhibition utilises stunning material from the Chau Chak Wing Museum’s historic photography and natural history collections related to Australian Seashores, a landmark textbook published by three biologists, Professor William J Dakin and Dr Isobel Bennett from The University of Sydney, and Elizabeth Carrington Pope from the Australian Museum.

Located in the heart of the University of Sydney, the Chau Chak Wing Museum was designed to share the University of Sydney’s vast collections with the broader community. The collections began with the Nicholson Collection of antiquities in 1860 and continued to grow to include the Macleay Collections of natural history, ethnography, science and historic photography, and the University Art Collection. Until 29 January D Harding with Kate Harding: Through a lens of visitation Descendants of the Bidjara, Ghungalu and Garingbal peoples, D Harding and Kate Harding’s multi-layered practices are motivated by the cultural inheritances of their family, who originate in the Fitzroy Basin and the Maranoa River headwaters territories in central Queensland. Through a lens of visitation specifically explores the artists’ relationship to Carnarvon Gorge and pays particular homage to matrilineal family figures— engaging and bringing forth their stories. Until 2 April Sentient Paper This exhibition celebrates paper as an ancient enlightening technology, an embodiment of knowledge, a vehicle for political and philosophical ideologies, as well as an artistic medium. Sentient Paper draws upon the art collection of the Chau Chak Wing Museum, with

Lina Hojéva (Ajagi), Dahoru’e (Ömie mountains), 2004, natural pigments on barkcloth, Macleay Collections. 9 January—November Ömie barkcloth: Pathways of nioge An exhibition of dynamic contemporary nioge (barkcloth) made by Ömie artists from the rain-forested highlands of Northern (Oro) Province, Papua New Guinea. These vibrant and stylistically distinct works resonate with the cultural jögore (law), environmental knowledge, and creativity of their makers. This is the first showcase of Ömie nioge, with the Museum housing what is thought to be one of the largest public collections – including some of the earliest commercially collected works.

155

outbackarts.com.au

156

brendacolahanfineart.com

NEW S OUTH WALES

Chalk Horse chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm. See our website for latest information.

Cowra Regional Art Gallery cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 10pm–2pm. Admission Free.

Ron Mcburnie, Giant Rock Cape Hillsborough, 2020, ink and watercolour on paper 93.5 x 123 cm (image). Collection Artspace Mackay.

Aileen Sandy, Colours of the Rocks, 2022, acrylic on canvas, 201 x 196 cm. 27 January–18 February Yinjaa Barni 2023 Rodney Adams, Maudie Jerrold, Aileen Sandy, Melissa Sandy

Cooee Art Gallery cooeeart.com.au 17 Thurlow Street Redfern, NSW 2016 [Map 9] 02 9300 9233 Tue to Sat, 10am–5pm.

Until 5 February Connections: The Artist/Master Printer Basil Hall, Michael Kempson and Ron McBurnie - Exploring the individual and collaborative practice of three Master printers

The Journal of Australian Ceramics (JAC) has, over its sixty years of print publication, presented the history of ceramics in Australia. It has acknowledged the achievements of so many in that time, as well as educating readers on the importance and position of ceramics within Australian art. The exhibition brings together works by twenty-two Australian ceramic artists to celebrate the significant anniversary in the history of the Journal of Australian Ceramics (JAC). SIXTY is an exciting opportunity to experience an exhibition of works by some of Australia’s finest and most awarded ceramic artists who have played a major role in shaping the history and future directions of ceramic arts practice in Australia.

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

Curated by Akky van Ogtrop. The exhibition Connections features the works of three master printers and a selection of works by artists they have been working with over the years. Basil Hall, Michael Kempson and Ron McBurnie are active as artist printmakers and master printers. A Cowra Regional Art Gallery exhibition in collaboration with printmakers Basil Hall, Michael Kempson, Ron McBurnie and Akky van Ogtrop, Independent Curator, Writer and Art Historian. 30 January—4 March Operation Art Every year, schools across New South Wales are invited to participate in Operation Art, an initiative of The Children’s Hospital at Westmead in association with the New South Wales Department of Education. This exhibition project of artworks by children in Kindergarten through to Year 10 contributes to the wellbeing of sick children and their families by creating work which is uplifting and gives hope to those who spend much of their time at hospital. A Gallery Outreach project in collaboration with the Arts Unit, Dept of Education displayed in the Cowra Library.

Birrmuyingathi Maali Netta Loogatha, Rukuthi, 2021, synthetic polymer paint on Belgian linen, 92 x 61.5 cm.

Alison Milyika Carroll, Kungkarangkalpa: Seven Sisters, 2022. Photograph by Ernabella Arts.

19 January—9 February My Country Birrmuyingathi Maali Netta Loogatha

12 February—19 March SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022

Paula Hyland, Dulcie and Lucy at Interval, 1993, wool sewings on hessian, 84 x 71 cm. 4 February—4 March Drags’R’Us - Drag stars & personalities of 1990s Melbourne Paula Hyland (& Roger Hyland)

Bill Morley, Untitled, circa 1976, mixed media on paper, 31 x 25 cm. 157

Bianca Pintan

Dec - Jan Group Show Steven Alderton, Jai Vasicek, Minka Gillian, Bianca Pintan, Sue Meyer, Sarah Waghorn, Laura Jankelson, Martine Emdur, Judith Nangala-Crispin, Fiona Lowry, Tan Arlidge, Jermey Eden, Melanie Vugich, Dion Horstmans, Matt Palmer and more. 0415 152 026

hello@twentytwentysix.gallery twentytwentysix.gallery

17 O'Brien Street Bondi Beach NSW 2026

NEW S OUTH WALES Darren Knight Gallery continued... 4 February—4 March Being Boring - More Dead Gay Artists Phillip Jacobs (1958-2018), Philip Juster (1952-2004), David McDiarmid (1952-1995), Bill Morley (1949-2007), Jasper Havoc (1952-1979). Curated by Robert Lake.

Defiance Gallery defiancegallery.com 12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann. Wed to Sat 10am–5pm.

12 November 2022—1 April We Eat This Bread Marikit Santiago Marikit Santiago’s new exhibition, We Eat This Bread is an exploration of The Last Supper, extending the story to consider the rituals, traditions and structures that shape the artist’s cultural and social identities. This is the artist’s first solo exhibition in western Sydney.

Gallery Lane Cove 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.

Flinders Street Gallery flindersstreetgallery.com 61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment. See our website for latest information.

Anne Kearney, Untitled, 2022, mixed media. Image courtesy of the artist. 1 February—25 February Reclaiming Beauty Anne Kearney Tim Allen, Riverbend, 2022, oil on linen, 136 x 183 cm. 4 February—25 February Defiance 2023 Showcasing new works. Opening Saturday 11 February, 3pm–5pm.

Fairfield City Museum & Gallery

Daniel McDonald, Golden Journey, acrylic on canvas, 92 x 102 cm.

fcmg.nsw.gov.au 634 The Horsley Drive, Smithfield, NSW 2164 02 9725 0190 Mon to Fri 10am–4pm, Sat 10am–3pm.

Brian Dawson, Three Gourds, 2022, carved 80 year old Oregon ( Douglas fir), 520 x 150, 430 x 125 and 300 x 140mm. Image courtesy of the artist. 1 February—25 February A Journey in Wood Brian Dawson 1 February—25 February Makeshift Arrangements Helen Morgan

Gallery76 embroiderersguildnsw.org.au/ Gallery76 Daniel McDonald, Destiny, acrylic on canvas, 167 x 122 cm. 15 February—4 March Nexus Daniel McDonald Marikit Santiago, A Seat at the Table (Magulang), 2022. Photograph: Garry Trinh.

Opening Saturday 11 February, 4pm–6pm.

76 Queen Street, Concord West, 2138, NSW 02 9743 2501 Mon to Fri 9am – 4pm Sat to Sun 10am – 2pm. 2 December 2022–23 January Student Showcase Embroiderers’ Guild NSW 159

ar t g ui d e .c o m . au Gallery76 continued...

Carolyn’s home is nestled in the bush in the Blue Mountains, and she uses the surrounding flora and fauna to inspire and inform her creative practice. 27 January–26 February Weathering a Life Barbara Dawson Barbara Dawson explores her connection to place and the environment, and her interpretation of erosion and disintegration. Her textiles, drawings and collograph prints use a limited colour palette, exploring tonal changes, which allows her to embrace the concept of time and timelessness. Barbara’s artwork combines the visuals and stories of place and memory. She does not wish to reproduce the landscape itself, but what she feels and experiences, aiming to provide the viewer with an artwork they can lose themselves in and discover their own sense of quietness and stillness.

Anna Hughes, Coral reef. The Embroiderers’ Guild NSW is a non-profit membership body for anyone and everyone who loves to stitch or would like to learn. Teaching is core to its mission, and it delivers a comprehensive offering. This showcase of student work includes beginners through to those who have been stitching for many years, but all display creativity, skill and a willingness to learn something new. Featuring both traditional and contemporary styles, audiences will be astonished at the quality and innovation on show.

Glasshouse Port Macquarie 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.

and paper weaving, to charcoal, ink and watercolour – the exhibition demonstrates the remarkable vitality and scope of contemporary Australian drawing. William Dobell’s love of drawing was recognised in 1993 when the Sir William Dobell Art Foundation (SWDAF) initiated a drawing prize in his name at the Art Gallery of New South Wales. For twenty years, the annual Dobell Prize for Drawing encouraged excellence in drawing and draughtsmanship among Australian artists. Past winners include Kevin Connor, David Fairbairn, Virginia Grayson, Nicholas Harding, Ann Pollak, Gareth Sansom, Jan Senbergs, Garry Shead and Aida Tomescu. Building on the legacy of this respected award, the National Art School partnered with the SWDAF in 2019 to produce the biennial Dobell Drawing Prize. This new competition preserves an important attribute of the original prize, by not stipulating what a drawing is in the terms and conditions of entry. This allows definitions of drawing to shift and evolve with each exhibition, depending on the entries of the artists and the perspectives of the judges. The Dobell Drawing Prize #22 – the 22nd exhibition in the Prize’s storied history – continues this tradition of fostering conversations around the changing role of drawing within contemporary art practice. The winner of the Dobell Drawing Prize is awarded $30,000 and their work becomes part of the National Art School Collection.

Branching Out Designs, Woven Landscapes. 27 January–27 February Woven Landscapes Branching Out Designs Landscapes can be great or small. From the big expansive views at the top of a mountain, to the lines, cracks and discolouration of a fallen leaf. Inspiration often comes from stopping and taking in those landscapes, by paying attention to the details – maybe the colours, textures and shapes, or perhaps plants and vines that blend into the background. The woven forms in this exhibition are an attempt to interpret existing landscapes, to imagine new ones and to contemplate our place within them. Branching Out is a collaboration between sisters Jillian Culey and Carolyn Dance, and is devoted to handmade, sustainable and fair-trade creations. Jillian works predominantly with locally harvested fibres. She explores and experiments with traditional basketry techniques including twining, string making and ribbed work. 160

10 December 2022—29 January Regional Creative Showcase 2022

Julian Martin, Not titled, 2019, pastel on paper, 56 x 36 cm. Image courtesy the artist and Arts Project Australia © the artist. 5 November 2022—22 January Dobell Drawing Prize #22 The Dobell Drawing Prize is an unparalleled celebration of drawing technique and innovation. This National Art School touring exhibition showcases 43 of the 64 finalists from the 2021 Prize and includes Euan Macleod’s winning work, chosen by guest judge and acclaimed artist Lucy Culliton. Presenting a range of material approaches – from animation, collage

Celebrating the diversity and vibrancy of local talent within our art, design and creative industries from a selection of our senior high school and TAFE Creative Industry students. This wonderful exhibition will include a broad range of approaches and expressive forms inclusive of Cultural Arts, Design, Digital, Fashion, Textiles and Visual arts. The Regional Creative Showcase 2022 Showcase is a joint initiative of Port Macquarie Hasting Council’s Glasshouse Regional Gallery and Cultural Development. Supporting regional arts in our community. 28 January—23 April Sydney Printmakers Exhibition: Origin: The place where something begins This major printmaking exhibition by Sydney Printmakers presents diverse interpretations of the meaning of ‘origin’.

NEW S OUTH WALES Over 40 artists, including some of Australia’s leading printmakers, creatively explore the theme through various printbased media.

Underscoring the Commons is a project by James Hazel, who uses sound to explore the idea of the shared ‘commons’ - the relationship between communities and the social/physical environments that are integral for sustaining lives and livelihoods. Through each iteration of Underscoring the Commons, Hazel works with communities to construct a musical-score of the geographic and social ecologies of sites with complex working-class histories.

Sydney Printmakers’ portfolios are held in the Art Gallery of New South Wales and the National Gallery of Australia. They have exhibited extensively throughout Australia and internationally including New Zealand, Canada, China, Chile, Norway and Japan.

Goulburn Regional Art Gallery goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm.

Gemma Smith, Thrown Open, 2022, oil on linen. Courtesy the artist and Sarah Cottier Gallery. Photograph: Silversalt Photography. Until 21 January Bright Emma Beer, Vivienne Binns, Yvette Coppersmith, Lara Merrett, Gemma Smith, Esther Stewart, Margaret Worth. Bright brings together a group of Australian artists exploring colour and abstraction in their practice. Taking inspiration from diverse sources including architecture, dance, design, nature and music, these artists’ works are bold and teeming with energy. The exhibition spans a range of forms, scale and materials, celebrating artists who challenge assumptions and expand possibilities.

Julian Meagher, The Green Ray - 1, 2022, oil on linen. Image courtesy of the artist and Yavuz Gallery. Photograph: Mark Pokorny. family holidays to Crookwell, NSW, Meagher presents a new body of work imbued with personal histories, nostalgia, reflecting on the passage of time and the natural environment. Meagher’s exhibition fea tures large scale paintings and a new light installation to create an immersive and changing viewing experience. Continuing Meagher’s sustained interest in atmospheric optical phenomena, the exhibition references a light effect some times visible on an unobstructed distant horizon at sunset and sunrise, the ‘green ray’. It appears in tandem with a mirage, and though it exists, it is so uncommon it retains a mythical status. The Green Ray plays with hyper-romantic links between nature and feeling, and the blurred lines between what is real and unreal. What seems fleeting can instead be something enduring, revealed to us in glimpses.

In the creation of UTC: 33.4267° S, 151.3417° E (the coordinates of Gosford), Hazel will conduct recordings of soundscapes, community music ensembles, and interviews with residents. This ever-expanding, living, and breathing archive will form a listening experience available on looped broadcast in Gosford Regional Gallery, where Hazel will invite community input through QR codes, to be woven into the tapestry of the score. James Hazel is an artist, writer, and researcher who works across video, text and extended score practices. Raised in Gosford and now based in Sydney, Hazel uses sound, and (re)performance to prompt us to explore what it means to live, love, and listen through socio-economic precarity. This exhibition has been produced with the support of Gosford Regional Gallery 2022. 5 November 2022—29 January Lionel’s Place: Lionel Lindsay from the Maitland Regional Art Gallery Collection

Gosford Regional Gallery centralcoast.nsw.gov.au 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Find us on Instagram: @gosfordgallery Mon to Sun 9.30am–4pm. Admission free.

Featuring pioneering and contemporary artists, with newly created pieces presented alongside key existing works, Bright shows the ongoing relevance of abstraction as a visual language. At different moments, the exhibition exudes a sense of discovery, contemplation and optimism, engaging viewers in works which express the breadth of colour, line and movement. 3 February–18 March The Green Ray Julian Meagher

James Hazel, video stills from Scoring the Commons, 2022. Images courtesy of the artist.

The Green Ray is a return to Julian Meagher’s earliest subject matter of land and sky. Drawing on memories of treasured

5 November—29 January Underscoring the Commons James Hazel

Katerina Apale, Flamenco Dancer and a Whale, 2022, oil on canvas 153 x 122 cm. Image courtesy of the artist. 17 December 2022—27 February Present Memories Katerina Apale Relocating to Australia in 2014 from Europe, Katerina Apale shares her awe of her unique Australian coastal surrounds through vibrant paintings. Her artwork intwines lived experience, bringing memory and the present into a twodimensional fold. Carrying with her the importance of being in the ‘here and now’, while still recognising there is always a part of ourselves which is our unescapable personal histories.

161

hawkesbury.nsw.gov.au

McLean Edwards, “Family Gathering”, Oil on Canvas, 120 x 120 cm.

Fellia Melas Gallery Summer Exhibition Works by: McLean Edwards, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, B. Whiteley, M. Woodward, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, V. Rubin, P. Griffith, R. Harvey, T. Irving, S. Paxton, S. West, M. Winch, M. Worrall, S. Buchan, M. Perceval, and many others.

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

162

fmelasgallery.com.au

NEW S OUTH WALES

Grace Cossington Smith Gallery 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.

Thenjiwe Niki Nkosi, Suspension, 2000, digital video, sound, 6 min 45 sec. Sydney Olympics in the year 2000. The diverse range of artists mine the influences and drives of sport such as competition, movement and pushing one’s body to its limits to explore why sport is so revered and debated.

Prue Venables, White Spoon & Red Handle with Black Bowl, 2019. Image: Terence Bogue Prue Venables and Profile Contemporary Jewellery and Object Award.

Hawkesbury Regional Gallery hawkesbury.nsw.gov.au/gallery Deerubbin Centre (Top Floor), 300 George Street, Windsor, NSW 2756 [Map 11] Mon, Wed, Fri 10am–4pm, Sat and Sunday 10am–3pm. Closed on Tue and public holidays. See our website for latest information.

Kyra Gilfillan, Woolooware High School, Immersion and Fragmentation, (detail), 2019. Nadia Hernández, Dulce de lechoza verde (procedimiento) / Green papaya sweet (procedure), 2021, cotton, linen, and corduroy on linen textile, 145 x 100 cm. Courtesy the artist and Station. 28 January—25 February Winners Grace Cossington Smith biennial art award

11 February—10 April ARTEXPRESS

Aunty Edna Watson, Yellamundi, 2010, acrylic on canvas.

Nadia Hernández acquisitive award; David Collins Local artists award; and Alice Wormald early career artist. Winners selected by Katrina Cashman, Gallery Manager & Senior Curator at the National Art School and Oliver Watts, Senior Curator of Artbank, Sydney and artist.

29 October 2022—5 February Dyarubbin Edna Watson, Jasmine Seymour, Leanne Watson, Erin Wilkins, Rhiannon Wright, Lyra Walsh, Blak Douglas, Jason Wing, Joy Lai, Leanne Tobin, Maddison Gibbs, Oognah Sherrard, Brewongle Environmental Education Centre and Marina Grasso.

Granville Centre Art Gallery

Hazelhurst Arts Centre

cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–4pm Sat 11am–3pm. See our website for latest information. 7 February—6 May CHAMP CHAMP is a group exhibition that takes inspiration from Cumberland City Council Local Government Area’s history with the

hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–4pm. Free admission. 26 November 2022—29 January Australian Design Centre at Hazelhurst Celebrate design at Hazelhurst with three leading Australian Design Centre exhibitions; Made / Worn Contemporary Australian Jewellery, Living Treasures: Masters of Australian Craft,

Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of expressive forms, pushing aesthetic, thematic and formal boundaries. ARTEXPRESS is a collaboration between NSW Department of Education and NSW Education Standards Authority, curated and presented by Hazelhurst. As part of the HSC Showcase season, this exhibition includes artwork by some of New South Wales most talented young artists.

Hurstville Museum & Gallery georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Sat 10am—4pm, Sun 2pm—5pm. See our website for latest information. 29 October 2022–29 January Guraban–Where the Saltwater meets the Freshwater Combining historical objects, documents and photographs sourced from public and private collections along with the 163

KEN DONE

Striped reef II, 2022, oil and acrylic on linen, 138 x 122cm.

1 Hickson Road, The Rocks, Sydney, tel 8274 4599, www.kendone.com

kendone.com

NEW S OUTH WALES Hurstville Museum continued...

selves; their connections as women, and creatives. Informed by their place in the continuum of contemporary studio practice, these artists consider varied notions of spatial awareness, illuminating the need for connection to our environment and to one another.

Dennis Golding, Remnants, (detail), 2022, epoxy resin, concrete, dye, acrylic. Collection of the artist. Photograph: Silversalt. work of leading First Nations visual artists, Dennis Golding, Nicole Monks & Jenine Boeree, Djon Mundine, Marilyn Russell and Jason Wing, the exhibition explores the continuous associations between First Nations communities and the Georges River, highlighting multiple perspectives on significant historical and contemporary connections to the river, its people and places. The exhibition has been developed in collaboration with local First Nations groups, individuals, First Nations visual artists, and the Gujaga Foundation. The commissioned artworks have been made possible through funding from Create NSW.

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

The Ken Done Gallery kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm.

Gaia Starace, Blue Clouds, 2022, oil on canvas. 8 February—26 February Forever Clouds Gaia Starace From celestial realms to mere weather conditions, clouds are seen as untouchable, always impermanent, floating between the sky and the earth in a perpetual state of stillness and movement. Forever Clouds is a visually captivating solo exhibition by Gaia Starace. Featuring a site-specific installation, paintings and sculptures, the exhibition teases our perception of reality and invites one’s unique interpretation of the timeless and unbounded formations of clouds.

The Japan Foundation Gallery jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

Jacqueline McBeath, Each a Goddess, 2022, porcelain and slate.

marriage between different species, and a princess dreaming in a secluded tower. The fairy tale, a genre of narrative that has long told stories about nonhuman beings and nonliving things as agents, can give us clues to imagining a more-than-human world that transforms the way people perceive and experience life. Curated by Emily Wakeling and Mayako Murai, Storymakers features works across a variety of media, including drawings, animation, sculpture and performance art.

Ken Done, Orange fish reef, 2022, oil and acrylic on linen, 82 x 102 cm. 15 December 2022–15 February Ken Done: Recent Work

King Street Gallery on William kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm.

Fuyuhiko Takata, film still from Dream Catcher, 2018. Image courtesy of the artist.

18 January—5 February Interstices – navigating space and interspace Riti Malik, Jacqueline McBeath and Gomathi Suresh

29 July 2022—28 January Storymakers in Contemporary Japanese Art Masahiro Hasunuma, Yūichi Higashionna, Tomoko Kōnoike, Maki Ohkojima, and Fuyuhiko Takata.

Through the materiality of clay, this group of artists investigate their connection to the environment and the spaces they live in; their relationship with their bodies, and how that is connected to their inner

Storymakers presents a selection of works by contemporary Japanese artists evoking images from traditional tales of wonder across cultures; including a journey through the enchanted forest,

Martin King, gone astray, BANG BANG, 2022, graphite, watercolour, pigment, gouache on drafting film and paper, 108 x 86 cm. 165

IN MEMORIAM Suzanne Bellamy (1948 – 2022) Prints, ceramic sculpture, and mixedmedia works from her studio ALL WORKS EXHIBITED FOR SALE

Showing exclusively in

fYREGALLERY

3 Feb - 13 Feb 2023 www.fyregallery.com 84 Wallace St Braidwood NSW 2022 m. 0429666619 fyregallery.com

166

artvango.com.au

NEW S OUTH WALES King Street Gallery continued... 14 February—11 March diary of lost souls Martin King Martin King’s infatuation with birds began as a child, when the artist spent hours birdwatching with his mother. This enduring relationship has inspired the artist to follow the subject into diary of lost souls, showing at King Street Gallery on William. The body of work commemorates Australian birdlife- the species that remain as well as those which have been forgotten. King’s use of material juxtaposes rapidly disappearing objects such as stamps and books against Australia’s vanishing wildlife. Through this, King creates an enduring union between the two that will stand the test of time.

Korean Cultural Centre Australia koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. See our website for latest information.

Christine Druitt-Preston, Fiona Edmonds-Dobrijevich, Dongwang Fan, Louise Fowler-Smith, Mandy Fu, Robert Gear, Craig Handley, Liz Harriott, Garth Henderson, Peta Hinton, Lixin (Adam) Hu, Danyi Hu, James Jones, Natasha Junmanee, Fruzsi Kenez, Phoebe Kim, Jolon Larter, Anne Leisner, Josefia Lemon, Dapeng Liu, Sue Lovegrove, Dennis McCart, Regina McCarthy Bamagaya, Neil McClure, Matilda Michell, Paul Miller, Haerim Moon, Guy Morgan, Deb Mostert, Penelope Oates, Susan O’Doherty, Ijlal Olguner, Justin Pearson, Kim Percy, Charmaine Pwerle, Candice ReidLatimer, Colin Rhodes, Marta Romer, Sandra Routh, Tracey Schramm, Kean Onn See, Jaedon Shin, Patrick Shirvington, Vipoo Srivilasa, Dore Stockhausen, Susanna Strati, Andrew Sullivan, Robyn Sweaney, Lisa Taylor, Rebecca Trajkovski, Agus Wijaya.

Lavendar Bay Society royalart.com.au 25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays. See our website for latest information.

Alex Seton, Tallboy / Droplet Chandelier 2022, soda glass, brass and steel. 3 December 2022—5 February Everything Was Beautiful, and Nothing Hurt Alex Seton

Sara Morawetz, Measure Twice, Cut Once. 10 February—26 March Measure Twice, Cut Once Sara Morawetz

Lyn Burns. 3 February—5 March Drawing Exhibition 3 January—31 March RAS Art School Winner, Sonia Martignon, The Charred Mosaic of an Ancient Landscape, acrylic and pyrography on hand-cut plywood, 105 x 81 cm. Image courtesy of the artist. 25 November 2022—27 January Finalists’ show of KAAF Art Prize 2022 The Korean Cultural Centre Australia (KCC) presents the finalists’ show of the Korea-Australia Arts Foundation (KAAF) Art Prize in its gallery for two months as the exhibition and venue partner. Winners: Sonia Martignon (1st Prize), Helen Earl and Lizzie Hall (Highly Commended), Matt Bromhead and Steve Song (Judges’ Commendation). Finalists: Rebecca Agnew, Suzanne Alexander, Andrew Antoniou, Carol Barroso, Yvonne Boag, Elise Cakebread, Melanie Caple, Wei Bin Chen, David Collins, Paul Connor, Charles Cooper, Tony Costa,

Day evening and week-end classes, plein air, pastel, watercolour, acrylics, oils, portraiture, workshops, landscape.

The Lock-Up 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. 3 December 2022—5 February Double Rainbow Michelle Gearin

Macquarie University Art Gallery artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Gallery closed until 29 January. Group bookings must be made in advance. See our website for latest information. 30 January–24 February The Art of Giving Established in 1967, the Macquarie University Art Collection has grown in alignment with the University, achieved primarily through the ongoing generosity of our supportive donors. The collection adorns the entire campus inclusive of the library, the faculties, the hospital, the clinics, and the administration buildings, where staff, students and visitors collectively encounter art as part of the everyday life of Macquarie’s expansive campus. 167

CHRISTINE DRUITT PRESTON

STILL A STILLED LIFE 05 FEB - 26 MAR www.artsite.com.au

“A stilled life immediately draws you in. The patterned black and white ﬂoor covering has a mesmerising effect, calling for you to walk onto it, and into the world of Christine Druitt Preston.” - Bridget Macleod

artsite.com.au

NEW S OUTH WALES Macquarie University Art Gallery continued...

celebrate their intrinsic beauty. Materials for these thirty ‘wearable’ artworks have been gleaned from a diverse range of sources – from aircraft headsets to coffee capsules. Detritus from nature has also been salvaged to be re-born as a fashion statement. 9 December 2022—25 February Manly by Ferry: Treasures from the Vault Back by popular demand, this collection exhibition celebrates a quintessential Sydney icon and reveals insights into its evolution across the decades. Immortalised in art, music and literature, the Manly ferry is embedded into the cultural fabric of Sydney and has long evoked all kinds of emotions and imagery.

Joanna Braithwaite, Port of Call, 2011, oil on canvas. Donated through the Australian Government’s Cultural Gifts Program by Joanna Braithwaite, 2021 Macquarie University Art Collection Photograph by Effy Alexakis, Photowrite Courtesy of the artist and Martin Browne Contemporary, Sydney. The paintings and sculptures add robust vitality, freshness and bursts of colour to the physical environment of the campus − its visual presence is certainly much felt, discussed and enjoyed. The Art of Giving celebrates the artists and donors that make this all happen.

Manly Art Gallery & Museum

Maitland Regional Art Gallery mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm. Free entry, donations always welcomed. See our website for latest information.

December 2022—February Escapade Tinky 3 December 2022—19 February Harbingers: Loie, Artemisia, Pixie, Sarah and Lilith Hannah Gartside 10 December 2022—12 March Monster Mash Kate Rohde 10 December 2022—12 March A Little Potluck Party Pai Ti Kong with the Ghosts (Double-Happiness) Jayanto Damanik Tan 10 December 2022—12 March Protection Jane Lander

Martin Browne Contemporary 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.

26 November 2022—19 February Many Hands Make Life Work – Deborah Kelly and the moving image 2011 - 2021 Deborah Kelly

magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. Zak Tilley, Lara Beinta through Mpulungkinya, Palm Valley, 2022, acrylic on canvas, 136.5 x 198 cm.

Abdullah M. I. Syed, Forbidden Fruits, 2012-18. Photo by Mahmood Ahmed Ali.

Deborah Kelly, The Gods of Tiny Things, [still], two-channel digital animation, colour, sound. 12 November 2022—5 March A Rare Sensibility Valerie Marshall Strong Olsen

3 January—28 January Summer group Show

9 December 2022—25 February Fair Play: sport as motif & metaphor An exhibition of artists working in multi-disciplinary and experimental art practices who use sport as motifs and metaphor to inspire the viewer to reflect on issues that confront contemporary society such as post-colonialism, environmentalism, belonging, masculinity and mental health. Includes artists working across painting, video, printmaking, ceramics, installation, and performance; Billy Bain, Amber Boardman, Michael Garbutt + & Sehar Naz Janani, Rew Hanks, Lyndal Irons, Kellie O’Dempsey, Ben Rak, Abdullah M.I. Syed.

Freddie Timms, Sally Bight, 2008, natural pigments and acrylic binder on Belgian linen, 122 x 135 cm.

9 December 2022—25 February Ruth Downes: Barely Wearable

Ileigh Hellier, Mirrored Lagoon, 2021, oil on archival card.

This body of work is a continuation of Ruth Downes’ passion for reappropriating everyday materials and objects to

3 December 2022—26 February Yellow Sun, Blue Gum Ileigh Hellier

2 February—25 February The Estate of Freddie Timms Freddie Timms 2 February—25 February Joanna Braithwaite

169

ar t g ui d e .c o m . au 18 November 2022—29 January Five Ways to Say I’m Home Gillian Kayrooz

Mosman Art Gallery mosmanartgallery.org.au

In a new body of photo-media work, Sydney based artist Gillian Kayrooz explores the ways in which migration has influenced the streetscape and local architecture in Albury. Five Ways to Say I’m Home captures the important role that local grocery stores play in the community. The small family-owned businesses highlighted in this exhibition offer a vast selection of ingredients for home cooked meals, provide employment opportunities, foster a sense of community and encourage moments for cultural exchange. Composed of archival footage and newly generated photography, Five Ways to Say I’m Home compares the diverse ways in which migration is reflected on the streets of Albury alongside images of the artist’s home neighbourhood in Western Sydney.

1 Art Gallery Way, Mosman 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, closed public holidays.

Ernest Edmonds, Shaping Space, 2012, Installation: two computers, data projectors, Perspex screens and cameras. Courtesy of the artist. 5 January—5 March Colour in the Code Ernest Edmonds

Nicole Foreshew, Remains, 2015, clay and iron oxide. Murray Art Museum Albury collection. Nicole Foreshew, titled Remain. The idea of connection to land and impacts on the land and its people are expanded on in the work of First Nation artists Michael Riley, Karla Dickens, Kevin Gilbert, Treahna Hamm and Hayley Millar Baker. 24 September 2022—31 June Chromakinda Mikayla Dwyer

Esther Rolinson, Revolve, 2017-2020, Galvanised steel mesh and bespoke programmed lighting system. Image courtesy of the artist. 5 January—5 March Prisms of Influence: Echoes from the Colour in the Code Stephen Bell, Andrew Bluff, David Clarkson, Sean Clark, Brigid Costello, Pip Greasley, Andrew Johnston, Mike Leggett, Jennifer Seevnik, Stephen Scrivener, Esther Rolinson and Susan Tebby.

Murray Art Museum Albury (MAMA) 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. 12 August 2022—5 March What Remains What Remains draws together the works of fourteen artists within the Murray Art Museum Albury Collection, including six works recently acquired by the Museum. Central to the exhibition is a series of abstract sculptures by Wiradjuri artist 170

Chromakinda by Mikala Dwyer is the first installation commissioned for the Museum’s new Kids Gallery. This new permanent space is dedicated to imagination and play through contemporary art. 28 October 2022—19 February Bound Thread practices weave through cultures and generations, a creative process providing both opportunities for social connection, and individual expression. From functional objects to aesthetic works to social projects to more political practices—Bound brings together local and international artists together with members of our local community to present new commissions, contemporary artworks, and a range of public programs that will feature throughout our Summer exhibition program.

Museum of Contemporary Art Australia mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays. See our website for latest information. We celebrate the work of living artists, bringing exceptional exhibitions of international and Australian art to as many people as possible – welcoming over a million visitors each year – in the belief that art is for everyone. Ongoing MCA Collection: Perspectives on place Bringing together artworks that explore the social and physical aspects of place. It has been imagined as an expanded map, which weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

21 October 2022—19 February Minor truths Spence Messih In a major new commission, artist Spence Messih presents Minor truths, an installation of glassworks, sound and text work in the Museum’s atrium. This new work incorporates experimental kiln formed glass panels set in jarrah armatures, set against an audio composition sourced from recordings involving shells, and printed copies of a text written by Hil Malatino. The installation extends the artists’ research into abstraction as a tactic to both reveal and conceal, considering the possibly of opacity and recognition – specifically of oneself and others.

Katie West at Cossack, 2022. Image courtesy of the artist and FORM. © The artist. Photograph: Peacock Visuals. 4 November 2022—12 February Primavera 2022: Young Australian Artists Sundari Carmody (SA), Angela Goh (NSW), Julia Gutman (NSW), Amrita Hepi (VIC), Jazz Money (NSW) and Katie West (WA). The MCA’s annual exhibition showcasing the work of Australian artists aged

NEW S OUTH WALES

National Art School Gallery → Amos Gebhardt, Family Portrait, 2020. 35 years and under. In its 31st year, Primavera 2022: Young Australian Artists is delivered by guest curator Micheal Do, drawing upon mediums from choreography to moving image to refocus our attention on the here and now.

Muswellbrook Regional Arts Centre artgallery.muswellbrook.nsw.gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. See our website for latest information.

sense of summer romanticism within the gallery space. Including works by Brett Whiteley, James Clifford and Richard Larter, experience the hazy summer days and hot restless nights encapsulated in this diverse exhibition.

7 January—18 February GROUNDSWELL: recent movements within art and territory

Do Ho Suh, Staircase-III, 2010, installation view, Museum Voorlinden, Wassenaar, 2019, polyester fabric, stainless steel. Tate: Purchased with funds provided by the Asia Pacific Acquisitions Committee 2011. Image courtesy of the artist, Museum Voorlinden, Wassenaar, Lehmann Maupin, New York, Hong Kong, Seoul and London. © Do Ho Suh. Photograph: Antoine van Kaam. 4 November 2022—26 February Do Ho Suh South Korean artist Do Ho Suh is known for his large-scale sculptures and architectural installations, which address the complex relationships between the body, memory and space. Presented as part of the 2022/2023 Sydney International Art Series, Do Ho Suh is the artist’s first solo exhibition in the Southern Hemisphere. Exclusive to Sydney.

A groundswell is defined in two ways. Geographically speaking, it represents a natural phenomenon: ‘a broad and deep undulation in the water caused by an often distant gale or seismic disturbance’. It can also refer to a mass movement of humanity – what occurs when people come together and flex their power as a collective, creating a groundswell of support. Whether in the natural world or within society, a groundswell arises through an undeniable force of accelerated accumulation. Stirred by minor shifts in terrain, it expands to become something momentous. GROUNDSWELL: recent movements within art and territory makes the claim that one such collective moment is upon us now. 7 January—29 April Summer Fling: works from the Collections Drawing from both the Max Watters and Muswellbrook Shire Art Collections, Summer Fling presents paintings, sculpture and photography which evoke a

Samantha Haničar, Infrastructure No.1, 2022, concrete, steel, enamel & road line-marking paint, 42 x 25 x 10 cm. Right: Janice Haničar, Anchored, 2022, concrete & steel 25 x 33 x 8 cm. 31 October 2022—18 February Formwork: Janice Haničar and Samantha Haničar Artworks about motherhood or portraits of the artist’s mother or daughter are common, yet finding examples of two-person exhibitions of mother and daughter artists is surprisingly difficult. Formwork is a duo exhibition by just such a pair. Individually, the works are fascinating and hold their own, yet together, it becomes a conversation between two artists who share the most defining relationship of people’s lives. 171

ar t g ui d e .c o m . au Muswellbrook Regional Arts Centre continued...

Curated by Richard Perram OAM. Braving time is a queer exhibition that celebrates the work of artists who identify as part of the Australian LGBTIQA+ community. This significant exhibition has been curated by Richard Perram OAM for the National Art School in celebration of Sydney WorldPride in 2023. The artists represented in the exhibition celebrate the diverse voices of LGBTIQA+ people in contemporary Australia society, reflecting the breath of genders and sexualities within the community, including artists who identify as lesbian, gay, transgender, inter-sex, asexual and non-binary.

New England Regional Art Museum neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun 10am–4pm.

3 February–5 March Fulgora Tarik Ahlip, Claudia Nicholson, Jimmy Nuttall, Ainslie Templeton, and VT Curated by EO Gill.

Charles Blandford, Warlord, c. 1985, acrylic on hardboard, 114 x 88 cm. Muswellbrook Shire Art Collection, Donated by Brad Franks 2022. 31 October 2022—18 February Manooka Park Halls As Director of the Muswellbrook Regional Arts Centre, Brad Franks was known as a great advocate of arts and culture in the Upper Hunter Region, often also personally supporting artists directly through patronage. His continued support comes in the form of a donation to the Muswellbrook Shire Art Collection, with thirty-seven works taken from the walls of Franks’s former long-time home in the Upper Hunter Region – Manooka Park. These works have been selected by Franks for their connection to Muswellbrook and the surrounding regions. The resulting exhibition, Manooka Park Halls, across paintings, prints, drawings and sculpture, provides a unique snapshot of the local arts community.

National Art School Gallery

Fulgora presents a suite of commissioned video works by 5 Australian-based artists that are punctuated by a selection of films programmed in collaboration with LA-based collective Dirty Looks Inc. The exhibition speaks to luxuriant video practices that disrupt conventional acts of looking and force us to ask where our pleasure begins.

Nanda\Hobbs nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 Nanda\Hobbs is a leading commercial art gallery committed to identifying and fostering the careers of some of Australia’s finest artists across a variety of genres and mediums. With over 30 represented artists the gallery runs a dynamic exhibition programme alongside educational collector events, artists talks and tours.

Forbes Street, Darlinghurst, NSW 2010 02 9339 8686 Mon to Sat 11am–5pm. Free admission..

172

18 November 2022—29 January Conditions James Rogers James Rogers’ sculptures engage with the rhythms and building blocks of life, reflecting on gravity, on organic structure, on movement and pattern. He leads us to experience the reciprocal relationships between parts and wholes, with forms which are crafted from sturdy materials but seem captured in their natural, active state. 18 November 2022—29 January Just Not Australian Various Artists Just Not Australian brings together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. Just Not Australian interrogates what it means to be Australian at this challenging point in time. 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.

www.nas.edu.au

3 February–18 March Braving Time: Contemporary Art in Queer Australia. Tony Albert, Brook Andrew, Liam Benson, Vivienne Binns, Leigh Bowery, Gary Carsley, Michelle Collocott, Peter Cooley, Christine Dean, Karla Dickens, Todd Fuller, Amos Gebhardt, Tina Havelock Stevens, Brenton Heath-Kerr, Kate Just, Deborah Kelly, Clinton Naina, Nell, Claudia Nicholson, Ramesh Mario Nithiyendran, Emily Parsons-Lord, Salote Tawale, Renjie Teoh, Athena Thebus, Dr Christian Thompson AO, Matthew van Roden and William Yang.

James Rogers, Daybreak, 2021, waxed steel. Courtesy of the artist.

18 November 2022—29 January From Whence We Came Debbie Taylor-Worley

Brooklyn Whelan, It cuts like neon, 2022, oil and mixed media on canvas, 106.7 x 122 cm. 9 February—25 February Kingdoms Brooklyn Whelan

Debbie Taylor-Worley investigates the colonial frontier and the relationships formed between her ancestors, both wadjin (white women) and yinarr (Gamilaraay women) delineated by their relationships to the land and water. Working across textiles, ceramics and photography Taylor-Worley juxtaposes colonial and Indigenous histories.

NEW S OUTH WALES

Orange Regional Gallery orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 02 6393 8136 Open daily 10am–4pm. Debbie Taylor-Worley, Installation view, Metro Arts Brisbane, 2021. 18 November 2022 —29 January Strike up the Band! Various Artists Guitars, violins, drums, bagpipes, trumpets and a variety of other musical instruments appear surprisingly frequently in works in the NERAM collections. Kids can explore a variety of sounds and activities in this interactive and musical exhibition.

Orange Regional Gallery is a centre for art in the Central West of New South Wales, Australia. Artists are at the centre of everything we do at Orange Regional Gallery. We support artists to produce new and innovative works, and assist our audiences to have a meaningful connection to the art they produce. Alongside our Exhibition and Education Programs, we care for an established Collection of modern and contemporary art from Australia and abroad.

4 February—16 April Laurence Edwards: a Gathering of Uncertainties

PIERMARQ* piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm. See our website for latest information.

OLSEN olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Fri 10am–6pm, Sat 10am– 5pm. Closed Sun and Mon.

Rob Tucker, Watermelon salads are nice, 2022, acrylic, oil and oil pastel on canvas, 140 x 160 cm. 2 February—19 February Some Kind of Fruit Salad Rob Tucker

17 January—11 February OLSEN Gallery: Group Exhibition OLSEN Annexe: Group Exhibition

Martin Coyte, Stop pushing, 2021, watercolour on Arches paper, 34 x 27.5 cm. 3 December 2022—29 January Martin Coyte: Before you know 4 February—19 March Ikuko Fugisawa

The new body of work is comprised of a selection of still life and floral arrangements, playing with spontaneity, colour, and mark-making. Tucker has drawn inspiration from Morandi to construct whimsical still-life clusters and compositions.

Roslyn Oxley9 Gallery roslynoxley9.com.au 8 Soudan Lane (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm.

Tim Georgeson, Theatre 1, 2022, 180 x 136 cm. Courtesy of the artist and Olsen Gallery, Sydney. 15 February—4 March OLSEN Gallery: Hidden Theatre Tim Georgeson 15 February—4 March OLSEN Gallery: New Paintings Marie Hagerty

John Wolseley, Healing the Fowlers Creek gultch, Bibbaringa 8, 2019-2020, watercolour on cotton paper, 70 x 73 cm.

Laurence Edwards, Walking Men, (detail), 2018-2022, bronze, 2.4 m high. Photograph: Bill Jackson.

27 January 2022—25 February John Wolseley 27 January 2022—25 February Kaylene Whiskey 173

wentworthgalleries.com.au

NEW S OUTH WALES Australian art, both historical and contemporary, and present it in new contexts. The Gallery is renowned for encouraging research and promoting scholarly appraisal of artists from all periods of Australian art history. In addition, the S.H. Ervin Gallery has developed an excellent name for presenting important exhibitions and programs that recognise the valuable contribution made by Australian women artists.

Rusten House Art Centre qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. See our website for latest information. Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility. Opening for the first time to the public as a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council.

3 December 2022—12 February Spowers and Syme

Jane Duong, Untitled, cyanotype print on cotton paper, 28 x 40.5 cm. borders, some created with negative contact sheets, some dipped directly into the Queanbeyan River, all are one-off photographs on cotton paper.

Celebrating the artistic friendship of Naarm/Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme will present the changing face of interwar Australia through the perspective of two pioneering modern women artists. Spowers & Syme is a National Gallery Touring Exhibition supported by Visions of Australia, Major Patron David Thomas AM and the Gordon Darling Foundation. Spowers & Syme is a Know My Name project.

S.H. Ervin Gallery 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. Closed 19 December—2 January. 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

Susan Hey, Floating 8, encaustic on wood. 4 February—25 February Peace, Joy and Stillness Susan Hey In Peace, Joy and Stillness, Hey examines the beauty of light and shadow on water, by taking time in the moment to stop, listen and contemplate water. These special moments can easily be missed and by stopping to look through water from above or below Hey sees the pattern and movement and feels the stillness and peace, she then translates these experiences into paint.

18 February—28 March Idris Murphy: Backblocks This survey exhibition at the Drill Hall Gallery catches a great Australian painter at the height of his powers. Born in 1952, Idris Murphy developed deep roots in the history of painting as well as a profound feeling for the natural environment. Murphy’s idiom transcends “either/or” - it is indistinguishably landscape painting and painterly abstraction all at once. Arising from a sort of improvisatory incantation, the most vivid metaphors of land, space, light, mood and feeling seem to coalesce spontaneously and unbidden.

SCA Gallery sydney.edu.au/sca

4 February—25 March Under the Sun Jane Duong Under the sun is an exploration and celebration of public spaces and historical places in Queanbeyan - through the magic and coincidence that comes with the cyanotype process. Each cyanotype print is handmade, some have unique

Idris Murphy, Weipa Harbour Storm, 2005, acrylic and collage on board, 120 x 120 cm.

Eveline Syme, Sydney tram line, 1936, linocut, printed in colour, from three blocks (vermillion, viridian, burnt umber). National Gallery of Australia. Purchased 1979.

Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12noon–4pm.

175

Australia’s Highest Value Art Prize for Women

Lara Merrett Dusking (Nature Banner), 2022 Professional Artist Winner

Professional Artist Prize $35,000 acquisitive

ENTER NOW

Emerging Artist Prize $5,000 acquisitive Indigenous Emerging Artist Prize $5,000 acquisitive

ravenswoodartprize.com.au

Peoples’ Choice Award $2,000 Entries Open 15 November 2022 | Entries Close 15 February 2023 | Opening Night 12 May 2023 (midday DST Eastern Australia)

P R O U D LY S P O N S O R E D B Y Gold Community Partner

Gold Media Partners

Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls P-12 | Henry Street, Gordon NSW | A Positive Education and IB World School

ravenswoodartprize.com.au

NEW S OUTH WALES

South East Centre for Contemporary Art – SECCA secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Sun 10am–5pm. See our website for latest information.

Stanley Street Gallery stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment. Stanley Street Gallery is a multi-disciplinary exhibition space situated in the heart of Darlinghurst Sydney. Presenting critical and experimental work, the Gallery seeks to give space to innovative and diverse practices that contribute to local and international arts communities. Stanley Street Gallery has developed a reputation for championing early career artists and curators in the commercial sector, hosting a program of 12 exhibitions, including painting, ceramic, sculpture, drawing, photography and contemporary wearables.

Studio Altenburg Fine Art Gallery studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thur to Sat 10am–4pm, Sun & Mon 10am–3pm. Closed Tue and Wed. See our website for latest information. Studio Altenburg presents a regular programme of exhibitions in Gallery One and Gallery Two. The Galleries are available for hire for book launches and private events.

Citra Samistra, Timur Merah project V: The Verge of Mortal Ground, 2020 courtesy the artist and Yeo Workshop, Singapore. Late February—14 May Perforated Sovereignty Jim Allen Abel, Katherine Boland, Eric Bridgeman, Susan Chancellor, Lissy Cole & Rudi Robinson, Dean Cross, Cheryl Davison, Timo Hogan, Sang Hyun Lee, Maharani Mancanagara, Noŋgirrŋa Marawili, Emily Phyo, Dias Prabu, Citra Samistra, Greg Semu, Wukun Wanambi. Julian Laffan, In the mist, 2022, handcolouredwoodcut, 35.5 x 28 cm.

STATION stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm. See our website for latest information.

Oscar Martín, “S”, 2022, Brass, 25 x 25 x 20 cm. Photograph: Docqment.

Shireen Taweel, Astro Architecture ll, 2022, engraved copper, aquatint print, 56 x 76 cm. Courtesy the artist and STATION. 21 January—11 February Sacred architecture and the celestial body Shireen Taweel 18 February—11 March David Griggs

Amy Dynan, yield—over the goulburn rise, 2022, Pastel on paper, 101 x 75 cm. Photograph: COTA. Stanley Street Gallery will be closed for the summer holidays from 10 December 2022 and reopening on 1 February.

9 December 2022—14 January All things great and small - A group exhibition

Sandra Shrubb, Sand dunes, 2022, relief print on wood, 50 x 39 cm. 24 February—25 March Silent Conversations Basil Hall, Sandra Shrubb, Slavica Zivkovic

177

YINJAA BARNI JAN 27 - FEB 18

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

Image: Aileen Sandy, Colours through the rocks, 2022 acrylic on canvas, 201 x 196 cm

chalkhorse.com.au

NEW S OUTH WALES

Sullivan+Strumpf

24 January—12 February Tricia Trinder - Solo Exhibition

sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. Margaret Olley (1923-2011), Basket of calendulas, 1967, oil on composition board, 74.5 x 100cm. Donated anonymously 2002. University Art Collection, Chau Chak Wing Museum, The University of Sydney. © Margaret Olley Art Trust Until 12 March Margaret Olley: The Art of Flowers

Melanie Vugich, Queen Protea & Refreshments for Two, oil on board, framed in natural oak, 100 x 75 cm. 14 February—5 March Melanie Vugich - Solo Exhibition

Ramesh Mario Nithiyendran, Figure with Extrusions, 2022, earthenware, 62 x 29 x 24 cm, photography Mark Pokorny. 9 February—18 February Annual Group Show Sullivan+Strumpf artists

Twenty Twenty Six Gallery twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm.

Tweed Regional Gallery & Margaret Olley Art Centre gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. See our website for latest information. 2 December 2022—26 February Flowing Everywhere and Always: Lindy Lee Flowing Everywhere and Always mediates on the concept of the rain in Lee’s adopted home of the Northern Rivers. “It wasn’t until moving to the Northern Rivers almost 8 years ago, that I finally felt as though I had arrived home. The majesty of this region proffers daily observation of the horizon - that mysterious liminal realm that exists between heaven and earth. A practice which has become paramount to my work, and also my life. Although I started out examining issues of identity and belonging, my practice has since expanded into the examination of one’s place within the Cosmos - that inextricable matrix of being to which we all belong. When I invoke the rain and the fire in my work, I am calling forth this very profound connection of reciprocity and interdependence”. 2 December 2022—26 February In the Grey: Saltwater Story 25 November 2022—26 February Shanti Des Fours: Stories I’ve Been Told

Tricia Trinder, lost horizon, encaustics on round board, 40 cm.

This exhibition celebrates Margaret Olley’s favourite subject – the beauty and joy of flowers. Olley dedicated her career to exploring the endless possibilities of humble, domestic objects combined with colourful, textural and sculptural arrangements of cornflowers, delphiniums, calendulas, hydrangeas, poppies, marigolds, flannel flowers, hippeastrums and more. The Art of Flowers brings together some of the finest examples of her much celebrated flower paintings, spanning five decades, from public and private collections.

Until 5 February Transcending Likeness: Contemporary portraits from the collection

Michael Cook, The Mission (Typical Aboriginal Picaninny) 2011. Inkjet print, 124 x 100 cm Tweed Regional Gallery Collection. Donated by the artist through the Australian Government’s Cultural Gifts Program, 2016 The Artist. Until 30 April Michael Cook: The Mission The Mission by Michael Cook traces the journey of an Aboriginal woman from her homeland to a Christian mission where she arrives in handcuffs. There, she is introduced to Western clothing, food rations, tobacco, and a husband. Her baby is stolen following a Christian wedding. In the final image she is represented returning to her Country, which the artist says is a symbol of ‘the hope for a future in which the resilience and dreams of Aboriginal people remain unbroken against the odds.’ 179

Rusten House Art Centre presents

FEMINIST POSTERS 1979 TO

NOW March 4 April 29

2023

Wed – Sat

10 – 4

87 Collett St QUEANBEYAN

NSW 2622 Proudly funded by

Poster: Alison Alder

This exhibition forms part of the QPRC Women’s Festival, funded in part by the Reconnecting Regional NSW Government Grant Program

www.qprc.nsw.gov.au/community/culture-and-arts/rusten-house qprc.nsw.gov.au

NEW S OUTH WALES

UNSW Galleries unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12noon–5pm. Closed public holidays. See our website for latest information.

Wagga Wagga Art Gallery 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. 24 September 2022—22 January Eight More: The Art Factory Brae Tye, Aunty Lorraine Tye, Lorraine O’Hara, Sarah McEwan, Isobel Lambert, Julie Montgarett, Liam Campbell and James Farley.

Cayte Latta, Patchs dance floor, c.1983, reprinted 2022. Courtesy of the artist and Australian Queer Archive, Melbourne. 14 January—23 April THE PARTY Presented in association with Sydney WorldPride THE PARTY celebrates LGBTQI+ nightlife and dance party culture in Sydney from 1973 to 2002. It features original photography, video, art and materials from events and venues alongside work by Australian artists, writers and designers responding to these histories.

Eight More celebrates the cultivation of work by four creative duos working collaboratively over several months to explore individual and shared practices and diversity between artists with and without disability.

many examples of Torr’s glass works from public and private collections across Australia. This is a rare chance to see Torr’s work within the context of the Wagga Wagga Gallery’s national glass collection. 10 December 2022—5 February Jess Johnson & Simon Ward: Terminus Inspired by Sci-Fi, comics and fantasy movies, Terminus is a virtual reality (VR) installation that transports the viewer into an imaginary landscape of rich colour and intricate patterns. 10 February—26 March The Archibald Prize Regional Tour The annual Archibald Prize is eagerly anticipated by artists and audiences alike. Judged by the trustees of the Art Gallery of NSW, the prize is awarded to the best portrait painting. Since 1921 it has highlighted figures from all walks of life, from famous faces to local heroes, reflecting back to us the stories of our times. 10 February—26 March Mel O’Callaghan: Centre of the Centre Centre of the Centre is a major new commission by Australian-born, Paris-based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. 28 January—9 April Blake Griffiths: Glass Beach

Louis Grant, thought you’d never be replaced, 2022, hot sculpted and cold worked glass, blown glass neon, wood, paint, mirror. Photograph: Ashley St George / Pew Pew Studio. 15 October 2022—15 January Glass Chrysalis - Glass Art of Promise 11 Contemporary glass artists Glass Chrysalis – Glass Art of Promise celebrates artform development and individual creativity, innovation, skill, and technique from eleven of Australia’s premier early career glass artists. Co-curated by Wagga Wagga Art Gallery, Canberra Glassworks and Jam Factory Adelaide, Glass Chrysalis showcases developing trends in the contemporary studio art glass scene.

The exhibition unravels the embedded histories of Glass Beach, Edithburgh, South Australia. The very fabric of the site poses questions about what is valued and the systems of social, political and economic colonisation that have determined what we are ready to dispose of—from the seemingly most valuable— the human body—to the seemingly most disposable—waste. 28 January—9 April Plastic: Unwrapping the World Plastic touches everything, it is the most ubiquitous and mundane material and also a major environmental problem. Using artworks from Cath Barcan, Sarah Goffman and Blake Griffiths, the exhibition explores Plastic’s complex material and political provocations, challenging audiences to move beyond guilt and unwrap plastic from our world. 6 February—26 June Going Feral Various & Museum of Riverina Collection

Jessica Loughlin, receptor of light xix, 2022, kilnformed and hand ground glass. Courtesy of the artist and Sabbia Gallery, Sydney. Photograph: Rachel Harris. 14 January—19 March Jessica Loughlin: Of Light JamFactory’s ICON series celebrates Jessica Loughlin, one of Australia’s most internationally acclaimed glass artists renowned for their highly innovative technical approach to kilnformed glass. Of light presents ethereal glass panels that exemplify Loughlin’s extensive research into light and space.

Wagga Wagga Art Gallery is partnering with the Museum of the Riverina to explore the impact of six feral animals common across the Riverina region.

Wester Gallery wester.gallery Vicki Torr, Tazza, 1987, Ian Mowbray Collection. 15 October 2022—15 January A Cutting Edge - Vicki Torr A Cutting Edge – Vicki Torr, celebrates the exceptional talent of one of Australia’s most significant glass artists. Supported by Ausglass, the exhibition brings together

16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 The gallery is closed January for minor renovations, available for private hire. For more info email info@wester.gallery. 181

PRESENTED BY WILLOUGHBY CITY COUNCIL AND CHATSWOOD YEAR OF THE RABBIT FESTIVAL

18 January—12 February 2023 Inner Edge Drifting An exhibition exploring the ‘third cultural space’ experienced by people who navigate multiple traditions, influences and values. A Willoughby City Council curated exhibition. Artists Casey Chen, Sai-Wai Foo, Hyun-Hee Lee, Karen Lee, Mylyn Nguyen, Mai Nguyen-Long, NC Qin, Zoe Wong, Wei Rong Wu and Tym Yee Visit www.willoughby.nsw.gov.au/Events/InnerEdge-Drifting for more information and for public programming

Mai Nguyen-Long, Warrior Cat with Poo Balls (detail from Warrior Cat + Doba), 2017-2023, unglazed and glazed clay

Art Space on The Concourse + The Concourse Outdoor Area 409 Victoria Avenue, Chatswood (next to Box Office) willoughby.nsw.gov.au

NEW S OUTH WALES Wester Gallery continued...

generations to come. There is no better, more affordable way in which to beautify and enrich your home and your life than with a well selected piece of art.

Western Plains Cultural Centre, Dubbo westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

extant today. Boundaries of reality are not of relevance, barriers between disciplines blurred, this is an act of imagination. The work presented being the product of the journey, tangible evidence of an impossible story. The analogy of the journey is paramount. As with each individual’s human journey, it is a journey of struggle, learning, growth and ultimately evolution and perhaps, transcendence.

Graham Eldridge, Formation. 3 February—25 February Formation Graham Eldridge The inspiration for the theme of the Formation exhibition revolves around subtly observable meanings when thoughts, ideas, and structures are placed in a logical design. These ideas and designs, when structured correctly convey a message when in (correct) formation. Information. As such, the artworks in the Formation exhibition convey thoughts, feelings, and/ or emotions in a thoroughly abstract minimalist way. The Formation exhibition sees Graham bringing his trademark geometric structure, and bold colours, pushing the boundaries of maximalist creations in a minimalist style. Graham challenges himself as an artist to do as much as possible within the scope of minimalist artworks. The paintings within the Formation exhibition are on a large 120cm x 90cm canvas platform. Every line, every colour, and every shape needs to carry the maximum level of impact and meaning while still complementing the surrounding components.

Wentworth Galleries wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm. See our website for latest information. We love Australian art. Wentworth Galleries have been in the Sydney CBD connecting people with Australia’s best visual artists for more than 20 years. We take great pride in working with such talented people and great pleasure in hanging artworks in homes and offices that will be admired and appreciated for

Andrew Sullivan, Out of Purgatory (Purgatorius, Diabloceratops and Dante), 2019, oil canvas, 137 x 137 cm. Image courtesy of the artist.

Dandaloo Su, Celebration, 2017, native fibre spiny sedge and imported raffia. Image copyright Chenoa. 10 December 2022—26 February Decolonise: Dandaloo Su Decolonise is an exhibition of textiles by Wellington-based artist Dandaloo Su, that explores the importance and value of native fauna and flora in agricultural and fashion industries. Drawing on cultural practices of native fibre crafts, knowledge of Gilgai’s (small water holes) and three pivotal dates where imported fibres were introduced into the Australian landscapes, Dandaloo Su fashion garments, headdresses and ornaments made with native materials is an attempt to highlight our current patterns of consumption. Decolonise is a body of work that aims to reclaim and elevate the use of native fibres within the textile world, and draw awareness to the environmental impact of their modes of production. Curated by Mariam Abboud. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental. 10 December 2022—19 February Survey into the Cretaceous Andrew Sullivan “Human courage and endurance have conquered-the explorer must change his methods.” —Roy Chapman Andrews. Survey into the Cretaceous is a journey into the painter’s imagination. The painter has imagined himself as being an assigned artist with a team of paleontologists, scientists and geographers on a survey expedition into the late Cretaceous period. His brief is to record the fauna and express the experience through an artist’s eye. A broad cross-section of species is represented, some now extinct, some still

3 December 2022—2 July The Band from Dubbo: A History of the Reels Dubbo in 1976 had only been officially a city for 10 years. It had one radio station and two TV channels. From this context sprang a band that would redefine Australian music in the 1980s and beyond. The Reels were a band that defied categorisation, and were quickly embraced by audiences across the country. An endlessly innovative and idiosyncratic band, they skilfully re-interpreted “Golden Oldies” from music’s past into chart topping contemporary hits, and produced original material that quickly saw them enter the annals of Australian Rock history, in spite of chart success. The Band From Dubbo charts the bands history from its humble beginnings in Dubbo, its evolution through the 80s and 90s and its unique place in Australian Rock Music history. This exhibition has been supported by funding from Create NSW. Curated by Kent Buchanan.

White Rabbit Contemporary Chinese Art Collection whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Wu Shanzhuan, Throwing a Flame from Perspective into a Projection. 183

Daniel McDonald Nexus 15 February—4 March Opening 11 February, 4–6pm

Daniel McDonald, Like No Other Time in Destiny, 61x 51cm, acrylic on canvas

FLINDERS STREET GALLERY 61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

NEW S OUTH WALES White Rabbit Contemporary Chinese Art Collection continued...

chosen for their visual, conceptual and historical resonances.

28 December 2022—18 May Shuo Shu The 29 artists in Shuo Shu map the evolution of the story from timeless myths and literary romances to political propaganda and modern-day censorship. Artists become shapeshifters, and their stories twist and turn to fit within codes and secret messages. Whilst a closed mind is like a closed book, stories reveal themselves to those who are open.

Wollongong Art Gallery wollongongartgallery.com

Christian Thompson, He of the Empowered Gaze, 2016, c-type print on Fuji Pearl Metallic Paper, 120 x 120 cm.

Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat and Sun 12pm–4pm. 3 December 2022—5 March Thinking Through Pink Curated by Dr Sally Gray, the exhibition juxtaposes diverse cultural objects inviting pleasure and speculation around the many manifestations of pink—the colour and the idea. Thinking Through Pink includes works from invited contemporary artists; works from the Wollongong Art Gallery collection and carefully selected objects from the Powerhouse,

Elvis Richardson, Settlement #1, 20182021, modified found gate, pink powder coated, 180 x 90 cm. Lent by Ellen Koshland. Courtesy of the artist and Ellen Koshland. Sydney—notably ceramic and glass works from the 18th, 19th and 20th centuries

sydneyartstore.com.au

Until 28 March Languages of the Land A gathering of First Nations’ voices conveying the many languages of Country – of land, of sea, of culture, of custodianship and of healing from colonial and ecological destruction. This exhibition shares a diverse collection of work from across Australia that speaks to this theme, through painting – both on bark and canvas, print, photography and sculpture. As we head towards a decolonised future, the celebration of Aboriginal and Torres Strait Islander art is crucial to passing on cultural knowledge and inspiring future generations to care for all their Countries.

185

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

QUEENSLAND

Caloundra Regional Gallery → Elizabeth Shaw, Radical Localism, (installation view, artisan), 2021. Photo by Michelle Bowden.

Artspace Mackay artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

drawings of comic characters in graphic, narrative scenes. 26 November 2022—5 February Focus on the Collection: Formed Visual responses to colour theory, shape and space link work from the Mackay Regional Art Collection in Formed. Across ceramic, artists’ books and printmaking, the way artists consider these areas is highlighted.

Caboolture Regional Art Gallery moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 2800 Tue to Sat 10am–4pm.

Bella Deary, Blood Boiling; Tides Rising, (detail), 2021, latex, dowel, pine wood, red bricks, twine. Courtesy of the artist. Niloufar Lovegrove, Offerings, (detail) 2022, lino print on lokta paper, edition AP, 53.5 x 31 cm. Image courtesy of the artist. 26 November 2022—5 February Too Little, Too Much Niloufar Lovegrove Ryan Vella, Morton Stone: Undertaker, 2021, ink, acrylic and, whiteout on paper, 42 x 29.5 cm. Image courtesy the artist.

Creating visual narratives that combine her central Queensland lived experience and Persian storytelling

2 December 2022—19 February Underground Spandex Ryan Vella

2 December 2022—5 February Asia Pacific Contemporary: Three Decades of APT

Drawing on recent work Underground Spandex showcases Vella’s intricate line

Presented by Queensland Art Gallery I Gallery of Modern Art.

26 November 2022—4 March Swelter Bella Deary, Dylan Mooney, Hailey Atkins, Amelia Hine, Abigail Varney, Grant Stevens, Kenny Pittock, Catherine Parker, Salote Tawale, Tarryn Gill. ‘It’s hot’… it’s a saying we are all familiar with. In Australia, as the climate changes and our summers get warmer, how do we prepare to face the heat? In Swelter, Australian artists consider how heat affects our bodies, our communities and our planet. New commissions and existing works share different perspectives of the effects of heat on the body and how to beat it. 187

ar t g ui d e .c o m . au survey of the artist’s practice initiated in Queensland, and curated by an Aboriginal researcher, writer and curator —Angelina Hurley.

Caloundra Regional Gallery 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. See our website for latest information. 9 December 2022—29 January Radical Localism and Legacy Dr Elizabeth Shaw

HOTA hota.com.au

Ann Greig, Straight Lines, 2022, acrylic on canvas paper, 29 x 42 cm. 1 January—30 February Ongoing Summer Ann Greig

135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Hervey Bay Regional Gallery hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 07 4197 4206 [Map 13]

Jean-Michel Basquiat, 1985, Lizzie Himmel. Artwork, Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

Stefan Dunlop, Splash II, 2017, oil on linen, 200 x 240 cm. Gift of the artist, through the Australian Government’s Cultural Gifts Program, 2021. Sunshine Coast Art Collection. Photo by Carl Warner, 2021. 3 February—19 March Latest & Greatest II: Sunshine Coast Art Collection new acquisitions

Gallery 48 gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information.

Ann Greig, Confusion, 2022, acrylic on canvas paper 42 x 29 cm. 188

Fiona Foley, The Magna Carta Tree #2, 2021. Inkjet print. Courtesy of the artist and Andrew Baker Art Dealer, Brisbane. Photograph: Mick Richards. 10 December 2022—26 February Veiled Paradise Fiona Foley Veiled Paradise surveys three decades of Badtjala artist Dr. Fiona Foley’s practice. This leading contemporary Aboriginal artist’s work is informed by her ancestral connection to K’gari/Fraser Island, drawing equally upon its serene beauty and the history of systemic violence and sexual exploitation perpetrated on its shores. Incorporating original research around the government-regulated opium trade and of the connection between sex and violence on the frontier and beyond, the artist refutes colonisation’s attempts to erase her people and their histories. Tirelessly, through painting, photography, film, sculpture and printmaking, Foley gives voice to the dispossessed. Foley flips the lens of ethnography in the restaging of history and events in her artwork amplifying the voices and perspectives of Aboriginal people. She is empowered by her matrilineal lineage, illuminating the exploitation of Aboriginal women and outing everyday racism and sexism. Spanning over thirty years, Foley’s practice—from the founding of Boomalli Aboriginal Artists Cooperative in Redfern in the mid-1980s, to now, Veiled Paradise sees some of Foley’s most iconic works and some of her less-seen works put into the spotlight. This is the first major

Keith Haring by Joe McNally. 18 February—4 June Pop Masters: Art from the Mugrabi Collection, New York Andy Warhol, Keith Haring, Jean-Michel Basquiat, Katherine Bernhardt, Kwesi Botchway, George Condo, Damien Hirst, Kaws, Joel Mesler, Richard Prince, Tom Sachs, Julian Schnabel, Mickalene Thomas and Tom Wesselmann.

Institute of Modern Art ima.org.au Judith Wright Arts Centre 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm. 28 January–29 April Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) Selected works from the 23rd Biennale of Sydney: rīvus

QUEENSLAND 2 December 2022—21 January Family ties Jessica Skeen-McKinnon (Muralappi)

Jan Manton Gallery janmantonart.com 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tues to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

Installation view, 23rd Bienniale of Sydney: rīvus, 2022. In view: Yessie Mosby, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep, sitting peacefully on the waters), 2022; Torres Strait 8, Poster wall, 2022, posters by Mooki Pen, Dylan Mooney, Guy Ritani, BlakSeed, Waniki Maluwapi, and Jaelyn Buimaiwai. Image courtesy Biennale of Sydney. Photograph: Anna Kucera. Zheng Bo, Casino Wake Up Time, Jessie French, Clare Milledge, Marjetica Potrč with Ray Woods, Duke Riley, Torres Strait 8, Hanna Tuulikki, and Zenadh Kes The Institute of Modern Art has collaborated with the Biennale of Sydney to commission a new work from the Torres Strait 8, a collective on the frontlines of advocacy for the climate crisis in Zenadh Kes (the Torres Strait Islands and surrounding seas). Led by Yessie Mosby, a Kulkalgal Traditional Owner and member of the group, the Torres Strait 8 present a hybrid art-as-protest piece featuring campaign materials created as part of the Our Islands Our Home campaign. Yessie Mosby and the Torres Strait 8’s participation in the Biennale and IMA project will continue to magnify the campaign fighting for justice for the communities of Zenadh Kes in holding the Australian Government accountable on climate change policy.

Chrys Zantis, Brain chatter, 2022, fabric, wire, seed and pearl beads, paper budgies and lights. 2 December 2022—21 January Hidden in the folds Chrys Zantis Ripple effect: out of Artwaves Sally Hoang made in Logan Bespoke

14 February—4 March Variations Keith Burt 14 February—4 March Soft Skeletons Laura Patterson

Metro Arts metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Tue to Fri 10am–5pm. See our website for weekend hours.

loganarts.com.au/artgallery

Exhibitions and displays are changed every six to seven weeks, so there is always something new to explore.

Jan Murphy Gallery 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. Gallery closed until 31 January.

Logan Art Gallery

Our award-winning gallery showcases artworks from many different cultures including works by Aboriginal and Torres Strait Islander artists. It also features touring exhibitions on loan from major galleries and national touring bodies.

17 January—4 February Lux Æterna Ian Friend

janmurphygallery.com.au

This commission will form the anchor for a broader curation of select works from the 23rd Biennale of Sydney: rīvus that speak to our enduring connections and responsibilities to the natural world. Through the exhibited work, Maluw Adhil Urngu Padanu Mamuy Moesik (Legends from the deep sitting peacefully on the waters) will explore how these potential relationships might decentre the human, prioritise care for Country, and pursue justice in an epoch of rising temperatures and seas.

Logan Art Gallery Corner Wembley Road and Jacaranda Ave, Logan Central, QLD, 4114 07 3412 5519 Tues to Sat 10am—5pm.

Ian Friend, The Rose Lake (after Sir Michael Tippett), 2021, ink, gouache, watercolour, graphite, and crayon on Arches paper, 80 x 115 cm (framed).

Robyn Daw, Apparition 1991, tapestry. 27 January—11 March Curious nature Robyn Daw Sookii Helen Miller Fictionalish Emma Gardner Ripple effect: out of Artwaves Harrison Owen

21 January—4 February CTRL+ALT+DEL: RECLAIM Various Artists Synonymous with the computer system command pressed by a user to terminate an application and shut down the operating system, CTRL+ALT+DEL: RECLAIM is a multidisciplinary arts event that reboots and reclaims arts and cultural spaces. Building on previous Ctrl+Alt+Del events, this iteration will be in the form of an exhibition and publication. Expect visual art, spoken word, music, dance and culture by 189

ar t g ui d e .c o m . au Metro Arts continued...

Wayne Malkin, Wavebreaker. with stunning large scale artworks of the beaches and waves of the Sunshine Coast. Wayne’s available works are shown on our website and in the gallery.

UnitePlayPerform, Melissa Gilbert wearing UTOPIA SPIRIT SKINS surrounded by HYPER TEMPLES, 2022. Photograph: Jason Winston. Courtesy of the artist. six large scale installations where every action you take makes the art around you grow, change and come alive. Explore a series of co-creation spaces that present the unexpected, encourage touch, move the mind and remind us play is discovery and for everyone with low and high sensory experiences. Play Moves places you at the heart of creative expression and cultural exchange by transforming you from spectator to contributor, inviting you to connect and learn from those around you.

Dior Rasta, image by Rovel Hagos, model: Tokaya. artists and communities who identify as First Nations, Pacific Islander &/or culturally and linguistically diverse.

Karen Atkins, Be Brave, Be True. Featured Artist for February Karen Atkins

Courtesy of Composite Moving Image Agency. 11 February—4 March Video Open The Metro Arts galleries will host a dynamic selection of contemporary moving image works, including works programmed via an open-call for proposals, as well as works organized as part of an ongoing partnership with Composite Moving Image Agency & Media Bank (Melbourne).

Montville Art Gallery montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. Over 40 artists on permanent display. Featured Artist for January Wayne Malkin Wayne is a seascape and landscape artist who specialises in oils. The effect of light is a constant theme across his body of work. More recently, the Blackall Ranges have featured in Wayne’s works, along 190

Atkin’s subject matter changes constantly, including still life and images reflecting her former lift on the land. She refers to her style as ‘whimsical’, with her paintings often having a surreal, dream-like quality. Karen has been with the gallery for over 20 years and in that time has built a regular following for her work, featuring all kinds of animals with stories just begging to be told.

Museum of Brisbane museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry. 10 December 2022—16 April Play Moves Slow Art Collective, Sai Karlen, Counterpilot, Tara Pattenden, UnitePlayPerform and Michelle Vine. Breaking the boundaries of audience and artist, Museum of Brisbane presents its largest participatory exhibition to date. Bringing together a collection of local and national artists, people of all ages and abilities are invited to surrender themselves to the sublime art of play. Here you will weave and move your way through

Gordon Hookey at Museum of Brisbane. Photograph: Joe Ruckli. 5 November 2022—26 February Artist in Residence: Gordon Hookey Explore a visual cacophony of place and events as Gordon Hookey transports his poster collection to MoB. “The poster collection – over 40 years – started in 1983 when I was a student at The University of Queensland. Unbeknownst to me, I collected a lot. It is only recently that I noticed the expanse of my collection. And all it is, is a representation that there is witness to my life.” – Gordon Hookey. Spanning four decades of collecting, Gordon has recreated an installation of posters from his Yeronga studio in the Museum. With subject matter ranging from protest and social justice to global and local iconography, this collection of posters has acted as a source of inspiration for some of Gordon’s most recognised works. Come take a walk through 40 years of inspiration and perhaps have a yarn with Gordon while he is working in the Museum, Tuesdays and Thursdays. MoB’s Artist in Residence program is supported by Tim Fairfax AC.

QUEENSLAND

NorthSite Contemporary Arts

3 February–15 April Planetary Gestures Tess Maunder

6 January—3 March Jibaja Ung-gwee: Stories from Long Ago Travis Harbour, Tracey Harbour, Madison Hill, Fiona Hill, James Hill

Noosa Regional Gallery

Onespace Gallery

northsite.org.au Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm. 16 Decemeber 2022–14 January Pressing Topics The Ironing Maidens: Melania Jack and Patty Preece Pressing Topics is a series of multi media projection/mapping, sculpture, digital collage, video art, instrument design and sound art works that use the iron, as the iconic symbol of domestic labour, to explore the transglobal workforce behind the production of domestic technology.

Estelle Yunkaporta, Christmas Ornament, hand-painted native seed pod, 2021. Image courtesy of NorthSite Contemporary Arts. 18 November 2022–21 January NorthSite Art Market: Christmas Cubes NorthSite Members Wrap up your Christmas shopping straight from the gallery wall at NorthSite this season; with unique, handmade and affordable gifts created by Queenslandbased artists and designers!

noosaregionalgallery.com.au 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. 5 November 2022—22 January A Bit More Paint Alex Lange, Pippa Makgill, Alicia Sharples, BJ Murphy, Casey Hewitt and Thom Stuart.

Trevor Purvis, Flood reflections, Darling River, various sizes. 4 February—6 April Trevor Purvis: Australian Sienna 4 February—6 April More than the sum of its parts A group exhibition.

Outback Regional Gallery, Winton 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.

Rose Rigley, Telling Tales, (detail), 2022, copper wire, courtesy of the artist. Photographer: Michael Marzik. 18 November 2022–28 January Meanwhile SixFold Project: Raewyn Biggs, Barbara Dover, Louisa Ennis-Thomas, Julie Poulsen, Rose Rigley and Jennifer Valmadre. The latest exhibition by the artists of Sixfold Project, Meanwhile, celebrates the power of the collective creative experience. 3 February–18 March e VULVA lution India Collins

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. Closed 21 December 2022 until 24 January.

Ruth Cho, Tiger 2 (as part of the Not my first rodeo series), 2022, linocut print on paper, 40 x 40 cm, 2AP + Edition of 8. Image: Cian Sanders. Courtesy of the artist and Onespace Gallery. 10 December 2022—28 January Goodbye Tiger! 2022 has been a tumultuous ‘year of the tiger’ – but it has also been a productive one. It has been a year of change and chance, and of course, hard work and opportunity. Onespace artists have been active in many places this year – Busan, Brisbane, Cairns, Logan, Shepparton, Sydney, Toronto, to name a few. Goodbye Tiger showcases a range of their works not exhibited in the gallery but elsewhere in 2022 as we farewell this recovery year.

Perc Tucker Regional Gallery townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. 2 December 2022—19 February Biograph Julie Fragar One of the most acclaimed painters in Australia today, Julie Fragar’s work reaches into her own life via personal photographs and fascinating family history, resonating with audiences in a profound and personal way. Biograph, Fragar’s first major survey exhibition, sets out to present fresh selections of work. Narrative, autobiography, identity and 191

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

with giant ice-creams, fantastical houses and never-ending holidays. Phoebe Sheehy aka Phoebe Paradise is a self-taught multi-disciplinary artist, musician and designer based in Meanjin, Brisbane. Known for her bright illustrations, textiles, murals and public installations, Phoebe’s iconic work explores the visual identity of her hometown and how we make myths out of the mundane.

Pinnacles Gallery townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information. Julie Fragar, The single bed, or cheers to forty years, 2017, oil on board, 135 x 100 cm. Griffith University Art Collection. Purchased 2017. Image courtesy of the Artist. Photograph: Carl Warner. memory are all dissected and reassembled through process and the lush materiality of paint. With works from throughout the artist’s career, Biograph will itself question the intricacies of autobiography as closely as the artist herself. Curated by Jonathan McBurnie.

Pine Rivers Art Gallery moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 [Map 15] 07 3480 3905 Tue to Sat 10am–4pm.

Pinnacles Gallery is a dynamic art space committed to community engagement, artistic development and contemporary practice. Pinnacles Gallery is currently closed for the Riverway Library Renovation Project. However, keep an eye out for updates regarding the Gallery reopening later this year.

13 August 2022—22 January Embodied Knowledge: Queensland Contemporary Art QAG | Free

Joe Furlonger, Bathers, 1987, watercolour over pencil on wove paper, triptych: 44 x 32 cm (each). Purchased 1988. Andrew and Lilian Pedersen Memorial Prize for Drawing 1987 (winning entry). Collection: QAGOMA. © Joe Furlonger. Photograph: Natasha Harth, QAGOMA. 27 August 2022—29 January Joe Furlonger: Horizons QAG | Free

Philip Bacon Galleries philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. 24 January—25 February Summer Exhibition

Jemima Wyman, Pairrebeener people, Australia b.1977, Plume 4, 2021, hand-cut digital photographs, 142 x 106.5 cm. Courtesy of Jemima Wyman, Milani Gallery, Brisbane, and Sullivan+Strumpf, Sydney. © Jemima Wyman. Photograph: Ed Mumford. 26 November 2022—23 April Air GOMA | Ticketed 3 September 2022—18 June Courage and Beauty: The James C. Sourris AM Collection GOMA | Free

Fred Williams, Rising tide, Cannons Creek, 1973, oil on canvas, 92 x 92 cm. 28 February—25 March Important Australian Paintings

Phoebe Paradise, Stacked, 2022. Courtesy of the artist. 5 November 2022—25 February Sunburnt in the suburbs Phoebe Paradise Join a vivid, hyper saturated exploration of the suburban summer. Inspired by the streets of Strathpine, Bray Park and Albany Creek, Phoebe Paradise’s world is filled 192

Queensland Art Gallery | Gallery of Modern Art qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

QUT Art Museum and William Robinson Gallery artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays. See our website for latest information.

QUEENSLAND

Redcliffe Art Gallery moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm.

express ideas and viewpoints. Heat shares the works of contemporary artists who utilise air, sun and fire to create.

Redland Art Gallery, Capalaba artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Mona Ryder, Buzz by himself and pool, 1990, synthetic polymer paint on canvas. Private collection, Brisbane. 8 November 2022—26 February Minefield: The Art of Mona Ryder Minefield: The Art of Mona Ryder presents a major focus exhibition exploring the evocative and visceral works of this significant figure in Australian art. Since the 1980s, Ryder has worked across a number of mediums and has been exhibited and collected by major institutions nationally. Employing a strategy of domestic agitation to challenge gender roles, memory, social and political structures, her art can be deeply unnerving and has been described as ‘dangerous’, ‘raucous’ and ‘darkly tragic’.

Katrin Koenning, Island #1, 2013. Moreton Bay Regional Council Art Collection. 12 November 2022—28 January Like yesterday Leonard Brown, Robert Brownhall, Elisa Jane Carmichael, Anna Carey, Minhan Cho, Delvene Cockatoo-Collins, Libby Harward, Katrin Koenning, Archie Moore, Lindy Wisser and Betty Quelhurst, Angela Tiatia and Samuel Tupou. The sun, sand and surf are intrinsic to Australian culture and the beach evokes different memories for all of us. Like yesterday examines our relationship with the beach through the lens of nostalgia, questioning the sense of loss and longing that accompanies our seaside memories. Are we yearning for simpler times and days gone by, or does looking back make us realise how much has changed, not changed enough or needs to change more?

Julie Manning, Floodplains, Peel River, (detail) 2020, oil on canvas. Courtesy of the artist. 14 November 2022—10 January Land Lines Julie Manning

Redland Art Gallery, Cleveland artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

William Robinson, Puddle landscape, 1986, oil on linen. Private collection, Brisbane. 27 September 2022—10 September Love in Life & Art William Robinson While William Robinson is not widely recognised for depicting the human form in art, one figure is central to his practice and represents the most consistent subject in his oeuvre: his wife Shirley. Love in Life & Art explores how the domestic and aesthetic are intrinsically linked, and how the figure of Shirley Robinson (née Rees, 1936–2022), encapsulates essential aspects of his vision. These artworks are not only visual meditations on the environment in which the artist lives; rather, they pay homage to the broader rhythms of life, nature and love—but, most importantly, to Shirley.

Lindy Lee, Stealing bamboo shoots, 2011. Moreton Bay Regional Council Art Collection. 10 December 2022—4 February Heat Lindy Lee, Jordan Azcune, Peta Berghofer, Elisa Jane and Sonja Carmichael, Stephen Newton, Kirralee Robinson, Yasmin Smith, Shireen Taweel and Megan Cope. Heat is the transference of thermal energy from one object to another. Using these scientific principles, artists have been manipulating heat and its by-products for millennia. Harnessing this element provides a multitude of possibilities to

Richard Randall, Self portrait, n.d, oil on canvas. Randall Collection, 1925. City of Brisbane Collection, Museum of Brisbane. 11 December 2022—22 January Richard Randall (1869-1906): An Artist and Young Birkdale Gentleman remembered 193

ar t g ui d e .c o m . au 22 October 2022–29 January Legacy: Reflections on Mabo

Redland Art Gallery continued...

Robyn Bauer, The Determination of the Noon Hours – Bowman Park Bardon, charcoal on gesso on card, 73 x 54 cm. There is a particular focus on Australian subject matter including flora and fauna. See our Instagram @robynbauerstudio2 @sarah.matsuda.

Mandy Pearson, Kitchenalia corner objects, (detail), 2022, watercolour and ink pen on paper. Courtesy of the artist. 11 December 2022—22 January In Focus 2022

Robyn Bauer Studio Gallery robynbauerstudio.com sarahmatsuda.com 54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat only 9.30am–4.30pm and by appointment on other days.

Robyn Bauer is well known for her colourful urban landscapes and large charcoal works. Sarah Matsuda is a children’s book illustrator and her original paintings celebrate Australia’s unique landscapes, wildlife and ecology.

Rockhampton Museum of Art rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. See our website for latest information

19 November 2022—26 February Wrestlemania

The gallery features continually changing exhibitions of original paintings, drawings, prints and books by mother and daughter Robyn Bauer and Sarah Matsuda. 194

29 October 2022—19 February House of Cards Gail Mabo mines her personal and emotional archive to share a testament to the lives of her parents, Eddie Koiki Mabo and Bonita Mabo, as well as her own adult life in all its fragility. Through life-sized impressions of their respective childhood homes and laborious detail, viewers are transported through time to each mise-en-scène. 13 August 2022—12 February Collection focus: Vipoo Srivilasa Thai-born Australian artist Vipoo Srivilasa skilfully creates figures from porcelain and earthenware that represent his cross-cultural identity. These sculptures are brought to life through their character-filled faces and teddy bear bodies. Drawn from RMOA’s collection and recent works by the artists, these ceramics show Srivilasa’s dedication to spreading hope through art and cuteness.

Rockhampton Museum of Art is where our region is inspired, engaged and enriched by art. This is where art is shared, bringing major touring exhibitions to the region, and showcasing the region’s own creativity to the world. We’re here to celebrate our place and our people of Central Queensland, showcasing artists and artworks with a deep resonance to our region.

Peter Hudson, Sumo and Audience, 2022, Willow charcoal and watercolour, 120 x 150 cm. Courtesy of the artist.

Robyn Bauer, Tendrils and Scars Moreton Bay Fig Tree, charcoal on gesso on card, 84 x 65 cm.

Bringing together artworks by Indigenous and non-indigenous artists in the spirit of reconciliation, Legacy celebrates the man behind the nation’s ground-breaking Native Title Act, Eddie Koiki Mabo (1936-1992). Mabo’s life, politics, activism, and ongoing legacy are the inspiration for a broad range of sculpture, prints, installations, and drawings. A Museums & Galleries Queensland touring exhibition produced by Umbrella Studio Contemporary Arts, Townsville.

Wrestlemania examines the professional wrestling arena. This examination of compelling and dynamic entertainment by 20 contemporary sculptors, painters, cartoonists, and new media artists responds to wrestling in all its spectacle, psychology, and humour. Curated by Johnathan McBurnie.

Howard Butler, Budburra, 2012, linocut on rice paper, ed. 2/10, 24 x 16 cm. Rockhampton Museum of Art Collection. Gift of the Capricornia Printmakers Collective 2013. 15 October 2022—15 January Collection Focus: The Colour of Country The Colour of Country reimagines the Rockhampton Museum of Art’s collection to illuminate the relationships between land and waterscapes, and Indigenous people. These works depict the ancient, present, spiritual, and physical vibrancy of Country. Curated by Melinda Mann and Mario Mabo.

QUEENSLAND showcases the fine art and crafts created by our member artists, assisting them to continue preserving and protecting the culture and stories of the region. UMI is a Creole word that means ‘You and Me’ – for UMI Arts this is significant as we believe that we need to work together to keep our culture strong.

Toowoomba Regional Art Gallery tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm Closed Mon, Tues & Public Hols. See our website for latest information. Graham Burstow, Queen for a day, c.1984 (Paris, black and white photograph – silver gelatin (resin), 39.5 x 50.2 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 090. © Estate of Graham Burstow. as it teaches us to appreciate our world to the full.’ So said the Toowoomba-based photographer Graham S. Burstow, staking a grand claim for the medium to which he dedicated his long, rich life.

Lionel Lindsay, Portrait of Norman Lindsay at Artamon 1911, etching, unnumbered impression, 12.6 x 8.2 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 1763. © National Library of Australia. 3 December 2022—19 February Needle and Bite: Etchings by Lionel Lindsay and his Contemporaries Etchings by Lionel Lindsay, other eminent Australian etchers and lesser-known makers. The show reveals the needling and biting involved in the etching process as well as in personal dynamics inside the printmaking world. Selected from the Gallery’s three permanent collections. 10 December 2022—22 January All In! Artists of the Toowoomba Region The Toowoomba Region is home to an incredible number of artists. This group exhibition celebrates the talent of artists who live here and showcases the diversity of their practice. 28 January—26 February The Architecture of Waiting Simon Cuthbert In The Architecture of Waiting Simon Cuthbert returns to the neighbourhoods of his youth in the moments surrounding the death of his mother to find traces of a spiritual connection in picket fences and suburban sites bristling with redundancy and obsolescence. 28 January—26 February The Photographer: Graham S. Burstow 1927-2022 ‘Our whole life is enhanced by photography

He was a husband, father, singer, traveller, associate and fellow of national and international photographic societies, and much more besides. This exhibition honours and celebrates Burstow the photographer. He was a foundation member of the Australian Photographic Society in 1962, helped to establish the category ‘Social Documentary’ in Australian photographic exhibitions, and in 2004 received a Medal of the Order of Australia for his services to photography. For over seventy-five years, Graham S. Burstow was whole-heartedly committed to what he called ‘a complete involvement in the photographic art.’ 25 February—21 May More than Half the Sky Inspired by the unnamed maid who is portrayed in Emanuel Phillips Fox’s Déjeuner [Mother and child no. 1] (c.1910-11), but is not acknowledged in the painting’s title, this exhibition recognises that women hold up more than half the sky.

UMI Arts Gallery umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. See our website for latest information. UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-forprofit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005. Our mission is to operate a cultural organisation that assists Aboriginal and Torres Strait Islander peoples to participate in the maintenance, preservation, and protection of culture. The UMI Arts Gallery and Gift Shop in Cairns

Michelle Yeatman, Shell World, ceramic, 2022. Exhibited in The Summer Show, 2022. Courtesy of Lovegreen Photography.

George Passi, Pearl Luggers, pine wood, balsa wood, beads, twine, acrylic paint and varnish, 2022. Exhibited in The Summer Show, 2022. Courtesy of Lovegreen Photography. 11 November 2022—5 February The Summer Show The Summer Show is UMI Art’s annual showcase of fine art and gift wares created by our talented member artists, and particularly celebrates those artists experimenting with new techniques and styles. This year’s colourful, eclectic show features paintings, works on paper, multi-media and ceramics by emerging and established Indigenous artists from across Far North Queensland.

Umbrella Studio Contemporary Arts umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. 27 January—5 March Siren Call Jenny Tyack In this exhibition, Jenny Tyack explores unheard female voices. The artist embraces and empowers women to express themselves in their unique voices. She encourages the viewer to examine the 195

ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION 4 Russell Street, Toowoomba QLD Gallery Open: 9am – 5pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art featherandlawry.com.au/art

QUEENSLAND Umbrella Studio continued...

07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm.

UQ Art Museum art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays.

Jenny Tyack, The journey, 2017, paint and crockery fragment collage on satellite dish, 96 x 86 x 6 cm. Photograph: Amanda Galea. evolving spaces that women occupy, and to accept or reject prevalent female visual icons such as hags, witches and enchantresses.

University of the Sunshine Coast Art Gallery usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13]

Calligraphy by Otagaki Rengetsu (17911875), ceramist unknown, Rabbit, 1867. Glazed porcelain, 19 x 15 x 18 cm. UniSC Art Collection. Arija and Richard Austin Bequest, 2015. Photograph: Carl Warner. 23 November 2022—28 January An Acquisitive Instinct: The Arija and Richard Austin Collection In 2015, Arija Austin bequeathed her and her late husband Richard ‘Dick’ Austin’s art collection of over 200 works to UniSC. An Acquisitive Instinct: The Arija and Richard Austin Collection celebrates their generosity and includes a diverse range of artworks and artefacts from Australia, Asia and the Pacific.

Haines and Hinterding, “Encounter with the Halo Field”, 2009-2015. Single-channel video, colour, sound, 3 min 38 sec. Courtesy of the artist. 14 February—24 June We Are Electric Will Benedict, Diane Borsato, Eglé Budvytytè, Megan Cope, Michaela Gleave, Jack Green, Haines and Hinterding, The Institute of Queer Ecology, Mavis Ngallametta, Dane Mitchell, Elise Rasmussen, Cameron Robbins, Yasmin Smith, George Tjungurrayi, Girringun Art Centre: Daniel Beeron (Galaman), Davina Harries, Judith Henry, Clarence Kinjun, Doris Kinjun, Debra Murray, and Eileen Tep.

Destiny Disrupted

Griffith University Art Museum 15 December 2022 – 23 March 2023 Abdul Abdullah, Abdul-Rahman Abdullah, Hoda Afshar, Safdar Ahmed, Elyas Alavi, Phillip George, Khaled Sabsabi, Omar J Sakr, Shireen Taweel, Hossein and Nassiem Valamanesh. 226 Grey Street South Bank Brisbane Q 4101 Ph: 07 37357414 artmuseum@griffith.edu.au www.griffith.edu.au/art-museum

Shireen Taweel Devices for Seeing (detail) 2022. Engraved and pierced copper, two objects: 28 x 10 x 12cm each. Courtesy the artist. Photo: Shan Turner-Carroll.

griffith.edu.au/art-museum

197

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery → Eggpicnic, Gouldian Finch, Star Finch and Double-barred Finch.

Aarwun Gallery aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. 9 December 2022—22 January Home Story Eggpicnic

Artists Shed artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

art materials, art school, gallery, and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Australian National Capital Artists (ANCA) Gallery anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm.

a range of works considering the intersections of the wellness industry and social media. Utilising text, video, performance and installation, Campey’s work illuminates the consumerist nature of wellness, and highlights the direct impacts that this content can have on young women. 1 February–19 February Regular/irregular Al Munro Regular/irregular is a continuation of Al Munro’s investigation into pattern, form and colour. Through the inclusion of foldlike corrugations in the artwork’s physical structure, Munro activates the viewer’s experience of the space and time of the painted surface.

Beaver Galleries beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm Gallery re-opens 17 January.

Al Munro, Irregular fold 1 2022, acrylic on box board, 27 x 27 x 5 cm. Courtesy the artist and ANCA Gallery. Margaret Hadfield, Azure water of Norfolk Island, oil. A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality

18 January–29 January This Vessel of Mine Jemima Campey 2021 Emerging Artist Award Scheme (EASS) recipient. In This Vessel of Mine, Campey presents

Alex Asch, The pass, aluminium, painted and rusted steel, formply, concrete residue, 80 x 90 cm. 199

ar t g ui d e .c o m . au 20 January—12 February Solastalgia Barbara Hodgson, Buffy Jackson and Sallie Saunders

Beaver Galleries continued... 9 February–25 February Climacteric Alex Asch

20 January—12 February The antidote & the apothecary Ange Price

Tom Rowney, Untitled, 2017, blownglass, Adventurine glass motif, black Zanfirico cane work. Photo by Adam McGrath for Canberra Glassworks.

Kelly Austin, Stilled Composition 118, stoneware, porcelain, collected earthen materials, glaze, metal wire, timber, acrylic paint, 35 x 90 x 31 cm. 9 February–25 February Duality Kelly Austin

Canberra Glassworks canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

9 March—7 May Adventurine Spirit Tom Rowney Coming in March 2023, an engaging selection of past and recent works by the extraordinary glass artist Tom Rowney. With a focus on Venetian traditions, Rowney conjures amazing shapes, textures and patterns, transforming the everyday into objects of desire. Always pushing boundaries, Rowney is well known for his cones, cups, spheres and bud vases created with stunning colourings including adventurine green and ruby red. With an eye to bling and frippery, Rowney combines classic elements of glass blowing with enchantment and style. Daring form and structured contemporary shapes are embellished with meticulous fine linework and shimmering texture, pushing the functional into a fluid aesthetic.

M16 Artspace m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

Manuel Pfeiffer, Space, 2021, drawing on paper, 42 x 59.4 cm. Image courtesy of Eva van Gorsel. 20 January—12 February ROCKPOOL – UNEXPECTED Manuel Pfeiffer 17 February—12 March Four views of Black Mountain Michael Desmond, Peta Jones, Bryn Desmond-Jones & Ossian Desmond-Jones 17 February—12 March Bind Ali Aedy 17 February—12 March Windsor Blue Karina Beth McLean

National Gallery of Australia nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. 11 June 2022—29 January Rauschenberg & Johns: Significant Others

Jessica Murtagh, Centerlink Amphora, 2021, blown glass. Courtesy of the artist. 12 January—26 February Net Worth Louis Grant, Jessicia Murtagh, Madisyn Zabel Net Worth showcases three emerging artists working in glass: Louis Grant, Jessica Murtagh and Madisyn Zabel. Each provides a unique commentary on today’s expectations of self-worth, perceived worth and financial worth, and how evolving values may guide our future. 200

Angella Price, Gold Creek Station from One Tree Hill, 2021, acrylic on canvas, 76 x 51 cm.

In the early 1950s, at the height of the Abstract Expressionist movement, a new avant-garde began to emerge from a relationship between two young artists. From their run-down New York studios, Robert Rauschenberg and Jasper Johns began a private creative dialogue that introduced everyday signs, objects, and media into their work, collapsing the distinction between art and life. While their relationship would end after seven years, their art would continue to radiate the new ideas of their creative exchange.

AUSTRALIAN CAPITAL TERRITORY artist has transformed commonplace experiences from her life into single edition prints and painted woodblocks.

11 December 2022—29 January Terrain Janenne Eaton

National Portrait Gallery portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

Dan Maginnity(Gig Workers), Blue Banded, 2022, 9 layers, 14 colours, enamel spray paint on reclaimed shop signage (ACP sheeting).

Jasper Johns, Gemini G.E.L., Figure 1; from Color numeral series, 1969, colour lithograph printed from one stone and two aluminium plates, 69.6 h cm, 55.6 w cm, National Gallery of Australia, Kamberri/ Canberra, purchased 1973. © Jasper Johns. VAGA/Copyright Agency. This exhibition will draw upon the National Gallery’s Kenneth Tyler Collection of prints with works by both artists produced between 1967 and 1973, and holdings of key works by their predecessors and contemporaries. 29 October 2022—29 January Project 3: Angelica Mesiti Angelica Mesiti’s videos are portraits that consider how communities are formed through shared movement and communication. A leading voice of her generation, she represented Australia at the 58th Venice Biennale with the three-channel video installation ASSEMBLY. 13 August 2022—5 February Project 2: Kara Walker This exhibition explores the narratives of race, gender, and sexuality in the work of leading North American artist Kara Walker. It is the first monographic exhibition of Walker’s art to be held in Australia. Major new acquisitions will be shown for the first time in Canberra alongside a selection of works curated by the artist exclusively for the National Gallery.

5 February—26 February Memory Persists Dan Maginnity [Byrd]

Tuggeranong Arts Centre tuggeranongarts.com

1 October 2022—29 January WHO ARE YOU: Australian Portraiture

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm.

From the collections of the National Gallery of Victoria and the National Portrait Gallery.

Watson Arts Centre

Michael Riley, Maria (from the series Michael Riley Portraits 1984–1990), 1986. © Michael Riley/Copyright Agency, 2021.

Nancy Sever Gallery nancysevergallery.com.au Level 1, 131 City Walk, Canberra City, ACT 2601 02 62 62 8448 Wed to Sun 11am–5 pm. See our website for latest information.

watsonartscentre.com.au 1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 Tues to Sun 10am–4pm.

Cressida Campbell, Japanese Hydrangeas, 2005. Private collection. © Cressida Campbell. 24 September 2022—19 February Cressida Campbell Cressida Campbell is among Australia’s most significant contemporary artists working with painting and printmaking. Directly inspired by her surroundings, for over 40 years the Gadigal/Sydney-based

Gwyn Hanssen Pigott, Teapot, year unknown. Donated by Bob Hay. Photograph: Katrina Leske. Janenne Eaton, Billabong. 2022, oil on canvas, 132 x 97 cm.

12 January—5 February New Acquisitions Various 201

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

TASMANIA

Bett Gallery bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Colville Gallery colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information.

Daniel S, Steampunk Collage Machine, North West Support School.

Caroline Rannersberger, Huon Pine Drawing 12 panel, 2022, acrylic on wood panel, 60 x 90 cm. 13 January–4 February Tree Change Caroline Rannersberger

Ashlee Murray, King Maireener shell necklace, 2021, single species necklace, 123 King maireener shells, 69 cm in length. 13 January–4 February Kanalaritja tunapri: The New Generation 15 palawa shell necklace stringers

Contemporary Art Tasmania 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. 24 February—2 April Last Messages Zieromuko, John Zobele, Yoshi Sodeoka, Winston Smith, Ryder Ripps, Nik Pepsi, NEGATIVEMEDITATION, Erin Linhart, Ray Harris, Lin Chen, Joey Gracia, Paolo Cirio. Presented by Contemporary Art Tasmania in association with Mona Foma. Curated by Scot Cotterell.

Jerzy Michalski, Sclerophyll, 2022, oil on Belgian linen, 92 x 152 cm. 3 January—23 January The Library Jerzy Michalski

collage machines. These are presented alongside interactive multisensory activities, visual augmentative and alternative communication displays and images of art experiences at North West Support School, so gallery visitors can experience and understand how students create and communicate.

Robert Brown, Fossil Cove.

Winner of tidal.20: Janine Combes, Kelp Elegy, 2020, fine silver, sterling silver (partly oxidised) and stainless-steel brooch pins).

24 January—13 February Fossil Cove Robert Brown

10 December 2022—28 January tidal.22 City of Devonport Tasmanian Art Award

14 February—2 March People and Place Chen Ping

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. To relate more strongly with the Gallery’s Acquisition and Collection policy, the award is since 2020 open to artists who identify as Tasmanian by either birth, or by demonstrating a strong and ongoing association with Tasmania. The $20,000 award is sponsored by the Devonport City Council and the Devonport Regional Gallery Friends Committee. The People’s Choice Award is sponsored by One Agency Collins Real Estate.

Devonport Regional Gallery paranapleartscentre.com.au paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. See our website for latest information. 2 December 2022—14 January North West Support School Exhibition The paranaple arts centre welcome the North West Support School to share an inclusive exhibition as we celebrate International Day of Persons with Disabilities. The exhibition includes works created by students during an exploration of Steampunk, with panels of recycled materials arranged and aged with patinas to create

30 April 2022—21 January Little Gallery Emerging Artist Program The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and internation203

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

27 January—13 February Linda Keough

al artists. 2022 Selected Artists: George Kennedy, 30 April–28 May; Luke Viney, 16 July–20 August; Jane Menzies, 27 August–24 September; Stephanie Reynolds, 1 October–29 October; Elizabeth Braid, 5 November–10 December; and Armie Sungvaribud, 17 December–21 January.

utas.edu.au/creative-arts-media/ events/plimsoll-gallery 37 Hunter Street, Hobart 7000 [Map 17] 03 226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and pub hols. See our website for latest information.

21 January—25 February Portal Portal continues a tradition of creating a photographic exhibition by local contributors from across the North West. The aim of Portal is to capture glimpses of experiences on a particular day on the North West Coast of Tasmania. The Portal exhibition has occurred annually since 2013. It is an exhibition that resonates with our community as it is generated by local community members, telling their stories which are similarly experienced by many who live in the North-West region.

Museum of Old and New Art (Mona) mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. See our website for latest information. 17 December 2022—24 July Oceans of Air Tomás Saraceno

Handmark handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm. 6 January—23 January Summer Exhibition Handmark artists

Plimsoll Gallery, University of Tasmania

Luke Wagner, In the Space Between Love and Sleep, oil on linen, 122 x 82 cm. 17 February—6 March Tone Poems Luke Wagner

Penny Contemporary pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. Penny Contemporary is a boutique gallery situated in Hobart’s CBD. The gallery offers exhibition, representation and curatorial opportunities to local, national and international artists at all career stages. Exhibitions and events comprise a broad range of art and community collaborations that aim to invigorate the audience’s experiences of contemporary art and culture.

Zanny Begg, The City of Ladies, (still) 2017. Co-directed with Elise McLeod. Image courtesy of the artist. 9 December 2022—25 January These Stories Will be Different Zanny Begg Bringing together three of the artist’s most significant video installations that explore contested histories, including The City of Ladies (with Elise McLeod), The Beehive, and Stories of Kannagi. The videos tell stories, but they also challenge the politics of storytelling itself and invite you to see the world differently. A UNSW Galleries and Museums & Galleries of NSW touring exhibition. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Queen Victoria Museum & Art Gallery qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Permanent Queen Victoria Art Gallery, Inveresk : Northern Clay

Maz Dixon. 20 January—8 February Great Escapes Maz Dixon Linda Keough, Stand Alone, oil on canvas, 51 x 51 cm. 204

10 February—1 March New Work Steve Lopes

Launceston’s past as a major pottery and ceramics hub is celebrated in Northern Clay, an exhibition exploring the story of the rise of ceramics in northern Tasmanian beginning with two former Launceston pottery companies: John Campbell Pottery and McHugh Brothers. 26 November 2022—28 May Art Gallery at Royal Park (2 Wellington Street, Launceston) : Jimmy Possum: an unbroken tradition

TASMANIA

Image: Angela Casey. Bound to the people, place and history of the Meander Valley in northern Tasmania; this chairmaking tradition is unlike any other in the world. It’s defining interlocking configuration; legs that intersect the seat and housed in the arms, back rungs that intersect the arms and housed in the seat, was reputably developed at several Meander Valley bush camps by the fringe-dweller Jimmy Possum. Permanent Art Gallery at Royal Park (2 Wellington Street, Launceston) : The First Tasmanians: our story Explore the history and culture of the Tasmanian Aboriginal people in The First Tasmanians: our story at the Art Gallery at Royal Park.

Gemma Lynch-Memory, A Perfect Storm, 2022, oil and mixed media on canvas, 135 x 200 cm. 12 January—28 February Adrift Gemma Lynch-Memory “Recent events have me contemplating the concepts of freedom, loss, the idea of what we can and can’t control and ultimately and how that can lead to new personal insight”, explains Gemma. “The vulnerability of the moment made me contemplate that perhaps the most extraordinary journeys can actually only start once we are lost and adrift.”

Installation view of historic Tasmanian stone tool registration cards (circa 1915) from the Grassi Museum für Völkerkunde zu Leipzig, Germany; taypani-milaythina-tu: Return to Country exhibition, TMAG, October 2022. Image: Rosie Hastie. partnership projects kanalaritja: An Unbroken String (2016–20) and tayenebe: Tasmanian Aboriginal Women’s Fibre Work (2008–11). This important exhibition is an ambitious project presenting a reconnection between people, objects and Country.

Tasmanian Museum and Art Gallery tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Daily 10am–4pm. Free entry. Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians. Until 19 February Extinction Studies

H J King Collection, QVM:2014:P:4214. Stereographic photograph (detail) of HJ King with two Indian Motorcycles on a trip to Cradle Mountain, 1921. 27 August 2022—27 August Queen Victoria Art Gallery, Inveresk : HJ King: cameras and carburettors Although HJ King’s photographs are more commonly seen than you might realise, the photographer himself is less well-known. In this exhibition we explore the man behind the camera, who was HJ King?

The TAG Art Gallery thetagartgallery.com 60 Murray Street, Hobart Tasmania 7000 [Map 17] 03 6107 9722 Tue toFri 11am–5pm, Sat 10am–2pm. See our website for latest information.

Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG. 1 October 2022—12 February taypani milaythina-tu: Return to Country This ground-breaking exhibition presents creative work from 20 Tasmanian Aboriginal artists responding to inherent relationships between community and Ancestral objects, particularly those held in institutions outside lutruwita/Tasmania. Ancestral objects from collections around the world will return to lutruwita to be exhibited alongside these contemporary responses, some of which are by descendants of the original makers, representing generational reconnection across time and place. taypani milaythina-tu: Return to Country follows previous Tasmanian Aboriginal community–TMAG

Susan Lester (1956-2022), Yellow Wattlebird, c. 1987-1991, watercolour. Gift of ENT Corporate Pty Ltd through WIN Television under the Cultural Gifts Program, 1999. 1 December 2022—12 February Susan Lester: Birds of Tasmania In 1987, artist Susan Lester was commissioned to paint 200 of Tasmania’s birds for a book to commemorate the Examiner newspaper’s 150th anniversary. She worked with ornithologist and Queen Victoria Museum and Art Gallery curator Dr Bob Green, and spent time observing the birds in the bush and drawing museum specimens to ensure accuracy in her paintings. Susan worked for four years to produce the exquisite and finely-detailed watercolours, however the book was never published. Subsequently, 199 of the 200 paintings came into the TMAG Collection. Sadly, Susan passed away after a brief illness in early 2022. As a tribute, her family fundraised to make the book a reality and her works will finally be published in a bespoke publication, Birds of Tasmania. To coincide with the book’s publication, TMAG will display a selection of Susan’s watercolours in this exhibition. 205

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

S OUTH AUSTRALIA 24 February—18 March Thompson Bowers: The Country for Old Men Mark Thompson

Adelaide Contemporary Experimental ace.gallery Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. See our website for latest information.

Paintings and porcelain. Stephen Bowers Miniature dioramas and porcelain

GAGPROJECTS Guido Maestri, Return to Berkeley’s Creek, 2021, Sydney, oil on canvas, 200 x 244 cm; James and Diana Ramsay Fund 2021, Art Gallery of South Australia, Art Gallery of South Australia, Adelaide. © Guido Maestri. Photograph: Mim Stirling. 26 November 2022—16 April Bewilderness: Recent acquisitions

Yuko Mohri, Moré Moré (Leaky): Variations, 2022. Installation view, 23rd Biennale of Sydney, rīvus, 2022, Pier 2/3 Walsh Bay Arts Precinct. Photograph: Document Photography. Courtesy of the artist, Project Fulfill Art Space & Mother’s Tank Station Ltd. 4 February—18 March A river that flows both ways Imhathai Suwatthanasilp (Thailand), Aluaiy Kaumakan (Paiwan Nation), Yuko Mohri (Japan) and Sopolemalama Filipe Tohi (Tonga).

Showcasing recent acquisitions in painting, printmaking and sculpture, this exhibition considers landscape as a form of representation deeply embedded in questions of identity and belonging.

BMG Art bmgart.com.au 444 South Road, Marleston, SA 5033 08 8297 2440 or 0421 311 680 Wed to Fri 12noon–5pm, Sat 2pm–5pm. Closed until 31 January.

Art Gallery of South Australia

gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery & stockroom open by appointment only.

Flinders University Museum of Art flinders.edu.au/museum-of-art 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 weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information.

agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Sum Woon Chow, Robotown, 2018, acrylic on canvas, 92 x 122 cm. 3 February—18 February Steve Brown Sum Woon Chow Julian Smith

Therese Ritchie, Simply did not happen, 2021, pigment print, 80 x 50 cm. Collection of the artist. 20 Febuary—6 April Some Like it Hot Franck Gohier and Therese Ritchie Some Like it Hot, curated by Wendy Garden, brings together two of the Northern Territory’s most respected artists: Franck Gohier and Therese Ritchie in an exhibition that reflects upon gender trouble in the tropics. Both Gohier and Ritchie consider the performative nature of gender, tracing the intersections between sweat, sex, desire and discord in Darwin, Australia’s hottest and most remote capital city.

Installation view: Gamepieces by Nalini Malani, 2015, MoMa, New York. 5 November 2022—22 January Nalini Malani: Gamepieces Don’t miss the first major Australian survey exhibition by pioneering contemporary Indian artist Nalini Malani. Spanning five decades, Gamepieces showcases Malani’s radically inventive practice in film, video, photography, large-scale multimedia installation, painting, and animation.

Mark Thompson, The Duck Rondel, 2022, glazed earthenware - a work in progress.

Some Like it Hot is an Artback NT Touring Exhibition, and proudly supported by Visions of Australia and the Australia Council for the Arts. 207

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

Hahndorf Academy hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5245 08 8388 7250 Open 7 days a week 10am–5pm.

JamFactory jamfactory.com.au

Program, an Australian Government program aiming to improve access to the national collections for all Australians.

19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Cara-Ann Simpson, narratio regenerationis (the narrative of rebirth), 2022, video. 19 November 2022—22 January Heysen Prize for Landscape Finalist Exhibition The Heysen Prize for Landscape commemorates Sir Hans Heysen. We celebrate emerging, mid-career and established artists and invite them to express their deep connection with—or concern for—protecting the Australian environment and to pay homage to Hans Heysen as an artist and environmentalist.

Frida Las Vegas, Motel Frida Las Vegas Glamour Kaftan, Photograph by Charles Grant. Morphett Street: 17 February–16 April NEW EXUBERANCE: contemporary Australian textile design

Winner for the arts prize 2022 is CaraAnn Simpson from Queensland.

Barbara Hanrahan, Flying mother, 1976, screenprint, colour inks on paper, 59 x 48 cm. Private collection, Adelaide, © the Estate of the artist. Courtesy of Susan Sideris, 2020. 21 January—19 March Bee-stung lips: Barbara Hanrahan works on paper 1960-1991 Bee-stung lips surveys Barbara Hanrahan’s prolific 30-year printmaking career. Her fearlessly direct works are characterised by playfully complex narratives that draw on both personal experience and fantasy. Curated by Nic Brown, this is a Flinders University Museum of Art touring exhibition presented in collaboration with Country Arts SA.

Mary Rrikili, Bathi, 2022. Photo courtesy of Bula’Bula Arts. Seppeltsfield Road: 17 December 2022–19 February Manymak girri’ ngarraku Something good that I can use Eleanor Noir, Crenulate, 2020, oil on linen. 27 January—26 March Sublunary: adj. ‘of or relating to the earth’ Eleanor Noir Fringe 2023. Sublunary is a series of paintings inspired by the natural world, reflecting upon the boundaries between being wild and domesticated. 27 January—26 March Order55 Seb Humphreys Fringe 2023. Seb Humphreys is an Australian visual artist know for his large scale mural work and Sculptures that explore the intersection of nature and the modern urbanized world. As a Mural artist Humphreys goes under the moniker ‘Order55’ and is recognized internationally for his distinctive style of transparently layered abstract paintings. He has many public works through out Europe and the Americas, as well as many successful projects over the last 15 years operating in Australia and New Zealand. 208

Murray Bridge Regional Gallery murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information. 26 November 2022—15 January Pub Rock This vibrant (sometimes sweaty) exhibition of homegrown rock ‘n’ roll, punk and pop features works from the National Portrait Gallery collection alongside images by leading Australian music photographers. A National Portrait Gallery Exhibition. Supported by the National Collecting Institutions Touring and Outreach

Monika Morgenstern, Orbis, 2022, ink on aluminium, 90 x 90 cm. Photograph: Grant Hancock 21 January—19 March I Dwell in Possibility: Monika Morgenstern Morgenstern’s practice explores phenomenology and how undefinable complex feelings are experienced on a deeply personal, emotional and psychological level. In a time of enormous geopolitical and economic stresses, I Dwell in Possibility presents ethereal and atmospheric abstractions that delve deep into ideas of the numinous, toward a more enchanted universe.

S OUTH AUSTRALIA

Riddoch Arts and Cultural Centre → Naomi Hobson, Southern Kaantju/Umpila people, Queensland, born Coen, Queensland 1978, OMG! “OMG! This is actually heavier than it looks!” Alaina, from the series Adolescent Wonderland, 2019, Coen, Queensland, digital print on paper, 81 x 110 cm, © Naomi Hobson/RedotFine Art Gallery.

Newmarch Gallery newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9 am–5pm, Sat 10am–4pm. Sun Closed.

20 January—18 February Co-viv Daniel Connell COVIV20 is an exhibition of paintings by Daniel Connell and a short film by Backfields Productions. Celebrating 14 essential workers on temporary visas since the start of the pandemic.

Nexus Arts nexusarts.org.au Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

Zoe Freney, Work From Home, 2022, tulle, painter’s linen, thread, dimensions variable. Photograph: Grant Hancock. 24 February—25 March Work from Home Zoe Freney Work From Home continues Dr Zoe Freney’s investigation into making art from the locus of the domestic. This important work forms part of a nascent field that powerfully represents the generative creativity within the site of the home.

Daniel Connell, Portrait of Ayotunde Musa, charcoal, acrylic and oil on canvas, 100 x 140 cm.

Image supplied by artist. 17 February–17 March Find That Pace Jianzhen Wu (Shirley) Find That Pace by Jianzhen Wu (Shirley) 209

ar t g ui d e .c o m . au River – Kaurna), the colonial villa (c.1898) is a state heritage community asset. Opening to the public in 2015, Sauerbier House is now an established arts centre which supports artistic and cultural exchange through contemporary visual arts whilst retaining connection to the rich history of the coastal location.

Nexus Arts continued... is a repetitive, sensory, and meditative creative experience with a focus on inner space and reconnection to the body. Visitors are encouraged to respond individually to the environment and materials in this participatory visual arts exhibition setting. This project is a continuous exploration of Wu’s lived experience through auto-ethnography, phenomenology, and materiality, and is the outcome of their three month studio residency at Nexus Arts.

praxis ARTSPACE praxisartspace.com 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 Wed to Sat 11am–4pm. See our website for latest information.

Riddoch Arts & Cultural Centre theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. No trip to Mount Gambier is complete without a visit to The Riddoch Arts and Cultural Centre, featuring an ever-changing calendar of local artists exhibiting alongside works of national significance. The Riddoch holds the state’s foremost regional collection with over 1500 items, from paintings and prints depicting the people and history of the Limestone Coast to a significant collection of Aboriginal and 20th Century Australian art, featured in curated collection exhibitions throughout the year. 19 November 2022—22 January Adolescent Wonderland Naomi Hobson Naomi Hobson is a Southern Kaantju/ Umpila woman who lives in Coen, a small town of 360 people in far north Queensland. A multidisciplinary artist, she regularly works across the mediums of painting, ceramics and photography. Inspired by her immediate environment, Hobson’s works reference her family’s political and social engagements as well as her own personal engagement with her Country and community. In Hobson’s evocative photographic series Adolescent Wonderland, she is working to empower young people in her community, to encourage them to be themselves and to celebrate their uniqueness. This regional South Australian tour is presented in partnership with the Art Gallery of South Australia and Country Arts SA. 26 November 2022—29 January A Pretty Folly Kate Rohde 210

Kate Rohde, Leopard vase and Bird bowl, 2015, polyurethane resin. Photograph: Graham Baring. A Pretty Folly, an exhibition by Kate Rohde, sees the exhibition space transformed into an installation brimming with bold colour and life. Rohde will present a selection of her functional sculptural pieces which celebrate everything animal, vegetable and mineral in their creation. Setting the stage for her object based works, the gallery walls will be adorned in several elaborate wallpaper designs. Cultivated from Rohde’s object based practice, these uniquely developed designs of luminescent zoological animal motifs, and botanical gardens of small resin gems and golden coloured icing filigree, work to create a kaleidoscopic immersive environment that elaborates on interior traditions. 10 December 2022—26 February The Wonder Room We invite you to ‘The Wonder Room’ children’s gallery on the upper level of The Riddoch. This colourful and creative space will engage young children with art & craft activities celebrating all the things that are special about summer in beautiful Mount Gambier!

Alan Cook, Roadbridge and Electronics [score], 2022, wood and acrylic, 470 x 70 x 70 mm. Image courtesy of the artist. Artist in Residence Exhibition: 10 December 2022—28 January RE-SOUNDING NGANGKIPARRI: Reverberations of Complex Biographies Alan Cook Sculpture, environmental and synthesized sound, fragments of voice and atmosphere document the brutalised Ngangkiparri soundscape in a sevenpart everchanging and evolving sonic installation.

4 February—12 March Experimenta Life Forms Experimenta Life Forms features 26 contemporary Australian and International artists working across diverse artforms – including robotics, bio-art, screen-based works, installations, participatory and generative art. The exhibition explores the changing notions of life in response to new scientific research and technological change.

Sauerbier House Culture Exchange onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. Sauerbier House is a City of Onkaparinga arts initiative which operates as both a creative space and a cultural destination. Situated close to the banks of the Onkaparinga River/Ngangkiparinga (Women’s

Emiliano Fernández. Ngurp - Muntries (Kunzea pomífera), 2022, digital photograph on paper, dimensions variable. Image courtesy of the artist. Artist in Residence Exhibition: 10 December 2022—28 January Variant Emiliano Fernandez Fernández shares a new body of photographic work inspired by the local natural environment whilst exploring notions of impermanence and imperfection. [GRAFTd] Exhibition: 4 February—18 March Sea and Being Change Beverley Southcott Referencing ongoing debates surrounding

S OUTH AUSTRALIA

Samstag Museum of Art → James Newitt, Haven, production still, 2022. conflicts, the aftermath, and peace, Southcott’s works position domestic space as a central global location from which to receive broadcast news. This exhibition incorporates imbued empathetic and nuanced visual expressions that reflect our human crises. Yet, extremism, nationalism, and neoliberalism are forceful contributors to overshadow these integral humanistic attributes, thus resulting in prolonged and unresolved grief for many.

Samstag Museum of Art unisa.edu.au/samstagmuseum University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. Samstag Museum of Art is one of the University of South Australia’s leading creative centres; its establishment, in 2007, reflects the University’s determination to make a dynamic contribution to the intellectual and cultural life of South Australia and to the Australian tertiary education sector. Samstag presents a changing exhibitions program of contemporary visual art, and art of the past that has relevance for us

today. The program is intended to be of broad interest and educational value to a wide public community. The museum additionally manages the University of South Australia Art Collection and administers the prestigious Samstag Scholarships on behalf of the American-based Trustee of the estate of Gordon Samstag. Opening 3 March Haven James Newitt Bruce Nuske Ceramics with design by Khai Liew. Night for Day Emily Wardill A Samstag and 2023 Adelaide Festival exhibition..

South Australian Museum samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information.

the past mass extinction events that have decimated life on our planet. Six Extinctions is an exciting new blockbuster exhibition premiering at the South Australian Museum that follows the history of life through the five major mass extinction events on Earth and looks at the current extinction crisis, the Sixth Extinction and what we can do to help. Step back in time to explore the mass extinctions of Earth’s history and meet some of the top predators of each geological period, including a replica of the largest Tyrannosaurus rex ever found!

26 November 2022—5 February Six Extinctions The death of the dinosaurs is the most famous extinction, but it is only one of 211

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

Art Collective WA artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment.

4 February–4 March Presence and Absence Joanna Lamb A series of new prints depict intimate views in and around the home. Although devoid of the people who inhabit the spaces, the works still record their presence. For example in the way a garden is tended, or a vase of flowers is arranged. What is left out is just as important as what is left in. Screen printing naturally lends itself to this idea of presence and absence, through the reduction of a view and a carefully considered arrangement of colour, shape and composition.

The Art Gallery of Western Australia artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Until 8 January Speech Patterns; Nadia Hernández and Jon Campbell Speech Patterns is an entwined and layered conversation between the work of contemporary artists Nadia Hernández and Jon Campbell. This vibrant exhibition is full of life, poetry and feeling and is comprised of paintings, paste-ups, drawings, posters, banners and flags from across the span of their individual practices. Merrick Belyea, Scarp 1, 2022, oil on board, 122 x 61 cm. 4 February–4 March Scarp Merrick Belyea

and desire, are within the fantasies of ‘the good life’. Until 29 January The Cost of Living This collection display explores how understandings and misunderstandings of value shape art and everyday life. Featuring several new contemporary acquisitions alongside collection highlights, it looks at what and how we place value impacts the way we relate to each other physically, emotionally, and economically. Until 26 March dis/possession: identity and sense of place dis/possession displays works drawn entirely from the State Art Collection, centring on the juxtaposition of two significant works by Australian artists: Hans Heysen’s Droving into the light and Mervyn Street’s Bull ride. Painted approximately 100 years apart, each offers a view of rural Australia that reflects the preoccupations of the artist at the time of the work’s production. Heysen’s and Street’s paintings are accompanied by other works from the Collection to give context to the historical narratives of the time. Until 26 March Yeahnahnesia Yeahnahnesia is an exhibition presenting cultural artefacts from the remote island of Yeahnahnesia. Yok & Sheryo chanced upon the island and quickly embraced the world view of its locals, which is simultaneously animated and laid-back while being layered with meaning. A place where visitors can escape their real-world responsibilities, Yeahnahnesia is both fantastic and familiar. Rich in emblems that resonate with both Yok & Sheryo, they were entrusted by the island’s cultural custodians to share some never-before-shown artefacts for Western Australians to experience.

New paintings by Merrick Belyea continue his concentration on the outer edges of suburban Perth. Looking upwards towards an edge geographically and geologically unlike the plain below, the scarp becomes metaphor – unobtainable, unscalable, and despite nearby colonised corridors remains largely untouched. Beyond this arcadian, truly ancient landscape we glimpse a threat, where wilful neglect is making an irreversible mark on a paradise garden.

Hai-Hsin Huang, Mayday Blues #3, 2021, oil on canvas, 53 x 45.5 cm. Courtesy of the artist. © Hai-Hsin Huang. Until 23 April I have not loved (enough or worked)

Joanna Lamb, Vase and Flowers 01, 2022, screenprint, 61 x 68 cm. Printer: James Thornton.

Presented by the Simon Lee Foundation Institute of Contemporary Asian Art, a major new curatorial and creative initiative at AGWA, I have not loved (enough or worked) brings together works in video, photography, painting and sculpture by Hai-Hsin Huang, Daisuke Kosugi, Pixy Liao, Lin Zhipeng (aka No.223), Rinko Kawauchi, Sejin Kim, Lieko Shiga, and Tao Hui, to reveal how deeply enmeshed our bodies, and the subjective forces of love

Farah Al Qasimi, Star Machine, 2021, archival inkjet print, 114.3 x 152.4 cm. Courtesy the artist and The Third Line. 4 February—30 July Farah Al Qasimi: Star Machine Star Machine is the first solo exhibition in Australia by photographer, video and performance artist Farah Al Qasimi. The exhibition departs from a recent work Star Machine (2021) and takes a reflective gaze over the past five years of the artist’s practice, to unfold the experience of transcendence in contemporary image-based culture. On Now Exquisite Bodies Bruno Booth 213

Image: Sunset moth — Chrysiridia madagascarenis © Bo Wong

museum.wa.gov.au

WESTERN AUSTRALIA The Art Gallery of Western Australia continued... Exquisite Bodies is a participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Interrogating and expanding on ideas of beauty, mobility, and ability Exquisite Bodies draws on the surrealist game Exquisite Corpse, as an open-ended celebration of difference inviting audiences of all ages to interact with playable figurative sculptures and drawing games.

Artitja Fine Art Gallery artitja.com.au South Fremantle, WA 6162 0418 900 954 Open daily by appointment around our exhibition program. See website for exhibition information.

Bunbury Regional Art Gallery brag.org.au

26 January—26 March SAQA Oceania: Distance and Diversity Group exhibition by Studio Art Quilt Associates (SAQA).

DADAA Gallery

Sherylle Dovaston ,The Book Not the Movie, acrylic on canvas, 160 x 120 cm.

dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Fri 10am–4pm, Sat 10am–2pm.

64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–5pm. Follow our socials to stay up to date. @bragwa See website for exhibition information. With six different gallery spaces, BRAG is able to present a wide range of exhibitions, ensuring there is always something for everyone to get excited about. 15 October 2022—15 January In Place Group exhibition presented by The South West Printmaker. 3 December 2022—26 February A Colourful Life Robyn Bischoff

Jessica Wyld Photography. 4 Febuary—4 April The Sea Shell Is Not the Sea Shore Matt Gingold, Jenny Hickinbotham and Zora Kreuzer Three artists explore mental health as a collective and cultural experience through the medium of sound. Incorporating video, sculpture, and poetry, their work breaks the socially encouraged silence around madness, trauma, and neurodivergence, amplifying the voices of people with lived experience.

DOVA Collective dovacollective.com.au Level 8, 125 Murray Street Perth, WA 6000 04 19 61 4 004 By Appointment See website for latest information. Kelsey Ashe, DeepTime_Future, (detail). 10 December 2022—6 March Epic Works: Selections by the Director from the Lloyd and Liz Horn Collection

1 September 2022–3 March Notations Sherylle Dovaston Notations features 10 large scale works

Sherylle Dovaston , Simulare, acrylic on canvas, 160 x 120 cm. which highlight the artist’s signature style and fascination with mark-making. The works explore painterly notations as a form of urban script, and expressive visual language to investigate connections to people, time, and place. Forming part of the daily business environment, this exhibition is part of a unique collaboration between DOVA Collective and Co.Lab by Liberty, marking an innovative re-imagining of the intersection between art and business, and is viewable by appointment.

Fremantle Arts Centre fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. 5 November 2022—23 January Still Watching A collaborative exhibition by Anna Louise Richardson and Abdul-Rahman Abdullah, Still Watching embodies 215

ar t g ui d e .c o m . au Fremantle Arts Centre continued...

5 November 2022—23 January A Gift and A Shadow A happy magpie dancing in a sprinkler, a ghost asking politely to be let in, finding a fortune in the street. A Gift and a Shadow are two sides of the same coin, the choice and consequence, the path followed and the road less travelled and the use of an object and all the uses not yet imagined. Exploring the absurdity of life, and the magic in the everyday, Sally Bower presents a new body of work that extends an open invitation to interact, engage and play. 5 November 2022—23 January The RinDin Dai

Anna Louise Richardson, What am I gathering (crow), 2022, charcoal on cement fibreboard, 132 x 90 cm. different experiences and perceptions of mutual observation in the natural world. Embracing both the magical thinking of childhood and the pragmatism of raising a young family in a rural environment, Anna Louise Richardson and Abdul-Rahman Abdullah articulate a personal lore, voicing their relationships with other creatures and the mythic qualities of the worlds we occupy.

In this newly commissioned exhibition, Walyalup-based artist Tyrown Waigana explores sacrifice and reward, and notions of the unexpected, creating a world for the Hongels and their creator, Vord. As visitors to this world, we bear witness to rituals and ceremony never seen before, but we are also asked the same questions as the Hongels, what would we be willing to sacrifice to have a wish answered?

Gallery Central gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. Closed public holidays. See our website for latest information.

Gallery 152 gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

Katie Breckon, Hill near Wunaamin Miliwundi Ranges, 120 x 160 cm, incised paint on aluminium, 2021. Photograph: Emma Daisy. 5 November 2022—23 January Backtrack Katie Breckon is an Aotearoa-born artist, educator and remote community arts worker whose practice explores the transient and transformative notion of home and questions one’s place in the natural world. In Backtrack, Breckon explores expanded drawing and mark making practices through the lens of mapping personal and physical geographies.

216

she responds to her environment with a style or medium that is appropriate to the subject. This exhibition includes works completed during residencies in Beverley and on Rottnest Island.

John Curtin Gallery jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission.

Aziz Hazara, Bow Echo, 2019, production still from 5 channel digital video, colour, sound, 4:01 mins. Courtesy of the artist and Experimenter. 10 February—16 April However vast the darkness… A celebration of the John Curtin Gallery’s 25-year partnership with Perth Festival, However vast the darkness… brings together a vivid and compelling season of three interconnected projects offering deep reflection and forceful protest of the inequities suffered by peoples across the globe as a result of Empire building. However vast the darkness… brings together two major installations by Afghani artist Aziz Hazara and Aotearoa New Zealand’s Lisa Reihana, with the proppaNOW Aboriginal art collective’s: Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey and Laurie Nilsen in OCCURRENT AFFAIR. Together, these 9 artists champion the resilience of culture and presenting truth-telling as the way to illuminate a path through the darkness of profound geopolitical tension and enduring repression. OCCURRENT AFFAIR is an exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government through

Sarah Pondevie, Dusk over Westdale Road, 2022, pastel, 78 x 98 cm. 3 December 2022—29 January Of Land and Table Sarah Pondevie Using soft pastels and oils, Sarah Pondevie’s work is a narrative of her travels: from observations while moving through her house, walking in her suburb, and being inspired by ordinary wonders, or road trips exploring our land. As an artist who likes to work plein air or from life,

Alma Toomath (née Cuttabut), Untitled, c. 1949, pastel and charcoal on paper. Curtin University Art Collection.

WESTERN AUSTRALIA the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program.

KolbuszSpace

10 February–16 April Carrolup coolingah wirn: The spirit of Carrolup children

2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

Carrolup Coolingah Wirn: The Spirit of Carrolup Children focuses on a cohort of Aboriginal children forcibly removed from their families and communities in the 1940s. Their remarkable artworks and stories provide opportunities for truthful conversations about the impact of colonisation, the Stolen Generations, and the rights of children today.

kolbuszspace.com

Lawrence Wilson Art Gallery & Berndt Museum uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm. The gallery will be closed from 11 December to 11 February 2023. See our website for latest information.

KAMILĖ GALLERY kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209 See our website for latest information.

Gombawarrah-Yinhawangka, Paraburdoo area. Photograph: Michael Bonner. 11 February—22 April Black Sky

Contemporary art gallery showcasing the work of exceptional australian and international artists making a significant and distinguished mark on the city’s cultural life.

Presented by Lawrence Wilson Art Gallery as part of the 2023 Perth Festival in association with the Berndt Museum, and the Cruthers Collection of Women’s Art. Black Sky, curated by Jessyca Hutchens and Michael Bonner, asserts sovereign visions of blackness. This exhibition traverses unlikely spaces of resistance and cultural continuation – from creation stories across horizon lines, to ambiances of the night club, to creatures of flight, to the black of the Aboriginal flag as a symbol of sovereign solidarities across skies. Part of the Perth Festival Visual Arts Program Supported by Wesfarmers Arts

Robyn Bernadt, Lace I, 2022. Playboy Centrefold cut-out, 40 x 74 cm.

Caroline Christie Coxon, Yin And Yang, 2022, 150 x 150 cm.

Caroline Christie Coxon, 11 11, 150 x 150 cm. 30 December 2022—1 February Holiday Exhibition Caroline Christie Coxon

10 February—12 February Glory Box Robyn Bernadt Robyn Bernadt is a paper artist residing in Boorloo (Perth), on Whadjuk Noongar Boodja who graduated from Edith Cowan University with a Bachelor of Visual Art in 1999. After studies and without an art studio, Bernadt began making postcard-sized collages from found paper and second-hand books due to limited space. Further developing her practice, she began to experiment with pop-up techniques and structural packaging design. Using paper materials from the past, Bernadt reworks traditional homecraft practices to explore the glory box and its contents: as objects of constraint and restriction; as a metaphor for the housewife surrounded by lace curtains and handmade doilies, whose life is contained within four walls; and as a metaphor for the woman who succeeds in life as an object of desire. Glory Box presents a re-creation of a woman’s home, one that challenges traditional notions of the domestic sphere and questions problematic stereotypes of the homemaker and sex object.

Linton & Kay Galleries lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm. Until 26 February Subiaco and West Perth: Directors’ Choice 2023 begins with a selection of work by exciting artists who are new to our galleries and others well known to our collectors. Directors’ Choice features 217

David Giles Art Galleries Representing more than 30 Western Australian artists including: David Giles,Ross Calnan, Ingrid Holm, Penny Rulyancich, Jackie Peach.

David Giles Art Gallery 49B High Street, Fremantle WA Open 7 days a week 11am-4pm

Studio 11 Art Gallery 11 Captains Lane, Fremantle WA Open Thursday to Sunday 11am-4pm davidgilesartgallery.com 0416 079 204 David Giles, Beautiful day down by the river, 80 x 60 cm, acrylic on canvas. davidgilesartgallery.com

WESTERN AUSTRALIA Linton & Kay Galleries continued...

Nikki Green, excerpt from All the Stories We Do Not Know by Reneé Pettitt-Schipp, 2022, digital print, 27.5 x 36 cm. Image courtesy of the artist.

Jo Darvall, Winged Realm #35, 2020, Mono print on Chine Colle paper, 85 x 65 cm. Photograph: Miles Noel.

Tracing Gondwana celebrates the ancient landscapes of the Great Southern – one of the richest Biodiversity Hotspots on the planet. This creative collaboration has resulted in a body of work responding to our current climate emergency. Weaving words and image through printmaking processes, Tracing Gondwana evokes a personal sense of hope amidst an extremely vulnerable and threatened ecological time.

Mundaring Arts Centre

Maimunah Abdullah, Corymbia calophylla, 2022, watercolour on paper, 55 x 43 cm. Photograph by AbdulRahman Abdullah. 24 September 2022—26 February The Sum of Us The Sum of Us celebrates the work of a group of students brought together by a botanical art course in Perth with artist and fellow student Margaret Oversby. The group continued to meet with Margaret arranging sessions in Bullsbrook to allow the pursuit of their passion and exploration of various styles of botanical art. Margaret has since passed away. This exhibition acknowledges her role in the formation of this diverse, supportive, and talented group, with a selection of her works on display.

mundaringartscentre.com.au

Eleanor Millard, Only by Boat, acrylic on paper laminated to canvas, 40 x 40 cm.

7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

three-dimensional work in a variety of media and scale, from the very small to the (relatively) tall as well as paintings, photography, unique state prints and more. Artists include Jeffery Mincham AM, Christopher Orchard, Eleanor Millard, Peter Griffen, Denise Lithgow, Pippin Drysdale, Cowboy Louie Pula Pwerle, George Ward Tjungurrayi and others. This is a major review, over two months, shown in our two Perth metropolitan spaces, one in Subiaco and the other in West Perth.

MOORE CONTEMPORARY moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm. See our website for latest information.

Midland Junction Arts Centre midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information. 19 November 2022—19 February Tracing Gondwana Monika Lukowska, Nikki Green and Writer Renee Pettitt-Schipp in partnership with Gondwana Link.

Transpositional, Mundaring Arts Centre, 2022. Photograph: Rebecca Mansell. 8 October 2022—26 February Transpositional Hans Arkeveld and Joan Johnson Transpositional celebrates the interdisciplinary arts practice of partners in life, artists Hans Arkeveld and Joan Johnson. With arts careers spanning decades and the use of vastly different materials, this exhibition highlights poignant recurring personal and societal themes. Significantly, they are linked by their exploration of the iconic, historically loaded symbol – the wheel.

Jacobus Capone, Untitled (Huagabreen), (detail), 2022. Courtesy the artist and Moore Contemporary. 4 February—10 March Falling from Earth Jacobus Capone Presented in association with Perth Festival. In a series of new paintings created on a recent residency in Bergen – each one 219

ar t g ui d e .c o m . au made in relation to seven individual mountains surrounding the Norwegian city – as well as a one-off live-streamed durational performance broadcast during the Festival, Jacobus Capone explores the transformational properties that physical landscapes, the sea and stars can have upon an individual’s body and psyche. Created through a process of reverence, devotion and physical endurance, this new body of work carries a gentle trace of the poetic engagement that transpired between artist and the environment.

Perth Institute of Contemporary Arts (PICA)

theatre, new music and live art as well as a range of artist in residence programs. PICA works with artists who are trail-blazers, exemplars, innovators and change-makers and often acts as a site for challenging and timely conversations. Its programs are carefully crafted, ensuring connections are forged not only between artists and audiences but across art forms, cultures and geographies. For artists, audiences and other communities it serves, PICA is a source of inspiration, a resource, a meeting and gathering place, a provocateur and most importantly a partner in the realisation of big and new ideas.

24 February—23 April Emanations Rosa Barba

pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. Housed in an iconic heritage building in the heart of Perth, PICA is the place to experience the very best of local, Australian and international contemporary visual, performing and interdisciplinary art, all under one roof. Over its 30-year history PICA has operated as both a producing and presenting organisation, delivering an annual program of changing exhibitions, seasons in contemporary dance, experimental

220

Rosa Barba, Drawn by the Pulse, 2018, installation view, Tabakalera, San Sebastián, Photograph: Mikel Eskauriaza. Courtesy of the artist and VG Bild-Kunst, Bonn, 2022.

Stala Contemporary stalacontemporary.com.au

Robert Andrew, Tracing Inscriptions, 2020, installation view, Overlapping Magisteria: The 2020 Macfarlane Commissions, Australian Centre for Contemporary Art, Melbourne. Photograph: Andrew Curtis. 10 February—23 April Held within a word Robert Andrew

lesterprize.com

12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment. See our website for latest information.

A–Z Exhibitions

JANUARY/FEBRUARY 2023

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

221

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

Samstag Museum of Art → Dawn Beasley, The Garden of Alchemy, 2021, porcelain, metal leaf, perlite, dimensions variable. reflects the vitality of older people and the art of portrait creation in the Northern Territory.

Araluen Arts Centre, Mparntwe araluenartscentre.nt.gov.au

Museum and Art Gallery of the Northern Territory

61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm. See our website for latest information.

magnt.net.au

Charles Jangala Inkamala, Rwetyepme (Mount Sonder), my Grandmother’s Dreaming, 2021, acrylic on canvas, 61 x 61 cm.

Therese Ritchie, Simply Did Not Happen, 2021, pigment print, 80 x 50 cm. Image courtesy of the artist. 12 November 2022—5 February Some Like it Hot Franck Gohier and Therese Ritchie As the temperature rises around the world through global warming, Some Like it Hot presents a timely opportunity to explore the synergies and tensions in the relationship between heat, place, and gendered behaviour. 18 November 2022—5 March The Masks We Wear Greenbush Art Group Greenbush artists have gained a reputation for their sculptural works made within the confines of the Alice Springs Correctional Centre. They endeavour to make works sustainably, by using upcycled, recycled and re purposed materials. The opportunity to be creative not only contributes to healing, it also gives artists a connectivity to an ‘outside world’ that they otherwise do not have. 222

26 November 2022—5 March From Mparntwe to my Father’s and Grandmother’s Country Charles Jangala Inkamala Charles lives in Mparntwe (Alice Springs) and began painting with Bindi Mwerre Anthurre Artists in 2017. He paints significant cultural sites such as Rwetyepme (Mount Sonder) and Yapalpe (Glen Helen Gorge) in stylized detail. Charles meditates on his home Country as he paints and imbues his work with strong knowledge of Country and connection to land. Charles’ playful use of depth sees this vivid hue being brought to the forefront. Charles was shortlisted for the National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) in 2021 and 2022. This is Charles’s first solo exhibition. 2 December 2022—19 February The Portrait of a Senior Territorian Art Award 2022 Portrait of a Senior Territorian is an important event that celebrates and acknowledges the contribution Senior Territorians make. Established in the Year of the Older Person (1999), the award

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information. 6 August 2022—15 January Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) Showcasing the very best Australian Aboriginal and Torres Strait Islander art from around the country, from emerging and established artists. The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) exhibition captures the attention of the nation, with an inspiring breadth of work from emerging and established artists.

NCCA – Northern Centre for Contemporary Art nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. Closed January and February. 1 March—30 April Botanically Porcelain: the third instalment Dawn Beasley

MAP 1 VI CTO RI A

23 MILDURA

SWA N H I L L

Victoria

WO D O N G A

38 S H E P PA RTO N BENDIGO

HORSHAM

WA N G A R AT TA

20 6

C A ST L E M A I N E

10 A R A R AT

H E A L E SV I L L E

B A L L A R AT

H A M I LTO N

28 22

WA R R N A M B O O L

24 16 27 G E E LO N G 15 8 25 31 LO R N E

1 2 3 4 5 6 7 8 9 10 11 12 13 14

DAY L E S FO R D

Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Black Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Distorted Frame East Gippsland Art Gallery Everywhen Artspace The Foundry Arts Space

15 16 17 18 19 20 21 22 23 24 25 26 27 28

B A I R N S DA L E

29 37

11 13 33

Geelong Art Space Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Maffra Exhibition Space Mildura Arts Centre National Wool Museum Platform Arts QDOS Art Gallery Queenscliff Gallery Post Office Gallery Art Academy

SALE

MORWELL

29 30 31 32 33 34 35 36 37 38 39 40

Red Tree Gallery Rutherglen Art Gallery Salt Contemporary Art Shepparton Art Museum Silver Leaf Art Box Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Town & Country Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery

223

MAP 2 MELBOURNE CBD

33 36

T ES

N LO

T ES

28 LO

RIN

BO LT

HIB ITI

N LLI

T NS

LLI

BE TH

FLI

T SS

ELL

CO LT

S TO

LLI ST

ELI

< 12

Melbourne CBD

30 16

7 31 23 9 14 13

FLI

< 19

T SS

20 18

RT S T

KIL

ST U

< 21

1 2 3 4 5 6 7 8 9 10 11 12 13 224

Alcaston Gallery Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery Discordia

14 15 16 17 18 19 20 21 22 23 24 25

Flinders Lane Gallery fortyfivedownstairs Gallery @ City Library Harvey Galleries Immigration Museum Kings ARI Koorie Heritage Trust LUME Melbourne Fiona and Sidney Myer Gallery Missing Persons Museum of Chinese Australian History National Gallery of Victoria – The Ian Potter Centre 26 National Gallery of Victoria – NGV International

27 28 29 30 31 32 33 34 35 36 37 38 39

Neon Parc No Vacancy Gallery The Old Treasury Building Project8 ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Stephen Mclaughlan Gallery Tolarno Galleries Void_Melbourne

MAP 3 FI TZ R OY /C O L LI NGWO O D

A LE X A W E S TG

ARTH

NDRA P DE

ST M AT E R

15 21

9 25 7

N A P IE R

S M IT H

Collingwood

2 LANGR

W E LL IN

U D E ST

G TO N S T

Fitzroy GERTR

ID G E S T

22 1

12 18

V IC TO

26 ST

H O D D LE

C A R LT ON GARDE NS

W IC K S T

Y ST ST

BRUNS

FI T Z R O

N IC H O MOOR

TO N S T

LS O N S T

JO H N S

R IA P D E

A LB E R

T ST

FI T Z R O Y GARDE NS

1 2 3 4 5 6 7 8 9

ACAE Gallery @14 Art Lovers Melbourne Gallery Australian Galleries Australian Print Workshop Artbank Arts Project Australia Brunswick Street Gallery BUS Projects

10 11 12 13 14 15 16 17 18

Centre for Contemporary Photography Daine Singer Fox Galleries FUTURES James Makin Gallery Lamington Drive Modern Times Melbourne Museum Nicholas Thompson Gallery

19 20 21 22 23 24

PG Printmaker Gallery Seventh Gallery Slow Clay Centre Sullivan+Strumpf Sutton Gallery This Is No Fantasy + Dianne Tanzer Gallery 25 West Space 26 Yarra Sculpture Gallery

225

MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N H E A L E SV I L L E BUNDOORA

24 13

E LT H A M

14 M A R I BY R N O N G

L I LY DA L E

S EV I L L E

Melbourne

R I N GWO O D

1 17

W I L L I A M STOW N

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

23 20

2 9

EMERALD

DA N D E N O N G M O R D I A L LO C

PAKENHAM CRANBOURNE

19 7 F R A N KSTO N

M O R N I N GTO N

1 2 3 4 5 6 7 8 9 10

226

ArtSpace Realm Bundoora Homestead Bunjil Place Burrinja Cultural Centre Colour Factory Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium

11 12 13 14 15 16 17 18 19 20

Glen Eira City Council Gallery Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art

21 22 23 24 25 26 27 28 29

Monash University Museum of Art Mornington Peninsula Regional Gallery The Stan Gallery TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE <

< 22

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Brightspace Charles Nodrum Gallery Climarte Gallery CRITERIA D’Lan Contemporary Eastgate Jarman Finkelstein Gallery Firestation Print Studio The Front Room Gallery Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Leonard Joel Linden New Art LON Gallery Lynn Jaanz at York Street Lyon House Museum LUMAS Galleries Fiona and Sidney Myer Gallery MARS Gallery Metro Gallery Niagara Galleries Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

B R U N SW I C K

N O RT H C OT E B R U N SW I C K E A ST

1 19 PA R KV I L L E C A R LTO N N O RT H

6 16

9 2

N O RT H MELBOURNE

11 13

F I TZ R OY

C A R LTO N

C O L L I N GWO O D

20 23

MELBOURNE CBD

18 6 5

5 RICHMOND

CREMORNE

SOUTHBANK

H AW T H O R N

B U R N L EY

9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

Arts Project Australia Burke Gallery Chapman & Bailey Counihan Gallery In Brunswick Dark Horse Experiment The Dax Centre Gertrude Contemporary Gallerysmith and Gallerysmith Project Space George Paton Gallery Grau Projekt Ian Potter Museum of Art Islamic Museum of Australia Jacob Hoerner Galleries Johnstone Collection Neon Parc Brunswick Old Quad Otomys Contemporary Divisions Gallery Red Gallery RMIT Project Space / Spare Room Shirazi Art Gallery Tinning Street Presents Victorian Artists Society West End Art Space

1 2 3 4 5 6 7 8

3 SOUTH YA R R A

TO O R A K

KO OYO N G

27 16 PRAHRAN M I D D L E PA R K

WINDSOR

23 ST K I L DA W E ST

13 1

10 14

8 A R M A DA L E

24 11

28 ST K I L DA

B A L AC L AVA

227

MAP 7 SY D N EY

< 18 38 GORDON

27 M AC Q UA R I E PA R K

LINDFIELD

S E A FO RT H

FA I R L I G H T

C H ATSWO O D

M A N LY

LANE C OV E

N O RT H B R I D G E

17 ST L EO N A R D S

G L A D E SV I L L E

30 33 N O RT H SY D N EY

12 16

31 26

MOSMAN

BALMAIN

35 7

THE R O C KS

24 5

Sydney

R OZ E L L E

C R OY D O N

HABERFIELD

23 U LT I M O

11 8

DA R L I N G H U R ST

S U R R EY H I L LS

1 25

37 32 B O N D I

B E AC H

N E W TOW N

1 2 3 4 5 6 7 8 9 10 11 12 228

16albermarle Adelaide Perry Gallery Annandale Galleries Annette Larkin Fine Art Australian National Maritime Museum Art Atrium Artereal Gallery Articulate project space Artsite Contemporary Art Space on the Concourse Boomalli Aboriginal Artists Co-operative Brenda Colahan Fine Art

13 14 15 16 17 18 19 20 21 22 23 24 25

Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Harvey Galleries Seaforth Harvey Galleries Mosman Incinerator Art Space Interlude Gallery Kate Owen Gallery Kerrie Lowe Gallery

26 27 28 29 30 31 32 33 34 35 36 37 38

ALEXANDRIA M A R R I C KV I L L E

Lavender Bay Gallery Macquarie University Art Gallery Making Time Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery SOHO Galleries SOHO Galleries Sullivan & Strumpf Sydney College of the Arts Gallery Sydney Road Gallery Twenty Twenty Six Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

20 9

CA HI LL ES PY

K IN G ST

EL IZ AB ET

H ST

FR D

8 AR

1 18

Australian Design Centre Art Gallery of New South Wales Artspace The Cross Art Projects Firstdraft Gaffa Gallery Harvey Galleries Hyde Park Barracks The Ken Done Gallery Korean Cultural Centre Museum of Contemporary Art Australia (MCA)

12 13 14 15 16 17 18 19 20 21 22

ST IT IO N

C R OW

PA R K

E X H IB

DR UIT T ST

N ST

1 2 3 4 5 6 7 8 9 10 11

E AY S T

MAR KET ST

W IL L

M AC L

Sydney CBD

AR IE ST

BR ID GE

M AC Q U

ER ST WE

YO RK ST

ND I

RIB

IA M

Museum of Sydney The Sculptors Society S. H. Ervin Gallery SOHO Galleries Sydney The SPACE Gallery Stacks Projects Stanley Street Gallery State Library of New South Wales Sydney Opera House Wentworth Gallery Wentworth Gallery, Martin Place

229

MAP 9 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O

PA R K

6 10

RR IS ST O

X FO

Darlinghurst 14

D S T

TT WA

LE N ST

Ultimo Chippendale

BRO ADWAY

F OV

E AU

C R OW

XS T

7 CLEV

ELAN

D ST

9 24

25 C L E V

DS T

ORE

PA R K

P H IL L

RKE

Redfern RA GL AN ST

Moree Park

IP S T

27 2

Waterloo

L AC H

LAN

1 2 3 4 5 6 7 8 9 10

230

4A Centre for Contemporary Asian Art Artbank Sydney Australian Centre for Photography Brett Whiteley Studio Carriageworks Chalk Horse Chau Chak Wing Museum Cooee Art Gallery The Commercial Conny Dietzschold Gallery

BOU

ST BIE

R ERC

Surry Hills

11 12 13 14 15 16 17 18 19 20 21

Darren Knight Gallery Eden and the Willow Flinders Street Gallery Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Liverpool Street Gallery m2 Gallery Nanda/Hobbs National Art School

22 23 24 25 26 27 28

Powerhouse Museum UTS Gallery Rogue Pop-Up Gallery Sabbia Gallery Verge Gallery Wellington Gallery White Rabbit Gallery

M A P 10 PA D D I N GTO N

5 20

TS T

WILLIAM ST

NEW

S HE A

D RD

RL DA

5 EI

23 10 2 13 11

FORB

ING

ES ST

5 12

IO N

3 ST

Paddington ST

ADE

22 GR EE NS RD

ALB

CAS C

W W

G O

R D

O N ST

M1 MOO

1 2 3 4 5 6 7 8 9 10 11 12

Arthouse Gallery Australian Galleries Barometer Blender Gallery Cement Fondu Cooee Art Gallery Defiance Gallery at Mary Place Dominik Mersch Gallery Fellia Melas Art Gallery Fine Arts, Sydney Fox Jensen Gallery Sally Dan-Cuthbert

9 15

13 14 15 16 17 18 19 20 21 22 23

RE P ARK

Martin Browne Contemporary N.Smith Gallery OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery Thienny Lee Gallery UNSW Galleries Wagner Contemporary

231

M A P 11 & 12 G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34

232

Bank Art Museum Moree Bathurst Regional Art Gallery Bega Valley Regional Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Ngununggula Orange Regional Gallery The University Gallery Rusten House Art Centre Shoalhaven Art Gallery Studio Altenburg Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Velvet Buzzsaw Gallery Wagga Wagga Art Gallery Wester Gallery Western Plains Cultural Centre Weswal Gallery

RICHMOND

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Gang Gang Gallery Harvey House Gallery and Sculpture Park 10 Hawkesbury Regional Gallery 11 Hazelhurst Regional Gallery & Arts Centre 12 Hurstville Museum & Gallery 13 Parramatta Artists Studios 14 Peacock Gallery and Auburn Arts Studio 15 Penrith Regional Gallery 16 Rex-Livingston Gallery 17 Steel Reid Studio 18 Sturt Gallery 19 UWS Art Gallery 20 Wallarobba Arts and Cultural Centre 21 Wollongong Art Gallery

C A ST L E H I L L

K ATO O M B A

1 13 7 LIVERPOOL

Sydney

B A N KSTOW N

12 11

C A M P B E L LTOW N

CRONULLA

BARGO

WO L LO N G O N G

BY R O N 29 B AY 12

C O F FS HARBOUR

MOREE

BOURKE

34 20 28 COBAR

4 BROKEN HILL

15 32 18 14 13 23 17 19

DUBBO

New South Wales

MILDURA

22 2 C E N T R A L C OA ST 30

WO L LO N G O N G

31 16 EC H U C A

9 21 25 24 26 27 7

KO S C I U S Z KO N AT PA R K

M A P 13 & 1 4 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20

19 Karen Contemporary Artspace Art Lovers Australia Gallery Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Feather and Lawry Gallery Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

5 SUNSHINE C OA ST

Brisbane 20 7

TO OWO O M B A

3 17

15 9

18 12 2

GOLD C OA ST

8 1 11 6

19 STA N T H O R P E

6 12 2

TOW N SV I L L E

Artspace Mackay Cairns Regional Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio UMI Arts

14 10

13 16 4

CAIRNS

1 2 3 4 5 6 7 8 9 10 11 12

8 11 4

M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

233

M A P 15 BRISBANE

2 12

RE ST

EE EN

B EE

Fortitude Valley O

ST R E E

DA R Y

BOUN

17 10

8 9

ED W A

R D

ST R EE T

22 19

16 13 M

South Bank

Brisbane CBD

AL IV

1 2 3 4 5 6 7 8 9 10 11

234

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

12 13 14 15 16 17 18

Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 19 Queensland Museum 20 QUT Art Museum 21 Side Gallery

22 23 24 25

State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

YD RIV

12 24

Acton

10 9

21 PA R K E

S WAY

AV E

Russell

18 20

16 KIN

ID E

E AV

Barton

AV E

8 14

LA ADE

EN E AV

Deakin G

CAN W

BER

RA A VE

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

235

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre The TAG Art Gallery Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

L S T

1 2 3 4 5 6 7 8 9 10

Hobart M

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

Y RD

HA CK NE

18 1 14

Adelaide

236

PULTENEY ST

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

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

12 13 14 15 16 17

Art Collective WA Art Gallery of Western Australia DOVA Collective FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

17 NE

1 2 3 4 5 6 7 8 9 10 11

9 W

ES T

ING

NS T

Perth

15 2

12 TH

EE SPL A

3 13 1 EL A I D8 ET E

7 RR

3 4 OR

T DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 237

@14 (VIC)

140

16albermarle (NSW)

151

4A Centre (NSW)

151

Centre for Contemporary Photography (VIC)

117

Chalk Horse (NSW)

157, 178

Glasshouse Port Macquarie (NSW)

160

Glen Eira City Council Gallery (VIC)

124

Gosford Regional Gallery (VIC)

161

Chau Chak Wing Museum (NSW)

155

Goulburn Regional Gallery (NSW)

Araluen Arts Centre, Mparntwe (NT) 222

Charles Nodrum Gallery (VIC)

119

Grace Cossington Smith (NSW)

Art Van Go

166

CLIMARTE Gallery (VIC)

119

Griffith University Art Museum (QLD) 197

199

Cooee Art Gallery (NSW)

157

Granville Centre Art Gallery (NSW)

Aarwun Gallery (ACT) ACMI (VIC)

7, 109

Adelaide Contemporary Experimental (ACE) (SA)

207

Alcaston Gallery (VIC)

14, 109

Anna Schwartz Gallery (VIC)

1, 109

Colville Gallery (TAS)

203

13, 161 163 163

Contemporary Art Tasmania (TAS) 203

Hamilton Gallery (VIC)

Counihan Gallery (VIC)

119

Handmark Gallery (TAS)

204

Cowra Regional Art Gallery (NSW)

157

Hahndorf Academy (SA)

208

Craft Victoria (VIC)

119

Hawkesbury Regional Gallery (NSW) 162, 163

124

Ararat Gallery TAMA (VIC)

111

ARC ONE Gallery (VIC)

111

DADAA Gallery (WA)

215

Artitja Fine Art Gallery (WA)

215

Daniel Weber (NSW)

148, 149

Hervey Bay Regional Gallery (QLD)

188

Artists Shed (ACT)

199

Darren Knight Gallery (NSW)

157

Heide Museum of Modern Art (VIC)

124

Artsite Contemporary (NSW)

152, 169

Artspace Mackay (QLD)

47, 187

Art Collective WA (WA)

213

Art Space on The Concourse (NSW) 152, 182

Hawthorn Arts Centre (VIC)

David Roche Foundation

Horsham Regional Gallery (VIC) 124, 130

House Museum (SA)

David Giles (WA)

218

Deakin University Art Gallery

Home of the Arts (HOTA) (QLD)

109

at Burwood (VIC)

120

Library Gallery (VIC)

109

Defiance Gallery (NSW)

159

120

Incinerator Art Space (NSW)

165

D’Lan Contemporary (VIC)

120

Incinerator Gallery (VIC)

125

207

Devonport Regional Gallery (TAS)

203

Institute of Modern Art (QLD) 36, 37, 188

213

DOVA Collective (WA)

2, 3, 151

Arts Project Australia (VIC)

44, 111

Australian Design Centre (NSW)

153

Australian Centre for Contemporary Art (ACCA) (VIC)

5, 112

Australian Galleries (NSW)

112, 153

Australian National Capital Artists (ANCA) Gallery (ACT)

199

Australian Tapestry Workshop (VIC)

112

215

E Everywhen Artspace (VIC)

153

Bayside Gallery (VIC)

113

Beaver Gallery (ACT)

199

Bendigo Art Gallery (VIC)

113, 128

Bett Gallery (TAS)

Ivanhoe Library and Cultural Hub (VIC)

119, 120

JamFactory (SA) Jan Manton (QLD)

Federation University (VIC)

121

Jan Murphy Gallery (QLD)

Fellia Melas (NSW)

162

The Japan Foundation

Flinders Lane Gallery (VIC) Flinders Street Gallery (NSW) of Art (SA) Footscray Community Arts (VIC) fortyfivedownstairs (VIC) Fox Galleries (VIC)

127

Fairfield City Museum & Gallery (NSW) 159

121 159, 184

Flinders University Museum

Bathurst Regional Art Gallery (NSW)

125

Divisions Gallery (VIC)

Art Gallery of New South

Art Gallery of Western Australia (WA)

163

Hyphen – Wodonga

Art Gallery of Ballarat (VIC)

Art Gallery of South Australia (SA)

4, 188

Hurstville Museum (NSW)

ArtSpace REALM/Maroondah (VIC)

Wales (NSW)

126

Hazelhurst Regional Gallery (NSW) 30, 163

Gallery (NSW)

208 28, 189 189 23, 165

John Curtin Gallery Curtin University (WA)

207 121 114, 121 122

The Johnstone Collection (VIC)

216 116, 129

Jan Murphy Gallery (QLD)

189

Jewish Museum of Australia (VIC)

127

203

Frankston Arts Centre (VIC)

122

KAMILĖ GALLERY (WA)

Blacktown Arts (NSW)

154

Fremantle Arts Centre (WA)

215

Ken Done Gallery (NSW)

BMG Art (SA)

207

The Front Room Gallery (VIC)

130

Kingston Arts (VIC)

Brenda Colahan Fine Art (NSW)

156

FUTURES (VIC)

122

King Street Gallery (NSW)

154

fYRE Gallery (NSW)

166

Kolbusz Space (WA)

217

Koorie Heritage Trust (VIC)

129

Korean Cultural Centre Australia (NSW)

167

Broken Hill City Art Gallery (NSW) Brunswick Street Gallery (VIC)

113, 138

Bunbury Regional Art Gallery (WA) 40, 43, 215

GAGPROJECTS (SA)

207

Bundanon (NSW)

Gallery 48 (QLD)

188

9, 154

Bundoora Homestead Art Centre (VIC) Bunjil Place (VIC) Burrinja (VIC) Buxton Contemporary (VIC)

113

Gallery76 (NSW)

159

Latrobe Regional Art Gallery (VIC)

129

20, 115

Gallery 152 (WA)

216

Lavendar Bay Society (NSW)

167

115

Gallery Central (WA)

216

Lauraine Diggins Fine Art (VIC)

131

16, 117

Gallery Elysium (VIC)

123, 147

Lawrence Wilson Gallery (WA)

217

Gallery Lane Cove (NSW)

159

Leonard Joel (VIC)

Gallerysmith (VIC)

122

Linden New Art (VIC)

Caloundra Regional Gallery (QLD)

Geelong Art Space (VIC)

123

Linton & Kay Galleries (WA)

Geelong Gallery (VIC)

123

The Lock-Up (NSW)

Casula Powerhouse Arts Centre (NSW) 155

Gertrude Contemporary (VIC)

123

LON Gallery (VIC)

CAVES (VIC)

Gippsland Art Gallery (VIC)

124

Logan Art Gallery (QLD)

238

129 34, 165

Caboolture Regional Art Gallery (QLD) 187 Canberra Glassworks (ACT)

217 164, 165

188

32, 200 117

38 19, 131 42, 217 167 131 189

INDEX

Sofitel Melbourne on Collins (VIC) 139, 140

Northern Centre of Contemporary

M16 (ACT)

200

Macquarie University Art

Art (NCCA) (NT)

222

NorthSite Contemporary Arts (QLD)

Gallery (NSW)

167

191

South Australian Museum (SA)

211

Stala Contemporary (WA)

220

The Stan Gallery (VIC)

142

Maitland Regional Art Gallery (NSW)

169

Old Quad (VIC)

136

Stanley Street Gallery (NSW)

Manly Art Gallery (NSW)

169

OLSEN (NSW)

173

STATION (VIC, NSW)

134

Stockroom Gallery (VIC)

11, 191

Sullivan+Strumpf (NSW)

141, 179

Martin Browne Contemporary (NSW) 169

Omnus Picture Framing (VIC)

McClelland Sculpture

Onespace (QLD)

Park + Gallery (VIC)

39, 133

Metro Arts (QLD)

189

Orange Regional Gallery (NSW)

12, 173

133

Winton (QLD)

Melbourne Etching Supplies (VIC)

134

Swan Hill Regional Gallery (VIC)

141

Studio Altenburg Fine Art Gallery (NSW) 177

Outback Regional Gallery,

Metro Gallery (VIC)

177 141, 177

191

141

Swell Sculpture Festival (QLD)

Melbourne Holocaust Museum (VIC) 18, 130

Perc Tucker Regional Gallery (QLD)

Midland Junction Arts Centre (WA)

219

Perth Instiutute of Contemporary

Mildura Arts Centre (VIC)

133

Modern Times (VIC)

135

Penny Contempoary (TAS)

Monash Gallery of Art (VIC)

135

PG Gallery (VIC)

137

Tolarno Galleries (VIC)

Philip Bacon Galleries (QLD)

192

Toowoomba Regional Art Gallery (QLD) 195, 196

PIERMARQ* (NSW)

173

Town Hall Gallery (VIC)

143

Pine Rivers Art Gallery (QLD)

192

Tuggeranong Arts Centre (ACT)

201

192

Tweed Regional Gallery (NSW)

Monash University MADA Gallery (VIC)

135

Monash University Museum of Art (VIC) Montville Art Gallery (QLD) Gallery (VIC)

The TAG Art Gallery (TAS)

Arts (PICA) (WA)

135

Pinnacles Gallery (QLD)

190

Platform Arts (VIC)

Mornington Peninsula Regional

191

The Substation (VIC)

220

TarraWarra Museum of Art (VIC)

204

Tasmanian Museum (TAS)

108, 137

205 145

179 158, 179

Plimsoll Gallery, 24, 135

twenty twenty six (NSW)

205 6, 143

University of Tasmania (TAS)

204

Umbrella Studio (QLD)

31, 195

UMI Arts Gallery(QLD)

195

Mosman Art Gallery (NSW)

170

Powerhouse Museum (NSW)

MOORE CONTEMPORARY (WA)

219

praxis ARTSPACE (SA)

210

UNSW Galleries (NSW)

181

Mundaring Arts Centre (WA)

219

Project8 Gallery (VIC)

137

University of Sunshine Coast (QLD)

197

UQ Art Museum (QLD)

197

170

QDOS Fine Arts (VIC)

Murray Art Museum Albury

(MAMA) (NSW) Murray Bridge Regional

208

Museum & Art Gallery of Northern Museum of Brisbane (QLD)

190

Museum of Chinese Australian History (VIC)

17, 135

Museum of Contemporary Art (NSW) 170 Museum of Old and New Art (MONA) (TAS) Muswellbrook Regional (NSW)

Nanda\Hobbs (NSW) National Art School Gallery (NSW)

192 29

Art Gallery (TAS)

204

QUT Art Museum (QLD)

192

R Ravenswood Australian Women’s Art Prize 2023

176

201

Wester Gallery (NSW)

181

Western Australian Museum (WA)

214

Western Plains Cultural Centre (NSW)

171

Redland Art Gallery (QLD)

193

Wentworth Galleries (NSW)

Riddoch Art Gallery (SA)

210

Whitehorse Artspace (VIC)

147

RMIT First Site Gallery (VIC)

139

White Rabbit Collection (NSW)

183

10, 139

Wollongong Art Gallery (NSW)

15, 185

Wyndham Art Gallery (VIC)

110, 147

201 27, 172 172

RMIT Gallery (VIC) Robyn Bauer Studio Gallery (QLD)

194

Rockhampton Museum of Art (QLD) 22, 194 Roslyn Oxley9 Gallery (NSW)

173

136

Rusten House Art Centre (NSW) 175, 180

NGV International (VIC)

136

Samstag Museum of Art (SA)

National Portrait Gallery (ACT)

201

Sauerbier House

134

South East Centre for Contemporary

National Gallery of Victoria -

183 174, 183

Z Zart Summer School

145

Neil Wallace New England Art Museum (NSW)

145

Watson Art Centre (ACT)

193

National Gallery of Victoria -

Printmaking Supplies (VIC)

145, 181

Wangaratta Art Gallery (VIC)

Redcliffe Art Gallery (QLD)

National Gallery of Australia (ACT) IFC, 200 The Ian Potter Centre (VIC)

Wagga Wagga Art Gallery (NSW) 26, 174 Walker Street Gallery (VIC)

Queen Victoria Museum and

145

204

N Nancy Sever Gallery (ACT)

of Modern Art (GOMA) (QLD) Queensland Museum (VIC)

222

V VOID Melbourne (VIC)

Queensland Art Gallery/Gallery

Gallery (SA) Territory (NT)

137

21, 211

Culture Exchange (SA) 41, 172

Art / Bega (SECCA) (NSW)

Newmarch Gallery (SA)

208

Nexus Arts Gallery (SA)

208

Niagara Galleries (VIC)

136

Shepparton Art Museum (VIC)

Noosa Regional Gallery (QLD)

191

S.H. Ervin Gallery (NSW)

210 35, 177

Sydney College of the Arts (SCA Gallery) (NSW)

26, 175 25, 139 175 239

“Through my work I’m looking at that disparity between preserving the public legacy of slave owners and the invisibility of the Pacific slave trade.” — J A S M I N E T O G O - B R I S B Y, A R T I S T, P. 9 3

“We need to care for each other in a work environment that remains ripe with contradictions.” — T I M M A H B A L L , W R I T E R , P. 91

“... How do you find a sense of belonging in any particular moment in time, or find joy and happiness in your own voice at any particular moment, and carving out and creating spaces for other people.” — J A M E S N G Y E N , A R T I S T, P. 8 9

roslynoxley9.com.au