Art Guide Australia — January/February 2024 by Art Guide Australia

Inside this issue A Note From the Editor

Tiarney Miekus PR EV IEW

Tamara Bekier: Between Worlds

Anita King

Sydney Festival

Sally Gearon

Margaret Olley, Laura Jones, India Mark and Mirra Whale: Light & Life

Briony Downes

Dhopiya Yuŋupingu: Djärritjarri the woven cloth

Louise Martin-Chew Monanism

Briony Downes

F E AT U R E

10 Artists to Watch in 2024

Mariam Ella Arcilla, Andy Butler, Ellie Buttrose, Sally Gearon, Louise Martin-Chew, Josephine Mead, Tiarney Miekus, Nanette Orly, Diego Ramirez, Andrew Stephens STU DIO

Christopher Bassi

Louise Martin-Chew and Joe Ruckli INTERV IEW

Talking With Diana Baker Smith

Amelia Wallin F E AT U R E

John Nixon: Poet of Prints

Autumn Royal

Surrealist Lee Miller

OPIN ION

Tania Ferrier: Body of Opportunity

Sophia Cai

Caitlin Aloisio Shearer Sally Gearon

Mandy Quadrio, Susan Hawkins and Jan Oliver: Compositional Utterances

Barnaby Smith

Wedgwood: Master Potter to the Universe

Barnaby Smith

Louise Zhang and Jessica Bradford: See You In Hell

Anita King F E AT U R E

Fairing Well: Melbourne Art Fair 2024

Andrew Stephens

Janet Fieldhouse: From Clay to Bronze

Sally Gearon INTERV IEW

Brent Harris

Tiarney Miekus

Artists As Influencers: Advertising or Advocacy?

F E AT U R E

Brenda L Croft: Holding Ancestral Legacies

Timmah Ball

I N PIC TU R E S

Photography: Real & Imagined

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Top: Emily Kam Kngwarray, Anmatyerr people, Untitled (awely), 1994, National Gallery of Australia, Kamberri/Canberra, purchased 2022 with the assistance of the Foundation Gala Funds 2021 and 2022, in celebration of the National Gallery of Australia’s 40th anniversary, 2022 © Emily Kam Kngwarray/Copyright Agency, 2023; Right: Emily Kam Kngwarray, Anmatyerr people, Ntang Dreaming (detail), 1989, National Gallery of Australia, Kamberri/Canberra, purchased 1989 © Emily Kam Kngwarray/Copyright Agency, 2023

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A Note From the Editor January/February 2024 In a country teeming with talent, selecting merely ‘10 Artists to Watch in 2024’ isn’t an easy task—but our cover artist, Truc Truong, is no doubt a worthy choice. She creates humourous yet poignant art, cultivating what writer and curator Mariam Ella Arcilla aptly calls a “spill-your-guts aesthetic”. Could you imagine a more contemporary image of glove-covered hands, holding smashed iPhones, reaching out to a golden sneaker? Alongside Truong are nine further artists to watch, with insightful words on these artists from many of Australia’s best arts writers, curators and critics. As summer began, while we were thinking about our ‘Top 10’, I was fortunate enough to visit Brent Harris in his Melbourne warehouse studio. With an upcoming survey exhibiting 40 years of work, Harris generously talked about everything from his dreams to his shrink to coming out as a gay man when the HIV/AIDS crisis began. Harris insists that it’s ultimately mortality that’s the driving force of his work—and with so much subtle humour at play, I still don’t know whether to laugh or cry when watching his human-like, cartoon forms search for meaning and salvation. In further exciting news, Melbourne Art Fair is now a summer (February) fixture. It’s moving from a bi-annual art fair to a yearly event, falling into line with the routines of international art fairs (as an aside, I recently saw two major British and European art fairs, and it was affirming to see that the artwork at Australian fairs is easily comparable). As arts journalist Andrew Stephens chronicles, art fair revenues and visitor numbers hit record highs last year across the country—the demand for art is clearly there, as you’ll read in this January/February issue. Tiarney Miekus Editor-in-chief, Art Guide Australia

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Caitlin Aloisio Shearer CONTRIBUTORS ISSUE #147

Mariam Ella Arcilla, Timmah Ball, Andy Butler, Ellie Buttrose, Sophia Cai, Briony Downes, Sally Gearon, Neha Kale, Anita King, Jesse Marlow, Louise Martin-Chew, Josephine Mead, Tiarney Miekus, Nanette Orly, Diego Ramirez, Autumn Royal, Joe Ruckli, Caitlin Aloisio Shearer, Barnaby Smith, Andrew Stephens, Amelia Wallin. PRINT

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Cover artist: Truc Truong.

cov er Truc Truong, Primavera 2023, Museum of Contemporary Art. photogr aph: zan wimberley. back cov er Truc Truong, but its funny, 2022, various objects on spinning altar, various dimensions. photogr aph: thomas mccammon.

Issue 147 Contributors M A R I A M ELLA A RCILLA is a Filipina-Singaporean

writer, editor and community engagement worker based on Gadigal land. She is the cochair of Runway Journal and has managed galleries, artist-run initiatives, publications, and curatorial projects since 2006.

TIMM A H BA LL 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.

ELLIE BUTTROSE is curator of Archie Moore’s

Australia Pavilion at the 2024 Venice Biennale and curator of Contemporary Australian Art at the Queensland Art Gallery | Gallery of Modern Art, Kurilpa Point.

A NDY BUTLER is an artist, writer and curator based in

Naarm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and frieze.

SOPHI A CA I is a Melbourne-based curator, arts

writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices.

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.

SA LLY GEA RON works across writing, publishing

and contemporary art. Based in Naarm/ Melbourne, she has a background in art history and book publishing. She is the assistant editor at Art Guide Australia.

A NITA K ING is an independent arts writer based in

Naarm/Melbourne. She has worked closely with artists, galleries and museums in the United States, Europe and Australia to create and articulate exhibitions for diverse audiences.

JESSE M A R LOW is a Melbourne-based photographic

artist. He has exhibited widely both here and overseas. He is represented by M.33 and his third monograph Don’t Just Tell Them, Show Them was published in 2014.

JOSEPHINE MEA D is a visual artist, writer and curator,

living and working on Wurundjeri Woi-wurrung and Dja Dja Wurrung Country (Australia).

TI A R NEY MIEKUS is the editor-in-chief 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.

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

NA NETTE OR LY is a curator based on

Wiradjuri Country. She is the Curator at Murray Art Museum Albury (MAMA).

DIEGO R A MIR EZ is an artist, writer and arts worker. AUTUMN ROYA L creates drama, poetry and

criticism. Autumn is the founding editor of Liquid Architecture’s Disclaimer journal, and interviews editor at Cordite Poetry Review.

JOE RUCK LI is a Brisbane-based photographer,

researcher and educator. His documentary practice explores stories from the margins, and his commercial work focuses on arts and culture.

CA ITLIN A LOISIO SHEA R ER is a painter and illustrator

based in Melbourne. She has a Bachelor of Fine Arts and a background in fashion design, culminating in an idiosyncratic practice which encompasses oil painting, graphics and textile design. She regularly exhibits her work within Melbourne’s independent galleries, and dabbles in poetry for pleasure.

BA R NA BY SMITH is a critic, poet and musician

currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale.

A NDR EW STEPHENS is an independent visual arts

writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

A MELI A WA LLIN is a curator and writer, living

on Djaara in regional Australia.

LOUISE M A RTIN- CHEW is a freelance writer.

Her most recent book is Margot McKinney: World of Wonder, published by Museum of Brisbane, 2022. Her first biography, Fiona Foley Provocateur: An Art Life (QUT Art Museum, 2021) won the 2022 Best Book Prize (joint), AWAPA, Art Association of Australia and New Zealand. 23

Previews W R ITERS

Briony Downes, Sally Gearon, Anita King, Louise Martin-Chew, Caitlin Aloisio Shearer and Barnaby Smith.

Ballarat Between Worlds Tamara Bekier Art Gallery of Ballarat On now—28 January Tamara Bekier is 92 years of age. She has spent the second half of her life producing paintings that give a voice to the silencing and trauma she experienced as a refugee during World War II. Bekier’s exhibition, Between Worlds at the Art Gallery of Ballarat, is a survey of her life’s work, a reflection on her journey from Russia to Tamara Bekier, TBC, 2006, synthetic polymer Ballarat, through Germany. “My work explores the paint, ink, thread and collage on rice paper. concept of dreamscapes that are suspended in two © tamar a bekier. parallel worlds: my past and my present,” she reflects. Bekier came to painting late—well into her forties. After settling in Ballarat she studied art, and painting quickly became her refuge. She recalls, “The discovery of art became my daily solace, a means to cope with the pain inflicted by the injustices of war.” Compelled to paint ever since, she is vehement: “I am going to do art as long as I can breathe.” Paintings continue to burst from Bekier: Between Worlds includes 205 mixedmedia works made from 1985 to 2023, an incredible output. In her dreamlike paintings, “You’ll find silent figures living in surreal and unfamiliar landscapes, reflecting the unspoken pain they carry with them.” Ethereal beings seem to rise from or retreat into decorative patterns and swirling colours. Faces peer out, then melt away again, perhaps they don’t want to be seen. Still haunted by her past, Bekier is deeply affected by ongoing global tensions, particularly in Ukraine, her birthplace. Her paintings are both a solace and “a testament to resilience, hope and overcoming adversity”. In Between Worlds, Bekier hopes audiences “will feel a deep connection, recognising the shared thread of humanity that unites us across time and culture”. —A NITA K ING

r ight Tamara Bekier, Shattered hearts, 2023, synthetic polymer paint, charcoal and ink on canvas. © tamar a bekier.

Sydney Sydney Festival

Various Sydney locations 5—28 January

As Sydney Festival enters its 47th year, festival director Olivia Ansell is looking towards the sea. “It’s quite organic,” she says of unearthing the central themes of the arts program. “You have conversations with thousands of artists about what they’re talking about, what they’re creating, and what they’re into. And out of that whirlpool of Lisa Reihana, Te Wheke-a-Muturangi: conversation, I always find that recurring themes pop up. The Adversary. courtesy of sydney festival. This year it was water and weaving. The water is saltwater stories, freshwater stories, desert stories, tales of Sydney harbour, and stories around climate impact.” With scores of involved artists, many of the exhibiting sites are centred around the harbour, from Lavender Bay to Campbells Cove, Walsh Bay, Watermans Cove, and more. The latter is playing host to one oceanic delight: Te Wheke-a-Muturangi: The Adversary, Māori artist Lisa Reihana’s giant octopus installation. “I felt like Sydneysiders deserve to see this piece,” says Ansell. “New Zealand international arts festival first commissioned Te Wheke-a-Muturangi, which is from the story of Kupe, who is said to have founded Aotearoa.” In the story, Te Wheke is Kupe’s adversary, but here visitors are encouraged to rent kayaks and paddle up close to her. “The other theme is weaving,” says Ansell. “The weaving of thousands of local and international artists’ voices, but we also have a lot of works in the program that are weaving intergenerational and intercultural stories.” And Michael Shaw’s Hi-Vis installation is literally centred on weaving a work through the interior of the Moonshine Bar—the festival’s hub in the Thirsty Mile precinct. Hi-Vis is a large-scale neon sculpture that inhabits the space like a weed, winding around the interior like giant inflatable ivy. “What I like about Michael Shaw’s work is he’s sort of strangulating traditional spaces,” says Ansell. “He wraps these structures around these wooden poles and different elements… it’s like decolonising a site.” —SA LLY GEA RON

Murwillumbah Light & Life: Margaret Olley, Laura Jones, India Mark and Mirra Whale

Tweed Regional Gallery & Margaret Olley Art Centre On now—28 April The studio of Australian painter Margaret Olley was filled to the brim with non-Western souvenirs, books, vases of Margaret Olley, Still life with mandarins and pears, dried flowers and tubes of paint. With Olley’s oeuvre 1976, oil on board, 75 x 120 cm. private collection. focused on still life and interiors, her studio was clearly courtesy philip bacon galleries. © margaret a place of inspiration and industry. olley art trust. Now preserved as part of the Margaret Olley Art Centre at Tweed Regional Gallery, Olley’s studio and sitting room were the inspiration point for a series of new still life paintings by Mirra Whale, India Mark and Laura Jones. With the studio recreation containing original architectural features relocated from Olley’s home in Sydney, and over 20,000 objects from her vast personal collection, the artists were able to connect with Olley’s inspirations on a deeply personal level.

“Olley’s home studio was both site and subject matter for her work for nearly 50 years, so I feel it’s vital the re-creation is still dynamic subject matter for artists,” explains curator Ingrid Hedgcock. In Light & Life, Hedgcock has paired the works by Whale, Mark, and Jones with examples of Olley’s still life paintings to reiterate her enduring legacy for a contemporary audience. In the process of bringing the works together, Hedgcock says she could see contemporary connections to different stages of Olley’s long career. “Jones’s Dahlias with blue crystal and striped jug, 2023, connects to Olley’s work in the early 1960s when she was experimenting with colour and still life as subject matter, while Mark draws from the following decade when Olley arranged objects on drawers and tabletops with attention to form, space and light. Whale looks to Olley’s later work—domestic still lifes with a darker, more sombre poetry—in her series of charcoal on linen images.” Linking past and present joys with natural beauty and the unassuming comforts of home, Light & Life revels in what Hedgcock calls Olley’s “humble celebration of the everyday”. As Brisbane-based gallerist Philip Bacon said during the artist’s memorial service in 2011, Olley’s work will continue to resonate because “simple is better than complicated, quiet is better than noisy, and what is close at hand is better than that which has to be sought”. —BR ION Y DOW NES

Melbourne Djärritjarri - the woven cloth Dhopiya Yuŋupingu Sullivan+Strumpf Melbourne 15 February—9 March

The second solo exhibition from Dhopiya Yuŋupingu draws on the shared histories between the Yolŋu and the Macassans, the latter from the Indonesian island of Sulawesi, celebrating a trade in trepang (sea cucumber) that predated European contact with Australia. Painted on pots, barks and memorial poles, Yuŋupingu’s images poetically evoke connections that extend back through time. As she says, “The Macassans and the Yolŋu danced together. The dance represents how we put up the flag and when the big wind blows the wind will tear the flag. That flag, it is known as Dhomala and Djarridiarri… I still paint this story, to this day.” Born in 1950, Yuŋupingu is a senior elder from north-east Arnhem Land, daughter of Muŋgurrawuy Yunupiŋu. Her family includes many significant First Nations achievers, and among her siblings are former Australians of the Year, Galarrwuy and Mandawuy Yuŋupingu. While Yuŋupingu’s debut at Sullivan+Strumpf in 2022 also depicted the exchange between the Yolŋu and the Macassans, and the stories handed down, this show is different. The new work incorporates more abstract elements and Galiki fabric designs, worn at festivals and funerals but also used on flags and the sails of boats that moved between Sulawesi and northern Australia. Dhopiya Yunupiŋu, Galiku, 2023, bark painting, 205 x 84 cm. image courtesy Bark paintings with sinuous patterns curve like fabric in moveof sulliuvan+strumpf and buku-larrngment, organically shaped and resembling a hanging flag. gay mulk a centre. “I paint this flag, this sail, this material, the flag that was given to us by the Macassans. This flag is for Yolŋu and Macassans, this painting that I paint here, it is from the beginning, from a long time ago. From before we were born.” Yuŋupingu has also been selected for the 2024 Biennale of Sydney, Ten Thousand Suns. Her narratives about shared history evoke the strength of cultural connections beyond our shores. —LOUISE M A RTIN- CHEW 27

Hobart Monanism

Museum of Old and New Art On now—ongoing through 2024

The Museum of Old and New Art (Mona) has been exhibiting its art collection throughout its multi-story gallery space since it opened in early 2011. Changes to the art on the walls was sporadic until 2020, when the left: Cassandra Laing, Darwin’s Girls, 2006, most significant overhaul occurred following a pandemicgraphite (graphite stick) and charcoal on paper. enforced closure. Now three years on, curator Jane right: Larnax (chest-shaped coffin), Crete, Late Clark says the Mona collection (aptly named Monanism) Minoan Period, c. 1325–1275 BCE, fired clay with has expanded so much, art is emerging from the ground. painted decoration. photogr aph: mona/remi chauvin. image courtesy mona museum of old “Monanism is a bit like a triffid breaking through the and new art, hobart, tasmania, austr alia. ground. When we first opened, David [Walsh] wanted no columns, nothing monumental—it was all going to be underground, and you wouldn’t know anything about the art until you got there. But then we put a James Turrell Skyspace on the roof, and after that Alfredo Jaar’s The Divine Comedy cracked open the ceiling.” Although loosely based on the themes of sex and death, Monanism follows an unpredictable path. “Nothing’s hung chronologically but sometimes artworks do speak to each other in interesting ways,” says Clark. To illustrate this, she singles out Darwin’s Girls, 2006, a graphite drawing by late Melbourne artist Cassandra Laing. An intimate and detailed work, Laing depicts a dead finch placed over a holiday snapshot of Laing and her sister, Mandy, as children. Referencing Darwin’s finches from the Galapagos Islands, Laing’s drawing also alludes to the breast cancer gene that runs through her family. Exhibited in the same room is a note handwritten by Charles Darwin detailing a list of garden plants. “There’s no way we can show everything in the Mona collection at once, so Monanism keeps evolving as we bring things out of storage. There’s always something and if it’s gone, there’ll be something there in its place.” Embodying this idea of change is Michel Blazy’s Nature Molle - Soft Life, 2005, a work that starts as fresh fruit on a table—like an old master still life painting—left to decompose and grow a thick covering of mould. Prior to its current showing, Soft Life was last displayed in 2017. Much like the Mona collection, “It’s growing as we speak.” —BR ION Y DOW NES

Melbourne Surrealist Lee Miller

Heide Museum of Modern Art On now—25 February

Not many women can attest to having taken a selfportrait while sitting in Adolf Hitler’s bathtub. Such visual dichotomies abound in the audacious survey, Surrealist Lee Miller, presented at Heide Museum of Modern Art. The largest exhibition of Miller’s work shown in Australia in over 30 years, it centres the artist as a photographer with a uniquely unconventional eye. Historic and dream-like in scope, the images on display remember Miller (1907-1977) as both an incisive World War II war correspondent, Vogue photographer, and fashion model with the eye of a surrealist artist.

Miller’s viewfinder renders aspects of 20th century history that are both so fabulous and so harrowing as to be comfortably homed in our current disjuncture. Her images gouge through the fripperies of high fashion while stoically documenting the devastations of war. Citing Lee’s “lifelong commitment to honesty and integrity”, Kendrah Morgan, head curator at Heide, attributes Miller’s success to a habit of “rising to the occasion under challenging circumstances, using her surrealist eye to bring a strong artistic edge”. Morgan adds, “She knew from the inside what people wanted to see on the outside.” The show is curated from a vast archive of 60,000 negatives posthumously discovered in Miller’s attic in the 1970s by her son Antony Penrose, who Morgan cites as “absolutely instrumental in getting Lee Miller the acknowledgement that she deserves”. As the curator explains, “From about the mid-50s, there were people wanting to look at her archive, and she usually denied them,” having receded from photography due to the effects of post-war PTSD. Surrealist Lee Miller is one in a long line of woman-centric surveys at Heide, and reveals Miller’s photographs as pivotal to remembering truths of decades now lost to history. Much of this potent archive, however, remains to be seen; a testament to the privilege that only a photograph can possess. —CA ITLIN A LOISIO SHEA R ER

Perth Body of Opportunity Tania Ferrier

Gallery Central 24 January—16 February

Tania Ferrier has been interrogating the visual representations of women’s bodies in art for decades. In 1988 she was living in New York City and working in a bar Tania Ferrier and Nikita Dunovits-Ferrier, where she witnessed a sexual assault. The experience Body of Opportunity. prompted a feminist fashion project called Angry Underwear—creative, vicious, and wearable art designed for sex workers. “It was the ‘your body is a battleground’ times of Barbara Kruger,” says Ferrier. “It was New York with the Guerrilla Girls, Jenny Holzer, [and] Barbara Kruger doing guerilla work to be seen.” Since then, her multi-disciplinary practice has covered everything from film, photography, fashion, painting, and performance. Her latest show at Gallery Central in Perth, Body of Opportunity, incorporates it all, with Angry Underwear even making a brief appearance. It’s a more collaborative exhibition, resulting from a public talk she gave in Fremantle in 2022 during her exhibition Pop Porn: “I was approached by some young women who work in the adult entertainment industry. Basically, one of them said to me, ‘Come back to the strip clubs and see where we’re at now.’” Ferrier worked with photographers Sascha Turisini and Nikita DunovitsFerrier, costume creative Dana Stoll, models and performers Gabriela and Ruby, and feminist clown Gaea Anastas to create Body of Opportunity. “They’re really living through that moment of body empowerment,” she says of the younger participants. “Their bodies are still very political.” In highlighting the importance of body autonomy, Ferrier found herself using nudity as a primary area of interrogation, asking when, how and why we make the distinction between art and pornography. “We should be able to look at women’s bodies the way they want to show them to us. We can think they’re beautiful, we can appreciate them, and it should not be taboo, it should not be equated with a whole industry that has been controlled by men.” —SA LLY GEA RON

Cairns Compositional Utterances Mandy Quadrio, Susan Hawkins, Jan Oliver Court House Gallery 12 January—4 March The touring exhibition Compositional Utterances is a collaboration between three artists united by political ideology, formal and aesthetic preferences, and a Compositional Utterances, installation view, lasting friendship. UniSC Art Gallery, 2022. photogr aph: carl warner. Mandy Quadrio, Susan Hawkins and Jan Oliver met at Griffith University College of Art, and since then the trio have found ideas and inspiration within one another. This has fostered a “conversational language we are developing together”, says Hawkins, which feeds into a collective showing of immersive installations and sculptures. Though the artists share environmental, post-colonial and feminist preoccupations, their practices and mediums are markedly distinct from one another. Hawkins appropriates salvaged industrial and domestic objects to create an aural experience, reflecting the “utterances” of the show’s title. “The unexpected soundscapes that the activated artefacts create offer the opportunity to question conventions and meanings that we attach to objects,” says Hawkins. Quadrio’s creations are garments that combine steel wool with sea grass and bull kelp. The work is a tribute to her Palawa ancestors, and is intended, she says, to “resist historic and ongoing denials and the scrubbing out of Palawa identity”. The abrasive steel wool was used by her female forebears, who were forced to be domestic servants for non-Indigenous people. The wool, she says, also reflects the “strong and flexible qualities of the way we navigate our friendship” and the trio’s “steely resolve to resist destructive forces”. Oliver, meanwhile, works with paper, with which she “converses” by a process of crumpling and unfolding. These large-scale works are designed to express the artist’s ongoing consideration of pressing ecological questions. “After diving into conceptual discussions, vigorous making and deep relationships, I come up refreshed and energised by our collaborative engagement,” says Oliver, in words that could have come from any of the three, as their partnership continues to evolve. —BA R NA BY SMITH

Adelaide Wedgwood: Master Potter to the Universe David Roche Foundation On now—27 January

“I want to announce upfront: this isn’t just a show of grandma’s good china.” David Roche Foundation curator Wedgwood (Britain established 1759), Teapot, Timothy Roberts need not worry: any visitor to this major c.1810, rosso antico stoneware with black basalt exhibition of ceramics by English pottery manufacturer stoneware sprigging in the Egyptian Revival taste. Wedgwood will be in no doubt about the formidable courtesy of etruria antiques gallery, melbourne. combination of art, science and innovation that goes into creating these elegant pieces, which range from practical wares such as crockery, to ornamental works of art including vases and sculptures. Staffordshire-born Josiah Wedgwood (1730-1795) established his eponymous pottery company in 1759. Because of their quality, durability and affordability, Wedgwood products became popular across the world. Among the brand’s many pioneering contributions to pottery is Jasperware, with its iconic shade of pale

blue—and several Jasperware pieces feature in the exhibition. Wedgwood also has a specific connection with Australia, resulting in some special inclusions in this show. “Wedgwood’s history with Australia dates back to 1789, when Sir Joseph Banks [a prominent naturalist] asked Josiah Wedgwood to test clay sent from Sydney Cove,” says Roberts. “Wedgwood thought the clay was an excellent material for pottery, and produced a small number of medallions. Only 14 examples are known today, and three are displayed in this exhibition.” While rare, valuable and ornate pieces make up many of the highlights in the exhibition (including the famous Portland Vase, 1790), it is “grandma’s good china”, or ceramics that serve a functional domestic purpose, that are likely to send a flicker through visitors’ memories. “Like many Australians, I remember growing up with ceramics by Wedgwood—I remember dishes and vases owned by my grandparents, and a dinner set that we used. I felt it was a perfect fit for a house museum, where we can consider how objects are used and valued within a domestic environment.” — BA R NA BY SMITH

Wagga Wagga See You In Hell Louise Zhang and Jessica Bradford Wagga Wagga Art Gallery On now—10 March

If you have to go to hell, Chinese hell seems like the place to visit. After your judgement, you are reincarnated and leave through one of six doors depending on your earthly sins. Reflecting on Chinese hell and their shared cultural heritage, Jessica Bradford and Louise Zhang collaborate in a playful exhibition that interrogates personal histories and the traditions that have shaped them. Fusing both artists’ distinct styles, works portray hellscapes and macabre themes through painting, installation and video. Gestural abstraction blends with “pastel coloured, pop-like, almost cartoonish images” as Bradford describes, while “fragments and motifs” from Jess Bradford, Boiling Oil Bath, pastel on board, their shared culture “come together in compositions”. 50 x 40 cm. photogr aph: zan wimberley. Showing together for the first time, the artists have met regularly since early 2022: “We talk a lot!” Zhang reveals. “Just having someone to address how you feel about aspects of your culture, that is the joy in this collaboration.” But don’t expect blazing Christian hellscapes and a horned devil. Cultures collide in this Chinese hell, a sentiment that resonates with both artists. “Transculturation is an important connection and point of focus for both of us,” Zhang explains. “The show interprets cultural influences from our upbringing by exploring different versions of Chinese hell.” Bradford draws upon her childhood visits to Singapore’s Haw Par Villa while Zhang explores the various religious influences she grew up with. For both, it’s a journey to understand their cultural heritage and to confront their multicultural identities. Bradford observes, “I think it’s a similar story with a lot of artists in Australia with a mixed cultural heritage, you are constantly trying to figure out how you relate to the larger culture, and where your place is in it.” Zhang adds that it’s “a reflection of how hell fits into our personal lives but also an opportunity to share the story of Chinese hell”. —A NITA K ING

Louise Zhang, Blood pool with lotuses, acrylic on linen, 51 x 41 cm. photogr aph: zan wimberley.

Fairing Well With art fairs nationally posting record results in 2023, the Melbourne Art Fair is now a yearly summer fixture. With over 60 galleries and Indigenous art centres hosting solo showings, this year’s theme is Ketherba/Together. W R ITER

Andrew Stephens

Melbourne Art Fair 2022. photogr aph: marie-luise skibbe.

Mark Smith, Hope, 2020.

Before Covid, art fairs were drawing some grumbles: there were too many, they were too glib, and too much about money and art stars, the naysayers complained. It’s amazing what a pandemic, and the ensuing effects on life, can do: art fairs nationally reported big successes in 2023. And in Melbourne, difficult lockdowns and restrictions seem to have particularly whetted appetites for big art events. Hot on the heels of the National Gallery of Victoria’s Melbourne Now, and coinciding with its latest Triennial and the nearby MPavilion offerings, the once-biennial Melbourne Art Fair is now going annual. Chief executive officer Maree Di Pasquale is thrilled at what will be a fixture on the once-quiet summer visual arts calendar. Established in 1988 as the Australian Contemporary Art Fair, the 2024 event is its second outing at the Melbourne Convention and Exhibition Centre in a long-term deal. Di Pasquale says the venue is a natural home for the fair, this year housing 60 galleries and Indigenous art centres, all presenting solo shows. It seems extraordinary that art fairs should be doing so well, given the trials of the pandemic, runaway cost-of-living price hikes, and anxiety around global political and environmental issues. Yet, September’s Sydney Contemporary Art Fair welcomed more than 25,000 visitors—its largest intake to date—and put through more than $21 million in art sales in five days, another record. It featured 96 galleries and more than 500 artists. The July Cairns Indigenous Art Fair reported record returns, too: more than 27,000 visitors and more than $7 million injected into the local economy. And August’s Darwin Aboriginal Art Fair made $4.4 million in art

sales, injected $12 million into the Northern Territory economy, and had close to 16,000 visitors. The art fair component of South Australia’s Tarnanthi Festival, which opened in October, had 4000 visitors and $1.5 million in sales. For the Melbourne fair, one of the oldest fairs globally, Di Pasquale says the move to an annual show has been under consideration for a long time. “Every other art fair in the world runs on an annual basis and in order to enter this next stage of life for the Melbourne Art Fair, it was a necessary change,” she says. “But we certainly wouldn’t have done it if we didn’t have the interest and support from galleries, partners and funding bodies.” Given Melbourne’s rich history and culture of collecting contemporary art, Di Pasquale says it is also important that the fair operates as a highly curated event: galleries submit detailed applications with this in mind, adhering to strict parameters. “We follow major art fairs in terms of appointing an independent selection committee comprised of commercial gallery leaders who know and understand the business of art—but also curators who are very aware of what is happening.” The focus on solo artist presentations is a continuing “repositioning” of the fair, Di Pasquale says. Many of these artists will show a focused body of work, which she says in itself comprises a sort of overarching theme. “As an art fair operated by a notfor-profit foundation [Melbourne Art Foundation], our remit is to support the commercial gallery network and living artists. Importantly, the best way to do that is to create the best stage to support the artists’ individual practice.”

“Art fairs are a melting pot, a place where hundreds of artists come together with curators, collectors, critics, academics, and it is rare to experience an environment like that…” — M A R EE DI PA S QUA LE ,

CH I E F E X E C U T I V E OF F ICE R , M E L B OU R N E A R T FA I R

Di Pasquale says while Victoria has some of the nation’s strongest galleries and a robust art market, she was aware of a feeling of “art fair fatigue” pre-Covid. “[The pandemic] was incredibly tough for the sector but it reminded us of this strong desire to experience art in the flesh and be in a physical space,” she says. “Art fairs are a melting pot, a place where hundreds of artists come together with curators, collectors, critics, academics, and it is rare to experience an environment like that, where people are exposed to new ideas and make connections. Covid reminded everyone of the role of the art fair.” That sense of connection is expressed in the title of the fair, Ketherba, a Boon Wurrung word used to express a togetherness imbued with promise, one that embraces difference and offers hope. With the art fair featuring artists like Sally Gabori, Gordon Bennett, Jess Johnson and Mark Smith, Di Pasquale is reticent to identify highlights for the fair, but she is especially excited about showings from various Indigenous art centres, and from newer galleries that are attracting attention, some of which opened just before Covid and managed to weather the storm. She’s also enthusiastic about the Melbourne Art Foundation 2024 commission, which has gone to Julie Rrap, represented by Roslyn Oxley9 Gallery. As one of the country’s best-recognised women artists, Rrap has been working for three decades in various mediums and will be presenting a large-scale sculptural work to be unveiled at the fair, before the piece goes into the Art Gallery of Western Australia’s (AGWA) permanent collection.

Gordon Bennett, Thin Lines 29, 2004.

Melbourne Art Fair 2024: Ketherba/Together Melbourne Convention and Exhibition Centre (Melbourne VIC) 22—25 February

From Clay to Bronze The first Torres Strait Islander artist to show in the National Gallery of Australia’s sculpture garden, Janet Fieldhouse gifts us her deep affinity for sculpture. W R ITER

Sally Gearon

Artist Janet Fieldhouse in National Gallery Sculpture Garden, National Gallery of Australia, Kamberri/Canberra, 2023. photogr aph: k arlee holland.

Janet Fieldhouse, Kalaw Lagaw Ya/Meriam Mir peoples, Sister Charm, 2023, (detail). national gallery of austr alia, k amberri/ canberr a, on loan from the artist and art makers.

Janet Fieldhouse is best known for her intricate ceramic sculptures—carefully crafted characters and vessels often measuring no more than 20cm in diameter. So, the question everyone is asking about Sister Charm, her commission for the National Gallery of Australia’s sculpture garden, is how did she go adapting her practice to a larger scale? Her answer: “If I had a bigger kiln, it would have been even bigger.” Of course, Sister Charm, the object as it stands in the garden, was not made in a kiln or by Fieldhouse’s hands—but a sculpture of this scope is more than its final product. It’s the ideas and planning, the practice, and the prototypes that come before it. “I had already done a form, and ended up doing another 10 or 12, to see the shape,” says Fieldhouse of its iterations. “I started carving just to see what it would look like, and then added the different elements to it.” These different elements are her signature totems. Her works often feature symbolic details in different materials—feathers, raffia, seagrass fibres and jute twines—always with specific cultural or personal references that add layers of meaning. In Sister Charm, Fieldhouse uses her totems, but casts them all in bronze. There’s the ‘weaving’ used to represent the material of vessels—bags and baskets used to carry food items— and the ‘feathers’ that represent dancing, and a turtle on the left leg—“a totem of my great grandmother”.

Born in Cairns, Fieldhouse maintains a strong matrilineal connection to the Badu, Mua, Keriri and Erub islands and South Sea Islander communities. She is the first Torres Strait Islander to be represented in the NGA’s sculpture garden, the significance of which isn’t lost on curator Tina Baum. “I’ve been a great fan of Janet’s from the beginning,” says Baum. “And I looked at the sculpture garden, and there were very few women, and there was no Torres Strait Islander representation.” Sister Charm is the second in a series of three commissions that the NGA is undertaking. “When we were given the opportunity to put forward an array of artists for this project,” says Baum, “I’d just seen Janet’s latest show [an exhibition from 2021 called Never the Same], where she’d made these new charm dolls. I loved them. I knew about this cultural practice in the Torres Strait of creating charms, they’re usually hidden or for personal use, so seeing these charms with these really cool heads and different adornments, I thought they were really impressive.” The positioning of Sister Charm in the sculpture garden is no accident either. “It’s looking over Thanakupi,” says Fieldhouse, referring to the 2010 sculpture Eden from the late Dhaynagwidh/ Thaynakwith artist. “She’s the most well-known Indigenous ceramicist,” says Baum of Thanakupi.

“It’s a love dedication.” — J A N E T F I E L DHOUSE

Janet Fieldhouse, Kalaw Lagaw Ya/Meriam Mir peoples, Sister Charm, 2023, (detail). national gallery of austr alia, k amberri/canberr a, on loan from the artist and art makers.

“She was the earliest, so a real icon. Like Emily [Kam Kngwarray] is with her paintings, Thanakupi is with ceramics.” The positioning of the two sculptures together holds great significance for Fieldhouse, who has long revered Thanakupi’s work. “Thanakupi was one of the inspirations and mentors when we were at TAFE. That was when I was a student in the 90s.” While Fieldhouse studied art at TAFE, she was a maker long before that. “I’ve been doing art since I was little. I was self-taught. It was drawing first, I was doing art classes at high school. They had ceramics, and I liked it, but I was stronger in drawing. Then I went to TAFE and…it’s one of those things, I was going to do batik instead of pottery and next minute I swapped it and made ceramics my major…it’s one of those things where you have to be really into it.” Clay is a temperamental medium, requiring great dedication, practice, and a lot of patience. These are the skills Fieldhouse tries to impart to students. While she no longer teaches professionally, since art became a full-time career, she has recently mentored for the Blak Design Project (a platform supporting sustainable, First Peoples design practices) in its ceramic iteration. “They’re thinking about how to express themselves, it was quite interesting,” she says of the budding ceramicists she worked with.

But she has no illusions about the difficulty that any artist in clay faces. “I know that pottery and ceramics is a special material, and you have to really think about it if you want to do it. The process of cleaning and making the clay is work in itself, and then you’ve got the commercial clay that you can go and buy, but it’s expensive. It’s hard to see how they [up-and-coming ceramicists] could take to it as a fulltime artist, how I do. You have to find kilns, you don’t know if your kilns are going to break down…there’s so many things!” I ask her how she thinks she managed to forge a career out of clay. She simply says, “It’s a love dedication.” A similar process to making one of her artworks, I imagine. She starts carving, just to see what it looks like.

Janet Fieldhouse: Sister Charm National Gallery of Australia (Canberra ACT) On now—23 September

Fired Up: Stories Through Embers and Earth Blak Design presented by Koorie Heritage Trust (Melbourne VIC) On now—11 February

Interview

Brent Harris

W R ITER

Tiarney Miekus

Meaning lies somewhere between humour, absurdity, and mortality in Brent Harris’s paintings and prints; his curved lines often hold human-like forms, each searching for moments of revelation, salvation or connection—just like we all are. Born in Palmerston North, Aotearoa New Zealand in 1956, Harris moved to Melbourne in the early 1980s to study art, shortly after coming out as a gay man. As the HIV/AIDS crisis began, Harris painted the series that cemented his early career, The Stations, 1989, featuring 14 geometric works referencing the Stations of the Cross, religious images depicting the journey Jesus undertook on the day of his crucifixion. Even now, religious and art historical imagery from Mary Magdalene to Colin McCahon to Philip Guston resonantly infuses Harris’s work. Over the last 40 years Harris has innovated upon his flattened surfaces and developed his printmaking practice—all while carefully instilling quiet emotion through his art. With a recent survey in New Zealand, Harris is now exhibiting with an Australian showing of 40 years of work, titled Surrender & Catch. Currently at TarraWarra Museum of Art, the show will travel to the Art Gallery of South Australia in mid-2024. Ahead of the survey, editor Tiarney Miekus caught up with Harris in his Melbourne studio, talking about dreams, death, surfaces and curves.

right Brent Harris, Appalling Moment (wig), 1995, oil on linen, 121.6 x 98.6 cm. gift of michael galimany through the art gallery of south austr alia contempor ary collectors 2018. donated through the austr alian government’s cultur al gift progr am, art gallery of south austr alia, adelaide. © brent harris.

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Brent Harris, Bloom (Hiding), 2004, oil on canvas, 137.6 x 87.5 cm. tarr awarr a museum of art collection, acquired 2005.

TI A R NEY MIEKUS

You’ve often talked about the importance of the dream stage to your work… BR ENT H A R R IS

Yes, of accessing the subconscious. TM

Exactly. But are you a chronicler or teller of dreams—do you write them down, talk about them, interpret them? BH

I do. But look, I’ve had three shrinks over time, mainly to deal with my family when I felt most anxious about the situation there. And the last one was just bloody excellent. I saw him for about five years. At the time I was making monotypes that had a definite dream-like quality. During the course of a year I made around 100 monotypes based on intuitive mark making, each having an otherworldly aspect. And I often showed my shrink the results, and we would attempt interpretation, based around the narratives of my inner psychology. The prints were developed using the ‘dark field’ technique, where you start with black ink rolled on surface, which you then start wiping away until, possibly, imagery appears. As such, it resembles surrealist automatism. A lot of very unexpected imagery appeared over that time! For instance, I have this one where it looks like some forlorn character is carrying a dead baby. And then this one almost looks like... TM

An ultrasound? BH

Yes! A womb. And then there’s this man carrying what could be this dead baby. But when I started making that, I had no idea what was going to come to the surface. I’m not thinking, “Now I’m going to do this dead baby being carried around.” It’s an amazing process, the monotype. But you have to follow it, and I have learnt that you can only really do it when you’re in the studio by yourself, in fact surrendering to it, and seeing what you might catch— rather than performing in a formal printmaking studio situation with the technician sitting around waiting to print the damn thing. So anyway, I’d take them to my shrink and we’d talk through them, almost like dream analysis. For instance, another I’ve called The Prophet has this looming character with a crumbling halo, and he is hovering above a crowd. I said to my shrink, “I think it’s a failed prophet.” And he responded, “You don’t need to use the word failed, all prophets fail.” So, I just called it The Prophet. I don’t know where this stuff comes from, but we’d analyse it—and most of it seems to deal with mortality and death: one’s own and others. It’s probably the driving question in my work.

What does that mean: “death is the driving question”? Like the unknowability of it? The anxiety? BH

No, it’s not anxiety. It’s more like, what the hell is going on? [Laughs] You live this life and then you get snuffed out. What’s the point? Some friends of mine who’ve had such rich lives, one in particular in the art world—about five years before he died he was really irritated about impending death. He’d accumulated all this knowledge and then... just to die? But he’s left a huge legacy nevertheless. TM

Do you have that irritation? BH

No, not an irritation, but I am 67 now. My own mortality is starting to creep up on me. Thinking about that first series of Station works [the aforementioned 1989 series], the quite abstract ones, that admittedly was quite an engagement with mortality as a subject, at an early age. I was around 30 when AIDS arrived, and I was right in the thick of it and that whole Stations narrative of “judged this morning, dead this afternoon”—death was right there in front of us. It was very quick in the 80s, even in the 90s—death came very quickly. Some of these early Station works are going into the show at TarraWarra, alongside a more recent series of paintings dealing more figuratively with the same subject. TM

Thinking about that earlier period of your life: you got married in New Zealand at the age of 19, then soon divorced, and you came out as gay. Then you moved to Melbourne and started studying art in the early 80s, and then the HIV/AIDS crisis began—I wondered if it felt like strange timing? BH

No, I see what you mean, but it didn’t feel like that. Robert Leonard [now director of Brisbane’s Institute of Modern Art] picked up on something that I had said: that there were two castrating factors in my sexuality. One, of course, is to do with the father and all that Oedipal stuff. The other was AIDS. So, my sexuality was affected twice. At the beginning of the 80s I was happily engaged sexually, then this bloody shutter comes down. It’s interesting, when I talk about my father and our estrangement, people think, “Oh it’s because he’s gay, his father didn’t like that.” But it’s got nothing to do with it. He had no issue with me being gay. The whole issue was his sexuality and his abusive behaviour.

I understand that once you left New Zealand in 1981, you didn’t return until recently for your exhibition at Auckland Art Gallery Toi o Tāmaki. BH

Yes, there was a large survey show of my work in Auckland earlier in 2023, The Other Side, curated by Jane Devery. And yes, I’ve spoken about those very troubled feelings because it was quite central to the show in Auckland. I’m basically an Australian artist, but born and formed over there. I stayed away, until after my father’s death in 2016. I didn’t see or speak to him for the last 25 years of his life and I didn’t see my mother during those 25 years either. I actually started exhibiting my work in New Zealand in 2018 with Robert Heald Gallery in Wellington, and that has led to some sort of re-engagement with New Zealand relationships. TM

For someone who is influenced by religious iconography and those stories on death and salvation, alongside meditation, would you call yourself religious in any sense? BH

No, I’m not religious, but I am interested in all those stories and the questions they pose. All religions attempt to make sense of death, but more broadly these stories are above all about the human condition we are all stuck in. I did learn meditation when I was 17, transcendental meditation, and I’ve always had a yearning towards something other, something else. I still meditate, and often about nothingness and death. When you’ve taken everything away in your mind and you’re still present, sitting there breathing, it’s an interesting place. TM

With the upcoming survey, the title Surrender & Catch comes from a phrase that your psychologist introduced to you. Can you talk through that? BH

Yes, he brought it up when I had returned from a residency in Rome, in particular in relation to the way I was approaching painting. In Rome I had started making small colourful paintings on panel, initially titled ‘the ecstatic moment’. These quickly developed into a larger series titled Surrender & Catch. The term comes from the German-American sociologist Kurt H. Wolff’s theory of knowledge as “surrender and catch”, suggesting you have to surrender at times in life to take advantage of opportunity or chance. Surrender for me tends toward suspending disbelief. I still find it interesting in the creative process as an artist, even if it’s just the anticipation of the next image; I’m continually open to revelation. That sounds religious to say revelation, but I want things to be revealed.

Do you get a moment of revelation when you’re making art? BH

Of course, but it often happens at other times too, including in the middle of the night. I keep journals and make these little drawings in the night; I’m not a great sleeper. Nighttime consciousness is great for loosening things up; often one thing connects to another in unexpected ways. TM

Looking around your studio right now you can almost see these connections. But I’ve noticed some of the newer paintings have a gradation of shading alongside your signature flat colour— when did that come in? BH

My painting used to be very flat, but my engagement with emotion, of trying to get emotion onto a surface that’s so flat, is generally through the curve, which I connect to the body. The curves are in most of my paintings, they have a sensuality to them. The gradations operate similarly. TM

Was there a moment when you first painted the curve and realised its significance? BH

Initially in the early 90s with a series of black-andwhite paintings titled Body. Then moving forward into a series of pink paintings [Just a feeling, 1996]. There are six in total, and they were libidinally driven, if you like. There’re breasts, scrotums, orifices—but how do you express that on a flat surface? For me it was getting that curve. They’re quite playful. I couldn’t hold onto the purely geometric as present in the 1989 Stations, and a sense of absurdity came into my work through Mike Kelley’s influence. There’s a big black-and-white elephant painting that’s in the show at TarraWarra called Appalling Moment [1994]. While working on quite abstract drawings a stupid elephant trunk appeared; I allowed this to remain and started to develop more playful imagery around it. I identified this acceptance of something quite absurd as my ‘Appalling Moment’. Of course, the other weird shape in my work, even way back, is this eye. It’s all-seeing, it can also work as an orifice, as vision, a portal into another realm. Sometimes it appears in the corner of a painting like an escape route, this possibility on the flat surface to go somewhere else. TM

You clearly reflect on your works so thoughtfully, but with this 40-year survey, do you find you’ve gained a higher faculty to reflect on them as time has gone by?

“Most of it seems to deal with mortality and death.” — BR E N T H A R R IS

Brent Harris, Christ meets Mary No. 4 from the series The Stations of the Cross, 2021, oil and charcoal on linen, 75 x 60 cm. courtesy of the artist and robert heald gallery, wellington.

It’s interesting, this being able to reflect on the past when you get older; obviously reflection becomes more complex when time has had its way. Of course, now, I have a different attitude when I look back, and I want to pull the past up to speed with my current thinking. Walking into that show in Auckland was pretty weird, seeing 30 years of my life laid out in images behind me. When you’re making them, you’re not thinking 30 years in advance—I didn’t know what they would add up to. I didn’t have any relationships in mind when I was making them, I was just trying to find my way. But now, you do become more reflective; everything’s more informed by life lived, the histories of art and my own histories. TM

Do you have to be careful that you don’t become too informed? Like too habitual with your thinking or creating? BH

I don’t feel like that, but I know what you mean; obviously an ageing artist can be prone to repetition. I don’t feel I’ve got a fixed narrative, other than this

management of my own engagement with the human condition. I do have a head full of imagery though, built on over the years, imagery of my own and others, that I’ll draw on as I like. Time will have to be the judge. I’m not driving any political agenda that keeps me in line—you know, the personal gets political quickly enough without any over determination. For instance, I’ve had people [curators, writers, audiences] queering me... but I’m not very queer. And I’ve never really identified as a gay artist. Robert [Leonard] in his recent writing, asks, how do you feel about being brought into that? And I said, “Well, I just don’t feel that I’m queer enough, you know? I’m just a standard old homo.” [Laughs] And Robert quoted that! But, at the same time, I don’t mind being called a gay artist—I’ve never not been gay. It’s never, ever been something I’ve shrunk away from. Maybe it informs my work.

Brent Harris: Surrender & Catch

TarraWarra Museum of Art (Healesville VIC) On now—11 March

10 ARTISTS TO WATCH IN 2024 From explorations of diaspora to Indigenous sovereignty, reality television to meditation, editor-in-chief Tiarney Miekus asked our writers to outline why these 10 artists are the ones to keep an eye on in 2024.

GEORGI A BA NKS

A RCHIE MOOR E

K AT I E W E S T

H A N NA H GA RTSIDE

ELIZA GOSSE

TI YA N BA K ER

C OR BA N CL AUSE W I LLI A MS

WA R R A B A W E A T H E R A L L

TRUC TRUONG

N ICHOLAS M A NGA N

BY JOSEPH I N E M EA D

Georgia Banks takes the contemporary construction of selfhood to the extreme.

Remains to be Seen (video still), 2021, Videography: David Meagher.

Georgia Banks

Georgia Banks challenges the line between performance and reality. With conviction and satire she interrogates our social selves through reality television, beauty pageants and gamified apps. As her artist statement says, she’s “been banned from Tinder, sued by the estate of American artist Hannah Wilke, and named Miss Social Impact in a national beauty pageant.” Take Bank’s DataBaes, 2023, an installation, AI bot and video which reflects the arduous process of applying for reality contests over nine months, ending in total rejection. Banks considers reality TV as a “contemporary Colosseum—a place for people to gather and watch human suffering, without social implication”. Is reality television the new still life painting? A portal to consider our demise? It’s watched with judgement and without social accountability, where the impetus to participate belies a desire to be “known” after death. Banks taps into this, discovering meaning within the superficial, while securing her own ‘immortality’. These post-mortem-esque vibes are further developed in her ongoing work, Remains to be Seen, where Banks runs a competition for someone to have “complete control over her death”, winning autonomy over all posthumous decisions. Similarly, her current Creative Australia-funded research explores the impacts of gamified apps (like Tinder and X) on self-creation and death. For 2024, she’ll exhibit for Cementa24 and will perform for Melbourne Art Fair.

Georgia Banks, DataBaes, 2023, installation view, NGV. photogr aph: peter bennetts.

Archie Moore

Pushing political and formal boundaries, Kamilaroi and Bigambul artist Archie Moore is creating an ambitious installation for the 2024 Venice Biennale.

Photogr aph: Joe Ruckli.

BY ELLIE BUT TROSE

Archie Moore engages people on an emotional level through evocative familial stories and anecdotes of lived experience. The artist, who works from Redland Bay in South East Queensland, uses his personal history as an entry point to confront wider social issues and structural inequalities. In many of Moore’s exhibitions the viewer is immersed in his personal world—for instance, he has recreated his childhood home in the gallery. By placing audiences “in his shoes” Archie exposes gaps in understanding and social stratification. On other occasions Moore has used ‘authoritative publications’ such as Australian parliamentary transcriptions, anthropological investigations, and coroners’ reports into Indigenous deaths in custody to visualise systemic injustices. He focuses on the racism that First Nations peoples have faced and continue to face in Australia: racial slurs directed towards him have appeared in text works and installations to show how these are not isolated or historical occurrences. He’s also attentive to the pernicious policies that attempted to systematically erase Indigenous Australian languages—by incorporating Kamilaroi and Bigambul words into his artworks Moore contributes to broader language revival movements. What unites Moore’s conceptual artworks is how they deploy simple materials to convey the sovereignty of the self and sovereignty of one of the oldest continuous living cultures on Earth. Archie Moore is represented by The Commercial and will present a new exhibition in the Australia Pavilion at the 2024 Venice Biennale (opening 20 April), curated by Ellie Buttrose.

Archie Moore, Black Dog, (detail), 2013. photogr aph: carl warner. 51

Warraba Weatherall, Bana, 2022, single channel digital video.

“I’m interested in tangible mobilisation rather than just sitting there and it being a talk fest. I want to be a part of things that genuinely bring change,” Warraba Weatherall tells me from Meanjin/Brisbane. He’s a Kamilaroi artist, curator and academic deeply embedded in the histories of Indigenous art and activism emanating from Queensland. Queensland Art Gallery recently exhibited Weatherall’s Embodied Knowledge, memorial-like plaques referencing the Kamilaroi cultural property held in museums around the country. He’s growing a database of these objects to attempt to return ancestors and cultural property to the Kamilaroi people. This project is one of the ways he’s contributing to tangible change. Weatherall is completing his PhD in the Contemporary Australian Indigenous Art (CAIA) program at Griffith University, as well as teaching the next generation of Indigenous artists, and has recently joined Brisbane-based collective ProppaNOW. In 2024, he’ll exhibit a new major work at the National Gallery of Victoria for a series of First Nations commissions, with mentoring by Tony Albert. His relationships with an intergenerational community of Indigenous artists and activists is vital. “You get so used to working in silos as an artist, you need to have hard conversations and get feedback in a real safe space.”

Warraba Weatherall B Y A N DY B U T L E R

Warraba Weatherall links art and academia with genuine action.

BY TI A R N EY M I EK US

Hannah Gartside is one of the most exciting artists working with textiles today.

photogr aph: ilona nelson.

Hannah Gartside

Hannah Gartside reveals the power, emotion and quiet politics of cloth. She’s known for her kinetic textile installations where found fabric twirls from floor to ceiling in hypnotic form, each piece gesturing to a significant historical woman. These kinetic works have shown for Melbourne Now at NGV Australia and Primavera 2022 at the Museum of Contemporary of Art. For her recent debut at Tolarno Galleries, Gartside returned to stationary cloth, affixing formations of sequined material to the gallery walls, telling the story of a woman escaping mundanity and loneliness by creating a garment that transforms her into a moth. She joins a coven—and finds that all moths were once women. In capturing metamorphosis Gartside shows a person finding freedom, which is exemplary of her wider practice: in releasing cloth from the limitations of class, status and appearance anxiety, Gartside finds pleasure and joy. But it’s not an easy or prescriptive pleasure; it’s a search for what pleasure truly is, and the bittersweet hope of its attainability. For early 2024 Gartside is in group exhibitions at Redcliffe Art Gallery and Tolarno Galleries, and will begin a project making quilts for families from the clothing of their deceased loved ones, as grief support. She’ll also head to the Netherlands for a mentorship with Claudy Jongstra’s studio. Hannah Gartside is represented by Tolarno Galleries.

Hannah Gartside, Frances and Yolande become open-bodice moths, 2023, installation view.

There’s a complicated nostalgia to Eliza Gosse’s architectural paintings of Australian environments—particularly our homes.

Eliza Gosse B Y S A L LY G E A R O N

Eliza Gosse’s nostalgia-soaked paintings of mid-century modern architecture and interiors conjure simultaneous senses of past and present. Is this an inner-city retro-inspired dream house, or my nan’s suburban living room straight out of the 70s? Maybe it’s both. Maybe it’s Palm Springs. It’s reminiscent of how Howard Arkley saw beauty in suburbia, but instead of transposing this into vivid neons to counteract the banality, Gosse uses muted colour palettes and sleek finishings that honour design and the domestic. Gosse’s iconic houses have featured in exhibitions across both her representative galleries in the last year—Olsen Gallery in Sydney and Edwina Corlette in Brisbane, with titles like All My Friends Have White Walls And Beige Carpet and Entertainer’s Delight With Ocean Views. She also had an inclusion in MARS Gallery’s A Female Gaze in early-2023, and her works on paper featured in Galerie Camille Pouyfaucon in Paris. But it was her expansion into portraiture that caught the attention of many, as a finalist (for the second time) in the Archibald Prize for Breakfast at ours—in which life-size cut-out boards of herself and her husband, architect Benjamin Jay Shand, sit serenely, clad in matching bathrobes. This year, Gosse will exhibit at Olsen Gallery in May, alongside creating new work. Eliza Gosse is represented by Olsen Gallery and Edwina Corlette.

Eliza Gosse, A Dark Teakwood Desk Lends a Warm Atmosphere to the Room, 2023, acrylic on canvas, 120 x 180 cm.

photogr aph: jack fenby.

Misfits abound in the works of Vietnamese artist Truc Truong, who employs a spill-yourguts aesthetic to her sculptural installations and performances. Animal entrails, Sesame Street toys, and blow-up mascots are dismembered and skewered, cast alongside a littering of Asian snacks, pink housework gloves, and pop culture figurines that hark back to the artist’s childhood. Born and based in Adelaide, Truong explores the internalised racism, cultural taboos and dualistic faiths experienced by her family since her parents migrated to Australia from Saigon in 1982. Prevalent in her work are hand-bleached textiles, Chinese-Vietnamese cuisine props, and pig intestines pristinely cleaned and cured by the artist to challenge the ‘model migrant’ narrative of obedience and studiousness. Truong recently wrapped up a year-long residency at ACE’s 2023 Studio Program, and is currently showing in Primavera 2023 at the Museum of Contemporary Art. Here, the artist manifests I Pray You Eat Cake, a kaleidoscopic anarchy of religious and cultural paraphernalia that depict a speculative conversation with her late grandfather, a practitioner of both Christian and Buddhist beliefs. Truong roars into 2024 with a Saigon trip to learn from traditional Lion Dance craftspeople, and will feature in Gertrude Contemporary’s Octopus group show in July. She’ll further create an ambitious new work for Flinders University Museum of Art, as part of their Guildhouse Collections Project.

Truc Truong BY M A R I A M ELLA A RCILLA A

Between irreverence, meaning and humour, Truc Truong explores displacement and diaspora.

Truc Truong, Primavera 2023, Museum of Contemporary Art. Photogr aph: Zan Wimberley.

Corban Clause Williams BY LOU ISE M A RTI N- CH EW

Corban Clause Williams, Kaalpa (Kalypa, Canning Stock Route Well 23). courtesy of martumili artists.

With a recent string of prize nominations and wins, Corban Clause Williams’s vivid paintings uniquely capture Country. 56

Corban Clause Williams’s success as the inaugural winner of the MA Art Prize (which recognises emerging talent) at this year’s Sydney Contemporary foreshadows his staggering potential. The win topped off a year in which Williams was also a finalist in the Ramsay Art Prize, the John Stringer Prize and the Telstra National Aboriginal and Torres Strait Islander Art Awards. His painting for the MA Art Prize, Kaalpa (Well 23, Canning Stock Route), was shown with Emilia Galatis Projects. He was applauded for his use of colour and the sensitive depiction of his grandfathers’s Country. The joy Williams feels on Country, which he captures, is palpable: “I went [to Kaalpa] for the first time [in 2018]…When I went there, I was pukurlpa (happy). It made you open up your spirit, it feels like home.” Williams, born in 1994, is a Manyjilyjarra painter from the Pilbara, who works with Martumili Artists and Galatis, who has known Williams since he was a teenager. “He’s worked at Martumili art centre for a long time,” Galatis explains, “and watched the senior artists, long before he began painting himself. I feel like what looks like an overnight success story was a decade of schooling.” Williams’s plans for 2024 aren’t fixed. “He’s not very fast and won’t be pushed, hence the quality of his work.” Corban Clause Williams works from Martumili Artists and is represented by Emilia Galatis Projects.

Tiyan Baker, Primavera 2023. photogr aph: zan wimberley.

Tiyan Baker B Y N A N E T T E O R LY photogr aph: alfonse chiu.

A Malaysian BidayǔhAnglo Australian artist, Tiyan Baker works between history, language and digital processes, overturning Western conventions. In Tiyan Baker’s exciting practice, you never know what to expect. An artist dedicated to experimenting with new mediums, over her career Tiyan has boldly allowed herself to evolve. However, while her practice is expansive, there has always been cohesiveness in her video installations, sculptures, and photography. Her works are instantly recognisable, achieved through the conceptualisation of artworks that invite us to consider complex themes in a playful yet sophisticated way. She provides accessible pathways to resonate with layered ideas that centre her Bidayǔh culture, bringing awareness to the (re) colonisation of Borneo—an island in Southeast Asia’s Malay Archipelago. This is true of her most recent work Personal Computer: ramin ntaangan, 2022-2023, a custom PC built in the style of a Bidayǔh longhouse, a gesture to both technological and Indigenous structures of knowledge and exchange that provide connections to her culture. Recent achievements include winning the National Photography Prize 2022 at Murray Art Museum Albury and participating in Primavera 2023 at the Museum of Contemporary Art—an exhibition centering five esteemed artists under 35 years of age. In 2024 Tiyan will present a commissioned work in collaboration with Jason Phu at Goolugatup in Western Australia, a custom world they will build within the popular video game, Fortnite. 57

Nicholas Mangan BY A N DR EW STEPH ENS

Among the many elements of Nicholas Mangan’s work that intrigue audiences is the way ‘excavation’ is used as a process for unpacking, questioning and examining the connections between culture and nature, but also how ‘digging up’ becomes a visual effect. In his work, there’s always a sense of it having somehow been unearthed. Operating mainly with sculpture and moving image, Mangan is certainly a type of archaeologist— but one who speculates about rather than defines his findings. While each work is distinct, there is also a continuation of focus. This artist gravitates towards sites, objects and ideas that can be contested, especially through multiple histories or narratives attached to them—as he has noted, this subject matter has included “a disputed tropical mine, a bankrupted island nation, a geological sample of the earliest Earth crust, discarded tourist souvenirs and the remnants of a demolished architectural icon”. His work includes Core-Coralations, 2021-ongoing, ruminating on the Great Barrier Reef, and Limits to Growth, 2016-ongoing, in which cryptocurrency is investigated. That breadth alone, and the layers of meaning , are part of his great appeal. Later this year, viewers will see how all this has been traced in a major survey at Sydney’s Museum of Contemporary Art. Nicholas Mangan is represented by Sutton Gallery.

Nicholas Mangan, Termite Economies (Phase One), 2018. Installation, Perth Institute of Contemporary Arts, 2019. photogr aph: bo wong. 58

photogr aph: jesse marlow.

Unearthing is literal and metaphoric for Nicholas Mangan, who is looking ahead to a career-defining survey show.

Katie West

photogr aph: sundae studio, courtesy of form.

BY DI EG O R A M I R EZ

Katie West at Cossack, 2020. photogr aph: peacock visuals.

Katie West is a Yindjibarndi woman working significantly, as if her hand was stained with poetry, among textiles, installation and social practice. In the last two years she’s been curated into many of this country’s most prestigious surveys, including The National 4 and Ramsay Art Prize in 2023, and Primavera in 2022. Such recognition has afforded great momentum, taking her practice to the United States, where she is part of a travelling exhibition, soon showing at The Block Museum of Art in Chicago. Indeed, Actions for the Earth: Art, Care & Ecology, curated by Sharmila Wood and produced by Independent Curators International, New York, is an exhibition about restorative interventions. Originally shown at the 2022 TarraWarra Biennale, West is participating with her work Clearing, 2019, an installation creating a social space with textiles for listening, thinking, conversing and reading. Clearing offers tactile cushions on the ground, underneath a large-scale drape hanging from the ceiling, offering a space of reflection. Nearby are books on First Nations knowledge, firmly inviting the viewer to clear their preconceptions and consider their positionality in this environment. For 2024, West is also participating in the Indian Ocean Craft Triennial: IOTA24 within an exhibition centering string crafts in Papua New Guinea and Aboriginal communities. Katie West is represented by Dominik Mersch.

Through textiles and social experiences, Katie West forges exquisite spaces of meditation and decolonisation.

Studio

Christopher Bassi

“It’s a relationship I’m speaking about, a relationship with environment, place, my grandmother and family.” — CH R IS T OPH E R B A S SI

PHOTOGR A PH Y BY

AS TOLD TO

Joe Ruckli

Louise Martin-Chew

Christopher Bassi has loved painting since he began, aged seven, taking classes in oil. As an only child, painting and drawing was his language. Later, he began studying art at age 25, graduating from Queensland College of Art in 2017. His paintings capture a particular light and colour, both familiar and indefinable, drawing on his Torres Strait Islander heritage (Meriam, Yupungathi), European art historical traditions, and a unique sense of place. He recently exhibited in The National 4 at Campbelltown Arts Centre and Portrait 23 at the National Portrait Gallery, and he’s currently showing for the Museum of Contemporary Art’s Primavera, alongside Rearranged: Art of the Flower at Museum of Brisbane. Soon, you’ll find his work at the 18th Adelaide Biennial of Australian Art: Inner Sanctum. While Brisbane is his home, his inspiration is vested in a matrilineal connection to Queensland’s far north, the sea, and the tropics. He’s had many studios, most recently above bustling Boundary Street in Brisbane’s West End. In this light-filled space, with wall-sized paintings, a table of watercolour drawings for a collaborative children’s book project with Cheryl Leavy, and a large computer, he responds to the ecology of making and thinking.

PLACE

CHR ISTOPHER BASSI: This is a relatively new space,

but I always have a studio. I like the camaraderie of being around other creatives. Place is a thread throughout my practice, with painting a canvas into which to imagine. I was born in Brisbane, and my experience with Torres Strait Islander culture comes through my mother and trips north with family. It’s part of my personal journey, to understand who I am, how I relate to myself, my practice, but also to Country. I’m rooted in Brisbane, thinking about being in the Torres Strait, and acknowledging that distance. My work is about filling in the gaps. I am the first person in my family to go to university, and I majored in painting and art theory, both of which influence my work. My last trip to the Torres Strait was important. I went to the location on Moa where my grandmother was born. The work in The National 4 was a recreation of that site. I stepped onto Country and had a feeling of belonging. The remains of a church reminded me of the London Missionary Society [an English evangelical missionary formed in 1795] and the way that it influenced culture. There were three palm trees in a triangle formation. They became an altarpiece, and I laid the church architecture flat to neutralise it. The landscape is the primary subject. My painting offers an association with the past connected to my own experience.

PROCESS

CHR ISTOPHER BASSI: I worked in design for a number

of years and those interests come through in different ways, using colour theory in my paintings, and the architecture that exists within the paintings and their depth, colour and light. I’m interested in the staging and the theatricality. I love painting in the same way that an author can’t live without writing, because it gives access to something that you otherwise can’t articulate. The works I make are indebted to a European tradition, and to figuration that enables storytelling. Imagination is important to my practice. The process is beautiful. The final product is a painting, but they evolve after my sitting and playing, trying to fit things together. There are a series of steps. The Primavera paintings feature shells, and began with thoughts about the ocean, the shells, and their relationship to each other. I’m also thinking about me, family, and the world. The objects are laid out for photography. I set the stage, operate the lighting, create a background, then use the computer to digitise. Often it’s very manual, with a physical model. The shells became small monuments to the southwest waters of the ocean. These waters connect us as seafaring people. Some of the things I try to achieve in oil painting relate to technique. We don’t talk about technique, because it’s not discussed as a part of a conceptual practice, but it’s part of my language, from the way that paintings are constructed to how they’ve been used to tell stories.

PROJECTS

CHR ISTOPHER BASSI: I’m making very large paintings

for the Adelaide Biennial, featuring my body and mangroves. I use myself in the work because they are my stories. I’m very conscious of representation of First Nations bodies and putting them on display, particularly through understanding the history of that representation in Australia. I’m exploring with paint in a work called Meeting the Mangrove, based on mangrove communities in the Torres Strait. My totem is the mangrove seed pod, which breaks off in the ocean and floats across to other islands and re-establishes itself. It is like an epic poem (I’m reading John Milton’s Paradise Lost). That’s a huge story that tackles big themes like the fall of man. My hand reaches out in a gesture like in Michelangelo’s The Creation of Adam in the Sistine Chapel. I’m pulling that from art history, meeting the non-human, the mangrove as a main character. It’s a relationship I’m speaking about, a relationship with environment, place, my grandmother and family. Artists use painting for so many different things. But for me, this idea of storytelling, open-endedness, imagining, and being totally engulfed by something of this scale is epic. I’m also in Rearranged: Art of the Flower at Museum of Brisbane. It has been a busy year, a process of me figuring out what it means to be an artist. I’m still finding my stride, having never worked at this pace before. I’m a slow thinker, a slow maker: oil paintings take time to evolve.

Primavera 2023

Group exhibition Museum of Contemporary Art (Sydney NSW) On now—4 February

Rearranged: Art of the Flower Group exhibition Museum of Brisbane (Brisbane QLD) On now—11 August

18th Adelaide Biennial of Australian Art: Inner Sanctum Group exhibition Art Gallery of South Australia (Adelaide SA) 1 March—2 June

Talking with

Diana Baker Smith W R ITER Amelia Wallin

Diana Baker Smith carries an acute attention to ephemeral, invisible or hidden histories. Whether it is tracing the movements of a public artwork through her hometown of Sydney, or piecing together a performance history from deteriorating and lost archives, Baker Smith pulls back layers of history to explore the forgotten. In conversation with writer and curator Amelia Wallin, Baker Smith reveals her research-based methodologies as she prepares to present a sitespecific work for Perth Institute of Contemporary Arts (PICA), as part of the gallery’s annual Judy Wheeler Commission. PICA sits on the unceded cultural and spiritual homelands of the Whadjuk Nyoongar People. Baker Smith’s commission, a graphic score and chorographical piece titled Falling Towards Another (a score for the void), responds to PICA’s colonial architecture and history as one of Perth’s first schools, and its later transformation into a contemporary art space in the 1980s.

I’ve noticed that several of your works begin with close attention to a space, a site, or object. What lens do you bring to a space or site, or what questions do you ask yourself when beginning a new project?

In some instances the story or object comes to me, and then in other instances I go towards it and that determines the approach. There’s always a feminist lens and an emphasis on performance, because that’s my background and it shapes my overarching method. But, in practice, I usually begin in the space, or in the archive, and wait for things to reveal themselves. I often think about the layers of time present in an object, and what that might reveal about the politics of the institution or site housing that object, and the way that politics is absorbed into a particular history, and the way that history is told. I’m drawn to things that are broken, lost, missing, unfinished, in transition. Those features indicate a rupture in how we understand an object, or site, or place, or history, and it’s usually from there I start building the work.

left Diana Baker Smith and Kate Blackmore, Brief Illuminations Between Interruptions, 2022, single channel 4K video, 13:12 minutes. photogr aph: anna hay.

How have you approached the PICA commission?

For PICA, it is the building itself that has been my key interest. In particular, the architecture, and the way bodies move through that space. I was interested in the building’s various layers as reference points. It’s an intensely colonial piece of architecture, with all the contradictions and hybridity inherent to the imperial project. It has a Jacobean turret, stained glass windows, Neoclassical columns, Venetian arches at the entrance, as well as various Gothic features. It’s an amalgamation of very different styles, all coded as European “high culture”. Originally a school, it later became a technical college, and then PICA, so it’s always had this cultural aspect, which the architecture is designed to reinforce; the idea of Europe, played out about as far away from Europe as you can get. And in thinking about how the building’s use can shift over time, I started thinking of the commission almost as a choreography of building.

Can you describe your research process for Falling Towards Another (a score for the void)?

I travelled to Perth/Boorloo to do a residency and meet with the dancer, Sophie Burgoyne, who I am working with on the project. Together we undertook a series of exercises of tuning into the space, thinking about the audience’s passage through the space, noticing movements and language.

Diana Baker Smith, She Speaks in Sculpture, 2022, two-channel 4K video, 9:35 mins. photogr aph: lucy par akhina.

“I’m drawn to things that are broken, lost, missing, unfinished, in transition.” — DI A N A B A K ER SM I T H

And then I spent time, as I always do, in the archive, where I was mainly drawn to the architectural plans, and in particular the images from when it was under renovation, and being turned into PICA. The specific area that we’re looking at, which is the mezzanine space, is referred to on the architectural drawings as a “void” or “double void”. A few years ago, as part of a reading group, I read Karl Marx’s Capital. Towards the end of the book Marx discusses the Swan River Colony, which is present-day Perth/Boorloo, as an example of colonial extraction, settlement, labour markets and expropriation. At one point, Marx is trying to explain dialectical movements, and he writes that “it is a

contradiction to depict one body as constantly falling towards another and at the same time constantly flying away from it. The ellipse is a form of motion within which this contradiction is both realised and resolved.” I have this quote on the wall in my studio. He was trying to make a point about the relationship between capital and labour, but to me it sounds less like economic analysis and more like a performance score. Reading the word ellipse, my brain mistook it for the word ellipsis. I looked it up later, and they have the same Latin root word. So with all of these ideas floating around—the movement of capital, the ellipse and the ellipsis—I thought, the way this space operates is like a score; it outlines how people can move through and think about this space. I had the idea of two dancers in a state of motion and tension between each other, in which they’re falling towards one another, and also flying away, moving around and around in this architectural void.

Can you describe what the space might look like?

The work consists of a large-scale graphic score painted directly onto the four walls of the mezzanine space at PICA and a live performance with two dancers. The dancers will perform the work on the balcony of the mezzanine and will be connected by a huge piece of fabric, which extends over the void, and traces the space between them.

The score is made up of a series of intersecting lines and shapes that refer to architectural features— such as pilasters, windows, doorways, architraves—of the building that have been removed over time. I have used the symbol of the ellipsis as a main feature of the score. Ellipsis refers to two suspension points, which relates back to the bodies of the two performers, but it also means to withdraw, represented textually by three dots. Those three dots are cut out of the fabric between the dancers and painted on the walls wherever doorways and windows have been removed and bricked over. Ellipsis also means to pause. So, for the dancers performing in the mezzanine, the ellipsis will signal for them to pause.

My final question is about the audience for this work. When I encounter score-based works such as this, I feel a connection to the space that I’m moving through, a heightened awareness of my body moving through that space. What do you hope an audience takes away?

I mean, basically what you describe. I really hope that an audience will feel it in their body. I hope that they’ll think about the layers of time and history that are in that building, and how the site has changed over time. I’m fascinated with buildings, and thinking about what a building can tell us about history, and about time and memory, in so-called ‘Australia’. I’m interested in what this can tell you in terms of your own time, your own temporality. I hope that if you spend a little bit of time with the work, you’ll start to see the echoes and traces of where a window once was, how the building itself has shifted, and the different time stamps that are in the walls themselves, and that this might be a potential unravelling.

Falling Towards Another (a score for the void) Diana Baker Smith Perth Institute of Contemporary Arts (Perth WA) 9 February—19 January 2025

Poet of Prints Known as a great avant-garde painter, the late John Nixon also created hundreds of prints— which, as those who knew Nixon can attest, exemplify his minimalism, experimentalism, and his interlacing of life and art. W R ITER

Autumn Royal

right John Nixon, Untitled, 1995, screenprint, edition of 15 on 9 different pages of newsprint. courtesy of the estate of john nixon.

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John Nixon, Untitled, 2002, woodblock; edition of 5. courtesy of the estate of john nixon and negative press, melbourne,

It’s the early 1980s at Victorian College of the Arts in Melbourne and John Nixon is having a lively conversation with a student. Nixon is struck by how this student describes the printmaking process of etching and asks for a demonstration. With the roles of teacher and student reversed, Nixon’s nascent printmaking practice began to grow. It’s effortless for me to imagine this scenario, where Nixon’s curiosity spurred a willingness to learn something new. I first met Nixon in 2017 on a warm March evening after leaving Melbourne’s TCB Gallery. I had just given a poetry reading and once stepping onto the bluestone pavement, I saw Kaho Hashimoto, an artist I read alongside. As I approached, she introduced me to her friend, John Nixon. There was no small talk, with Nixon generously sharing his thoughts about my performance and asking questions about my work. Our friendship started here. This story is one that many local artists could tell about Nixon, cementing not merely his generosity, but his minimal distinction between art and life as influenced by Russian Constructivism. This philosophy afforded Nixon the possibility to create a staggering body of work that, during his lifetime, established him as one of Australia’s most significant abstract artists. While Nixon is primarily known for his paintings, his five-decade-long practice dedicated to radical modernism generated an expansive approach to minimalist and non-objective art spanning drawing, experimental music,

performance, photography, publishing and, one of his lesser-known practices, printmaking. Nixon once said that “To be an artist is to question the nature of art.” And question he did. Nixon’s exploration of printmaking is now on show for John Nixon—Four Decades, Five Hundred Prints at Geelong Gallery. It’s the first survey of Nixon’s printmaking, and his experimental essence is manifested through varying printmaking techniques including potato prints, woodcuts and Xerox prints, alongside more intricate screenprints, stone lithographs and etchings. True to Nixon’s unification of art and life, the exhibition is curated by his wife Sue Cramer, his daughter Emma Nixon, and close collaborator Trent Walter. As Cramer explains, working with Nixon’s printmaking archive has “been a journey of discovery… we had to acquaint ourselves with all 500 prints. And 500 is a round number. There are more than 500, but we rounded it off because nobody’s going to count.” We’re sitting at the kitchen table in the Briar Hill house Cramer shared with John and Emma up until Nixon’s death in 2020. I’m in a space I have always imagined, recalling how the intonations in Nixon’s voice always altered with affection when referring to his home as “Briar Hill”—as if it was another world. I ask Cramer, a respected curator and writer, what we can expect from this epic exhibition. Cramer pauses and replies, “If you walk into the exhibition, what will be striking is the diversity of the types of work. With a print show, you might be expecting a

“To be an artist is to question the nature of art.” — JOH N N I XON

John Nixon, Study with coloured paper, 2016, edition of 5 + AP. courtesy of the estate of john nixon.

certain kind of display, perhaps works in frames—and there are works in frames...but there’s a lot on tables as well, this style of presentation evoking John’s idea of the workshop, the prints vary in size from large to small, and they are all non-objective abstractions… they are things in themselves.” Cramer’s description of “things in themselves” echoes Nixon’s artmaking ethos inspired by Arte Povera methods of utilising discarded materials: gathering used etching plates, picking up pieces of wood during walks with Cramer, and recycling pieces of paper and receipts that no longer expressed an intended value. Collecting and repurposing materials were fundamental to Nixon’s artmaking approach. “I think for John, it began as an economic thing as a young artist, but it was also philosophical,” says Cramer. “It was what he believed. And it also came from a kind of punk spirit, his resourcefulness, and do-it-yourself approach.” Considering the prolific output of Nixon’s artmaking, one might ask, how? “John never stopped being an artist,” says Cramer. “He liked to produce iterations on a theme and not labour for long hours on a single work. He believed in productivity…but his work was always done with a great deal of care and attention, and a great deal of specificity.” Nixon also had a sincere non-hierarchal approach to artmaking—never attributing any material or artwork with different levels of importance. As Cramer explains, “For John, all the materials he used have

an equal place as different expressions of art and experimentation and connection to daily life…printing onto newspaper was of equal value to printing onto expensive papers like cotton rag—which he only occasionally did.” While Nixon’s art and experimentalism fascinated Walter, he was unprepared for the artist to arrive unannounced in 2015 at Walter’s print studio c3 Contemporary Art Space, in Abbotsford, with a bag full of plastic meat and biscuit trays—and the idea of using them as print matrices. This was the first of countless meetings between Walter and Nixon, who alongside artist Lizzie Boon and other assistants, began archiving Nixon’s extensive printmaking work. “The thing that’s unique was just being able to archive with John and having his method of categorisation, which is different to how it would be perceived if the work went straight to a museum,” says Walter. Nixon’s approach to printmaking is profoundly poetic and I express this to Cramer. “I definitely think he was a poet,” confirms Cramer. “He was a poet of materials. He was a poet of textures, colour and form…I’m quite certain of that and it’s one of his touchstones.”

John Nixon—Four Decades, Five Hundred Prints Geelong Gallery (Geelong VIC) On now—11 March

Comment

Artists As Influencers: Advertising or Advocacy? By mere virtue of using social media, artists unavoidably project a ‘personal brand’—but what ethics are at play when artists become active influencers for businesses, products or political positions? W R ITER

Sophia Cai

A few years ago, a local sustainable fashion label reached out to me via Instagram and offered to send me some of their products for free. This happened during the middle of a pandemic lockdown, and the brand’s bamboo lounge wear and comfy underwear appealed to me greatly as another welcome addition to my stay-at-home wardrobe at the time. Since I wasn’t required to share about the received products or post any photos of myself in the clothes, I agreed. I later learnt that even though I was not explicitly asked to share photos, the expectation was of course that I should have. I had broken an unspoken rule when it came to working with brands. When I wondered why I might have been approached in the first place, my friend (whose rescue greyhound Salty had amassed more than 100,000 followers on Instagram over two years) introduced me to the concept of ‘micro-influencers’. While we might feel more sceptical of brand endorsements by major A-list celebrities such as the Kardashians or Jenners, it can feel more genuine when the same product is shared from a person with a smaller following or in our direct community. In our current socially-networked world of TikTok, Instagram, X, and similar, it is increasingly common that brands seek out individuals and micro-influencers to promote their products. After all, we all operate to some degree as our ‘personal brands’ on these digital platforms, sharing a curated version of our lives and/or professional achievements to audiences that include friends and family, mutuals (people you mutually follow) and strangers. Your endorsements directly impact these audiences. While it may be easy to view influencer culture as cynical product placement or another platform for advertising, for precarious arts workers and artists,

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the opportunities afforded by this work can make an indelible impact. Artists, like any other worker, need to make money to live, but there remain negative connotations of being perceived as being too commercial, at risk of appearing as “selling out”. This naïve (and I would argue, classist) assumption fails to recognise artists as workers, which can lead to exploitation and untenable working conditions. Why do we romanticise the fact that Vincent Van Gogh struggled to sell his work in his lifetime? Is it a perpetuation of the starving artist trope? For this article I spoke with four Australian artists who each have experience working as influencers. These artists have worked with a range of brands—spanning fields including street fashion, make-up, beverages, and technology—either as a model, content producer, or ambassador. A common discussion point was the role of influencing as another type of work or income stream. If we accept that artistic labour exists within the conditions of capitalism, influencing is another form of freelance labour akin to the project-based nature of working as a contemporary artist. Artist Zhu Ohmu sums it up precisely: “I treat it as work.” She further shares that the appeal of this work is being exposed to “different industries and worlds”, a sentiment shared by Louise Zhang, who recognises that “working with brands gives my work a chance to be seen in a very different way”. All the artists I spoke with were very deliberate when deciding who they worked with, with an emphasis on shared values, purposes, or ethics. For Zhang, this includes needing to “align with [the brand’s] ideologies and ethics where possible, as well as companies that offer fair compensation”. This was similarly expressed in conversations with Abbey Rich,

Illustration by Caitlin Aloisio Shearer.

who has turned down opportunities with numerous fashion brands over their use of Uyghur forced labour. Rich shares that sometimes “I’ll engage with brands about their ethics”, although this dialogue has not always been fruitful in leading to change. It’s undeniable that artists hold a vast degree of social and cultural capital. Historically and in the present day, artists wield power, aka “influence”, in shaping culture and ideas. Contemporary artists also increasingly have to work as their own marketers and PR team, not only creating work but also promoting their work to audiences. Artist Amrita Hepi goes further to identify that creatives operate with an “accumulated visual language”, which can be easily wielded by brands to create compelling content. For Hepi, this visual language goes both ways as she recalls “looking at sporting ads and fashion mags as a young person” and the influence this had on her interest in visual culture. “Where I was born in Townsville, I had easier access to Vogue than I did contemporary art practices; I had no idea what the art world was.” My conversation with Hepi prompts me to consider that the flow of influence isn’t always confined within the realm of commercial brands, and it’s not one-directional. Hepi shares the astute observation that “art institutions are like brands”.

This makes me reflect on what I’ve long recognised about the power dynamics between art institutions and artists: while it’s true that institutions wield power in terms of funding and space, they only exist because of the work and lives of artists (not the other way around). Like other brands, art institutions seek to grow audiences and profits, while maintaining social relevance through their work with artistic labourers. Artists are still their biggest asset. While artists can endorse brands, they can also sever ties with institutions and brands as well. This is the two-way flow of influencer culture: not only in what is endorsed, but also in what might not be. Recent boycotts and protests related to unethical arts funding and ‘artwashing’—such as artist Nan Goldin’s recent actions against the Sackler family’s pharmaceutical irresponsibility—demonstrate the power that artists have in withdrawing their labour or participation. Such political praxis is recognised by Rich who says, “I think it is my responsibility that if I’m going to post about products, or about myself, then I have a duty to advocate for other things too.” This advocacy work is an important part of the labour artists continue to do, whether they are ‘microinfluencers’ or not.

Holding Ancestral Legacies From co-founding pivotal First Nations collectives to a trailblazing curating and academic career, to an equally profound art practice, Brenda L Croft centralises family and culture—which resonates as much as ever. W R ITER

Timmah Ball

The mournful dirge of cawing Crows calls me back Today I walked for my mother — shut/mouth/scream, brenda l croft, 2015

For Gurindji/Malngin/Mudburra artist Brenda L Croft, culture and family always call back and she responds, as an act of survivance. These acts span across archival photography, printmaking and self-portraiture—with Croft working as a visual artist, academic and curator. Her career has moved from curating national exhibitions to the intimacy of poetry— all of which has seen her determined to uncover her family’s legacy, as evidence of their ongoing sovereignty. In her 2015 photo essay/poem SHUT/MOUTH/ SCREAM she writes, “my mouth’ (tintype) is my silent shut-mouth scream to my grandmother over the decades.” The work uses archival photographic medical records of Croft’s grandmother’s mouth, from when she was studied by a doctor in the 1930s—and later had her son (Croft’s father) forcibly removed from her. In many ways the work foreshadows Croft’s formidable return to art making, recently winning the ‘Work on Paper’ award at the 2023 National Aboriginal and Torres Strait Islander Art Awards (NATSIAAs) for blood/memory: Brenda & Christopher II. Like SHUT/ MOUTH/SCREAM, this newer piece also illustrates how colonisation not only ruptured communities but became a binding force. In the portrait her son/nephew, Christopher, continues their blood/ kinship despite sharing a non-Indigenous ancestor, reinforcing that blood and culture isn’t diluted when mixed. It’s a parallel acknowledgement that while

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Croft’s father was taken from his mother, blood memories remain and reconnect communities. The power of such work resonates in the aftermath of the referendum where uncertainty occupies our consciousness. It embodies the wider cultural resistance of First Nations artists who overshadow government agendas and conservative politics, bringing action and change in other ways. Croft is a leading force within this ever-growing movement, creating a body of work that fortifies ancestors’ past while building cultural pathways for future generations. Her career evolved quickly when she moved to Sydney from Canberra to study a Bachelor of Visual Arts (Photography) at Sydney College of Arts in the early 1980s. At this time, Sydney’s Blak arts scene was a grounding point that enabled Croft to flourish, becoming a founding member of the Boomalli Aboriginal Artists Cooperative in 1987, the longest running Aboriginal owned and managed arts organisation. These experiences established an ethos and intent that she would bring to a range of institutional curatorial roles and her own practice. From 1999 to 2001, Croft was curator of Indigenous Art at the Art Gallery of Western Australia. Then from 2002 to 2009, senior curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, where in 2007 she established the National Indigenous Art Triennial: Culture Warriors.

Brenda L Croft, blood memory Brenda & Christopher II (Gurindji Malngin Mudburra; Mara Nandi Njarrindjerri Ritharrn).

top Brenda L. Croft, Advance Australia Fair Black (Aboriginal), 2005, diamond grade regulatory reflective sign, 60 x 60 cm, 1 of 5. bot tom Brenda L. Croft, Man about town, 2003, giclée print on Hahnemühle paper, 80 x 119 cm.

“I did not want to merely push against the existing boundaries but to overturn existing expectations.” — BR EN DA L CROF T

She also contributed to international curatorial projects, including the 2006 Australian Indigenous Art Commission for the Musée du Quai Branly, Paris; and the Australian exhibition at the 47th Venice Biennale. During this period, she continued to produce a significant artistic output, developing the acclaimed photographic series In my mother’s garden (series 48 photographs), 1999. In the 2015 essay ‘Say my Name’ she describes how: “My approach to curatorial work was conducted in a similar manner to how I made art. I curated exhibitions of work that I considered was not well represented in existing exhibitions and much of my artwork could be considered as abstract selfportraits, in that I attempted to represent Indigenous people and their environs as a reflection of my own experience of exclusion or invisibility.” Her desire to represent a peoples and culture that continue to be erased has a gravitas stronger now than ever. As she further described in the essay, “As a curator, I did not want to merely push against the existing boundaries but to overturn existing expectations.” It’s an intention that she continues to forge in a growing number of leadership roles such as her recent appointment to the prestigious Gough Whitlam and Malcolm Fraser Chair of Australian Studies at Harvard University, which she will commence in 2024. In a recent ABC radio conversation with Larissa Behrendt, Croft explained how she plans to establish further cross-cultural exchange programs while at Harvard.

It’s a process ensuring that more First Nations people in both continents have the opportunity to pursue scholarships and research at Harvard and ANU— where she is currently Professor of Indigenous Art History & Curatorship, at the Centre for Art History and Art Theory. Whether global, local, familial or monumental, the work of Croft continues to push colonial boundaries while fortifying alliances and legacies both past, present and future. As she explains: “My practice-led research entails elements of all that I have been, all that I am—creative and visual, observant and literary, representational and analytical. Whatever may await me, it must involve engagement with, and for, my community/ ies, whether in my traditional homelands, or as part of the Indigenous diaspora that lives in every part of Australia—be it metropolitan, pastoral or remote.” In tenuous times the artistic leadership, vision and community-making that Croft has established will continue to create alternative pathways that strengthen First Nations sovereignty and belonging, beyond the limits of government speak.

National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) Group exhibition Museum and Art Gallery of the Northern Territory (Darwin NT) On now—18 February

I N PIC T U R E S

Photography: Real & Imagined

Since its inception in the early 19th century, photography as a medium has traipsed a fine line between fact (truth, documentation, recording) and fiction (imagination, manipulation, obscuring). It can both represent and misrepresent, and this is especially true today. The Ian Potter Centre: NGV Australia’s summer exhibition pays homage to the history of photography, while interrogating this relationship between fact and fiction, real and imagined. From international icons of the craft—Man Ray, Cindy Sherman, Wolfgang Tillmans, Gilbert & George and Nan Goldin—to Australian masters like Max Dupain, Olive Cotton, Mervyn Bishop, Polly Borland and Darren Sylvester, Photography: Real & Imagined explores the multitude of approaches taken in the art of photography. Here’s a taste of what’s on show in this vast exhibition.

Photography: Real & Imagined

The Ian Potter Centre: NGV Australia (Melbourne VIC) On now—4 February

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“I would photograph an idea rather than an object, a dream rather than an idea.” — M A N R AY

Man Ray, Kiki with African mask, 1926, gelatin silver photograph, 21.1 x 27.6 cm, (image); 22.1 x 28.5 cm (sheet). national gallery of victoria, melbourne. purchased through the art foundation of victoria with the assistance of miss flor a macdonald anderson and mrs ethel elizabeth ogilv y lumsden, founder benefactors, 1983. © man r ay trust / adagp, paris. licensed by copyright agency, austr alia photogr aph: helen oliver-skuse / ngv.

“I have every right to tell my story as it is, and see Australian history in my own way.” — M ICH A EL C O OK , A R T GU I DE AUS T R A L I A , 2 023

Michael Cook, Civilised #11, 2012, from the Civilised series, 2012, inkjet print, 100.0 x 87.5 cm (image); 120.0 x 108.0 cm (sheet). national gallery of victoria, melbourne, purchased ngv foundation, 2013. © courtesy of the artist. photogr aph: predr ag cancar / ngv.

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Girma Berta, Untitled IV, 2017, from the Moving shadows series, 2017, inkjet print, ed. 4/4, 89.8 x 90 cm (image) 99.8 x 100 cm (sheet). national gallery of victoria, melbourne. bowness family fund for photogr aphy, 2018. © girma berta. photogr aph: predr ag cancar / ngv.

Malala Andrialavidrazana, Figures 1850, various empires, kingdoms, states and republics, 2015 inkjet print 110.0 x 138.5 cm. national gallery of victoria, melbourne ruth margaret fr ances houghton bequest, 2021 © malala andrialavidr azana. courtesy of the artist and afronova gallery photogr aph: christian markel / ngv.

“You just have to live and life will give you pictures.” — H EN R I C A R T I ER BR E S S ON

Henri Cartier Bresson, Juvisy, France, 1938; printed 1990s, gelatin silver photograph 29.1 x 43.9 cm (image). national gallery of victoria, melbourne. purchased ngv foundation, 2015. © henri cartier-bresson / magnum photos. photogr aph: nicholas umek / ngv.

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Selina Ou, Convenience, 2001, from the Serving you better, series, 2001, type-c photograph, 111.6 x 140.2 cm (image), 126.9 x 156.5 cm (sheet). national gallery of victoria, melbourne. purchased with funds arr anged by loti smorgon for contempor ary austr alian photogr aphy, 2005. © selina ou, represented by sophie gannon gallery, melbourne. photogr aph: garry sommerfeld / ngv.

JANUARY - JULY 2024 YHONNIE SCARCE ART GALLERY OF WESTERN AUSTRALIA|PHOTO 2024 IN THE GALLERY|FONDATION OPALE SWITZERLAND ALI TAHAYORI CASULA POWERHOUSE|MIA MILAN|MELBOURNE ART FAIR MICHAEL COOK PHOTO LONDON JUAN FORD IN THE GALLERY JOHNATHON WORLD PEACE BUSH NGVxCOUNTRY ROAD COMMISSION JOEL ARTHUR IN THE GALLERY HAJI OH ASIA WEEK NEW YORK|LINDEN NEW ART|IN THE GALLERY|TOKAS TOKYO|CENTRE FOR HERITAGE ARTS+TEXTILE HONG KONG EZZ MONEM NGV TRIENNIAL|GERTRUDE GLASSHOUSE ALEXANDRA STRANDEN IN THE GALLERY KEVIN CHIN TOWN HALL GALLERY

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CONTEMPORARY INDIGENOUS ART vivienandersongallery.com

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Bendigo International Collections

Impressions of Life 1880 – 1925

16 March – 14 July 2024 Bendigo exclusive bendigoartgallery.com.au

@bendigoartgallery

Exhibition organised by the Musée Carnavalet – Histoire de Paris, Paris Musées. Image credit: Jean Béraud, The Entrance to the 1889 Universal Exhibition (detail) 1889, oil on wood, Musée Carnavalet. © CCO Paris Musées / Musée Carnavalet – Histoire de Paris.

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JOHN MEADE: IT’S PERSONAL!

Image: John Meade, Honeymoon Hitching Post 2016 foundry cast aluminium, sugar gum and pine timber, steel, automotive paint 113 x 160 x 80 cm Courtesy the artist and Sutton Gallery, Melbourne Photograph: André Piguet

2 Dec 2023 – 17 Mar 2024 McClelland 390 McClelland Drive, Langwarrin Open Wednesday–Sunday 10am to 5pm mcclelland.org.au

Proudly supported by

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PAUL RYAN LE CAPITAINE 8 – 24 FEBRUARY, 2024 12 – 14 Meagher Street

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Chippendale \ NSW \ 2008

info@nandahobbs.com nandahobbs.com

Image: Le Capitaine, 2023, Oil on linen, 138 x 122cm

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ARTWORK: Eden Menta The Little Things We Fight For 2023 © Copyright the artist, represented by Arts Project Australia

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Passage of Night; Luminary Rising Examining the significance of the moon and how it is reflected across cultures.

1 – 25 February 2024 ARTISTS: Frankie Chow, Maryanne Coutts, Carmen Glynn-Braun, Emma Hicks, Karen Lee, Lindy Lee, Pamela Leung, Lawrence Liang and Jordan Ritchie, Miho Watanabe and Meng-Yu Yan A Willoughby City Council exhibition co-curated by Cassandra Hard Lawrie and Rachael Kiang.

ART SPACE ON THE CONCOURSE 409 Victoria Avenue, Chatswood (next to Box Office) VISIT www.willoughby.nsw.gov.au/Events/Passage-of-Night-Luminary-Rising for more information and for public programming

IMAGE Meng-Yu Yan, Faces of the Moon (Full Moon and First Quarter), 2023, digital photography willoughby.nsw.gov.au

9 December - 28 April 2024 Casula Powerhouse Arts Centre, 1 Powerhouse Rd, Casula NSW

casulapowerhouse.com

CALL FOR ENTRIES OPEN NOW FOR 2024 APPLY ONLINE BEFORE 31 JAN

swellsculpture.com.au

2024

PEOPLE ART PLACE 6-15 SEPT

CURRUMBIN BEACH, QLD

Andrew Cullen_Slumph_Image Tyr Liang swellsculpture.com.au

SEBASTIAN DI MAURO

Collective Labour 2 - 24 Febuary 2024 onespace.com.au info@onespace.com.au Artwork: Sebastian Di Mauro, Frayed (from the Collective Labour series), 2023, 178cm x 165cm, repurposed vintage quilts, wool felt, thread. Photo: Louis Lim. Courtesy of the artist and Onespace.

onespace.com.au

Image Credit: Living Museum of the West workshop, Maribyrnong 2021. Courtesy of Negative Press.

Future Print Creswick

9 December 2023 to 11 March 2024 Setting up a temporary print workshop at RACV Goldfields Resort’s ArtHouse, Negative Press founder, Trent Walter, will conduct a series of workshops that will reflect on the material, natural and representational aspects of Creswick. Visit ArtHouse to explore the outcome. ArtHouse, RACV Goldfields Resort Open daily, 10am – 5pm 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art racv.com.au/art

ASH KEATING PRESSURE 25 Nov 2023 – 17 Mar 2024

BUNJIL PLACE GALLERY 2 Patrick Northeast Drive, Narre Warren VIC Free exhibition

bunjilplace.com.au

leonardjoel.com.au

TINTIN WULIA: SECRETS 5 DECEMBER - 27 JANUARY 2024

Tintin Wulia’s art practice grapples with complex geopolitical histories to provide a more comprehensive view of our past and help us better understand the choices we will need to make towards a more socially just future. Curated by Andrew Tetzlaff

Tintin Wulia, One Thousand and One Martian Nights (still), 2017. Image courtesy of the artist and Milani Gallery, Meeanjin / Brisbane.

OPEN TUESDAY - SATURDAY. FREE ENTRY. rmitgallery.com

Wyndham PHOTO2024 QueerPHOTO 27 Jan – 14 April 2024

Sunil Gupta

The New Pre-Raphaelites Wyndham Art Gallery 177 Watton St, Werribee Sunil Gupta, Untitled #08 from the series The New Pre-Raphaelites, 2008. Courtesy the artist and Autograph, UK.

Peter WaplesCrowe Affirm

Station Place Werribee Train Station Peter Waples-Crowe, Ngaya (I Am) (detail), 2022. Singlechannel video installation, 5 mins. Courtesy the artist and ACMI.

177 Watton Street, Werribee 3030 Bunurong Country #deepwest wyndham.vic.gov.au/arts wyndham.vic.gov.au/arts

Karla Dickens To See or Not to See

Werribee Park Mansion Werribee South Karla Dickens, Looking at you VI, 2017. Courtesy the artist and STATION, Australia.

TOWN HALL GALLERY WED 7 FEB – SAT 27 APR

MECHELLE BOUNPRASEUTH CHILIPHILLY ZENA CUMPSTON LAETITIA OLIVIER-GARGANO CALLUM PRESTON RASHA TAYEH ELIZABETH WILLING

Image: Mechelle Bounpraseuth, ‘Bánh mì’, 2022, glazed earthenware, 12 x 19 x 14cm, image courtesy of the artist and Chalk Horse. boroondara.vic.gov.au/arts

Margaret Olley Art Centre | 18 October 2023 – 28 April 2024 Margaret Olley (1923–2011) Still life with mandarins and pears (detail) 1976, oil on board, 75 x 120 cm Private collection, courtesy Philip Bacon Galleries © Margaret Olley Art Trust

The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility and is supported by the NSW Government through Create NSW.

Open Wed – Sun, 10am – 5pm DST | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

gallery.tweed.nsw.gov.au

tweedregionalgallery

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Laresa Kosloff: New Futures™ 23 February — 28 April 2024 New Futures™ brings together two darkly humorous video artworks assembled and edited entirely from corporate video stock footage sourced on the internet, each exploring themes of duplicity, neoliberalism and the climate crisis.

Scotty So: +50 1 March — 5 May 2024 +50 explores the perspectives and aspirations of young people from diverse backgrounds in Benalla and Melbourne. Artist Scotty So invites participants to share their thoughts on how they and the world will change in the next 50 years. Scotty So: +50 and Laresa Kosloff: New Futures™ are official exhibitions of PHOTO 2024 International Festival of Photography (photo.org.au), a major biennial of new photography and ideas taking place from 01–24 March in Melbourne and regional Victoria. Responding to the theme ‘The Future Is Shaped by Those Who Can See It’, PHOTO 2024’s expansive program invites audiences to discover the possible and parallel futures that lie ahead, and how current actions and activisms are shaping future realities. PHOTO 2024 is produced by PHOTO Australia in collaboration with cultural institutions, museums and galleries, and education, industry and government partners. Scotty So: +50 is supported by MARS Gallery and Colour Factory.

VISIT Botanical Gardens Bridge Street Benalla VIC 3672

FREE ENTRY Mar—Aug, 10AM—4.30PM Sep—Feb, 10AM—5PM Closed Tuesdays

CONTACT T 03 5760 2619 E gallery@benalla.vic.gov.au W benallaartgallery.com.au

benallaartgallery.com.au

IMAGES Laresa KOSLOFF New Futures™ [detail] 2021 (film still) Scotty SO Daniel [detail] 2023

Miwatj Yolŋu

Sunrise People 28 Oct 2023 - 11 Feb 2024

Exploring storytelling, ecology and materiality in the works of Yolŋu artists from the Yirrkala Community in East Arnhem Land.

Nyapanyapa Yunupiŋu, Ganyu Djulpan, 2020,

bundanon.com.au natural earth pigments on board. Private collection. bundanon.com.au

See Canberra Glassworks 2024 Exhibition Program

Nicholas Burridge, Dragline (detail). Courtesy of the artist

Nicholas Burridge 13 Jan to 25 Feb 2024 Opening night Sat 20 Jan 4pm Gallery Floor Talk Sat 24 Feb 2pm

open Wed to Sun 10am to 4pm 11 Wentworth Ave Kingston ACT 2604

w canberraglassworks.com t 02 6260 7005 e contactus@canberraglassworks.com canberraglassworks.com

Body of Opportunity

Tania Ferrier

25 January - 16 February 2024

With Gabriela & Ruby, Gaea Anastas, Dana Stoll, Sascha Turisini, Nikita Dunovits-Ferrier Gallery Central 12 Aberdeen Street Perth WA www.gallerycentral.com.au

gallerycentral.com.au

ETCHING: REMBRANDT’S LEGACY POTENTIALLY SYMBOLIC OBJECTS - ROSS WOODROW

19 January - 2 March Watt Space Gallery

Corner King and Auckland Streets, Newcastle NSW 2300

Etching: Rembrandt’s Legacy brings together selected Rembrandt etchings and prints by esteemed master printmakers such as Giovanni Battista Piranesi, Francisco de Goya, Käthe Kollwitz, and Max Beckmann. Ross Woodrow’s Potentially Symbolic Objects exhibition of domestic objects serves as the contemporary etching element appended to the larger exhibition.

Opening hours

Wed - Fri: 11am - 5pm Sat - 12 - 4pm or by appointment

e wattspacegallery@newcastle.edu.au w www.newcastle.edu.au/wattspacegallery

Image: Rembrandt Van Rijn (16061669) – The Baptism of the Eunuch – 1634 Copyright: Woodrow SACC

newcastle.edu.au

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Cadmium tree reef, 2023, oil and acrylic on linen, 183 x 244cm

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An artist run initiative. 31 Piper St Kyneton 3444 www.cusackgallery.com cusackgallery.com

STEP INSIDE . . .

The largest collection of First Nations art ever assembled, spanning 110 visual and musical artists including Emily Kame Kngwarreye, Tommy Watson, Clifford Possum, Baker Boy, Yothu Yindi and more. FINAL WEEKS - ENDS 4 FEBRUARY - BOOK NOW

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Genevieve Carroll The Wattle Room Chapter 11 oysters and buttered bread 3 February – 7 April 2024

Genevieve Carroll, 2023 Colleagues Frankenstein and Persephone are set up for their AI workshop, oil and acrylic on polyester, 168 x 244 cm

orange.nsw.gov.au/gallery

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giyawarra-nanha gulbalanha — disturbing the peace Avril Quaill Christopher Pease Danie Mellor Jonathan Jones Judy Watson Julie Dowling Lesley Murray Lin Onus

Liz McNiven Michael Cook Ricky Maynard Roy Kennedy Sandra Hill Tony Albert Vernon Ah Kee

15 December 2023 – 10 March 2024

Roy Kennedy Warangesda Mission where my mother was born, 2002 etching, printed in black ink, from one plate thick white wove paper National Gallery of Australia, Canberra Gordon Darling Australasian Print Fund 2003

This exhibition is presented in Major Partnership with the National Gallery of Australia through the Regional Initiatives Program, supported by Major Partner TLE Electrical.

mamalbury.com.au

THE LANGUAGE OF COLOUR Mundaring Arts Centre | 9 December 2023 - 11 February 2024 Seventy-eight West Australian artists explore the symbolic use of colour to incite reaction and portray meaning

MUNDARINGARTSCENTRE.COM.AU

Sarah Thornton-Smith Blue Hour, 2023 gouache on paper mundaringartscentre.com.au

MURRAY BRIDGE REGIONAL GALLERY UNTIL 28 JAN 2024

ANNABELLE COLLETT: ReDress

SAMUEL MULCAHY: Botanical Armour

Celebrating the last 15 years of an inimitable artist and change-maker.

First solo exhibition by a rising regional artist. Drawn to nature and its geometry, Mulcahy is determined to only use recycled materials.

Collett (1955-2019) was trailblazer, provocateur and innovator, driven by social politics and community engagement.

This is the final opportunity in the foreseeable future to acquire works from an Annabelle Collett exhibition.

Amidst the ruins of a once thriving civilisation, the opportunistic genus Tetnesteii slowly reclaims the decimated landscape, utilising the waste of a longgone destructive species. With soils teeming with pollution from this brief yet devastating period, the Tetnesteiis have opted for a more toxic diet than their plant-based ancestors. They care not for the numerous mistakes of that species’ past, they simply want to just get on with it.

Annabelle Collett, Jewel mask, 2012, plastic tray, utensils, beads, lids, toys, 90 x 75 x 10cm

Sam Mulcahy, Tetnesteii Argenti Longus Aedifico (detail), 2023, steel, brass. Photo: Sam Mulcahy.

ReDress presents works spanning the range of her studio-based art practice, to re-address, re-examine and reaffirm her position as an important contemporary artist.

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ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION GALLERY EXHIBITIONS FEBE ZYLSTRA 5 Februay - 14 March 2024

MARISA AVANO April 2024

4 Russell Street, Toowoomba QLD Gallery Open: 9am – 5pm Monday – Friday Phone (07) 4638 8209 www.featherandlawry.com.au/art featherandlawry.com.au/art

CELEBRATING CREATIVITY @gosfordgallery

ENGAGING COMMUNITY

PROMOTING CULTURE Gosford Regional Gallery & Edogawa Commemorative Garden gosfordregionalgallery.com

Each, Other Pixy Liao and Lin Zhipeng (aka No.223) Griffith University Art Museum 26 October 2023 – 3 Feburary 2024 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414 Lin Zhipeng (aka No.223), Couple (detail) (2016), archival pigment print, 134 x 200 cm. Courtesy of the artist

griffith.edu.au/art-museum

A–Z Exhibitions

Victoria

J A N U A R Y/ F E B R U A R Y 2 0 2 4

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

ACAE Gallery www.acaearts.com.au Australasian Cultural Arts Exchange 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm. See our website for latest information.

the sitters gaze at the viewer in ways that imply complex interior lives. In his first Australian solo show, An Kun presents an array of characters that defy easy categorisation. Neither gender nor ethnicity is certain in these portrayals. Rather, one perceives individuals who operate between and across worlds and localities. These global citizens are unapologetically confident in demeanour at times verging on aloofness. They have seen the future and take their cues accordingly. ACAE Gallery is delighted to be hosting artist An Kun and guest curator Geoff Raby AO, Australian Ambassador to China 2007 to 2011.

Alcaston Gallery

Cara Johnson, Cast back I, 2022, found river red gum fence post, found baling twine. © the artist. Photo: Fred Kroh. Until 25 February Overlay Cara Johnson

www.alcastongallery.com.au 84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668 Thur 12pm–6pm or by appointment. See our website for latest information.

Anna Schwartz Gallery www.annaschwartzgallery.com An Kun, Reflecting on the Epidemic NO.2, 2020, oil painting on canvas, 80 x 60 cm.

185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information.

Nicole O’Loughlin, COVID Dis-Comforter, 2020, hand embroidery, machine applique, cotton. © the artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photo: Gerrard Dixon. Until 10 March New Acquisitions

ARC ONE Gallery Candice Breitz, Whiteface (still), 2022, dual-channel video installation, colour, loop, duration: 35 minutes, 23 seconds. February–April Whiteface Candice Breitz

www.arcone.com.au 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Wed to Sat 11am–5pm, Tue by appointment.

Ararat Gallery TAMA www.araratgallerytama.com.au

An Kun, Waiting, 2015, oil painting on canvas, 160 x 85 cm. 3 February–3 March An Kun: Behind The Screen Curated by Geoff Raby AO Based in the Songzhuang artist colony in Beijing, China, An Kun creates dreamlike figure paintings featuring subjects of brooding seductive intensity. Each of 124

82 Vincent Street, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information. Until 11 February SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962-2022 ADC On Tour: An Australian Design Centre national touring exhibition.

Murray Fredericks, Blaze #23, Muloorina, 2023. Courtesy of the artist and ARC ONE Gallery.

VICTORIA Until 3 February Blaze Murray Fredericks

Art Lovers Australia – Melbourne

7 February–28 February Group Exhibition

www.artloversaustralia.com.au Upstairs, 300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Tue to Sat 10am–4pm or by appointment.

Artbank Melbourne www.artbank.gov.au 18-24 Down Street, Collingwood, VIC 3066 [Map 3] 1800 251 651 Tue to Thur, 12pm–4pm or by appointment. Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

Tamara Bekier, Hope (detail), 2018, synthetic polymer paint on canvas. © Tamara Bekier. colour, texture and juxtaposition of light and dark to the contrasts between her country of birth, in Russian Ukraine and Australia, her adopted country. Until 4 February Whereabouts: Printmakers Respond Leading Australian printmaker Rona Green has invited a cross-section of emerging and established artists from across Victoria to participate in a group exhibition. Until 11 February Significant Others This exhibition celebrates connections between artists and their works in our outstanding collection, exploring a range of different relationships between pairs of artists – as partners, family members, teachers, mentors or friends. Until 10 March Layers Of Blak Bringing beauty to an ugly and brutal history, 11 Victorian First Nations Aboriginal and Torres Strait Islander artists and designers have wrestled with colonial history to present their stories of healing, resilience, collaboration and empowerment.

Rose Nolan, Less Is More, 2008, synthetic polymer paint on hessian. Artbank Collection, Purchased 2009. Photograph: Jennifer Leahy. Until 9 February More, More, More A maximalist explosion focusing on richness of volume, colour, pattern and shape – More, More, More honours the Artbank Collection as it is presented in our collection stores, all together, without permanent locations, always on the move, as a snapshot of Australian contemporary art.

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat, VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. Until 28 January Tamara Bekier: Between Worlds Ballarat-based artist Tamara Bekier attributes her love for experimenting with

Min Ray. Until 3 February Smalls The Smalls exhibition is a vibrant and exciting exhibition showcasing the incredible talent of over 50 Australian artists. This exhibition is a celebration of artistic expression on a small scale with all artworks under 1m, some are as small as 10 cm. Whether you’re an art enthusiast or simply curious, we offer something for everyone.

10 February–21 April Angela Brennan: Tête-À-Tête & Vis-À-Vis Angela Brennan is a Ballarat-born artist who has exhibited in numerous solo and group shows in Australia and internationally for over 30 years. Brennan works predominantly in painterly Abstraction to depict elements of an inner world. 10 February–21 April Georgia Macguire: Onemda Artist Georgia MacGuire, known in her art practice as Blackgin, states that her heart beats for ‘Community, Culture and Country’. For her, art serves as a bridge, connecting her to others and enabling her to share her perspectives as a First Nations woman in what is now known as Australia. 17 February–21 April Next Gen 2024 Discover the issues, ideas and causes that are inspiring our next generation of young artists. Next Gen 2024 showcases some of the best of the work created by students from Government, Catholic and Independent schools from Ballarat, and the South Western Victorian region in 2023.

Carita Farrer Spencer, BOHO Bird. 10 February–23 March Biophilic – Where Nature and the Body Meet As humans, we have a tendency to adapt and respond to environmental forces. Over hundreds of thousands of years, we have evolved the way we think, feel and act as a reaction to our cultivation and connection to nature. Biophilic: Where Nature and the Body Meet is a curated group exhibition exploring representations of nature and our bodies as a celebration of our connection.

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ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

The Bengali identity can never surpass the melancholy of the partition of Bengal implemented during the colonisation of the subcontinent. EPAR OPAR in Bengali essentially means the two sides of the border. Activated by the desire to disentangle the relationships and socio-political agendas inherited from the colonial era, the eight new projects in EPAR OPAR aim to examine the experience of living in a diaspora where the ‘border’ between West Bengal in India and Bangladesh vanishes. 22 January–15 March Worth 2 Billion I’m Told 2 Halves as A Whole

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

Worth 2 Billion I’m Told is the latest instalment from Naarm based artists Ali Bagnato and Paige Templeton. Represented by their alias 2 Halves as A Whole, the artist duo celebrates excess, rudimentary materials and #SWAG. Deep-diving into seminal 2000s popular culture they reshape the 21st century in accordance with their somewhat delusional, idealistic, and inward world views. The exhibition invites viewers into Bagnato and Templeton’s colourful, playful and psychologically provoking mindscape; utterly ironic, paradoxically intelligent.

Arts Project Australia Lou Hubbard, Still, unfit (installation view), 2023, readymade life-sized horse, latex, polystyrene, cotton, vitrine supplied by ArtSpace at Realm. Courtesy the artist and Sarah Scout Presents. Photograph: Andrew Curtis. ArtSpace at Realm: Until 28 January Doubt (Again) Lou Hubbard, Sanja Pahoki, Kiron Robinson and Lani Seligman

www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed-Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

Doubt (Again) explores doubt as a speculative matter in the making of art. Doubt in materials, personal values and the worthiness of an art practice. Not knowing and not having an answer. Dealing head on with these feelings of doubt, the artists come together to actively re-purpose this psychological state through creative acts and gestures.

Horror often speaks to the collective anxieties and fears of our times, proliferating across shared cultural imaginaries to lay bare our innermost desires, tendencies for self-destruction and the conflicting impulses to confront and exorcise our darkest fantasies.

Eden Menta, Untitled, 2023. 10 February–23 March The Little Things We Fight For Eden Menta

Anindita Banerjee, Bhiktoria’s Secrets, 2022, interactive performance installation, Photograph: Karan Mistry. Maroondah Federation Estate Gallery: 22 January–15 March EPAR OPAR Tasmina Khan Majles, Shinjita Roy, Sharmin huq Sangeeta, Rakini Devi, Mita Chowdhury, Nira Rahman, Neel Banerjee and Anindita Banerjee. 126

Maria Kozic, Miss March, 1999. Synthetic polymer paint on canvas. Courtesy the artist and Neon Parc, Melbourne. 9 December 2023—3 March From the other side Naomi Blacklock, Mia Boe, Louise Bourgeois, Cybele Cox, Karla Dickens, Lonnie Hutchinson, Naomi Kantjuriny, Minyoung Kim, Maria Kozic, Jemima Lucas, Clare Milledge, Tracey Moffatt, SJ Norman, Julia Robinson, Marianna Simnett, Heather B Swann, Suzan Pitt, Kellie Wells, and Zamara Zamara. Curators: Elyse Goldfinch and Jessica Clark.

In The little things we fight for, Eden Menta explores the intersections of queerness and neurodiversity through ideas around a sense of self and place in the contemporary landscape. Premiering as part of PHOTO24, Menta draws from deeply personal experiences to unpack the past and contemplate the present, teasing out what it means to belong—or not, as the case may be. By addressing these realities, Menta fights for a future that recognises the intersectionality of different identities and fosters safe, inclusive spaces to feel valued and supported.

From the other side brings together nineteen Australian and international artists, integrating historical and contemporary works, alongside key new commissions that draw upon horror’s capacity to transgress and destabilise forms of power and subjugation. Centring the fear of the monstrous-feminine, the exhibition raises questions about the often-harmful representation of female monsters — the witch, the hag, the monstrous mother, the shapeshifter, the possessed woman — and how she has been reclaimed by female storytellers in recent years. Challenging the traditional narratives and assumed boundaries of the body, gender, the self and the ‘other’, From the other side considers the transgressive pleasures and liberations of horror, culminating in a potent synthesis of dread, camp, humour and catharsis.

VICTORIA 16 February—17 February Screams on Screen ACCA in association with the Capitol Theatre. The film screening, talks and performance program Screams on Screen celebrates the subversive monstrous emotions and transgressive, rebellious forces behind the horror genre. Staged across The Capitol Theatre, the Australian Centre of Contemporary Art (ACCA), and other mysterious, spooky locations across Melbourne’s CBD, Screams on Screen showcases how horror empowers social ‘otherness’, from marginalized identities to taboo revolts against constrictive social structures. Held in association with ACCA’s exhibition From the other side, Screams on Screen provokes long-suppressed feminine rage, dark social nightmares and reveals how the domestic, suburban dream was the real nightmare all along. The program is curated by ACCA and RMIT Senior Lecturer, Jessica Balanzategui.

Australian Galleries

The Australian Tapestry Workshop (ATW) is a centre of textile excellence, specialising in the creation of contemporary tapestries in collaboration with living artists, designers, and architects.

Misako Nakahira, Crossing (detail), 2022, wool, ramie, 240 x 165 cm. Until 2 February Line/Loop/Line Donna Blackall (Yorta Yorta), Phong Chi Lai, Misako Nakahira (JPN), Malin Parkegren (SWE), Britt Salt, Shannon Slee, Theo Rooden (NLD). Yvette Coppersmith, Untitled movements (Ribbons), 2021-22, oil on linen, 61 x 76.5 cm. Courtesy of the artist and Sullivan and Strumpf.

www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am–6pm. See our website for latest information.

Until 25 February Refuge, Workshop, Stage, Site: Billilla Artist Studios 2022-23 Yvette Coppersmith, Sarah crowEST, Carolyn Cardinet, Noni Drew, Marie Honore, Sean McDowell and Steffie Wallace.

12 December 2023—27 January Summer Group Exhibition 6 February—24 February Jenny Rodgerson

Robyn Daw, False luddite (detail), c. 1990, tapestry. Photograph: Carl Warner.

Bendigo Art Gallery

Until 2 February Robyn Daw: Curious Nature

www.bendigoartgallery.com.au

Bayside Gallery

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

www.bayside.vic.gov.au/gallery

Simon Normand, Map – Australia, acrylic on canvas with mixed media and teaspoons, 145 x 170 x 10 cm.

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. Free admission.

6 February—24 February Teaspoon Colony Simon Normand

John Wolseley, The life of inland waters – Durabudboi river (detail), 2015/2018, watercolour, graphite, woodcut on paper. Courtesy of the artist.

6 February—24 February Geoffrey Ricardo

Until 14 January Essays on Earth. Brodie Ellis, Paul Kane and John Wolseley.

Australian Tapestry Workshop (ATW) www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm.

Fiona Austin, Drasko Boljevic, Penny Chadwick, Marion Chapman, Guillaume Dillee, Magdalena Dmowska, Ilan El, Antoinette Ferwerda, Karen Hopkins, Masa Hoss, Nicole Kemp, Tricia Dijkers Kidd, Ilona Kiss, Anne-Marie Kuter, Meredith Marshallsea, Eddie Moses, Gina Pontelandolfo, Cielo Quintero, Jan Rizzo, Toni Roberts, Josephine Rowbury, Setken, Jacquelyn Stephens, John Street and Donna Wynnemer, Jill Symes, Debbie Symons, Jo Taylor, Carmel Wallace, Neil Wallace, David White, Pam Wragg.

Drasko Boljevic, Blind Man’s Buff, 2021, inkjet giclée print, 68 x 83 cm. Courtesy of the artist. Until 25 February Bayside Local Elly Abrat-Udvary, Graeme Altmann,

Essays on Earth is a collaboration between multidisciplinary artist Brodie Ellis, painter and printmaker John Wolseley and poet Paul Kane, uniting the work of three leading artists of the Bendigo region. Across three gallery spaces, Ellis and Wolseley’s focused observations of the natural world, expressed through photography, sculpture, painting and moving 127

ar t g ui d e .c o m . au Bendigo Art Gallery continued...

So much of our world is felt, but unseen. The Infinite complexity and flux of the natural world in the 21st century are intangible, whilst threads of grief and decay lurk in our subconscious. Scratch the surface, trace the threads, and we are embraced by the Earth. Trees find their stability, rooted in a vast web of nutrient exchange, Mushrooms emerge as the fruits of decay. I want to understand natural history before it becomes history, search for the place where death and rebirth coexist and emerge, entangled. SUB TERRA, delves beneath ecological grief, where this enigmatic underground breaks down the sorrow to creative fertile soils for hope.

image, are arranged in dialogue with the elemental themes and poetic reflections of Kane’s recent series of ‘verse essays’, titled Earth, Air, Water, Fire (2022).

Learning a Lingo Joshua De Gruchy Dion Fibishenko, Aurora Aorta, watercolour and pencil on paper. he reclaims the holiness of his sexuality in bright, bold artworks. Marikit Santiago, Filipiniana, 2021, with Maella Santiago. Photo: Mim Stirling. Courtesy of the artist. Until 4 February The Kingdom, the power Marikit Santiago Santiago’s compelling work excavates the complex inheritances of religion, ancestry, and gender as a Filipina-Australian woman, child of migrants, mother, and artist. In monumental allegorical paintings and exquisite votive-like studies, Santiago casts her own family in richly symbolic and dramatic scenes.

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm. 6 January–19 January SMALL WORKS ART PRIZE Group Show

O UT Emerge Group Exhibition In our O UT rendition, we seek to amplify the voices of LGBTQIA+ artists working in the emerging space. Without a particular theme or brief which artwork needs to conform to, Emerge: O UT is a snapshot of the artist’s current practice, or allows the opportunity to present new and experimental works–perhaps deviating from their usual offerings. Demon Rhythm Micah Rusticelli

Opening event: Friday 16 February, 6pm–8pm.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sun 10am–4pm.

Sinners, Saints and Fools Bella Insch All Hat, No Herd Mellow War (Riley Barr) All Hat, No Herd is an exploration of landscapes and lifestyles of the American West. Opening event: Saturday 27 January, 6pm–8pm.

Over $8000 in prizes awarded. Opening event: Friday 12 January, 6pm–8pm. 27 January–11 February O UT: Midsumma Festival program Sacred Sacra Dion Fibishenko

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Slow Burn Rebecca Kilpatrick

Part exhibition, part endurance, Demon Rhythm is an ouroboros of labour in an age of infinite virtual production. Taking 1000 images from their social feed, the artist paints each one, quantifying a slice of the endless content creationconsumption cycle. This exhibition features the first 500 works of this ongoing millenitcyh.

Held annually, the Small Works Art Prize is an open entry exhibition encompassing painting, drawing, photography, sculpture, printmaking, ceramics, weaving and much more. With each work measuring 35x35x35cm or less, by artists at all stages of their career practicing throughout Australia and beyond, this eclectic showcase is not to be missed!

Through colourful and expansive watercolour and oil paintings, Dion explores the ongoing healing of his own relationship with sex. Moving from places of recklessness, insecurity and danger,

Transcendence: the Seen and Unseen Michael Lye

Dan Power, Dirt. 15 February–3 March SUB TERRA Dan Power

Bluzal Field, Archiving the Future, 2023, Digital Collage. Until 18 February Archiving the Future: Celebrating 25 Years of Burrinja Curated by JD Mittmann This project, located in the Burrinja, Foyer & AERIE Galleries, delves into the heart of Burrinja’s history. It seeks to unearth the stories, both mundane and extraordinary, encapsulated within the objects and artifacts stored in the Burrinja archives. These artifacts are a testament to the experiences and connections that have woven the fabric of our community. Step into Burrinja‘s captivating history as our main gallery transforms into a nostalgic journey. Delving into our origins, starting as a grassroots community hub to its current stature. Witness the challenges, successes, and pivotal moments through archival documents and newspaper articles. Celebrate our strong community bond forged over 25 years, from collaborative programs to yearly highlights.

VICTORIA

Burrinja → The Contingent at Two Floors. Photo: Darren Clarke. Explore Burrinja‘s identity through past Visual Arts exhibitions showcased on Gallery 02’s walls. In Gallery 03, marvel at curated items from Burrinja‘s collection, offering a rare glimpse into its extensive acquisitions.

17 January–22 January Gathering Place Poppy Faul

Until 11 February D.Ranged Foyer Takeover Paula Ewington, Lyn Forrest, Jacqui Grace, Di Harbourd, Sam Hardige, Tracey Hayllar, Leticia Hodson, Robyn Holtham, Greg Howden, Cat Hyam, Max Kaluza, Chris Lawry, Jonathon Levin, Mary Litchfield, Nikki, Karly Michelle, Alex Moncrieff, Skübz Mope, Macarina Ocea, Tracey Roberts, Gerard Russo, Tracey Samios, Stella Seigleman, Cameron Semmons, Joy Serwylo, Textile Twins ~ Rebecca Wolske and Rachael Richards, Natasja Van Wyck, Janine Watson, Mark Westaway, Rain White, Gaby Willmott, Ros Yeung, Cora Zon, Maggie, Libby Finn

1 February–11 February Nostalgic Totem Macarena Ocampo Cea

We have invited artists to propose new temporary artworks, to be installed within the Burrinja foyer: It may be creating an artwork, a performance, a story, a dance. It may lurk in a corner, or decorate a window, hover from the ceiling, wind around a pillar or transform the space under the stairs. So, hoping to stir things up a little. Here is some grass roots, street art, guerrilla activity.….to celebrate that this awesome place was not sold to developers, but actually given in trust to us. Let us make merry and re-occupy our space.

24 January–8 February Memory Map Skübz Mope

Textile Sculptural Explore

Bundoora Homestead Art Centre www.arts.darebin.vic.gov.au/ bundoorahomestead 7 Prospect Hill Drive, Bundoora, VIC 3083 [Map 4] 03 9496 1060 Wed to Sat 11am–4pm.

Logan Mucha, A Beat To Hold Back The Dawn (still,) 2023, audio-visual installation. Image courtesy of the artist. 10 January–23 March A Beat To Hold Back The Dawn Logan Mucha

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

Until 11 February Our Future Artists: AERIE Gallery Takeover Explore the past while stepping into the future with our Our Future Artists, connected to Burrinja through location or creative ethos. These artists are creating works in progress and experimental presentations, informed by Lia Hills speculative writing piece, Where One Ends the Other Has Already Begun.

Darebin Art Prize 2024. 10 January–23 March Darebin Art Prize 2024 The Darebin Art Prize is a national multi-medium acquisitive art prize celebrating excellence in contemporary visual art.

Ash Keating, PRESSURE (process detail), 2023. Photograph: Michael Pham. Until 17 March PRESSURE Ash Keating 129

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Buxton Contemporary

3 February—18 February Landscapes of Photobooks

www.buxtoncontemporary.com

A short exhibition celebrating the renowned contemporary photographic and art publisher Spector Books (Leipzig). Publisher of over 200 titles in photography, art and design, Spector is a leading international publisher, and has won multiple awards across Europe and USA. Presented in partnership with Perimeter Books and supported by the Goethe Institute.

Corner Dodds Street and Southbank Boulevard, Southbank, Melbourne, VIC 3000 [Map 2] 03 9035 9339 See our website for latest information.

C. Gallery www.cgallery.com.au 50 Davis Ave, South Yarra, VIC 3141 03 9421 2636 Mon to Fri 10am–5pm, Sat by appointment. Nadine Christensen, Up all night, 2023, acrylic on board, courtesy of the artist and Sarah Scout Presents, Melbourne. Photograph: Christian Capurro. 24 November 2023—7 April Around Nadine Christensen The first major survey exhibition of Melbourne-based artist Nadine Christensen’s career brings together key works spanning two decades of her practice. Revealing Christensen’s long engagement with notions of the everyday, explored through the conventions of still life and found objects, this showcase reflects the enduring nature and complex legacy of painting.

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

Pierre Yovanovitch, Papa Bear Chair. 1 February–30 April Pierre Yovanovitch

City Gallery www.citycollection.melbourne. vic.gov.au/city-gallery/ Melbourne Town Hall (enter via Customer Service) City Gallery, 110 Swanston Street, Melbourne, VIC 3000 [Map 2] Mon to Fri 9am–5pm. Free Admission.

Colonial Confusion sees artist/curator megan evans present Victorian-era objects from the City of Melbourne collection – glass, silver and paper predominate – alongside her own collection of art and artefacts. Surreptitious in its approach, the result is a faux-museological tableau that is as confusing as it is unsettling.

City of Melbourne Art and Heritage Collection Store www.citycollection.melbourne. vic.gov.au Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000 Tue 11am–12pm & 1pm–2pm, Thur 2.30pm–3.30pm, Fri 2.30pm–3.30pm. Bookings essential.

City of Melbourne Art and Heritage Collection Store, 2023. Photograph: Tobias Titz. Ongoing City of Melbourne Art And Heritage Collection Store Tours In 2023, the City of Melbourne Art and Heritage Collection store officially opened in its relocated home of the historic and iconic Melbourne Town Hall. Displayed across 16 heritage rooms, the collection is arranged according to thematically and theatrically organised ‘chapters’. This new open display storage method aligns with the more recent museological trend to promote public access to collections material. Free guided tours of the collectionare now available to the public on Tuedays, Thurdays and Fridays. Book online: whatson.melbourne.vic. gov.au/things-to-do/art-and-heritagecollection-tour

Charles Nodrum Gallery www.charlesnodrumgallery.com.au

Photograph: Tobias Titz. Until 26 February Colonial Confusion Curated by Megan Evans. 130

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

VICTORIA

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue 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.

Cusack & Cusack www.cusackgallery.com 31 Piper Street, Kyneton, VIC 3444 [Map 1] 0408 118 167 Fri to Sun 10am–3pm. See our website for latest information.

5 January–4 February Treasures Julie Poulsen Paintings from Julie’s personal archive, showcases her investigation into four pivotal periods of her study. Spanning figurative observation, the landscape, personal interiors, and her explorations into street side signage and it’s typographic forms.

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

Deakin University Art Gallery www.deakin.edu.au/art-collection Building FA, 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Mon to Fri 11am–5pm during exhibitions. Closed public holidays. Free entry. 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.

Programs are designed and led by VIT registered art educators and mapped to the Victorian and Australian curriculums. We also offer downloadable education resources for each exhibition. All programs are FREE of charge and can be tailored to suit your school’s needs and/or interests. We offer tours and practical workshops for students from Foundation to year 10 and for those studying VCE Making and Exhibiting and VCE Creative Practice. For more information, please visit the School Programs page on the Deakin University Art Gallery website at www. deakin.edu.au/art-collection/ or call our Education and Public Programs Officer on (03) 9244 5344.

Everywhen Art At Whistlewood www.everywhenart.com.au 642 Tucks Road, Shoreham, VIC 3916 0359 310 318 Open daily from 6 Jan to 30 Jan 11am–4 pm. From Feb: Fri to Sun 11am–4pm. See our website for latest information. Contemporary Australian art gallery established by art writers and gallerists Susan McCulloch OAM and Emily McCulloch Childs, located in the McCulloch’s historic house gallery Whistlewood on the Mornington Peninsula hinterland. Presenting fine quality art by leading Aboriginal artists Australia-wide and select works by Australian artists

Adam Cusack, Tell me what you know about freedom, charcoal on paper, 57 x 57 cm. 5 January–2 March Fixing the narrative Adam Cusack An evolving series of figurative works and object studies from Australian artist, Adam Cusack. L to R: David Beaumont, Robert Fielding, Djirrirra Wunungmurra, Bugai Whyoulter, Nora Wompi. 6 January–25 February HOME

Example of work produced as part of a school’s drawing workshop following a Campus Sculpture Tour. Deakin University, Burwood 2023. Photograph: Tabitha Davies.

Julie Poulsen, Bush rain, synthetic polymer on calico, 115 x 110 cm.

Deakin University Art Gallery offers a range of vibrant and diverse education programs based on current exhibitions and the permanent art collection.

An extensive exhibition on the theme of ‘home’ or place in 80+ works by 60+ artists to launch the gallery’s new exhibition space. Outstanding paintings, sculptures, works on paper and fibre art by established artists and new talents of Aboriginal art from four regions. PLUS select works by well-known artists closely associated with the McCulloch’s historic home gallery, Whistlewood. In association with the artists Aboriginal art centres and representative galleries.

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Federation University Post Office Gallery

is a highly influential curatorial art space frequented by the general public and artists at all stages of their career.

www.federation.edu.au/pogallery Institute of Education, Arts and Community, Camp Street campus, Cnr Sturt & Lydiard Street Nth, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Mon to Sun 10pm–5pm, Tue by appointment. See our website for latest information.

Footscray Community Arts www.footscrayarts.com

Flinders Lane Gallery www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition. See our website for latest information.

45 Moreland Street, Footscray, VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 1 November 2023—28 January Kal Angam-kal: Stories from West Papua Yasbelle Kerkow and Cyndi Makabory 3 February—26 May Exquisite Corpse – PHOTO2024 Salote Tawale 3 February—26 May Orange Grove – Queer PHOTO Clifford Prince King 3 February—26 May Marungka Tjalatjunu (Dipped in Black) – Queer PHOTO Derik Lynch and Matthew Thorne

fortyfivedownstairs www.fortyfivedownstairs.com Geoff Wallis, Your Call, 2021, acrylic, oil and aerosol paint on canvas, 145 x 138 cm. Courtesy of the artist. 6 December 2023–15 March Made You Look! Paintings by Geoff Wallis Ballarat artist Geoff Wallis presents his recent series of paintings in the exhibition, Made You Look! Informed by his extensive knowledge of art history and contemporary art issues and ideas, the subject of Wallis’ paintings is art itself. For Wallis, text is used as a kind of meta-commentary, to invite or provoke direct responses from his audience about interpretation and value judgement and broader issues surrounding authenticity, reality, and purity as they pertain to art. Beyond its semantic role, text also plays an important syntactical or formal part in the paintings’ aesthetic - one in which chance, process and facture all figure prominently. Geoff Wallis was formerly an academic, lecturing in Art History at Federation University, Ballarat, and has curated significant exhibitions and written extensively on art and artists.

Janne Kearney, Sugar and Spice - Art Simone, oil on linen, 100 x 100 cm. 23 January–10 February Eye Candy Janne Kearney

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm. A unique multi-arts venue and cultural incubator, fortyfivedownstairs has a twenty-year history of supporting the development of independent artists across the visual and performing arts. Located in Melbourne’s CBD, fortyfivedownstairs has two exhibition spaces, and a flexible theatre and event venue, which operate all year round. Venturing one floor below street level, the gallery exhibits a diverse range of art forms, from photography, to drawing, to sound art, and more.

Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission. See our website for latest information. The Fiona and Sidney Myer Gallery (formerly the Margaret Lawrence Gallery) 132

Marise Maas, Please Fill Again, 2023, oil and acrylic on paper, 70 x 50 cm. 13 February–2 March Slow Twisting in A Storm Marise Maas 20 February–2 March The Big Book of Little Art Essays Exhibition A group exhibition of little artworks celebrating the launch of FLG’s publication The Big Book of Little Art Essays.

Joe Whyte, Found and Lost, 2023, oil on linen, 46 x 80 cm.

VICTORIA

Frankston Arts Centre → Kristina Kraskov, Untitled (detail), photograph. 13 February–9 March In Waking Hours Joe Whyte

FAC–Curved Wall : Until 2 March Present Sense Maria Radun

New paintings by 2023 National Emerging Art Prize winner Joe Whyte.

Full of life and delicate light, Maria’s stilllife compositions, landscapes and elegant portraits explore an intricate link between the gentle beauty of nature and the intricacies of our emotional worlds. Each artwork aims to evoke a serene sense of wonder, capturing a moment of everyday splendour.

3 February–10 February Dreamscapes Vanessa Minhtri

Frankston Arts Centre

Cube 37–Cube Gallery:

www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–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. FAC–Mezzanine Gallery : Until 3 February Colour And Flow Rebecca Abbey Rebecca’s creative journey began as personal catharsis, grieving the passing of her dad during lockdown, trying to make sense of things. What unravelled was an inward spiritual journey resulting in therapeutic creative exchanges, underpinned by her passion for and multidisciplinary studies in colour, vibrant

Rebecca Abbey, Winter Solstice, mixed media on canvas. healing energy infused artworks. Art that is a spirited love letter to the Frankston community and expression of renewal, expansion, and transformation. FAC–Atrium Gallery :

25 January–24 February Mokoi João Marco Deloie João Marco Deloie’s exhibition Mokoi, spans across photography, audio, and narrative film, presenting three pivotal projects that reflect their practice of decolonising representations through photographic lenses.

Until 3 February Meanwhile In Funkytown: Portraits of Frankston Kristina Kraskov

Gallery Elysium

Documentary photographer Kristina Kraskov turns her camera inwards on her infamous Melbourne town, walking in and watching Frankston every day over the period of four months. The resulting photographic series is a visual exploration, a collection of large scale prints that are a celebration of the unusual, the understated - cinematic moments in seaside suburbia. Proudly supported by Frankston City Council’s Artist Project Grant program.

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.

www.galleryelysium.com.au

1 January—31 January Rotating Summer Stockroom Show Hani Isac, Ted May, Elio Sanciolo, Fiona Halse, Camillo De Luca, 133

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

of women supporting each other across generations. An Art Gallery of South Australia touring exhibition | Free entry.

Sam Michelle, Kowhai & Kea, 2023, oil on canvas, 83 x 83 cm. Elio Sanciolo, Eternal Lover, oil on canvas, 172 x 156 cm.

1 February–2 March Half Full Sam Michelle

Bart Sanciolo, Olga Finkel, Aldo Bellemo, George Lianos, Paul Lasagis and many more.

Camillo De Luca, Woman, oil on canvas, 167 x 137 cm. 3 February—26 February Woman Camillo De Luca

Gallerysmith www.gallerysmith.com.au 170-174 Abbotsford St, North Melbourne, VIC 3051 03 9329 1860 Tue to Sat 11am–5pm. See our website for latest information. Gallerysmith presents a rotating program of contemporary art exhibitions across our spacious galleries by a hand-picked group of represented artists. We also present regular on-line exhibitions and work on off-site projects. In addition to our white-walled gallery spaces, our annexe space provides a light-filled space to exhibit ceramics. This unique combination of gallery spaces within our building allows us to present a broad cross-section of art, making your visit a rich and fulfilling experience. 134

genU studio artists—RISE (installation view), Geelong Gallery 2023. Photograph: Andrew Curtis. Until 11 March genU studio artists—RISE RISE is a collaborative installation produced by the artists who attend genU’s James Street Gallery and Eastern Hub studios. Composed of modular boxes, the totemic structures represent the unique practice of each maker, while an audio component provides insights to the artists’ creative practices. The structural whole signifies a community that can rise through mutual support while celebrating and encouraging diversity. A Geelong Gallery and genU exhibition | Free entry.

Ema Shin, Hearts of Absent Women #8, 2020, cotton, linen, wool, silk, glass beads, polyester, wire, steel, 20 x 13 x 13 cm. 1 February–2 March Hearts of Absent Women Ema Shin

Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith. Open daily 10am–5pm. Until 25 February Kungka Kuṉpu (Strong Women) Drawn from AGSA’s collection, Kungka Kuṉpu (Strong Women) showcases major contemporary works by celebrated women artists from the Aṉangu Pitjantjatjara Yankunytjatjara Lands – cultural custodians of an oral tradition that epitomises the art of storytelling. This exhibition reflects the adaptive genius, energy and dynamism of Aṉangu culture and the inspiring tale

John Nixon, Untitled ,1984, woodcut on newsprint, unnumbered edition, one of 4 known copies. Courtesy of the Estate of John Nixon and Negative Press, Melbourne. Until 11 March John Nixon—Four Decades, Five Hundred Prints Printmaking was a vital part of artist John Nixon’s celebrated oeuvre of abstract art. This first comprehensive print survey reveals Nixon’s inventive use of varied techniques, which ranged from simple woodcuts and potato prints, to more complex screenprints, stone lithographs and etchings. True to the experimental spirit of his art, Nixon freely bent printmaking convention, for example by using collage, or by printing his abstract motifs onto everyday objects such as paper bags or newspapers. A Geelong Gallery exhibition | Free entry.

VICTORIA

Geelong Art Space

Until 11 February Gwandidj Djiriban – They Are Us

www.geelongartspace.com

The Art of Annemieke Mein

89 Ryrie Street, Geelong, VIC 3220 [Map 1] Thur, Fri & Sat 12pm–4pm or by appointment. Please check our website for current events and opening hours.

John Wolseley, Gippsland Hills, 1978, pencil, watercolour, oil on canvas, 152.1 x 231.4 cm. Collection of Latrobe Regional Gallery, Morwell. © The artist.

Dean Cross, Nocturn 1, 2023. Courtesy of the artist and STATION, Naarm Melbourne and Eora Sydney. 10 February–7 April BLACK SMOKE, WHITE CUBE Dean Cross Gertrude Glasshouse: 26 January–24 February Glasshouse/Stonehouse 2024: Paul Yore and Mikala Dwyer

Katherine Marmaras, Pieced together again (detail), mixed media, 50 x 45 cm. Courtesy the artist & Geelong Art Space. 12 January–3 February Can you feel it... orange & purple A group exhibition showcasing emerging artists from Geelong, surrounding regions and beyond.

Gippsland Art Gallery www.gippslandartgallery.com Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm.

15 February–11 March Pieced together... kind of, sometimes, maybe... Katherine Marmaras

Ann Greenwood: Following Threads – A Retrospective John Wolseley: The Quiet Conservationist

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 10am–5pm, Sat and Sun 1pm–5pm. Closed public holidays. Until 28 January Talking Shops: Glen Eira Stories 1 February–25 February International Baccalaureate Visual Arts Exhibition 11 January–28 January Transient Atmosphere: Capturing the ever-changing Aura Margolin

Gertrude

1 February–25 February Glen Huntly Station – Then and Now Kate Birrell

www.gertrude.org.au Gertrude Contemporary: 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9480 0068 Tue to Sun 11am–5pm.

Hamilton Gallery www.hamiltongallery.org

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat 12pm–5pm. See our website for latest information.

107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Gertrude Contemporary: 18 January, 5.30pm–8pm Gertrude and Performance Review present Contact High 2024: Dance, dance Harrison Ritchie-Jones, Mara Galagher and Sarah Aiken.

Until 14 April Emerging From Darkness: Faith, Emotion and The Body in the Baroque

Curated by Anador Walsh. 10 February–7 April Chalk Rock Sarah Ujmaia

Until 18 February Power to the People! Gippsland Protest Posters from the National Gallery of Australia

Ann Greenwood, The Fourth Day, 1992, wool weaving, 153 x 77 cm. Collection of Anglican Church, Mornington. © The artist.

This internationally significant exhibition features world-renowned baroque masters including Artemisia Gentileschi, Lavinia Fontana and Sofonisba Anguissola, and contemporary artists working in the Baroque style. Showcasing rare, historically important works, Emerging From Darkness is an 135

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

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

Fireworks 2023 Moonee Valley students–Year 11 and 12 Bright Sparks 2023 Moonee Valley students–Prep to Year 10 If the earth was not curvature, our eastern tunes would have collided with yours Siying Zhou

Our exciting new community venue is dedicated to the presentation of experiences that nurture creativity, connection and curiosity in an accessible and inspiring environment. It is a place where the community of Wodonga, as well as visitors to the city, can encounter, discover and connect with ideas, skills and knowledge. Artemisia Gentileschi, Lucretia, c.163035, oil on canvas. Private collection. unprecedented first for Hamilton Gallery and regional Australia. Drawn from partnerships with and loans from the National Gallery of Victoria, the National Gallery of Australia and private lenders across the country, the exhibition brings together powerful, emotive and unapologetic works that changed the course of art at the beginning of the 17th century. The exhibition is accompanied by engaging public programs, tourism packages and bespoke products. Opening celebration: Friday 8 December, 6pm.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Sun and public holidays 10am–5pm. Until 4 February Always Modern: The Heide Story Until 10 February Paul Boston: Stone Clouds Until 25 February Surrealist Lee Miller

Jason Ebeyer, Touch the Sun, 2020, 3D animation.

Adrian Doyle, Yellow House, acrylic on canvas. Until 3 March The Stains of Time Adrian Doyle

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue 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.

Until 17 March Steven Rendall and Albert Tucker: Data for Future Paintings

2 February—7 April Angels in Exile Ayman Kaake, Felix Saturn, Hannah Brontë, Jason Ebeyer, Julian Leigh May, Norton Fredericks, and Tane Andrews Placid in Play Stone Turner (Stone Motherless Cold), Elijah Money (Mora Money), and Caleb Thaiday (Cerulean) I Can’t Wait For You To Grow Phuong Nguyen Le and Adrian Jing Song

Ivanhoe Library & Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 Ivanhoe Library and Cultural Hub celebrates our role in coming together with the community in the spirit of cultural expression and exchange. This is an inclusive place where people are inspired to think, study, create and enjoy an enriching program of cultural and learning experiences.

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information. 17 November 2023–18 February Words of Infinite Possibility 136

Juan Rodriguez Sandoval, Tonk´är (Kite), 2023.Photo: Juan Rodriguez Sandoval & Caitlin M. Rutherford. Until 21 January Barriletes de Nuestro Futuro (Kites from Our Future) Juan Rodriguez Sandoval

Anthony Pryor, The Legend (detail), 1991, sculpture at Melbourne Cricket Ground. 2 February–17 March Arc Anthony Pryor and Jutta Pryor

VICTORIA An exhibition by Jutta Pryor, exploring the interplay between her video projections and her late husband, Anthony Pryor’s sculptures. In defiance of the static nature of metal and stone, Anthony Pryor’s sculptures are imbued with energy, purpose, and movement. The solidity of the sculptures, their shadows and light create a dialogue spanning an arc between the tangible, the intangible, and our imagination. Exploring a collaboration across media, time, and place, Jutta Pryor’s personal knowledge of her late husband’s work reveals a new dimension to his vision.

Jacob Hoerner Galleries www.jacobhoernergalleries.com 1 Sutton Place, Carlton, VIC 3053 0412 243 818 [Map 5] Wed to Sat 12pm–5pm and by appointment. See our website for latest information.

Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Gallery reopens Tueday 30 January.

27 January–18 February Winterbloom Aldona Kmieć

Opening night Friday 2 February, 6.30pm –8pm. 22 February–17 March Melbourne By Another Eye Daniel Grace Daniel’s art is a captivating exploration of urban landscapes, brought to life on frameless art panels. His city scenes are a mesmerizing blend of realism and abstraction, where the boundaries between the tangible and the ethereal blur seamlessly. Daniel’s masterful use of photography creates a dynamic interplay, drawing the viewer into a vibrant metropolis that pulses with energy. Through his frameless art panels, Daniel invites viewers to immerse themselves in the heart of the city, to experience its vitality and diversity. His unique blend of abstraction and urban realism elevates the genre, offering a fresh perspective on the familiar. Daniel’s art photo panels becomes a visual symphony, a celebration of the urban landscape that resonates with both emotion and intellect. 23 February We all came through: Album Launch David Craven, Jon S Williams David Craven (Drum Set) and Jon S Williams (Electric Guitar) are an instrumental duo from Naarm, Wurrunjeri Country who live locally in Banyule and Darebin. Their latest album We all came through was recorded in a repurposed Nineteenth Century Church on Dja Dja Wurrung land near Castlemaine. Minimalist and textured, the music seeks to evoke a sense of journey, transition and new beginnings. Please join us for the official launch of We all came through’at the Ivanhoe Library and Cultural Hub on Friday 23 February. Free Public Event, all welcome.

Lauraine Diggins Fine Art www.diggins.com.au

Opening night Friday 2 February, 6.30pm –8pm.

“Winterbloom is a series of longexposure photographs taken during the Melbourne COVID-19 lockdowns, when our movements were limited and we were effectively stuck inside. Yet, it was precisely within these constraints that I wanted to challenge myself and find my freedom. One afternoon, I went into my studio and something bloomed. A rebellion of colour, movement and fluidity, against the grey monochrome of lockdown.” Aldona Kmieć.

design inspirations that have developed over many years, but continue to resonate today. Visitors to our historic East Melbourne townhouse, Fairhall, will discover antiques and much-loved decorative pieces that draw on iconic designs of the past, combined to create an inviting, intimate, and timeless expression of ‘home’.

Andrew Sibley, Untitled, 1972, oil on board, 65 x 85 cm. 15 February–23 March Berlin Andrew Sibley

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tue to Fri 10am—5pm, Sun 10am—5pm. Closed on Jewish holidays.

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

Terry Dhurritjini Yumbulul, 1950, Rambila, 2006, natural pigment, carved wood, 92 x 120 x 47 cm. February Australian Artworks Showing a selection of Australian artworks throughout February including works by Hilda Rix Nicholas.

Latrobe Regional Gallery www.latroberegionalgallery.com Photo: Mirek Rzadkowski. Until 11 February 2024 A Home Of One’s Own – Summer at The Johnston Collection Bringing together objects, collections, and

138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. See our website for latest information. 137

CALL FOR ENTRIES CLOSE 23 FEB 2024 EXHIBITION DATES 3 MAY–23 JUNE 2024 baysidepaintingprize.com.au

Bayside Gallery Brighton Town Hall Cnr Wilson & Carpenter Streets Brighton VIC 3186 T: 03 9261 7111

Opening hours: Wed–Fri, 11am–5pm Sat & Sun, 1pm–5pm bayside.vic.gov.au/gallery @baysidegallery @baysidegallery bayside.vic.gov.au/gallery

VICTORIA Latrobe Regional Gallery continued...

Saxon Quinn, Steve Rosendale, Llewellyn Skye, Loribelle Spirovski, Jim Thalassoudis, Anthony White, Bettina Willner, Jackie Wirramanda, Robby Wirramanda, Raymond Young, Richard Young.

Until 28 January Relay, Rewind, Replay Chaco Kato, Karina Utomo, Owls of Nebraska (Pezaloom, Kate Zizys, Anthony Brandon, Joyce Nowrungsah, Kim McDonald and Phoebe La Fae) The artists in RELAY, REWIND, REPLAY broadcast a kaleidoscope of channels of connecting, being and becoming. Through a series of live and recorded movements, mediums and gestures, this group exhibition spans several galleries at Latrobe Regional Gallery, pushing the potential of individual and collective art processes. Giving space to poetic interventions in place and time, this show seeks to map out a wide range of innovative and experimental artistic practices, providing us with unique windows into future modes of distribution, communication, and exchange.

THE LUME Melbourne Alison Bennett, (still) vegetal/digital (eucalyptus), 2022, interactive photogrammetry point-cloud. Courtesy the artist and MARS Gallery. a series of 3D point-clouds, to consider vegetal thinking, digital gardening and post-human neuroqueer phenomenology. Working in expanded photography, Bennett has used photogrammetry, a technique for generating 3D models from a large set of photographs taken from all angles of the specimen. Alison presents a video version of the work as part of The Portal screening program.

www.thelumemelbourne.com Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne VIC [Map 2] Mon to Wed 10am–6.30pm (last entry 5pm), Thur to Sat 10am–9.30pm (last entry 8pm), Sun 10am–6.30pm, (last entry 5pm) See our website for latest information.

Lennox St. Gallery www.metrogallery.com.au 322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm.

Sarrita King artworks as featured in Connection. Image courtesy of THE LUME Melbourne. 23 June–4 February Connection The most comprehensive telling of our country’s story through art, Connection brings together First Peoples’ art, music and culture in a breathtaking experience. Connection features nearly 650 digital and original artworks from more than 110 artists including Gabriella Possum Nungurrayi, Tommy Watson, Sarrita King, Konstantina (Kate Konstantine) and more representing the largest collection of First Peoples’ art ever assembled. Developed in collaboration with the National Museum of Australia and curatorial experts like Margo Neale, Rhoda Roberts AO, Wayne Quilliam and Adam Knight, Connection is a groundbreaking showcase that fuses the world’s oldest culture with the most cutting-edge technology.

Heather Shimmen, The ubiquitous balance, 2022. Until 11 February The sun shining ultravioletly one day upon the protean sea Heather Shimmen The creative practice of acclaimed printmaker Heather Shimmen is a world occupied by a vivid assemblage of characters from both western mythology and Australian history, dancing a precarious line between truth and fantasy. Her detailed and imaginative figurations of humans (often women), flora and fauna often reconfigure and metamorphize into combinations of the three. A prolific maker who pushes the boundaries of the print, Shimmen presents a suite of new works in this large solo presentation at LRG. Until 28 February The Portal: vegetal/digital Alison Bennet Alison Bennett considers Australian native flowers as celestial encounters in

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,

Connection spans 3,000 square metres of gallery space, with projections four storeys high and an incredible display of original art to complement the main multi-sensory gallery – including the first public display of Emily Kame Kngwarreye’s remarkable Emily’s Wall series in Australia. Visitors are invited to step inside the works of established and emerging First Nations artists, whose works come to life through an emotional soundtrack of First Nations artists including Yothu Yindi, Baker Boy and Gurrumul. Presented through the lenses of Land, Water and Sky Country, Connection maps the songlines that hold First Peoples’ diverse stories in a celebration of culture that every Australian can be proud of. 139

Joe Whyte In Waking Hours Exhibition Opens Tuesday 13 February 2024, 5pm - 7pm Exhibition Runs 13 February - 9 March 2023

Image: Found and Lost, 2023, oil on linen, 46 x 80cm

fortyfivedownstairs.com

VICTORIA

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tue to Sun 11am–4pm. See our website for latest information. Linden New Art supports brave new art by mid-career artists and engages visitors through inspiring, thought-provoking exhibitions of new work.

McClelland Sculpture Park + Gallery

Manningham Art Gallery

www.mcclelland.org.au

www.manningham.vic.gov.au/ gallery

390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. McClelland is a truly unique art gallery and sculpture park set amongst 16 hectares of natural bushland. Since opening in 1971, it has operated as a private art institution governed by a board of Trustees. At McClelland we showcase the value of Australian culture through a focus on sculpture and its connection to the environment. We are the only gallery dedicated to sculpture and spatial practice in Australia.

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Image courtesy of Kaylene Whiskey and Iwantja Arts. Photograph: Max Mackinnon.

Marie Shilling, Drive Down The River, 2023, acrylic on canvas, 42 x 60 cm. Image courtesy of the artist.

21 October—4 February 2024 Between the Details: Video Art from the ACMI Collection

Until 11 February Linden Postcard Show 2023–24

Showcasing moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program.

We are excited to announce the Linden Postcard Show 2023-2024, and this time we are mixing things up! We are drawing from the past to reshape the future and give the Postcard Show a refresh. The days of 8 x 10 are over, we are opening the doors to larger 2D works, 3D works, and most forms of A/V. 2D artworks can be as big as 600(h) x 600(w) x 100(d)mm, and 3D pieces can be 600m(h) x 400(w) x 400(d)mm. The Linden New Art Postcard Show, now into its 33rd year, provides a unique opportunity for all of us to celebrate creativity, and a platform for you to showcase your work to a large and eager audience. No matter what you make or who you are, the Postcard Show is for you. It is a celebration of our diverse, complex, and vibrant artistic community.

Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm.

John Meade, The Puschelhockers, (detail), 2018, fake and real fur, steel, acrylic paint, hairclips, plastic, chain, feathers, 8 parts, 200 cm high. Collection of the Art Gallery of Ballarat; purchased with funds from the Hilton White Bequest, 2019. Photograph: Andrew Browne. 2 December 2023—17 March John Meade: It’s Personal!

Melbourne Holocaust Museum www.mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 (03) 9528 1985 Tue to Thur 2pm–7pm, Sun 10am–6pm.

Through sculpture, video, and installation, John Meade draws relations between the metaphysical and surreal in the experience of contemporary life and culture. A refined and adventurous materiality defines his work, through sensuous forms and unexpected juxtapositions inflected by the erotic and uncanny. John Meade: It’s Personal! will reflect various personal threads in Meade’s work relating to alterity, including queer culture, politics, and artistic experimentation.

MAGMA Galleries Betty Sargeant, Real Fake (still frame), 2023, photography, videography, graphic design, AI manipulation. Image courtesy of the artist. 11 January–11 February Real Fake Betty Sargeant

www.magmagalleries.com 5 Bedford Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 10am–4pm, Sat and Sun 11am–4pm. See our website for latest information.

Image courtesy of the gallery. The Melbourne Holocaust Museum has opened its doors to the public after a major redevelopment project. The new state-of-the-art museum holds two new exhibition spaces: Everybody Had a Name, recommended for ages 15+, focuses on the experiences Melbournebased Holocaust survivors, from pre-war Jewish life to how they rebuilt their lives in Australia after the war. Hidden: Seven Children Saved, recommended for ages 10+, is an immersive experience, allowing visitors to follow the journey of one of seven children who were in hiding during the Holocaust. 141

GALLERY STOCKROOM ADVISORY

A space for art

Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au brunswickstreetgallery.com.au

VICTORIA Melbourne Holocaust Museum continued... The museum is a unique insight into the Holocaust through the lens of local survivors and the artefacts they salvaged from their hometowns in Europe. It is a must-visit for those interested in learning more about the personal stories of hope, bravery, and resilience of the Jewish people who have contributed significantly to the multicultural landscape we see in Melbourne today. It is recommended that you pre-book your tickets online at mhm.org.au/tickets/ to avoid disappointment.

Mildura Arts Centre

10 December–18 February By Request Mildura Arts Centre Collection. A selection of artworks from the Mildura Arts Centre Collection.

Mornington Peninsula Regional Gallery www.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.

Trent Walter, Untitled. 3 February—23 March Trent Walter’s PhD exhibition Trent Walter

www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm.

Trent Walter’s practical component of PhD research as an Exhibition at MADA Gallery.

Museum of Australian Photography (MAPh) www.maph.org.au

Robert Klarich.

860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

10 December–18 February Flood: 12 Months On Sunraysia Community and Mildura Arts Centre Collection. Flood: 12 months on, is an exhibition by Sunraysia-based professional and amateur photographers responding to the 2022 Sunraysia flood event. The contemporary photographs and video footage is shown in-tandem with historical photographs of the 1956 Flood event by Michael Jobson, Ted Lawton, Don Turvey and Frank Zaetta from the Mildura Arts Centre Collection.

Margaret Preston, Flapper, 1925, National Gallery of Australia, Kamberri/ Canberra, purchased with the assistance of the Cooma-Monaro Snowy River Fund 1988. © Margaret Rose Preston Estate/Copyright Agency. Until 18 February Know My Name: Australian Women Artists A National Gallery of Australia Touring Exhibition. Natalya Hughes – The Interior, An Institute of Modern Art (IMA) travelling exhibition toured by Museums & Galleries, Queensland Glimmer Warning Kylie Stillman Crossing Paths: Women supporting women in the MPRG Collection

Monash University MADA Gallery www.artdes.monash.edu/gallery

Hilaire Germain Edgar Degas (1834-1917), Woman Bathing (Femme a la baignoire se coiffant), c.1887–1890, pastel, 92 x 72 cm (framed). Mildura Arts Centre Collection. Senator RD Elliott Bequest, presented to the City of Mildura by Mrs Hilda Elliott, 1956.

Monash University, Caulfield Campus, Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Mon to Fri 10am–5pm, Sat 12pm— 5pm during exhibitions. Free entry. See our website for latest information.

Anna Higgins, To be filled with light, 2022, From the series, A place beyond heaven, pigment ink-jet print, 180 x 130 cm. Courtesy of the artist and ReadingRoom (Melbourne). 25 November 2023—18 February Stargazing Amos Gebhardt, Michaela Gleave, Anna Higgins, Harry Nankin, Trent Parke, Luke Parker, Patrick Pound, Kate Robertson, David Stephenson, Christian Thompson and Zan Wimberley. 143

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

Until 16 June 2023 NGV Architecture Commission: (This is) Air Nic Brunsdon

National Gallery of Victoria—The Ian Potter Centre NGV Australia Murray Fredericks, Salt 300 (Tent & Bike), 2005, pigment print on cotton rag, 120 x 250 cm. Courtesy of the artist and ARC ONE Gallery (Melbourne). 25 November 2023—18 February The salt lake Murray Fredericks

National Gallery of Victoria— NGV International

Niagara Galleries www.niagaragalleries.com.au 245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 Wed to Sat 12pm–5pm, or by appointment.

www.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. Until 11 February Liam Young: Planetary Redesign

Julia Ciccarone, Revelation (detail), 2022, oil on linen, 108 x 182 cm. 21 February–16 March Julia Ciccarone: Lifting the Veil

www.ngv.vic.gov.au 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information.

Gwenneth Blitner, Mijal, 2022, 240 x 200 cm. National Gallery of Victoria, Melbourne. Purchased, NGV Supporters of Indigenous Art, 2023. From 12 October 2023 Wurrdha Marra

Ebony Truscott, Stars and vessels, 2022, oil on linen, 71.5 x 91.5 cm. 22 February–25 February Melbourne Art Fair: Ebony Truscott

North Gallery Installation view of Sheila Hicks’s Nowhere to go, 2022, at Off Grid, The Hepworth Wakefield, United Kingdom. Proposed acquisition, NGVWA. Courtesy the artist and Alison Jacques.

www.northgallery.com.au Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tue to Sat 10am–5pm. See our website for latest information.

Until 7 April NGV Triennial 2023 100 extraordinary projects – 120 artists, designers and collectives at the forefront of global contemporary practice. All four levels of NGV International. One powerful and moving portrait of the world today.

Alex Prager, Crowd #11 (Cedar and Broad Street), 2013, inkjet print, 149.7 x 142 cm (image and sheet). National Gallery of Victoria, Melbourne. Bowness Family Fund for Contemporary Photography, 2014. © Courtesy of the artist and Lehmann Maupin, New York and Hong Kong. Render of (This is) Air by Nic Brunsdon, the 2023 NGV Architecture Commission on display at NGV International, Melbourne from 3 December 2023. Render courtesy of Nic Brunsdon. 144

Until 4 February Photography: Real and Imagined Until 14 April Watercolour Country: 100 Works from Hermannsburg

Chris Vassallo, Tricycle, bronze, 20 x 20 x 20 cm. 16 January–10 February Stockroom Collection

VICTORIA

Platform Arts www.platformarts.org.au 60 Little Malop Street, Cnr Gheringhap and Little Malop Streets, Geelong, VIC 3220 [Map 1] 03 5224 2815 Mon to Fri 9am–5pm. See our website for current weekend hours. See our website for latest information.

Currents emerges not only as an artistic endeavour but as a call to action, in collaboration with Oceans LAB (Dr Fiona Hillary, Dr Prue Francis, Vicki Hallet), urging us to reevaluate our relationship with this precious resource and embrace a collective responsibility for its preservation. For more information on the events and exhibiting artists, please visit platformarts. org.au. Opening Event: Saturday 3 February 4pm–6pm.

Print Council of Australia Gallery www.printcouncil.org.au Studio 2 Guild, 152 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9416 0150 Tue–Fri 10am–4pm.

Dan Bean, Australia II, acrylic, oil and oil stick on canvas, 61 x 45 cm. 16 February–2 March Gentlemen, Scholars and Yobbos Dan Bean

PG Gallery www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm. See our website for latest information. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

Amber Smith, Constellations exhibition. Photograph: Leiko Lopez. Based on Wadawurrung Country in Djilang/Geelong, Platform Arts works with artists and creative practitioners across all disciplines to develop and sustain rigorous and critical artistic practice, bringing new experimental and contemporary works to regional and national audiences. We lead this through our curated program of exhibitions, performances, public programs and events while providing a support framework for artists that includes mentorship, continuous dialogue, residency programs and financial investment.

Sarah Robinson and Monica Lukowska, Homage to Art by Telephone (1969): The Real Thing and the Projected Image, 2023, RGB digital print, Sarah Robinson instructing AI, 1024 x 1024 pixels. 23 January–9 February TRANSMEDIAL: AI in PRINT Dr Monika Lukowska and Dr Sarah Robinson

Dean Bowen , The Home of Love, lithograph, 48 x 68 cm. 6 February—24 February The Home of Love Dean Bowen Dean Bowen is an esteemed Australian sculptor, painter and printmaker who has been exhibiting in Australia and internationally for decades. He has held one hundred solo exhibitions in Australia, France, Japan, Switzerland and the United Kingdom. His paintings and bronze sculptures address the human condition and are known for their renditions of personages, animals, urban and rural environments and quirky characters that evoke the simple pleasures of human habitation in optimistic ways within the contemporary world.

Rebecca Jensen with Aviva Endean, Whale Fall, 2022, video still. Developed as part of the Platform LAB 2022 residency, and commissioned by Deakin University’s Public Art Commission for Front Beach Back Beach, in collaboration with Mornington Peninsula Regional Gallery. Credit: NON studio, 2022. 3 February—13 March Currents Group Show and collaboration with Oceans LAB In 2024, Platform Arts will introduce a new season model of quarterly thematics originating through our exhibition program and supported by performance works and public events. We invite audiences to experience our first program Currents from February to March. This exhibition and season presents a poignant collection of works that serve as powerful advocates for water conservation and protection. Viewers are prompted to reflect on the profound impact of water on human life.

Jonas Ropponen, We are Worms with Great Articulation, 2020, charcoal and pencil on paper, 77 x 57 cm. 20 February–8 March Smoron The Stone-departer Jonas Ropponen 145

galleryelysium.com.au

VICTORIA

RACV Goldfields Resort → Living Museum of the West workshop, Maribyrnong 2021. Courtesy of Negative Press.

QDOS Fine Arts

14 January–2 February Edward Coleridge

www.qdosarts.com

9 December—11 March 2024 Goldfields Gallery: Negative Press Negative Press is a Melbourne based publisher of limited edition prints and artists’ books by contemporary Australian artists. Explore their archive and the collaborative approach of its founder and master printer Trent Walter before you explore their new project focusing on Creswick within ArtHouse.

35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. Until 5 January The Collectors Show: A Blue Chip Offering

9 December—11 March 2024 ArtHouse: Future Print Creswick

Geoffery Ricardo, Over The Hill and Further Away, 2022, oil on canvas , 89 x 98 cm. 27 January–16 February Geoffrey Ricardo 3 February–23 February Robert Whitson 24 February–16 March Steve Sedgwick

RACV Goldfields Resort www.racv.com.au/art

James Davis, City Port, 1991, oil on canvas, 136 x 197 cm. 6 January–26 January James Davis 1940-2019... For True Believers

1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information.

Setting up a temporary print workshop at RACV Goldfields Resort’s ArtHouse, Negative Press founder, Trent Walter, will conduct a series of workshops that will reflect on the material, natural and representational aspects of Creswick. Visit ArtHouse to explore the outcome.

RMIT Design Hub Gallery www.designhub.rmit.edu.au Level 2, Building 100, RMIT University, Corner Victoria & Swanston Streets, Carlton, VIC 3053 Entry to Design Hub Gallery via the Victoria Street forecourt. Gallery located below street level. Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Admission. 147

An artist run initiative. 31 Piper St Kyneton 3444 www.cusackgallery.com cusackgallery.com

VICTORIA

RMIT Gallery → Tintin Wulia, A Thousand and One Martian Nights, (still), detail, 2017, single-channel video projection, surveillance camera, telematic structure, screening room, 38:01 mins. Image courtesy of the artist and Milani Gallery, Meeanjin / Brisbane.

RMIT First Site Gallery

Ross Creek Gallery

www.rmit.edu.au/about/culture/ first-site-gallery

www.rubypilven.com/ross-creek gallery

Basement/344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm. Free Admission. See our website for latest information.

183 Post Office Road, Smythes Creek, 3351 VIC [Map 4] 0430 886 428 Opening hours during exhibitions Fri, Sat and Sun 11am–4pm, all other times Sat 11am–4pm.

RMIT Gallery www.rmitgallery.com

Hyunju Kim, Heart’s Journey.

344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGalleries Instagram: @rmitgalleries Tue to Fri 11am–5pm, Sat 12.30pm–5pm. Free Entry.

10 February–25 February Heart’s Journey Hyunju Kim Opening 10 February, 3.30pm–6pm.

Shepparton Art Museum www.sheppartonartmuseum.com.au

5 December 2023—27 January Tintin Wulia: Secrets Tintin Wulia’s art practice grapples with complex geopolitical histories to provide a more comprehensive view of our past and help us better understand the choices we will need to make towards a more socially just future.

Kelsie White, October. 6 January–21 January New Beginnings Kelsie White Opening 6 January, 1pm–4pm.

530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuedays. Until 28 January Ellen Lee: Landscape; of sight, of sound 149

Gallery I COLLECTORS EXHIBITION blue chip JAMES DAVIS 1940 -2019 GEOFFREY RICARDO PETER GARDINER ROHAN ROBINSON

Gallery II RIMONA KEDEM EDWARD COLERIDGE ROBERT WHITSON STEVE SEDGWICK BRIGIT HELLER DES SMITH QDOS FINE ARTS

Lorne

Dec 9 - Jan 5 Jan 14 - Feb 2 Feb 3 - 23 Feb 24 - Mar 16 Mar 17 - Apr 5 Apr 6 - 26

03 52891989 qdosarts.com

Dec 16 - Jan 5 Jan 6 - 26 Jan 27- Feb16 Feb 17 - Mar 8 Mar 9 - 30

qdosarts.com

since 1989

VICTORIA Shepparton Art Museum continued... Until 4 February Jess Jonhson: we can’t keep going the way we’ve been going but we know no other way to go Until 11 February Dance Me to the End of Love: Journeys from birth to death in the SAM Collection Until 10 March The ARNDT Collection: From One World to Another Greg Wood, V1 Nature Nurture, 2023, oil on linen board, 35.5 x 45.5 cm. 3 February–10 March Nature Nurture Greg Wood Until 7 January A whisper and a hush Becc Orszag

Laith McGregor, Untitled (Self), 2023, charcoal on paper with push pins, 83.5 x 65 cm. Courtesy the artist and STATION. 8 February—9 March step or stone, breath or bone Laith McGregor

Beci Orpin: MUSH/ROOM, installation view, Shepparton Art Museum, 2023. Photograph: Leon Schoots.

Sullivan+Strumpf Melbourne

Until March Beci Orpin: MUSH/ROOM - A Field Guide to Exploration

www.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. 15 February–9 March Dhopiya Yunupiŋu

Emma Coulter: spatial deconstruction #30 (social fabric), installation view, Shepparton Art Museum, 2023. Photograph: Leon Schoots. Until 6 May Emma Coulter: spatial deconstruction #30 (social fabric)

Stockroom Kyneton www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thur to Sat 10.30am–5pm, Sun 11am–4pm. See our website for latest information. Stockroom Kyneton is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s butter factory across 1000sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers. Until 7 January Night Creatures Natalie Ryan

Yuria Okamura, Healer: Malva Preissiana, 2023, glazed porcelain, 25 x 18 cm. 3 February–10 March Healers Yuria Okamura Until 7 January A contemporary jug Rachelle Austen, Andrei Davidoff, Phil Elson, Irene Grishin-Selzer, Cassandra Hansen, Angela Hayes, Lauren Joffe, Janetta Kerr-Grant, Minaal Lawn, Kirsten Perry, Georgina Proud, David Ray, Dawn Vachon, Alichia van Rhijn, Laura Veleff 3 February–10 March Beauty Spot Laura Veleff

Sutton gallery www.suttongallery.com.au 254 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9416 0727 Wed to Sat 11am–5pm, or by appointment. 27 January–24 February Eugene Carchesio Kate Smith

Swan Hill Regional Art Gallery www.swanhillregionalartgallery. com.au

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

Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. 9 December 2023—28 January Here we are To mark the end of an era and the beginning of another with the gallery redevelopment about to commence, we 151

International Festival of Photography

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Image: Darren Sylvester, Body be a soul, 2023. Courtesy the artist and Neon Parc.

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VICTORIA Swan Hill Regional Gallery continued...

in his printmaking, drawing and painting practice. Co-presented with the Art Gallery of South Australia.

are bringing out the collection with a first ever salon style hang. New works alongside old. Large alongside small. This will be an opportunity to celebrate the collection with works hung throughout. There will be something for everyone.

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays.

Tolarno Galleries www.tolarnogalleries.com Level 5, 104 Exhibition Street, Melbourne, VIC 3000 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–4pm. See our website for latest information.

Georgia Spain, Flying out (Firecracker), 2022, acrylic on linen, 198 x 456 cm. 10 February–24 February Flying Out (Firecracker) Hannah Gartside, Guruwuy Murrinyina, Georgia Spain, Justin Varga, Elizabeth Willing.

Wanapati Yunupingu, Gurtha, 2023, mixed media, 91 x 60.5 cm. 22 February–25 February Melbourne Art Fair: Wanapati Yunupingu

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information. TarraWarra Museum of Art captures the vision of its founders, philanthropists, the late Marc Besen AC and Eva Besen AO, passionate collectors of Australian art from the 1950s. Not only did they gift the building that houses the Museum, but also a significant proportion of their collection of modern and contemporary Australian art for the enjoyment of all visitors from Australia and abroad.

Brent Harris, Swamp (No. 6), 2000, oil on canvas, 274 x 139.5 cm. TarraWarra Museum of Art collection. Gift of Eva Besen and Marc Besen AO, 2001. Until 11 March Surrender & Catch Brent Harris This exhibition explores the work of senior contemporary Australian artist Brent Harris. Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings. Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method of working. Addressing the experience of the body and desire, faith (and the question of what follows death), and childhood memories of porous familial relationships, Harris’ ambiguous forms derive from his use of the Surrealist technique of automatic drawing to access unconscious imagery. Working concurrently across painting, printmaking and drawing, Harris has developed a generative methodology, where each medium feeds the development of his art in unexpected ways. Surrender & Catch showcases AGSA’s significant collection of Harris’ work, including the important gift of works by James Mollison AO and Vincent Langford. Augmented by important works from the TarraWarra Museum of Art collection and loans from public and private collections, it charts a journey from The Stations (1989), Harris’ first major series exploring the death of his friends to AIDS, to his return to the subject in 2021. The exhibition emphasises the crosspollination of imagery and the development of forms

John Brack, The Yarra at Kew, 1946, oil on board, 46.5 x 57.5 cm, Town Hall Gallery Collection. Until 20 January Our Place: 20 Years of Town Hall Gallery Our Place: 20 Years of Town Hall Gallery is a major exhibition celebrating the 20th anniversary of Town Hall Gallery. Significant artworks from the Town Hall Gallery Collection have been grouped within the themes of People, Places and Perspectives, showcasing the vital role of the gallery in reflecting a sense of community and shared history in Boroondara. Until 20 January Boroondara Summer Salon Boroondara Summer Salon is a curated group exhibition celebrating the 10-year anniversary of the Town Hall Gallery Community Exhibitions Program. Until 3 February MARKED MARKED is an exhibition featuring highlights from the publication Marker: 10 Years of the Town Hall Gallery Collection. 31 January–9 March The Antipodes in Words and Pictures Gosia Lapinski, Michal Lapinski

Mechelle Bounpraseuth, Bánh mì, 2022, glazed earthenware, 12 x 19 x 14 cm. Image courtesy of the artist and Chalk Horse. 153

kingstonarts.com.au

VICTORIA Town Hall Gallery continued... The Antipodes in Words and Pictures is a community exhibition featuring artist Gosia Lapinski and poet Michal Lapinski. A collaboration between father and daughter, this exhibition explores the experience of leaving behind all that is familiar and making a new home in an unknown place. 7 February–27 April DISH Mechelle Bounpraseuth, ChiliPhilly, Zena Cumpston, Laetitia Olivier-Gargano, Callum Preston, Rasha Tayeh and Elizabeth Willing. DISH is a major exhibition indulging in the beauty and complexity of food, featuring contemporary crafts, sculpture, painting and stories.

Walker Street Gallery and Arts Centre

24 January, 7pm STUNglasses Rachel Burke Online workshop. 14 February, 7pm We Don’t Need Another Hero TextaQueen Online workshop.

The Victorian Artists Society www.victorianartistssociety.com.au

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. See our website for latest information. Wangaratta Art Gallery presents a diverse program of national, state and regionally significant exhibitions, events, workshops and artist-led projects.

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm, See our website for latest information.

www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 9706 8441 Tue to Fri 12pm–4pm.

Paul Laspagis, Hellenic fields, oil on canvas, 180 x 130 cm. 7 February—20 February Hammond Gallery: Hellenic Fields Paul Laspagis Ross Coulter, Sticker Prints, 2018-2019, silver gelatin photograph with stickers. Until 1 March Question the Space Rachel Burke, Ross Coulter, Jordan Fleming, Guerrilla Girls, Melbourne Art Library, Kent Morris, Dean Norton, Tina Patlas, Kenny Pittock, Nick Selenitsch and TextaQueen. Showing atWalker Street Gallery and various venues around central Dandenong. What do you enjoy about visiting an art gallery? What do you expect to see? Question the Space asks what can be a work of art, where can a gallery exist and how do audiences engage with the space? Through a range of works and programs both inside the gallery and around central Dandenong, audiences are invited to look, participate and connect with the art, the artists and the spaces.

Paintings and drawings by Paul Laspagis. Opening event: Saturday 10 February, 4pm–6pm.

Robert Hirschmann, Past Night XIX, 2009-2022, oil on linen on board, 120 x 120 cm. Photograph: Silversalt. © The artist. Until 25 February Beauty & Fear Robert Hirschmann and Andy Pye Beauty & Fear brings together new work by painters Robert Hirschmann and Andy Pye, both who have connection to northeast Victoria. Together, they present a captivating selection of recent paintings that invite viewers to embark on a visual journey through the Australian bush.

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 03 8598 9657 Wed to Fri 11am–5pm, Sat 12pm–4pm.

Upcoming Question the Space Public Programs:

Nina Machielse Hunt, The Woolshed Valley on High, 2022, oil on board, 40 x 40 cm. © The artist.

16 January, 10am The Identity Project Ross Coulter

Until 28 February Woolshed Road Nina Machielse Hunt

In person workshop. 23 January, 10am Clay Picnic Play Kenny Pittock In person workshop.

Kent Morris, Karta Kartaka – Pink Cockatoo #8, 2023, giclee print on rag paper, 100 x 150 cm, Ed 5 + 2AP. 14 February–16 March Karta Kartaka Kent Morris

In this series of works, Nina Machielse Hunt draws inspiration from her immediate environment, living and working on Woolshed Road just outside Beechworth. 155

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VICTORIA

West Space

27 January–14 April The New Pre-Raphaelites Sunil Gupta (CA/UK)

www.westspace.org.au

Part of PHOTO2024 Queer PHOTO. An Autograph (UK) touring exhibition.

Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Sat 11am–6pm. See our website for latest information.

27 January–14 April WYNDHAM x PHOTO2024 QueerPHOTO Project Hub Sunil Gupta (CA/UK), Karla Dickens (Wiradjuri) (IE/DE), Peter Waples-Crowe (Ngarigo), Asafe Ghalib (BR) Part of PHOTO2024 Queer PHOTO.

Yarra Ranges Regional Museum www.yarraranges.vic.gov.au/ Experience/Yarra-Ranges-Regional-Museum

Baoxian Du, from the I series (I), 2022, photograph, 200 x 130 cm. 30 January–2 March WE Baoxian Du Kyra Mancktelow. 13 January–25 February Kyra Mancktelow Until the 1960s, Indigenous Australians could only marry with government permission. Premiering at West Space, Kyra Mancktelow (Qld) continues her interest in the history of garments in Australia and the ongoing legacies of colonialism with a body of work centred around a wedding dress that honours the artist’s Ancestors. The artist says, “These garments and prints investigate long-lasting legacies of colonialism, asking questions such as how we remember and acknowledge these histories. My hope is to draw upon the strength of resistance by adapting, retaining cultural ways and identity.”

In this exhibition locally based Chinese artist Baoxian Du presents recent photographic work from three major series. In I the artist poses for a powerful suite of self-portraits.

Visit Yarra Ranges Regional Museum for stimulating, informative and enjoyable experiences all year round. Our special exhibitions, permanent collection, a relaxing café, museum shop and programs for all ages are among just some of the attractions for all age groups.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–4pm, Sat and Sun 11am–4pm. Closed on public holidays.

Kyra Mancktelow is a Quandamooka artist with links to the Mardigan people of Cunnamulla, living and working in Meanjin/Brisbane. This new body of work is presented at West Space in partnership with Agency Projects.

Sally M Nangala and Marlene Rubuntja, Still from Arrkutja Tharra, Kungka Kutjara, Two Girls, 2023. Until 28 March Two Girls from Amoonguna Sally M Nangala Mulda and Marlene Rubuntja Two Girls From Amoonguna is an exhibition featuring new work by Arrernte and Southern Luritja artist Sally M Nangala Mulda and Western Arrarnta artist Marlene Rubuntja. It recounts their intertwining stories of friendship and resilience in the Central Desert. Encompassing video, soft sculptures, and paintings, the centerpiece animation, Arrkutja Tharra, Kungka Kutjara, Two Girls, was made in collaboration with Ludo Studio (Bluey, Robin Hood, and The Strange Chores).

Whitehorse Artspace www.creativewhitehorse.vic.gov. au/venues/artspace Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

35-37 Castella Street, Lilydale, VIC 3140 [Map 1] 03 9294 6511 Wed to Sun 12pm–4pm. See our website for latest information.

Sunil Gupta, The New Pre-Raphaelites # 11, 2008. Courtesy the artist and Autograph, UK.

Sally and Marlene’s practice is representative of Mparntwe (Alice Springs), where they live. Playful, selfreferential, and humorous, their work embodies the politics, history, and culture of Mparntwe and its surrounding town camps. An ACMI touring exhibition.

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NEW S OUTH WALES

314 Abercrombie Gallery www.314abercrombie.gallery 314 Abercrombie Street, Darlington, NSW 2008 [Map 14] 0404 146 738 See our website for latest information.

Artbank is part of the Australian Government Office for the Arts, in the Department of Infrastructure, Transport, Regional Development, Communications and the Arts. For 40 years Artbank has supported Australia’s contemporary art sector.

This small, inviting, bright gallery nestled snugly in Darlington beside the Redfern area is the up-and-coming art precinct of Sydney. We have Carrigeworks, the White Rabbit and many smaller galleries. We are closed for January.

Billy Bain, Blak men can’t surf, 2023, oil on canvas. Artbank Collection. Purchased 2023. Artbank Window Gallery: Until 12 January Cruel Summer Curated by Billy Bain

17 February–3 March Landscapes Stefan Kater Colour, movement, texture. This collection is breathtaking and yet, at the same time, relaxing. Landscapes with changing light. Come along and tell us how you would describe this work. Exhibition opening 17 February, 4pm–8pm.

“Through juxtaposing colonial representations of beach culture with contemporary perspectives by artists from diverse backgrounds I aim to curate a space that encourages dialogue surrounding belonging, spatial ownership, the imported and the native. As an Indigenous surfer and artist my practice aims to reclaim space for myself and other marginalised voices within a culture and place where we have been systematically denied.” - Billy Bain.

110 Trafalgar Street, Annandale, Sydney, NSW 2038 61 2 9552 1699 Wed to Sat 11am–4pm.

Artbank Sydney www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thur 12pm–4pm or by appointment.

Until 28 April 2024 Has the Day Invaded the Night or Has the Night Invaded the Day? Louise Bourgeois Experience the strange beauty and emotional power of Louise Bourgeois’s art, in the largest exhibition of her work ever seen in Australia.

Art Gallery of New South Wales - South building www.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. Until January 2024 brick vase clay cup jug Guest curated by Glenn Barkley, brick vase clay cup jug is a space between gallery storage and gallery display where magical associations are conjured.

Annandale Galleries www.annandalegalleries.com.au

www.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.

Louise Bourgeois, Crouching Spider 2003. Collection: The Easton Foundation, New York © The Easton Foundation, VAGA at ARS, Copyright Agency 2023. Photo: Ron Amstutz.

Stefan Kater.

Art Gallery of New South Wales - North Building

Tjanpi Desert Weavers: Cynthia Charra, Noreen Heffernan, Maringka Tunkin, Mutuka Rikina! (Flash Car!), 2023, mixed media. Artbank Collection, Purchased 2023. Photograph: Fiona Morrison. 25 January–7 March Are we there yet? Curated by Artbank Inspired by the Australian road trip, Are we there yet? Brings together artworks from Artbank’s national collection that capture both the awe and mundanity that can be inspired by the act of looking out the car window and the importance of car travel to bring people and families together.

Until 21 January 2024 A curve is a broken line Hoda Afshar The first major solo exhibition by one of Australia’s most innovative and unflinching photo-media artists. Through her photographs and moving image works, Iranian-born, Melbournebased Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry. Until 10 March 2024 Kandinsky Showcasing the life and work of one of the 159

ar t g ui d e .c o m . au Art Gallery of New South Wales continued...

group of emerging artists and emerging curator Elaine Kim, this exhibition explores the narrative possibilities of ceramics activated through digital interventions.

Vasily Kandinsky, Landscape with rain, January, 1913, Solomon R. Guggenheim Museum, New York. most influential and best-loved European modernists. This comprehensive exhibition, curated with the Solomon R. Guggenheim Museum in New York, draws from the Guggenheim’s rich holdings to reveal Kandinsky’s work in depth.

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

Seya Hashemi, The Pinnacle Desert, 2021, acrylic on canvas. 17 January–28 January Mother Nature Seya Hashemi Seya Hashemi’s art practice is based mostly on his dreams which he never forgets. Many times, he has been compelled to wake up in the early hours of the morning and begin to create what he had just dreamt about. Hashemi believes that by continually utilising his imagination and transferring it onto the canvas, he can bring his dreams to reality. In this way, his art becomes a tangible expression of the artist’s emotions. 1 February–25 February Passage of Night; Luminary Rising Frankie Chow, Maryanne Coutts, Emma Hicks, Karen Lee, Lindy Lee, Pamela Leung, Lawrence Liang and Jordan 160

Meng-Yu Yan, Faces of the Moon (Full Moon), 2023, digital photography. Ritchie, Sangeeta Sandrasegar, Miho Watanabe and Meng-Yu Yan, with more artists to be announced. A group exhibition examining the significance of the moon and how it is reflected across cultures. This exhibition explores diverse historical, cultural and religious relationships to the moon, extending the Lunar New Year celebration to other cultures. Its mutable and transformational nature has made the moon a source of mystery, a meaningful symbol and a unifying force that brings communities together.

Camille Laddawan, 146bpm, 2023, photo: Camille Laddawan. 30 November 2023—31 January Camille Laddawan: Kite Exploring origin stories, cultural displacement and the differences between ancestry and heritage, through a series of beaded works, including a kite, video and archival material. Object Space (window gallery): 30 November 2023—31 January Minka Gillian: Mini Mind Garden An installation of hanging sculptural forms made from found and recycled material.

A Willoughby City Council exhibition co-curated by Cassandra Hard Lawrie and Rachael Kiang. Part of Chatswood Year of the Dragon Festival.

Australian Galleries

28 February–24 March Smart Expressions 2024

15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open daily 10am–6pm. See our website for latest information.

Willoughby City Council presents an exhibition of student artworks selected from the 2023 NSW HSC practical examination in Visual Arts. The exhibition demonstrates the interests and passions of a new generation of young artists. Celebrating the artistic talents and achievements of young people, the exhibition features a selection of artworks from students who attended six local high schools: Bradfield Senior College, Chatswood High School, Glenaeon Rudolf Steiner School, Mercy Catholic College, St Pius X College and Willoughby Girls High School.

www.australiangalleries.com.au

23 January—11 February National Art School Graduates

Australian Design Centre www.australiandesigncentre.com 113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tue to Fri 11am–5pm, Sat 11am–4pm. Entry by donation. See our website for latest information. 30 November 2023—31 January Ceramic Stories–Digital Connections Bringing together a digital designer, a

Deborah Williams, Understanding the empowering canine gaze, 2022, soft ground, aquatint and roulette intaglio, 49.5 x 44.5 cm, edition of 15. 20 February—10 March Deborah Williams 20 February—10 March Simon Fieldhouse

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Bankstown Arts Centre

Blacktown at its heart! For the first time Blacktown City is embedded from the outset, with special consideration given to artworks that celebrate, express and reflect upon the diverse history, environment and First Nations stories of the area. The exhibition showcases the work of 82 finalists chosen from across Australia, with prizes available in the categories of Blacktown City Art Prize Main Prize, First Nations Artist Prize, Local Artist Prize, People’s Choice Prize and EarlyCareer Artist Prize (new in 2024!) 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 are encouraged to create an artwork in response to the theme of Creating Cooler Cities.

www.cbcity.nsw.gov.au/arts-centre 5 Olympic Parade, Bankstown, NSW 22 [Map 12] 02 9707 5400 Tue to Sat 10am–4pm. See our website for latest information.

Bathurst Regional Art Gallery www.bathurstart.com.au Wiradjuri Country 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Weekends and most public holidays 10am–2pm, closed Mon.

Amrita Hepi with Honey Long and Prue Stent, Omphalus (still), 2021, video: 3 minutes 30 seconds. Courtesy the artists, Anna Schwartz Gallery and ARC ONE Gallery. © the artists. Until 11 February Conflated Bathurst Regional Art Gallery presents Conflated, a NETS Victoria touring exhibition curated by Zoë Bastin and Claire Watson. When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art. Here, the cycle of breathing serves as a framework through which a wide array of experiences, behaviours and expressions are examined.

All artworks in the 2024 Blacktown City Art Prize exhibition will be available for purchase at The Leo Kelly Blacktown Arts Centre. Entry is free and all are welcome. Deborah Kelly, For Creation (detail), 2020. Animation from analogue collage on cotton paper. Courtesy the artist.

Blue Mountains City Art Gallery

CREATION works with marginalised communities to develop a vivid new belief system. Ways to gather, to commune; a framework for imagining a place in a more than human world. An elaborate queer lattice to support the viridian and the speculative.

www.bluemountainsculturalcentre.com. au

CREATION confronts climate crisis and truth decay with a crowd-sourced faith drawn from practical politics, mysticism and collectivity. Through crossdisciplinary projects, public brainstorms and participatory performances, this religion evolves before our very eyes.

Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply. See our website for latest information.

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

This project has been assisted by the Australian Government’s Visions of Australia program and the Victorian Government through Creative Victoria. 24 February–21 April Deborah Kelly: CREATION Bathurst Regional Art Gallery presents Deborah Kelly: CREATION — a queer insurrectionary science fiction climate change religion, unfurling through years of collaborations across generations, identities, artforms and sites. The work manifests in human encounters; through exhibitions, performances and public workshops. Defying fires, floods, fevers and emboldened discriminatory exclusion dressed up as ‘religious freedom’,

Courtesy of the gallery. 16 January–5 April Blacktown City Art Prize The Blacktown City Art Prize exhibition returns to kick off 2024 at The Leo Kelly Blacktown Arts Centre with vibrancy, excitement, and the community of

Sean O’Keeffe, Collaborative Portrait (Simon Reece), 2021, oil on board, mixed media, 204 x 98 cm. 161

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

Peachey & Mosig, Oracle, 2023, giclee print. Image courtesy of the artists. Until 28 January Underground Vicky Browne, Rachel Peachey and Paul Mosig, Simon Reece Curated by Miriam Williamson. Until 4 February Sean O’Keeffe: Dissolution Ceremony

3 November 2023—4 February Imagining Terrains Si Yi Shen An exhibition of work that builds on encounters and relationships developed during a 2022 research residency as part of the Broken Hill Open Cut Commission. As a two -part narrative, this body of work interprets the present landscape of Broken Hill and speculates the future landscape through moving pictures and augmented reality sculptures.

Dissolution Ceremony references the emotive power of portraiture. A Blue Mountains Cultural Centre Altitude exhibition.

The diverse works, including portraiture and life drawing in acrylic, wool and pencil, photography and painting are a culmination of each student’s final school year assessment in art.

3 February–17 March Blue Mountains Portraits 2024 Blue Mountains Portraits is the Cultural Centre’s annual celebration of the local community and its diverse members. A Blue Mountains City Art Gallery exhibition.

Until 4 February Perspective Arts/COOL Group This after school program run by the Broken Hill City Art Gallery is presenting an exhibition of works by the teen-class. Each participant has explored what it is that perspective means to them, then created multi-media, collaborative and individual projects.

10 February–3 March Collectors’ Edition: CE#10 Collectors’ Edition is the Cultural Centre’s annual fundraising exhibition. A Blue Mountains City Art Gallery exhibition. Supported by Hopetree Framing.

Until February Shades of Blak Collection Curator David Doyle, Barkindji/ Malyangapa

Brenda Colahan Fine Art www.brendacolahanfineart.com 78B Charles Street, Putney, NSW 2112 [Map 7] 02 9808 2118 Tue to Sat 9.30am–4pm, Tue and Wed valuation days by appointment, closed Sun and Mon. See our website for latest information.

Brenda Colahan Fine Art. Pictured artworks by Emily Kngwarreye and Gabrielle Pool. Brenda Colahan Fine Art exhibits works of art by leading modern, contemporary and indigenous artists, with an emphasis on Australian female artists. 162

Mia Dyson, Sarah Bernhardt, 2023, print, acrylic, gouache on card.

Kunmanara Carroll, Yumari, 2020, stoneware, 52 x 22 x 17 cm. Photograph: Grant Hancock. Until 4 February Ngaylu Nyanganyi Ngura Winki ( I Can See All Those Places) JamFactory ICON Kunmanara Carrol JamFactory’s annual ICON exhibition celebrates the achievements of South Australia’s most influential visual artists working in craft-based media. Kunmanara (Pepai) Carroll (1950-2021) was a Luritja/ Pintupi/Pitjantjatjara artist who worked at Ernabella Arts at Pukatja in the APY Lands. Concerned with passing on cultural knowledge, his paternal homeland was an unwavering source of inspiration and the recurring subject within his oeuvre of painting and ceramic sculpture. A major solo exhibition which showcases a significant body of Carroll’s fine ceramic works and paintings supported by a tapestry produced by the Australian Tapestry Workshop.

As an invited curator the concept for this exhibition evolved for Doyle after looking through the BHCAG collection to consider what art in the (Far West NSW) region had produced throughout the years…. then to show the unique qualities of the different regions of Aboriginal Australia. The exhibition includes works by Doyle.

Bundanon www.bundanon.com.au Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm

Until 4 February HSC Art Show 2023 Willyama, Broken Hill and Menindee High School HSC Students

Until 11 February Miwatj Yolŋu - Sunrise People Ms N Marawili, Dhambit Munuŋgurr, Gaypalani Waṉambi, Mulkuṉ Wirrpanda, Muluymuluy Wirrpanda, Djirrirra Wunuŋmurra, Djakaŋu Yunupiŋu, Nyapanyapa Yunupiŋu, Wanapati Yunupiŋu, The Mulka Project: Ruby Djikarra Alderton, Ishmael Marika, Patrina Munuŋgurr, Gutiŋarra Yunupingu.

An exhibition of all Year 12 HSC art students from Broken Hill and Menindee.

Miwatj Yolŋu - Sunrise People explores storytelling, ecology and materiality in the

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Nyapanyapa Yunupiŋu, Ganyu Djulpan, 2020, natural earth pigments on board. Private collection. works of Yolŋu artists from the Yirrkala Community in East Arnhem Land. Like the Shoalhaven, Yirrkala is a place where fresh and saltwater meet, and its lands and waterways inform diverse creative practices. Miwatj Yolŋu translates to ‘sunrise people’ in Yolŋu Matha (Yolŋu tongue). Geographically, Miwatj refers to the furthest north-eastern part of Arnhem Land that receives the morning sun, as it rises in the east. Presenting both senior and emerging artists from across the Yirrkala region, Miwatj Yolŋu highlights the centrality of weather patterns and ecological systems within Yolŋu culture. It brings together works from the Buku-Larrnggay Mulka Centre, the Mulka Project digital archive and private collections from across Australia, sharing interwoven stories of land, water and sky.

Campbelltown Arts Centre (C-A-C) www.c-a-c.com.au

Katy B Plummer, Margaret and the Grey Mare, 2023. Courtesy of the artist. 9 December 2023–28 April Margaret and the Grey Mare Katy B Plummer

Telly Tuita, Tevolo Diva (Norma), 2023, digital print on cotton rag paper, courtesy of the artist. is accompanied by an intergenerational public program reflecting the different stages of life, in Tuita’s words, ‘dawn, day and dusk’.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. See our website for latest information.

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

9 December 2023–4 February Refractions & Reflections NC Quin and Ali Tahayori

1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm. See our website for latest information.

Hayley Millar Baker, Nyctinasty, 2021, (still), 7:54 minute single channel film. Image courtesy of the artist. Until 11 February Nyctinasty Hayley Millar Baker

3 January–28 March Telly Tuita: Tongpop’s Great Expectations Tongpop’s Great Expectations is the first Australian solo exhibition of Aotearoabased artist Telly Tuita. For Tuita, Tonga is always present, anchoring his present to his childhood. Repurposing collected materials from second-hand and bargain stores (especially objects, materials and images that relate to Oceania), Tuita creates a Tongpop universe in which memories from his life are galvanised and recast as relics of the modern age. The exhibition presents new and recent works by Tuita together with early works created by Tuita when he was growing up in Campbelltown. Tuita broaches the great expectations of oneself in conflict with the great expectations of society through his own life story. The exhibition

9 December 2023–28 April Memories of Water (Badu) Leanne Tobin

Representing the rhythmic movement of leaves or petals in higher plants in response to the onset of diurnal changes in light, Nyctinasty emblematically translates these crucial movements of self-preservation and survival to echo the ways humans face the delicate balance between the physical world and the spiritual realm. This film work centres female power and strength in reference to elements of the horror genre that is often focused on women’s psychosis. Eddie Abd, In Their Finest, silk kafan #2, 2023. Courtesy of the artist. 9 December 2023–28 April The unbearable right to see and be seen Eddie Abd

Until 10 June Barbara McGrady: Australia Has a Black History A selection of photographs by Awardwinning photojournalist, Barbara McGrady. 163

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daniel weber 2023 danielweberpaintings.com danielweberpaintings.com

NEW S OUTH WALES Chau Chak Wing Museum continued... The works on display have been selected from McGrady’s extensive photographic archive. They reveal an insider’s perspective into historical events, such as the death of TJ Hickey, and the Black Lives Matter protests. Also included are photographs of Indigenous performances, high-profile individuals, and community events.

The Corner Store Gallery

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

www.cornerstoregallery.com 382 Summer Street, Orange, NSW 2800 [Map 12] 0448 246 209 Wed to Sat 10am–4pm.

Democracy at Old Parliament House, proudly supported by the National Collection Institutions Touring and Outreach program, an Australian Government program aiming to improve access to the national collections for all Australians. Cowra Library: 29 January–2 March Operation Art Operation Art is an annual exhibition celebrating its 29th Anniversary this year. The exhibition consists of 50 artworks created by students from Kindergarten to Year 10 across New South Wales. These works will tour the state before finding their home at The Children’s Hospital at Westmead, where they will help make sick children feel better through the power of art. Operation Art is an in initiative of The Children’s Hospital at Westmead in partnership with The NSW Department of Education.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 9] Gadigal Land, Sydney, Australia 02 9699 5353 See our website for latest information.

Heidi Margocsy, Brave New World, 2022. Courtesy the artist and National Portrait Gallery, Canberra. Until 4 February National Portrait Photographic Prize 2023

Installation from 2023 Inside This Box Art Prize exhibition. Entries are now open for our 2024 Inside This Box Art Prize. There are two prizes up for grabs; $1000 cash for the overall winner sponsored by Rowlee Wines, and a People’s Choice Award receives a case of Rowlee wine valued at $500. Artists residing in Australia are invited to submit wall-mountable work of any medium, subject, style or size with measurements that fit within 30cm in any direction. Entries close at midnight on 14 January. Head to our website to find out more.

The National Portrait Photographic Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers. The NPPP celebrates the power of photographic portraiture to communicate something beyond the appearance of subjects – their quirks, flaws, strengths or vulnerabilities. Cowra Regional Art Gallery is the only New South Wales venue to host the shortlist of 47 portraits selected from almost 2400 entries. A touring exhibition from the National Portrait Gallery, Canberra, supported by the National Collecting Institutions Touring and Outreach Program.

Tyza Hart, Side Lie Join, 2023, stoneware with porcelain slip, 32 x 32 x 15 cm. 3 February–2 March Opening Tyza Hart

11 February–17 March Behind the Lines Each year the Behind the Lines exhibition features a broad selection of political cartoons from around Australia, providing an insight into the year in Australian politics and current affairs. This year’s Behind the Lines is swinging at the pinata, passing the parcel, and waiting for the music to stop because the theme is All Fun and Games. Cartoonists are popping on their party hats and breaking out the bunting while they take us on a journey through the year that was 2023. Behind the Lines is a travelling exhibition developed by Museum of Australian

Kevin McNamee-Tweed, Accumulation (The), 2023, glazed ceramic, 19.6 x 15.8 cm. Courtesy of the artist and Dutton, New York. 3 February–2 March The Ground Group exhibition in association with Dutton, New York. 165

sculpturebermagui.org.au

Exhibition of finalists 27 January to 24 February 2024

art award

2024

2021 art award winner Nadia Hernández, Dulce de lechoza verde (procedimiento)/ Green papaya sweet (procedure), 2021, cotton, linen and corduroy on linen textile, 145 x 100 cm, courtesy STATION photography © Richard Glover

The Grace Cossington Smith Gallery and Abbotsleigh present the 42 finalists for the Grace Cossington Smith biennial art award for any two dimensional media in response to the theme Making Connections. Finalists Luke Abdallah & Oliver Fontany, Caitlin Aloisio Shearer, Sally Anderson, Clementine Barnes, Alexander Beech, Amber Boardman, Anna Carey, David Collins, Richard Collins, Nancy Constandelia, Carolyn Craig, Angie de Latour, Kate Dorrough, Jacquelene Drinkall, Kylie Elkington, Zachariah Fenn, Angus Fisher, Louise Fowler-Smith, Ariella Friend, Emily Galicek, Shahroud Ghahani, Deanne Gilson, Tim Gregory, Graziela Guardino, Tannya Harricks, Danyi Hu, Emily Imeson, Eunjoo Jang, Virginia Keft, Nicole Kelly, Nadia Kliendanze, Deborah Marks, Nicola Mason, Juanita McLauchlan, Lily Platts, Marisa Purcell, Justine Roche, Sally Ryan, Wendy Sharpe, Skye Wagner, Stuart Watters, Hua Ye

Grace Cossington Smith biennial art award 2024 Tuesday to Saturday 10 am-5 pm | FREE ENTRY | Gate 7 1666 Pacific Highway Wahroonga 02 9473 7878 | gcsgallery@abbotsleigh.nsw.edu.au | www.gcsgallery.com.au An Anglican Pre K-12 Day and Boarding School for Girls

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Empyrean Art Gallery www.concettaantico.com/ empyrean-gallery 136 Queen Street, Woollahra, NSW 2025 [Map 10] 0476 134 901 Wed to Sat 11am–5pm and by appointment. 11 November 2023–12 January Otherwordly Concetta Antico The grand opening exhibition of the new Empyrean Art Gallery. Celebrating the original works by master artist Concetta Antico. The exhibition highlights our universe. A celestial place filled with galaxies, stars, planets, and other cosmic objects – all seen through the lens of her 100 million coloured gift of scientifically endorsed Tetrachromacy. Visit ‘The Color Queen’s’ new Sydney gallery to see the true beauty of of our world. Concetta also features the works of several other local artists.

The Empyrean Art Gallery is providing a prominent platform and opportunity for artists at various points in their careers, ranging from emerging, to the more established professional. The exhibition will encompass oil and acrylic paintings on canvas with the theme ‘Australian Native Botanicals’. We encourage artists to submit work with this theme focus in mind, and with an emphasis on colour. The finalists’ works will be on public display from 27 April - 17 May at the gallery and the announcement of the prize winners will take place at the opening night of the exhibition on 27 April at 7pm. The winners will be announced online as well. The judging panel are: Concetta Antico, Wendy Sharpe AM, Marco Meneguzzi and Vanessa Stockard. The entry form is online at ConcettaAntico. com or for more information contact: art@empyreangallery.com.au

Fairfield City Museum & Gallery

27 April–17 May The Queen Street Art Priz A $15,000 Acquisitive Prize – Australian Native Botanicals

www.fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm. Works by: E. Rowan, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Winch, M. Perceval, J. Bezzina, and many others. (See ad page 170).

Gaffa Gallery

www.fcmg.nsw.gov.au

www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am– 5pm, closed Sun & pub hols. See our website for latest information.

13 January–12 April Spellbound Concetta Antico

Concetta Antico, Australia’s Waratah, oil on canvas, 12 x 12 inches.

Fellia Melas Gallery

634 The Horsley Drive, Smithfield, NSW 2164 [Map 12] 02 9725 0190 Tue to Fri 10am–4pm, Sat 10am–3pm. Closed Mondays, Sundays, and Public Holidays.

Concetta Antico, Bohemian Rhapsody, oil on canvas 30 x 40 inches.

A new entrancing exhibition of original works by master artist Concetta Antico celebrating the realms of magic, myth and astrology. Concetta’s work is seen through the lens of her 100 million coloured super vision gift of scientifically endorsed Tetrachromacy.

Anne-Louise Dadak, Kuba Dorabialski, Deanna Hitti, L-FRESH The LION, Jazz Money, Audrey Newton, James Nguyen and Rachel Schenberg.

Gaffa is a multi leveled creative precinct located in the heart of Sydney’s CBD next to Town Hall Station. The ground floor houses long term tenants, Level 1 is a dedicated gallery level of four gallery spaces run by a curatorial team, Level 2 has jewellery workshops and studio spaces and Level 3 houses more studio spaces and a rooftop that has beautiful views of the Sydney CBD.

Shivanjani Lal, grief is a mirror, 2023. Photograph: Document Photography. Until 10 February A Whisper Echoes Loudest Rosell Flatley, Carmen Glynn-Braun, Dennis Golding, Mehwish Iqbal, Shivanjani Lal, Nadia Refaei, Roberta Joy Rich and Sha Sarwari.

Tanya Reinli, We Are Family, 2023, 100% repurposed wine, perfume, liquor, spirit bottles, lids and handblown glass, dimensions: variable. Deanna Hitti, M is for Madraseh (detail), 2023, artist book. Photograph: Cat Black.

2 February–27 February Gaffa Unveiled

24 February—8 June Language Exchange Marian Abboud, Rainbow Chan,

Maria Constantinescu, Keroshin Govender, Jodee Knowles, Creon, Angela Tam, Wa Sei, Elizabeth Lews, 167

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

the works of Gallery Lane Cove + Creative Studios’ acclaimed teachers alongside the creations of some of the students who have taken part in the centre’s pottery classes and workshops in 2023.

the 1970s to foster excellence in original embroidery design and technique. Margaret Oppen, one of the founders of the Embroiderers’ Guild NSW, was a driving force in promoting modern approaches to embroidery. This exhibition showcases 2023 competition entrants, all of whom have responded to the theme of Wonderland. Until 30 January Student Showcase by the Embroiderers’ Guild NSW

William Yang, Blocked Moon gate, courtesy of the artist and Art Atrium Gallery. Wa Sei, Illumination Exhales Light, 2021, acrylic, aerosol on canvas, 125 x 101 cm. Tanya Reinli, Lauren Ami, Gaspare Moscone, Liz Bradshaw, Noah Spivak, Ian Thomas, Rat Bedlington, Lynn Smith, Skel, EJ SON, Elizabeth Creixell.

Gallery Lane Cove + Creative Studios www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information.

31 January–24 February Transcendence Bingbing Chen, Claudia Chan Shaw, Fan Dongwang, Dapeng Liu, Jayanto Tan, Laurens Tan, NC Qin, Pamela See, Wang Lan, Wang Xu, William Yang Curated by Simon Chan. Lunar New Year in 2024 is a time to celebrate the Year of the Dragon. It is also a time to reflect upon the cultural diversity of Australian life. Transcendence features eleven Chinese Australian artists who navigate their cross-cultural journey mediating cultural differences and exploring their identity, heritage and tradition through their own different personal artistic expression and creativity. Part of Gallery Lane Cove + Creative Studios’ Guest Curator Program.

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 Mon to Fri 9am–4pm Sat to Sun 10am–2pm. See our website for latest information.

Xanthe Muston, When I Was Green, 2023, watercolour, gouache, ink, carbon transfer, electric embossing on 300 gsm paper, 76 x 57 cm. Image courtesy of the artist. Until 27 January Collected Stories: Scenes from a Window Xanthe Muston Collected Stories: Scenes from a Window presents an exquisite selection of watercolour and mixed media paintings by Xanthe Muston, winner of the 2021 Lloyd Rees Youth Art Award. Muston uses literature as a starting point to explore private and often uncanny moments of human connection within the domestic landscape. 6 January–25 January Shaping Hand; journeys with clay Soledad Contardo, Warren Hogden, Gemma Gale Shaping hand; journeys with clay presents 168

The Embroiderers’ Guild NSW is a nonprofit 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 for beginners through to experienced embroiderers. Audiences will be astonished at the quality and innovation of the student work on show.

Ancient Coptic embroidery from the Fred and Elinor Wrobel Collection. 2 February–28 February The Fred and Elinor Wrobel Collection – Textiles and Embellished Treasures Gallery76 is honoured to be hosting a sale of textile works from the renowned collection of Fred and Elinor Wrobel. The exhibition will feature a diverse array of pieces amassed for over sixty years. Textiles form a particularly significant part of the Wrobel Collection. Elinor had a passion for wearable art, which evolved into a broader love of textiles as a medium. She was committed to championing female artists, investing in many whose work was underappreciated at the time. The exhibition will reflect the extraordinary vision and diverse interests of Fred and Elinor, with highlights including contemporary textile art, ancient Coptic embroideries (pictured), historic samplers and stumpwork, and Asian cultural pieces.

Glasshouse Port Macquarie www.glasshouse.org.au

Susan Johnson, Underlying Condition, winner of the Margaret Oppen Prize 2021. Until 29 January Margaret Oppen Prize 2023 The Margaret Oppen Prize was initiated in

Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Located in the heart of Port Macquarie, the Glasshouse is home to a theatre,

NEW S OUTH WALES Regional Gallery, studio, Visitor Information Centre, gift shop, conference and meeting facilities, and heritage displays. The Glasshouse offers a world of cultural experience, state-of-the-art technical facilities and flexible venues for performance, leisure and hire. Featuring innovative and environmentally sustainable design, the centre provides high quality exhibition, conference and performing arts facilities.

Gallery Lowe and Lee www.kerrielowe.com 49 - 51 King Street, Newtown NSW 2042 [Map 7] 02 9550 4433 Monto Sat 10am–5.30pm.

Winner Archibald Prize 2023, Julia Gutman, Head in the sky, feet on the ground, oil, found textiles and embroidery on canvas, 198 x 213.6 cm. © the artist, image © Art Gallery of New South Wales, Jenni Carter.

Niharika Hukku, Dandelion Painting, Tondo, acrylic on board. Denise Axelsen, Steel Waves, mild steel, 80 x 60 x 30 cm. 2 December 2023–25 February National Blacksmiths Survey Exhibition

19 January–10 February The Summer Show Featuring ceramics, painting, sculpture and jewellery by over 150 artists.

Goulburn Regional Art Gallery will welcome audiences to Australia’s favourite art exhibition, the Archibald Prize 2023 Regional Tour. Visit Goulburn Regional Art Gallery to see this iconic exhibition, experiencing up close and personal the works of all 57 finalists, depicting public figures and cultural identities from all walks of life. You will recognise famous faces and local heroes whilst also encountering new personalities in an exhibition reflecting the best artists and stories of our times. Goulburn Regional Art Gallery is one of only six regional galleries to host this major Art Gallery of New South Wales touring exhibition. Don’t miss out!

The Glasshouse Regional Gallery in Port Macquarie will host the first National Survey Exhibition of contemporary blacksmithing practice . This exhibition celebrates the craftsmanship and creativity of forged ironwork while also recognising the diversity of blacksmiths from across all states and territories. The focus is on the creative modes of contemporary blacksmithing from the technical, the expressive, the poetic and the functional.

An Art Gallery of New South Wales touring exhibition.

Gosford Regional Gallery www.gosfordregionalgallery.com

Janice Raynor, Penny Lane Theatre, earthenware ceramics. Regional Creative Showcase, 2022. Photo by Jeremy Rogers. 9 December 2023–22 January Regional Creative Showcase 2023 The Regional Creative Showcase 2023 celebrates 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 the Cultural Arts, Design, Digital, Fashion, Textiles and Visual Arts. The Regional Creative Showcase 2023 is a joint initiative of Port Macquarie Hastings Council’s Glasshouse Gallery and Cultural Development. Supporting regional arts in our community.

16 February–2 March Ave Mardi Gras, Mother Abyss!

36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free Admission. See our website for latest information. Gosford Regional Gallery and Edogawa Commemorative Gardens is located on the Caroline Bay precinct, East Gosford.

Celebrate Mardi Gras with our artists. Opening Friday 16 February, 6pm–8pm.

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au 184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat & Sun 12pm–4pm. See our website for latest information. 19 January–3 March Archibald Prize 2023 Regional Tour

Ralph Podolski, Dreamland. 13 January–25 February Ralph Podolski, a Life of Time and Chance: An Exhibition Celebrating Nine Decades of Art, Survival and Family. A survey exhibition of artwork by Central Coast resident, Polish-born painter Ralph Podolski. Survivor of the German Uprising and part of the Polish Underground 169

Feyona van Stom, Lavender

Julian Ellis, Choice Bridget Whitehead, Dance like no-one is watching

Pat Anderson, Reclining Figure

Martin Williams, Head of Atilan

Chris Cowell, Sound of Ice

Alan Somerville, Duet

www.sculptorssociety.com for enquiries and sales: Feyona van Stom - President feyonavanstom@gmail.com or 0408 226 827 Chris Cowell - Treasurer chrissycowell@gmail.com or 0419 010 923 sculptorssociety.com

NEW S OUTH WALES Gosford Regional Gallery continued... movement of the Second World War, Podolski reflects on his life through painting. Through his work, Podolski recalls the moment he arrived with his father at the Gross-Rosen concentration camp as political prisoners, and how his artwork helped him survive through swapping drawings for stale bread. Eventually migrating to Victoria, Australia in the 1950s, Podolski later built a comfortable life as a graphic artist in Melbourne, travelling to study art abroad, returning to Australia and relocating to Sydney where he became an Archibald finalist (1973) while working for UTS Sydney. Opening event: Friday 12 January. Doors open 5.30pm, speeches commence at 6pm. RSVP via www.trybooking.com/ CLCUF.

Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 Tue to Sat 10am–5pm. Free admission.

Anna Louise Richardson, Good egg, 2023, charcoal on cement fibreboard, 50 x 37 cm. Photo: Bo Wong.

Atong Atem, Yellow Dress 2, 2022, digital photograph. Courtesy of MARS and the artist. 24 February–14 April Atong Atem: Banksia As part of the Hometown series, recognising the practices of artists with connection to the Central Coast, Gosford Regional Gallery presents Atong Atem’s Banksia. Atong was raised on the Central Coast and now lives in Naarm/Melbourne. The works highlight the experience of African men and women who arrived on the First Fleet in 1788 — a colonial history that started long before Atem’s own family arrived from South Sudan in 1997. In fostering a deeper understanding of the experiences of Australia’s first African migrants, Atem interrogates the shaping of national policy, through the centuries, which has directly influenced who is determined to be Australian and nonAustralian. Opening event: Saturday 24 February, 2pm. RSVP via www. trybooking.com/CLCUF

2021 Art Award winner, Nadia Hernández, Dulce de lechoza verde (procedimiento)/Green papaya sweet (procedure) (detail), 2021, cotton, linen and corduroy on linen textile, 145 x 100 cm. Courtesy of Station. Photograph: Richard Glover. 27 January–24 February Grace Cossington Smith Biennial Art Award Exhibition of finalists for the Grace Cossington Smith Biennial Art Award for two dimensional artworks. The 2024 winners will be determined by guest judges Felicity Fenner, Chair, City of Sydney Public Art Advisory Panel and Associate Professor, Curating & Cultural Leadership, Faculty of Arts, Design & Architecture, UNSW and Dr Blair French, curator, writer and arts leader. Awards are: $15,000 acquisitive award; $2,500 Local artists award; and $2,500 early career artist. Winners announced on Friday 9 February.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts

The Good is a major new solo exhibition by artist Anna Louise Richardson whose practice is centred around rural life, embedded in the experience and drama of everyday reality. Working primarily in charcoal and graphite, Richardson’s work explores ideas of intergenerational exchange, parenthood and identity based on her experiences of living and working on a multi-generation beef cattle farm in rural Australia. The Good emerges from Richardson’s broader investigations into the complex relationships between humans and the natural world, tinged by grief and the competing demands of nurturing new life. In a world increasingly defined by division and hardship, Richardson’s work points to the necessary act of radical optimism needed to seek goodness in all things. Curated by Rachel Arndt & Dr Lee-Anne Hall. A Wagga Wagga Art Gallery, The Condensery and Museums & Galleries of NSW touring exhibition. This project was made possible by the Australian Government’s Regional Arts Fund, which supports the arts in regional and remote Australia and the Government of Western Australia through the Department, Culture and the Arts (WA). This project has been assisted by the Australian Government through Creative Australia, its principal art investment and advisory body.

Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery

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.

Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed Tuedays and public holidays.

Until 18 February The Good Anna Louise Richardson

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Australia’s Highest Value Art Prize for Women Professional Artist Prize $35,000 acquisitive Emerging Artist Prize $5,000 acquisitive Indigenous Emerging Artist Prize $5,000 acquisitive Peoples’ Choice Award $2,000

Entries Open

14 November 2023

Entries Close

14 February 2024 (midday DST Eastern Australia)

Opening Night 10 May 2024 ravenswoodartprize.com.au

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Maria Fernanda Cardoso, excerpt from Actual Size V (Maratus Madelineae) 2023 Professional Artist Winner

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Enquiries: 02 9498 9898 artprize@ravenswood.nsw.edu.au Ravenswood School For Girls | Uniting Church School for Girls Prep - Year 12 10 Henry Street, Gordon NSW

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NEW S OUTH WALES Hawkesbury Regional Gallery continued...

Mengqi Sun, Baulkham Hills High School, Duplexity (detail), 2022.

Deborah Kelly, The golden gaze of winged things, 2019, collage, watercolour and metallic pigments on handmade cotton paper, 28 x 19 cm. Courtesy of the artist and Wagner Contemporary Sydney. Paper Scissors Rock explores the contemporary use of ‘paper’, through diverse media including sculpture and installation, video, drawing, painting, collage, photography, and jewellery.

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.

Incinerator Art Space www.willoughby.nsw.gov.au/arts

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

2 Small Street, Willoughby, NSW 2068 0401 638 501 Wed to Sun, 10am–4pm.

Drew Truslove, Flat Rock Gully 9th Angle, 2022, ink on paper. Experience the natural world like never before at Line & Leaf, a contemporary exhibition by Drew Truslove and Mark Rowden. Drew’s minimalist ink drawings capture the wild essence of the landscape, while Mark’s intricate prints reveal nature’s textures. Join these artists on a journey through history and art, rediscovering the beauty and cultural significance of the Australian landscape. 28 February–17 March Ecology of Identity Michele Edinger and Stefania Riccardi Michele Edinger and Stefania Riccardi delve into the intricate concept of selfidentity as a multi-faceted construct shaped and influenced by generations past and present. Through their unique artistic practice, this exhibition unravels the complexities of this subject matter while aiming at fostering a deeper understanding of the complex tapestry that is the self.

The Japan Foundation Gallery www.jpf.org.au Monika Maria Klenner, Don’t Dare To Argue, 2021, mixed media on paper. Surfboard Collection, Adam Scard. Until 28 January 2024 Obsessed: Southern Sydney Collectors An exhibition of rarely seen private collections from southern Sydney. The exhibition will reveal unique collections ranging from art, ceramics and uranium glass to stamps, models and elaborate vintage clothing along with the special stories behind them and their collectors. 10 February–7 April ARTEXPRESS Showcasing a selection of Higher School Certificate artworks with students experimenting across a range of expressive forms, pushing aesthetic,

17 January–4 February Collecting Emotions Monika Maria Klenner

Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.

Emotions are one-of-a-kind; every person experiences them in their own way. Each piece in this collection tells a story. Klenner draws inspiration from her everyday surroundings such as home, the garden, the wilderness, or the beach. In her attempts to capture these passing moments, she employs a range of mediums including watercolours, coloured pencils, graphite, gouache, oil paint, soft pastels, and pigment ink, all on paper. 7 February–25 February Line & Leaf Mark Rowden and Drew Truslove

Ai Sasaki, 森を運ぶ, Carrying the Forest, 2023, oil on canvas, 80 x 65 cm. 173

BETWEEN URGENCY AND LEISURE 3 February - 28 April 2024

Image: Photograph of Reserve Bank Sculpture in production, Gerald Lewers, completed by Margo Lewers, c 1964, photographer unknown, Penrith Regional Gallery, Home of The Lewers Bequest collection.

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NEW S OUTH WALES The Japan Foundation continued... 15 September—27 January 2024 Ai Sasaki: Wayfinder’s Passage 渡りの道しるべ Ai Sasaki: Wayfinder’s Passage 渡りの道しるべ is a solo exhibition by Ai Sasaki, a contemporary Japanese artist based in Osaka. Featuring Sasaki’s recent works across mediums such as drawings, oil paintings and wood carvings, this exhibition includes a mural spread across the windows of The Japan Foundation Gallery created using royal icing. Through her works, Ai Sasaki depicts scenes in which the worlds recollected from viewers’ “memories” intersect with reality. The theme for this collection of pieces is the Latham’s snipe, a migratory bird that travels from the most northern part of Japan, Hokkaido, to the Tasmanian islands. Although the mural will be dismantled after the exhibition’s conclusion, the artwork will be carved into the memories of visitors, along with Ai Sasaki’s story of the journey between Japan and Australia.

The Korea-Australia Arts Foundation (KAAF) Art Prize is an annual art prize that aims to foster the Australian multicultural society by bringing artists together from diverse ethnicities. In its 10th year, the KAAF Art Prize is open themed and medium to 2D artworks and has both acquisitive and non-acquisitive cash prizes totalling $24,000 for the artists. As the exhibition and venue partner, the Korean Cultural Centre (KCC) Australia has been presenting the national finalists exhibition. Greg Hansell, The Loading Dock, Maitland, 2011, earth pastel, 80 x 100 cm. Opening event: Friday 22 February. Opened by her excellency, the honourable Margret Beazley AC KC. Limited edition books for sale. Closing 3pm on Sunday, 25 February.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 11am–3pm.

The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information. Since his first solo exhibition in 1980, Ken Done has become one of Australia’s most famous artists. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.

Wona Bae & Charlie Lawler, Field of vision, 2023. Image courtesy of the artist. 8 February—6 March Wona Bae & Charlie Lawler Wona Bae from South Korea and Charlie Lawler from Australia form a collaborative duo renowned globally for their art installations and sculpture, which delve into the deep, intertwined relationships between humans and nature. Their creations frequently cater to specific locations, sparking conversations with the architecture or environment they inhabit. By breaking down and reshaping recognizable natural elements, they unveil fresh perspectives on landscapes, urging viewers to contemplate and explore.

Lavendar Bay Society Ken Done, Cadmium tree reef, 2023, oil and acrylic on linen, 183 x 244 cm. Until 16 February Ken Done: Recent Work

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. Free Admission. 1 December 2023–25 January KAAF Art Prize 2023

www.royalart.com.au

Heidi Axelsen & Hugo Moline, The Dance of the Remediators, (process image), 2023. Courtesy of the artists. 15 December 2023—11 February The Dance of the Remediators Heidi Axelsen & Hugo Moline The Dance of the Remediators is an archive of a possible future; a materialised dream sequence recalling coal’s long photosynthetic memory. This work prototypes earnest and absurd devices, gentle megastructures and everyday actions, for remaking the world through care, play, wonder and hope.

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. From 29 January RAS Art School 1st term to start Monday, 29 January, running 10 weeks. Classes include day, evening and weekend sessions in portraiture, drawing, life drawing, pastel, acrylic, oils, plein air & sketch clubs. 22 February–25 February FRAS book launch & Exhibition

Charlotte Haywood, The Knowledge Holders, (detail), 2020, Blackbutt, banana fibre processed with Helle Jorgensen, collected buckie rush with Kylie Caldwell, banana silk, raffia, sasawashi bamboo, agave, jute, raffia, cotton warp. Courtesy of the artist. 175

Royal Art Society of N.S.W. January Term 1: RAS Art School General Drawing; portraiture, pastel, watercolour, botanical, miniature painting, exploring acrylics, sketch clubs and workshops.

February Greg Hansell FRAS launch book by Beagle Press and Exhibition Opening event Friday 2 February, 6–8pm. Governor of NSW Her Excellency, The Honourable Margaret Beazley AC KC in attendance to officially launch the exhibition. Exhibition finishes on Sunday 25 February at 3pm.

Greg Hansell, The Loading Dock, Maitland, 2011, earth pastel, 80 x 100 cm.

25–27 Walker Street, North Sydney, NSW 2060 02 9955 5752 royalart.com.au Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays.

Terra Sigillata vessels by John Dermer.

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NEW S OUTH WALES The Lock-Up continued... 17 February—7 April MNEMONIC VEGETABLES Charlotte Haywood 17 February—7 April Solo show Wanjun Carpenter

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

Macquarie University Art Gallery

Curated by Dr Greer Honeywill, Lost in Palm Springs is a national touring exhibition presented by HOTA, Home of the Arts in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program and is supported by International Art Services. 8 December 2023–25 February Collection 100: Gifted 2024 marks 100 years of public collecting at MAG&M. To celebrate, we are presenting a series of three special collection exhibitions throughout the year. Gifted celebrates the philanthropists, artists, donors and member groups whose generosity and foresight has grown an impressive art collection that holds 100 years of stories about the cultural life of our region, city, state and nation.

www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University, NSW 2109 [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

8 December 2023–28 July Surface Effect: Ceramics Collection Stories Elisabeth Cummings, Barbara Romalis, Belinda Fox, Neville French, Noel McKenna, Danie Mellor, Guan Wei. Michael McHugh, Swimming in the Clouds, 2022, acrylic paint on canvas, 200 x 600 cm (3 panels). Donated through the Australian Government’s Cultural Gifts Program by Michael McHugh, 2023. Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. Courtesy of the artist and Martin Brown Contemporary, Sydney. 27 November 2023–9 February The Art of Giving David Aspden, Monika Behrens, Marion Borgelt, Judy Cassab, Michael Cusack, Adrienne Doig, Neil Frazer, Joe Furlonger, Craig Koomeeta, Tim Johnson, Ildiko Kovacs, Tom Loveday, Fiona Lowry, Michael McHugh, Alexander McKenzie, Jennifer Keeler-Milne, Nigel Milsom, Yessie Mosby, Larakin Munmun, Mary Brown Napangardi, Paul Newton, Susan Norrie, Gabriella Possum Nungurrayi, Margaret Olley, David Pallister, Gloria Petyarre, Emily Pwerle, Paul Ryan, Johan Tahon, Dick Watkins and Nawurapu Wunuŋmurra Macquarie is a university of service and engagement. What better way to engage our students and staff and the many visitors to the Wallumattagal Campus than with the extraordinary depth and breadth of the Macquarie University Art Collection. Its presence is one of the most talked about features on campus. The Art of Giving series has become a highlight in our exhibition calendar, featuring new donations that enriches the dynamism of the university art collection. The new acquisitions by donations have developed our arts and cultural ecology on campus. You get to explore and discover the art collection across the entire campus throughout our buildings including the library, hospital, chancellery and faculty areas. Art has become part of our everyday working environments that inspire creative thinking and different ways of learning. Art engages our students, staff and the broader community through transformative learning and life experiences.

Paul Davies, Built Landscape III, 2015, vinyl acrylic copolymer on canvas, 180 x 147 cm. Image courtesy of the artist and the Patrick Corrigan Collection. 8 December 2023–25 February Lost in Palm Springs Kate Ballis (AUS), Tom Blachford (AUS), Darren Bradley (USA), Anna Carey (AUS), Sam Cranstoun (AUS), Paul Davies (AUS), Rosi Griffin (AUS), Jim Isermann (USA), Troy Kudlac (USA), Lance O’Donnell (USA), Kim Stringfellow (USA), Vicki Stavrou (AUS), Robyn Sweaney (AUS), Gosia Wlodarczak (AUS). An interdisciplinary exhibition bringing together 14 creative minds – including internationally recognised artists, photographers and thinkers from America and Australia – who respond to, capture, or reimagine the magical qualities of the landscape and the celebrated mid-century modern architecture found in the desert city.

MAG&M collection in which the connections between painting and ceramics are made visible, and the viewer is invited to consider the ways in which the aesthetics of different artforms influence each other.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am–4pm. Café, 8am–2pm. Free entry, donations always welcomed.

Noel McKenna, Audrey + Decimus, 2020, oil on canvas, 160.5 x 160 cm. 18 November 2023—25 February Sleep my horse....1956: Noel McKenna

Elisabeth Cummings, Untitled, 1984, oil on canvas, 122 x 112 cm. Gift of Peter Boehm through the Australian Government’s Cultural Gifts Program 2020. Image courtesy of the artist.

Join us for this wonderfully autobiographical exhibition as Noel McKenna takes us on a journey that speculates on his life “this is a contemplation of things that have come about, or have not come about or what may come about or what may never come about.” —Noel McKenna. 177

ar t g ui d e .c o m . au Maitland Regional Art Gallery continued... 18 November 2023—18 February Operation Art: an initiative of the Children’s Hospital Westmead 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. The Operation Art program provides a forum for schools and students to demonstrate their visual arts achievements through exhibitions at the Armory Gallery, Sydney Olympic Park and the Art Gallery of New South Wales.

Manning Regional Art Gallery www.manningregionalartgallery.com.au

observer to experience an emotional journey, providing a personal and unique experience. The works offer an immersive insight into the beauty and diversity of the world around us.

12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm. Until 27 January Saltwater Freshwater Arts 2023 Aboriginal Art Award and Contemporary Cultural Objects. A showcase of Aboriginal art and contemporary cultural objects from Aboriginal and Torres Strait Island artists who reside in the Worimi, Biripi, Dunghutti and Gumbaynggirr nations. The biennial art award and contemporary cultural objects exhibition began in 2017. The exhibition is full of vibrant, colourful works with strong depictions of Indigenous values.

Cherine Fahd, Documentation from the performance A Proxy for a Thousand Eyes, 2020, featured in the video Play Proximus, 2020–2021. Photograph: Pamela Pirovic.

Heather Dorrough, Self Portrait No 6 (Buzzflies) (detail), 1982, textile, dye, photographic silk screen printing, machine embroidery, 212 x 54 cm. Photograph: Jenni Carter.

25 November 2023—18 February Touching and Turning: Cherine Fahd

1 February–23 March Lineage Heather Dorrough, Kate Dorrough

Burning with the changing realities of the past few years, artist Cherine Fahd explores the nature of touch and intimacy through her participatory performance. “The camera and a picture, whether moving or still, have the potential to generate intimacy and attachment. I am interested in how making images can motivate us to come together during a crisis.” 25 November 2023—25 February The Between: Deirdre But—Husaim In a state of in between is the experience of our recent times. Pre covid, post covid and that place between. In this exhibition Deidre documents life in her home and studio during various stages of lockdown. From her home looking out at the heavy fragranced Angel trumpets in various stages of bloom or looking inwards at images from past travels visiting other artists’ studios and remembering brushes for painting, ceramics or calligraphy all standing to attention waiting to be called to duty. 2 December 2023—3 March Myth Making: Kate Rohde and Troy Emery A Horsham Regional Gallery Exhibition The subjects of mythology have long provided artists with a rich source of inspiration for depiction and reinvention. For Myth Making, artists Kate Rohde and Troy Emery have sought inspiration directly from the land and ecology of the Wimmera and Grampians regions of Victoria. Returning to their studios they embarked on a journey of collaboration to create a new mythology of Western Victoria influenced by the traditions of European myth making and imbued with their own recognisable, whimsical, and at times dark, artistic practices. 178

Scott Pollock. Until 27 January Art after Brain Injury Cynthia Burke, Djen Burns, Jamie Daddo, Peter Davidson, Jillian Oliver, Scott Pollock, Mark Waller. An artistic perspective of how differently artists see the world after brain injury. The artists in this exhibition have many different types of brain injuries - from mild to severe - with a huge variety of outcomes. Art provides a new or renewed sense of purpose in their lives, also a way of communicating how the world looks now – something often impossible to explain in words. Some artists use art as therapy, for others it’s a compulsion or a continuance, but each have a different perspective to life after their injury. Until 27 January Mindscapes Julienne Richardson Julienne’s portrayals of landscapes are distinctive and deeply personal. Through her art, Julienne expresses the way she perceives the natural world around her. Her love for watercolours is evident in every painting, adding to the dreamy quality of her work. Each painting exudes an aura of mystery, drawing the observer in and encouraging them to explore their imagination. Her bold use of colours is striking and captivating, enabling the

This exhibition is a conversation across time. The multi-disciplinary works of mother and daughter Heather and Kate Dorrough explore the nexus between the arts and crafts movements, female creative lineage, body and landscape, river and fertility, and environmental issues and activism. The exhibition encompasses fibre art, paintings, prints, ceramics, sculpture and video. 1 February–23 March Cross-Currents Julie Slavin Cross-currents exist where forces intersect. We see them all around us, in nature, in social and cultural changes, in relationships and spiritual growth. Change is inevitable and can be devastating or full of awe and wonder. We must be flexible and buoyant in order to navigate our way. The question arises, do we sink, swim or go with the flow?

Mosman Art Gallery www.mosmanartgallery.org.au 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm. Closed public holidays. See our website for latest information. Until 4 February Imants Tillers: The Mosman Years

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Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm. See our website for latest information.

The exhibition includes rarely shown sculptures, paintings, and photographs from the Collection alongside a new video commission, Green Pastures, to hold a conversation about bla(c)k creativity and self-determination. Part of an artistic and social movement for bla(c)k selfdetermination, the exhibition encourages an embodied engagement with the Museum and the artworks it presents and collects to open up how, and where, we can engage in bla(c)k dreaming.

Imants Tillers, Factum 1, 2021, synthetic polymer paint, gouache on 32 canvas boards, nos. 111750 - 111781, 202 x 141.5 cm. Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney and (c) the artist. Mosman Art Collection, acquired with funds raised by Mosman Art Gallery’s Acquisition Fund. Imants Tillers: The Mosman Years looks back at over forty years of Imants Tillers’ work and begins with the moment in Tillers’ career when he began painting on small, numbered boards rather than large canvases. Place is essential in Imants Tillers work, drawing inspiration from poets, philosophers and past artists to tell stories of belonging and displacement, people and place. Mosman has been a home to Imants Tillers, and he has documented its landscape and artistic history through works included in this exhibition. Until 11 February Jacobus Capone: Demarcation (Act 4) Following on from being awarded the 2022 Mosman Art Prize, Jacobus Capone shares with two-screen video work that forms part of an ongoing project titled Forewarning. Demarcation features the artist treading a precarious path along the precipice of a glacier in Norway, drawing the viewer’s attention to the fragility of this environment, and by extension, the global environment in this time of climate change. Visually the work draws on ideas of the sublime and reminds us of the feelings of overwhelming awe that nature inspires in us. Until 11 February Jo Mellor: Broken Landscapes Jo Mellor explores the plethora of environmental challenges that define our contemporary existence through the environmental degradation found in and around the mining town of Broken Hill, NSW. This body of work demonstrates the need to honour Country and to repair and care for our natural world. Mellor’s art practice sits at the nexus of digital imagery, landscape painting and textile art.

Olivia Oluwayemi Suleimon and Naomi Impa Musemu, Green Pastures, 2023, production still. Commissioned by Parallel Structures for Dream Variations, 2023. Photo: Mark Maker.

Stephen Pleban, Music for Animals I, 2023, oil, wax and marble dust on linen, 183 x 153 cm. Until 27 January Summer Group Exhibition 1 February–24 February Zak Tilley Gemerre Phyllis Thomas

Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information. Murray Art Museum Albury combines heritage buildings with contemporary architecture. With an ever-changing exhibition program, the Museum provides a unique backdrop for creative experiences and events. Until 18 February Dream Variations New commission by Olivia Oluwayemi Suleimon and Naomi Impa Musemu Collection artists include Allan Chawner, Brook Andrew, Cherine Fahd, Destiny Deacon, Russell Drysdale, Tracey Moffatt, Tommy McRae and Viva Jillian Gibb Curated by Kelly Dezart-Smith, Dream Variations guides us through an intersectional bla(c)k poetics of freedom and its prohibition within the Murray Art Museum Albury collection.

Michael Cook, Bidjara people Brisbane, Queensland, Australia born 1968, Undiscovered, 2010, pigment inkjet print, Hahnemühle Photo Rag® Bright White 310 gsm paper, 125 x 100 cm. National Gallery of Australia, Canberra. Purchased 2010. © the artist and THIS IS NO FANTASY. 15 December 2023–10 March giyawarra-nanha gulbalanha / disturbing the peace Michael Cook, Danie Mellor, Christopher Pease, Sandra Hill, Roy Kennedy, Julie Dowling, Lesley Murray, Tony Albert, Avril Quaill, Judy Watson, Ricky Maynard, Vernon Ah Kee, Liz McNiven giyawarra-nanha gulbalanha / disturbing the peace is a significant exhibition foregrounding First Nations artistic practice, drawing together twentyone works from the National Gallery of Australia, plus key works from the Murray Art Museum Albury collection. This collective dialogue rejects acts of silencing and engages in the language of protest, drawing our attention to the devastating disturbance of the peace that First Nations peoples have experienced from the moment of colonisation. 179

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Works by: E. Rowan, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Winch, M. Perceval, J. Bezzina, and many others.

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tueday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au Marian Ellis Rowan (1848 - 1922), North American Asters, mixed media on paper, 50 x 36cm.

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Museum of Contemporary Art Australia

See our website for latest information.

www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm, Fri until 9pm. Closed Tuedays. See our website for latest information.

Tacita Dean, Sakura (Jindai I), 2023, installation view, Geography Biography, Bourse de Commerce - Pinault Collection, 2023, coloured pencil on handprinted Foma matte silver gelatin photograph mounted on paper, image courtesy Pinault Collection, © Tadao Ando Architect & Associates, Niney. et Marca Architectes, agence Pierre-Antoine Gatier. Photograph: Aurélien Mole. The Museum of Contemporary Art Australia presents Tacita Dean, the largest presentation of the internationally acclaimed artist’s work in the Southern Hemisphere as part of the Sydney International Art Series.

Tarek Atoui, Waters’ Witness (detail), 2023, installation view, Museum of Contemporary Art Australia, 2023, custom-built musical instruments, resonant sculptural objects and natural materials with live sounds and recordings, image courtesy the artist, Museum of Contemporary Art Australia, © Tarek Atoui. Photograph: Zan Wimberley. Until 4 February Tarek Atoui: Waters’ Witness Curated by Anna Davis Tarek Atoui is a Lebanese artist and composer whose practice investigates the medium of sound. Known for his collaborative performances and installations using handcrafted musical instruments, Atoui creates works that encourage us to listen in new ways. Waters’ Witness is the first exhibition of the Paris-based artist’s work in Australia. Until 4 February Primavera 2023: Young Australian Artists Tiyan Baker, Christopher Bassi, Moorina Bonini, Nikki Lam, Sarah Poulgrain, and Truc Truong Guest curated by Sydney based artist and curator Talia Smith. Primavera 2023: Young Australian Artists, the MCA Australia’s annual exhibition for artists aged 35 years and under, presents work by six early-career artists that challenge society’s prescribed structures to deliver compelling alternatives to the status quo. Until 3 March Tacita Dean Curated by Suzanne Cotter (Director), Jane Devery (Senior Curator, Exhibitions), and Megan Robson (Curator).

Widely regarded as one of the most significant artists of her generation, Tacita Dean (b. 1965, United Kingdom) is renowned for visually compelling works in diverse media including film, photography, sound, installation and drawing. The exhibition will feature significant artworks that have never been exhibited in Australia that convey Dean’s extraordinarily beautiful investigations into chance, memory, entropy, history and the passing of time. Until 10 March MCA Collection: Artists in Focus Joan Brassil, Kevin Gilbert, Simryn Gill, Jumaadi, Tracey Moffatt, Sancintya Mohini Simpson, John Nixon, Leyla Stevens, Alick Tipoti, and a selection of bark paintings from the Arnott’s Collection showcasing Aboriginal artists from Groote Eylandt, Yirrkala, Galiwin’ku, Milingimbi, Maningrida, Ramingining, Gunbalanya, Wadeye and the Tiwi Islands. Curated by Pedro de Almeida, Anna Davis, Jane Devery, Anneke Jaspers, Keith Munro, Megan Robson, Manya Sellers and Lara Strongman. Artists in Focus highlights key bodies of work by more than 50 artists acquired by the Museum of Contemporary Art Australia since its inception in 1989. It represents a dynamic approach to the presentation of the MCA’s permanent collection, which will change over the course of 24 months.

Adam Norton, Earth Abides, 2020, synthetic polymer paint on aluminium, 110 x 110 x 10 cm, Muswellbrook Shire Art Collection, Finalist, Muswellbrook Art Prize 2021. Purchased courtesy the Max Watters Bequest. 12 January–25 May Art Tracks VII: Not at the Dinner Table Art Tracks VII: Not at the Dinner Table brings together works from the collections acquired through the Muswellbrook Art Prize, spanning from radical ideas to the taboos in normalcy of everyday life. These pieces serve as a visual testament to the transformative power of art, transcending limits, and shedding light on topics considered unfit for polite conversation. The contemporary artists featured in this exhibition acknowledge that within these restricted subjects lies the potential for deeper understanding, empathy and connection. Some make bold political statements through their work, such as Adam Norton’s utilisation of protest iconography in his Giant Badges series, 2020, and Mike Parr revisiting his previous political art performances in Against the Dead (Self Portrait as a Wedge), 1983. Others delve into taboo subjects like death, exemplified by Susanne Archer’s The Graveyard, 1987. The exhibition space itself is a forum for open discourse, challenging visitors to reassess the boundaries that dictate what is deemed acceptable for discussion in public settings. Art Tracks VII: Not at the Dinner Table encourages viewers to reflect on the sources of their discomfort and question why certain topics remain off-limits.

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook. nsw.gov.au 1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. Henry Lewis, Pocket-b 37, 2023, digital 181 print, 91.5 x 91.5 cm.

World renowned fine artist Concetta Antico, scientifically endorsed, perceives 100 million more colours than regular vision.

“Seek and Ye Shall Find” 48 in x 36 in (122 cm × 91.4 cm) oil on canvas

Come witness her gifted works at her new Sydney galleries! Empyrean Art Gallery 136 Queen St. Woollahra, NSW 2025

The Concetta Antico Gallery 500 Glenmore Rd. Edgecliff, NSW 2027

Wed - Sat lla - 5p & by Appointment

concettaantico.com Contact: art@empyreangallery.com Next Exhibition 13.01.24 - http://spellbound.show

spellbound.show

NEW S OUTH WALES Muswellbrook Regional Arts Centre continued... 12 January–16 March Breathing: Henry Lewis “Being aware of our “being” always seems to be a revelation, as in the quixotic amusement of “seeing one’s breath.” But variation is where photographer Henry Lewis sees, captures, and chronicles value. We may not breathe in the same way, or other influences may impact how we do. And in chronicling the variations within and between his own breathing, Lewis highlights how little we understand or engage with the ubiquity and fragility of the process.” – Brett Levine.

Nanda\Hobbs www.nandahobbs.com 12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information. 8 February–24 February Le Capitaine Paul Ryan

National Art School NAS Gallery

mid-1980s, Australian economist and diplomat Dr Geoff Raby AO assembled an outstanding art collection of artworks by more than 75 artists working in both China and in Australia, as members of the Chinese diaspora. In Our Time presents a selection of works from this special collection, now part of the La Trobe University Art Collection. Through art imbued variously with humour, fantasy and sarcasm, the exhibition In our Time addresses diverse themes ranging from urban life, Chinese philosophy and cultural difference to social justice, human rights and nationhood. The represented artists work in media including painting, photography, drawing, ceramics, sculpture and textiles. This exhibition has been produced for the National Art School in partnership with La Trobe Art Institute and supported by Sydney Festival

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

156 Forbes Street, Darlinghurst, NSW 2010 [Map 8] 02 9339 8686 Mon to Sat 11am–5pm. Free admission.

Leah Bullen, Inside-Outside, 2023, watercolour, gouache and monotype on paper.

Over a 35-year period beginning in the

9 February—7 April Wynne Prize 2023

9 February—7 April Urbanus Open Bite Printmakers

To culminate NERAM’s 40th anniversary year, Inspiration and Iterations celebrates both collection and community. 40 invited artists selected a work from the NERAM collections and created an artwork in response. Featuring local and national, emerging to established, and student artists.

Open Bite Printmakers have responded to the challenge of looking at their environment and art practice through the dual prisms of inhibition and inspiration. The exhibition explores the personal response by our members to the notion of an urban environment with its excesses and limitations, the common and the uncommon, and aims to challenge the viewer to engage with their own understanding of the subject.

17 November 2023—4 February Armidale Street CRISP, James O’Hanlon, Silly Pear

Ngununggula

29 September 2023—4 February Inspiration and Iterations

19 January–30 March Our Time: Four decades of art from China and Beyond – The Geoff Raby Collection Ah Xian, An Kun, Aniwar Mamat, Cang Xin, Chen Man, Chen Wenling, Feng Yan, Gonkar Gyatso, Guan Wei, Guo Jian, Hua Jiming, Jhamsang, Jian Jun Xi, Jiang Shan Chun, Li Dapeng, Li Jin, Lin Chunyan, Lu Peng, Luo Brothers, Qi Zhilong, Laurens Tan, Rose Wong, Shen Jiawei, Sheng Qi, Shi Jianmin, Tan Yifeng, Xiao Lu, and Zhang Hui

Rew Hanks, Peaches and Cream, 2014, linocut, hand coloured.

Touring for the first time, the annual Wynne Prize was first awarded in 1897 in honour of the official opening of the Art Gallery of New South Wales at its present site. Judged by the trustees of the Art Gallery, the prize is awarded to the best landscape painting of Australian scenery or for the best example of figurative sculpture by an Australian artist. An Art Gallery of NSW touring exhibition.

www.nas.edu.au

Chen Man, born Beijing 1980, lives Beijing, Ms Wan studies hard, 2011, chromogenic print on aluminium. La Trobe University, Geoff Raby Collection of Chinese Art. Donated by Dr Geoff Raby AO through the Australian Government’s Cultural Gifts Program, 2019. © Chen Man. Photograph: Jia De.

New England Schools Acquisitive Art Prize since it was established in 2004. It brings together the 80 prize-winning works from school students, from kindergarten to Year 12, across the broader region for the first time ever, showcasing the amazing creativity of students and dedication to the arts by teachers. A partnership with University of New England.

Armidale Street celebrates the vibrant and colourful street art scene in Armidale, NSW. Featuring street artists with local connections, including CRISP, James O’Hanlon, and Silly Pear, this exhibition brings the outdoors indoors and highlights the urban street art secrets that can be found in regional NSW.

www.ngununggula.com

17 November 2023—4 February 20 Years of UNESAP

Southern Highlands Regional Gallery, Retford Park, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] (02) 4861 5348 Mon to Sun, 10am–4pm. See our website for latest information.

20 Years of UNESAP celebrates two decades of presenting the University of

Until 4 February New Dog Old Tricks 183

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

Until 21 January Jake Clark

Colin Pearson, 2002, thrown stoneware. Collection of Greg Daly. Aleks Danko, Log Dog, 1970. John Kaldor Family Collection. Billy Bain, Del Kathryn Barton, David Beal, Adam Cullen, Aleks Danko, Max Dupain, Marc Etherington, Todd Fuller, David Griggs, Julia Gutman, Louise Hearman, Nadia Hernández, Jeff Koons, Guido Maestri, Noel Mckenna, Lewis Morley, Jason Phu, Robert Walker, William Wegman, Madeleine Pfull

26 January–10 March A Maker’s Collection Greg Daly 3 February–7 April The Wattle Room Genevieve Carroll Chapter 11 oysters and buttered bread 2 September 2023–3 March A Likeness 21 October 2023–30 June Collection Highlights and Recent Acquisitions

PIERMARQ* www.piermarq.com.au

Caroline Rothwell, photograph: Anna Kucera. Joan Ross, photograph: Cara O’Dowd. 17 February–5 May Ross & Rothwell: in the same boat Joan Ross and Caroline Rothwell

Orange Regional Gallery

23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9188 8933 Mon to Wed 10am–5pm, Thur to Sat 10am–6pm. Founded in 2012, PIERMARQ* is an art gallery located in Surry Hills, Sydney, exhibiting the forefront of international and Australian contemporary art. PIERMARQ* takes pride in fostering a global network of artists who support each other with practical advice and creative opportunities.

www.orange.nsw.gov.au/gallery

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.

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15 February–9 March Maximilian Daniels

Outback Arts Gallery www.outbackarts.com.au 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm.

Elisabeth Cummings, Common Ground Series 1, 1999. 12 February–5 April The Collectors Wendy Sharpe, Salvatore Gerardi, Gabriella Possum Nungarrayi, Arthur Boyd, Elisabeth Cummings and more.

149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm. See our website for latest information.

25 November 2023–21 January Journeys and Return John R Walker

Maximilian Daniels, Untitled 1, 2023, oil and wax on linen, 183 x 137.5 cm.

Jake Clark, Caviar Kaspia, 2021, glazed earthenware, 42 x 32 x 32 cm.

Yvon Gatineau and Peter Jackson started collecting works of art in 1996. Their aim was to give support to Australian artists and to make their lives more joyous and stimulating because of the works of art that they were fortunate enough to have around them in their home. With the support of the King St Gallery, Outback Arts is fortunate enough to thank Peter and Yvonne for their donations spanning 20 years that have supported exhibitions, exposure and experiences for the arts and cultural life of outback NSW. Artworks in the exhibition include works by Wendy Shape; one of Australia’s most acclaimed artists, awarded the Sulman Prize, two Travelling Scholarships, the Portia Geach Memorial award (twice), the Archibald Prize and many others. Arthur Boyd; painter,

NEW S OUTH WALES 6 January–28 January Quintessence Jude Rose

re-opens 10 January. 10 January–27 January Highlights of the 2023 Art Awards The 2023 QPRC and Bendigo Bank Art Awards exhibited and celebrated the artworks from 70 artists across the Queanbeyan-Palerang Region. This current exhibition presents a visual slideshow of the works that were a part of the 2023 exhibition. 13 January–24 February History of Rusten House This exhibition showcases the history of Rusten House which was first built as a hospital in 1862 and later restored and reopened as an Art Centre in 2021. The exhibition shows photographs of the people, stories, and history of the building, navigating curious insights into Rusten House in the nineteenth and early twentieth century.

Arthur Boyd, Pulpit Rock Landscape, 1995. potter and printmaker from a family of artists. Boyd aimed to convey an inner emotional vision through his work, rather than describing the external world. He painted lyrical and emotive allegories on universal themes of love, loss and shame, often located in the Australian bush. Gabriella Possum Nungarrayi; the eldest daughter of renowned artist Clifford Possum Tjapaltjarri. Her paintings depict stories such as Bush Tucker, Women’s Ceremonies, Serpent, Goanna and Seven Sisters Dreamings. Gabriella’s work is bold and vivid in colour and composition and utilizes many different techniques, the ‘dot’ technique in particular. And Elisabeth Cummings; one of Australia’s most respected living artists with a career spanning over 60 years. Her most recent exhibition Radiance, The Art of Elisabeth Cummings was open at the National Art School, Sydney, in August of 2023.

Rex-Livingston Art + Objects www.rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thur to Sun 11am–5pm, Mon by appointment, closed Tue & Wed.

Steve Singline, Breaking Light, 2023, oil on canvas, 100 x 83 cm. 3 February–25 February Landscapes: New Trends

Rusten House Art Centre www.qprc.nsw.gov.au/Community/Culture-and-Arts/Rusten-House 87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. Rusten House Art Centre is an 1862 NSW Heritage listed building that was Queanbeyan’s first hospital. It has been restored for reuse as a regional gallery and workshop facility, opening for the first time to the public from April 2021. It boasts many original architectural features and is accompanied by a heritage listed garden. Rusten House is owned and operated by QueanbeyanPalerang Regional Council. Rusten House

Julie Colbran, Taemas, 2023, oil, 75 x 60 cm. 3 February–24 February Places Near Here Julie Colbran Colbran’s first solo exhibition presents oil paintings of scenes in the ACT and surrounding area completed en plein air and indoors. For the artist, proximity and connection build attachment to places, where she can connect and value locality and the natural landscape.

Roslyn Oxley9 Gallery www.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. Until 25 January Blue Bloods Kirtika Kain

Jude Rose, Quintessence, 2023, watercolour and pencil on birchwood panels, 98 x 98 cm.

Until 25 January The way they connect without seeing Patricia Piccinini Rusten House (detail), 1876, carte de vista photograph.

4 March–6 April Fiona Hall Destiny Deacon

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S.H. Ervin Gallery

Cavaliere, Maree Clark, Juan Davila,

www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. See our website for latest information.

Julia Gutman, Head in the sky, feet on the ground. Winner Archibald Prize 2023. © the artist. The collection held on behalf of the community by SECCA has been built over decades. Historically the collection was pioneered by the Bega Valley Arts and Crafts Society in the 1960’s. Additions to the contemporary collection have grown over recent years through gifts from artists, collectors and members of the community.

Ann Thomson, Orion, 2014, acrylic on linen, 102 x 200 cm. Private Collection. 2 January–3 March Ann Thomson Ann Thomson is a Brisbane-born, Sydney-based painter and sculptor known for her vibrant, expressive compositions and inventive use of unconventional materials including tar paper. Since graduating from the National Art School in 1962 she has held countless solo and group exhibitions throughout Australia and overseas. Thomson has won a number of prizes, including the 1998 Wynne Prize, 2005 Kedumba Drawing Prize and the 2002 Geelong Contemporary Art Prize, and her work is included in many important collections such as Art Gallery of New South Wales, Newcastle Regional Art Gallery, Thyssen-Bornemisza Collection, Madrid and Villa Haiss Museum, Germany. Special guest curator, Terence Maloon, has assembled an exhibition that surveys the last 20 years of the artist’s work.

SCA Gallery www.sydney.edu.au/sca Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm.

Shoalhaven Regional Gallery, Nowra www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry. Until 3 February Death Love Art Tony Albert, Vernon Ah Kee, Katthy 186

Mummy portrait, Roman Period CE 160–190, wood, tempera, 1.2 x 20.3 x 34.8 cm. Image courtesy of National Gallery of Victoria, Felton Bequest, 1940.

Jessica Loughlin, of light, installation at JamFactory Adelaide, 2022. JamFactory ICON. Photograph: Rachel Harris. © the artist. Maree Clarke, Women in Mourning 1, 2012, inkjet print, 120 x 200 cm. © Maree Clarke, courtesy the artist and Vivien Anderson Gallery, Melbourne. Samuel Elyard, Anne Ferran, Todd Fuller, HaHa, Joy Hester, William Kelly, Sally Morgan, Sidney Nolan, Wayde Owen, Gary Shead, Frank Short, Vicki Varvaressos, Jason Wing, Jiang Zhi and Salvatore Zofrea

South East Centre for Contemporary Art – SECCA www.secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Sun 10am–5pm. See our website for latest information. 18 November—7 January Archibald Prize 2023 Regional Tour Visit Australia’s most famous faces this Summer at SECCA / Bega, the cultural heart of the South East. An Art Gallery of New South Wales Touring Exhibition. 13 January—11 February HOME - Works from the collection

17 February—14 April Jessica Loughlin : Of Light Jessica Loughlin is one of Australia’s most internationally acclaimed glass artists and is renowned for her innovative technical approach to kiln-formed glass. She creates ethereal glass works that explore her fascination with the beauty of emptiness and her extensive research into light and space.

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Sat 11am–6pm, or by appointment. Closed until 31 January. See our website for latest information. 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.

NEW S OUTH WALES

Straitjacket www.straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450 By appointment only during January and February. Julia Griffin, Macdonald River, 2023, oil on paper, 38 x 57 cm. colour to make unique reduction and jigsaw linocut prints of the transient nature of the landscape and big skies of Walcha. Julia Griffin is also a studio painter but more recently has taken to plein air works on paper using oil pastels, remembering the immediacy of the first response when time is limited and the light is volatile.

Tin Sheds Gallery Kenneth Lambert, Biomorphic Compositions III, 2018, Edition 3 + 1 AP, Duration 10 min, 3840 x 2160 pixels (4K UHD) COTA. 31 January–17 February Fooled Enough with Numbers Justin Harvey, Kenneth Lambert, Thomas Marcusson An exhibition that explores the intersection of science and humanities. Featuring the work of three artists, the exhibition challenges our perceptions of art, and the power of numbers to shape our understanding of the world.

STATION www.stationgallery. com 91 Campbell Street, Surry Hills, NSW 2010 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

www.sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm, Sat 12pm–5pm. Holly Leonardson, Daily Swim #3, 2023, acrylic, Japanese acrylic gouache, sand, wood panel, 61 cm x 46 cm x 2 cm. Photograph: Alberto Zimmerman. January–18 February Summer Salon 23/24

Sullivan+Strumpf Sydney www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. 8 February–9 March Tony Albert

Tamworth Regional Gallery www.tamworthregionalgallery. com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm. Dean Cross, To learn to teach, 2023, oil, synthetic polymer, lead and binder on linen, 61 x 50 cm. Courtesy the artist and STATION. 20 January—24 February Overture (GODZILLA) Dean Cross

Until 4 February Land and Sky Julia Griffin and Gemma King Julia Griffin and Gemma King are Walcha artists and mother and daughter. They are both printmakers and drawn to the sublime beauty of ink on paper. Gemma King experiments with multiple layering of

Gracie Grew, Salone del Mobile. 22 February–16 March Salone del Mobile First coined by Marcel Duchamp in 1931 to describe the instruments of Alexander Calder, the term ‘mobile’ refers to an ensemble of balanced parts moving simultaneously yet independently of one another. When interpreted as a pun however it could represent one’s motive or what prompted an action or crime. The mobile may be considered a naive device. Neither determined nor determining, its spatial operation is dependent on external forces inviting accident and uncertainty. Gathering an array of spatial practitioners operating outside of the traditional design services to construct a hanging apparatus in the Tin Sheds, Salone del Mobile [SYD] challenges preconceptions about the architect’s role, imagining how cultural or creative production may be established without a building. Representing spatial agendas unique to each creator, its hanging armatures support live and 1:1 acts of disciplinarity. Together, these mobiles represent an assemblage of parts - a divergent network of overlaid ideas emerging from alternative practice in Sydney. Selone del Mobile is a student lead exhibition by recent Master of Architecture graduate: Gracie Grew. 187

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Tweed Regional Gallery & Margaret Olley Art Centre

Wagga Wagga Art Gallery www.waggaartgallery.com.au

www.gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm.. Until 25 February Recent Acquisitions: Tweed Regional Gallery collection Selected from the Gallery’s collection, Recent Acquisitions includes works which have been acquired by the Gallery, or generously donated over the past three years. Until 25 February Three Echoes Western Desert Art Curated by celebrated curator, writer, artist and activist, Djon Mundine OAM FAHA, Three Echoes – Western Desert Art showcases works by 57 acclaimed artists heralding from Ikuntji (Haasts Bluff), Papunya and Utopia Aboriginal communities in the western desert regions of the Northern Territory, Australia. Drawn from the private collection of Andrew Arnott and Karin Schack, the exhibition of paintings, prints and batiks communicates important stories of tjukurrpa (Dreaming) and Country, and explores the poetic notion of echoes – how metaphorically and metaphonically we can echo a thought, a sentiment or a consciousness. Until 3 March Vanishing Point Andrea Portela Moreno Vanishing Point is the first solo exhibition by emerging Northern Rivers artist Andrea Portela Moreno. Her largescale perspective paintings explore the vanishing point as a visual and conceptual point of mystery, questioning the hidden narratives that lie beyond the horizon. Until 3 March Murmurs from Nowhere Grace Fayrer By using the body as both a personal and universal point of reference, emerging artist Grace Fayer highlights the beauty and significance of fleeting moments that often go unnoticed. Murmurs from Nowhere is the exhibition outcome of the Tweed Regional Gallery – Byron School of Art (BSA) 3rd Year Graduate Award, 2022. Until 7 April The Immortal Poet: Works by Garry Shead The Immortal Poet presents a selection of Shead’s etchings including his series on the literary icon and fictitious poet, Ern Malley. The exhibition title shares its name with one of Shead’s works, and pays tribute to Malley’s lasting legacy who continues to be a source of inspiration for authors and artists to this day. Until 28 April Light & Life: Margaret Olley, Laura Jones, India Mark and Mirra Whale Light & Life brings together superb still life 188

Margaret Olley (1923–2011), Still life with mandarins and pears, 1976, oil on board, 75 x 120 cm. Private collection, Courtesy Philip Bacon Galleries. © Margaret Olley Art Trust. paintings by Margaret Olley from public and private collections alongside new work by three contemporary Australian painters – Laura Jones, India Mark and Mirra Whale. By special invitation, Jones, Mark and Whale have created new work in response to objects from the re-creation of Olley’s home studio and to a selection of paintings by Olley from various decades in her enduring career.

Claude Monet, Meules, milieu du jour (Haystacks, midday), 1890. National Gallery of Australia, Kamberri/Canberra, purchased 1979. Until 26 October 2025 A Monet in Murwillumbah: Sharing the National Collection

Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm, closed Mondays. Free admission. Until 31 January Hayden Fowler: Turtle Island An eco-art floating island, Turtle Island is installed in Wagga Wagga’s sacred Wollundry Lagoon, created by environmental artist Hayden Fowler. The work will be a focal point for conversations on how the environment can be supported to rewild. The ecoisland will be in place for 6 months. Until 11 February Sarah Goffman: Precious Sarah Goffman and select artists from the National Art Glass Collection. In Precious artist Sarah Goffman creates a series of new works responsive to select artworks from the National Art Glass Collection. In a climate emergency audiences are asked to rethink and revalue plastic. Just as glass is deemed precious, so too is plastic – sourced from fossil fuels it is also finite and malignant to the planet’s health. Precious is a recipient of the 2022 Dobell Exhibition Grant.

Claude Monet’s Meules, milieu du jour (Haystacks, midday), 1890 is the first of five works to be shared with the Tweed Regional Gallery as part of the National Gallery of Australia’s Sharing the National Collection initiative. The remaining works – three by iconic Australian artist Margaret Olley as well as Natura morta(Still life), 1956 by Giorgio Morandi – will be shared with the Tweed from February 2024.

UNSW Galleries www.unsw.to/galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays. Located at the School of Art & Design, UNSW Galleries has built a reputation as a champion of contemporary artists – both local and international – over the past decade.

Louise Zhang, Map of Diyu, 2023. Image courtesy of the artist. Until 25 February Louise Zhang and Jessica Bradford: See You In Hell See You in Hell presents a collection of playful and subversive works by artists Louise Zhang and Jess Bradford exploring Chinese concepts of the Afterlife. Diyu, the Chinese Buddhist concept of Hell, is both a starting point and a meeting place for the artists to explore personal experiences and complex relationships to their shared

NEW S OUTH WALES Chinese cultural heritage as ‘third culture kids’. The exhibition is a bridge between these two practices and includes individual series and collaborative works. Audiences will journey through the exhibition space encountering various Hellscapes and mythology presented in painting, sculptural installation and video. Until 10 March Staying With the Trouble Linda Denning, Kim Mahood, Sally Simpson, Wendy Teakel Staying with the Trouble is an exhibition featuring large scale experimental drawings resulting from a year of discussions and critiques between four established artists.

17 February–16 June Shattering the Glass Ceiling – Women Artists in the National Art Glass Collection Shattering the Glass Ceiling showcases the work of over 20 women artists from the National Art Glass Collection including, Kate Baker, Clare Belfrage, Jessica Loughlin, Judi Elliott, Kathy Elliott and Nancy Yu. It celebrates their exceptional practice, advanced technique and contribution to Australian and international studio glass over the past two decades.

Western Plains Cultural Centre, Dubbo www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm. Closed Good Friday, Christmas Eve & Day, Boxing Day and New Year Day.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org Dennis Golding, The Future is Here, 2021, Carriageworks. Image courtesy and © the artist. Photograph Zan Wimberley. Until 10 March Dennis Golding: POWER – The Future is Here POWER – The Future is Here is the result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School. Students from kindergarten to year 12 designed their super hero capes with iconography informed by their lived experiences and cultural identity. A Solid Ground project with Dennis Golding and Alexandria Park Community School, curated by Kyra KumSing, presented by Carriageworks and Blacktown Arts, and touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm.

Beneath the glossy surface of progress lurks a simmering undercurrent of violence. Cities tear themselves apart to make way for towering skyscrapers and gleaming high-rises. However, in this bright new world, one question arises: where have all the people gone? A Blueprint for Ruins reverberates with the shadows of the dispossessed within China’s urban metamorphosis.

Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

Ian Gentle, 1945–2009, Dagg in Duckboat, 1997, eucalypt wood, 207 x 237 x 3 cm. Collection Wollongong Art Gallery, Gift of the artist, 1997. Photograph: Bernie Fischer. Until 25 February A Gentle Response Ian Gentle This exhibition considers artist Ian Gentle as a friend, mentor and artist colleague, and includes words and works by Bryony Anderson, Glenn Barkley, Judy Bourke, Didier Balez, Ivor Fabok, Ian Fairweather, Penny Harris, Afroula Joanou, Brett Masters, Kevin Mortensen, Paul Ryan, Sadie Tansey and Noel Thurgate. Until 3 March Thorny Sticks And Whispering Lines Ian Gentle

Lin Yen-Wei 林彥瑋, Plaything Study 10, 2012, oil on canvas, 38 x 45 cm.

The Gentle Project celebrates the life and legacy of artist Ian Gentle, who lived and worked in the Illawarra from 1986 – 2009;

Until 10 March Fire – Water – Life Emma Varga Fire – Water – Life, celebrates the career and virtuosity of glass artist Emma Varga. It surveys the past twelve years of Varga’s research into environmental issues, where she seeks to communicate the beauty and fragility of our natural environment. The artist references major climate events including bushfire, coral reef bleaching and polar ice melts as a means to heighten our awareness on their devastating impact.

Ouyang Chun 欧阳春, Volcanic Ash, 2013, bronze, installed approximately 20 x 400 x 500 cm. Until 12 May A Blueprint for Ruins Group Exhibition

Julijana Griffiths, The Suitcase, 2018, photograph printed on Hahnemuhle photo rag, 62 x 41 cm. 189

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the world around us. See nature up close through stunning images by professional, emerging and junior photographers who have shown impeccable timing, patience, artistry and technique to capture incredible moments in time.

with exhibitions at Wollongong Art Gallery and Clifton School of Arts. Featuring a short film about his life, and publication Ian Gentle: The Found Line.

Until 11 February Halfway

Until 25 February I Arrived With One Suitcase : A Woman’s Journey As A Proxy Bride Julijana Griffiths A photographic interpretation of her mother’s resilience and strength, and journey to Australia as a young Proxy bride. Until 7 April Kôgábinô Mai Nguyen-Long Curated by Adam Porter. Kôgábinô is a double mistranslation of Vietnamese English for ‘vomit girl’. This recurring motif and adopted character in Nguyen-Long’s practice becomes a visceral metaphor for diasporic trauma and the artist’s inquisitive and ongoing negotiation with the messy edges of histories, cultural identity and family values. Nguyen-Long combines her PhD practice-based research, cherished family objects and contemporary artworks in an exhibition that invokes the power to transcend restrictive paradigms. Until 17 March Flow: Wollongong Art Gallery National Contemporary Watercolour Prize 2023 A biennial acquisitive competition ($20,000) that encourages innovation and experimentation in watercolour painting, including works on paper in watercolour, acrylic, gouache, pen and ink, and watercolour mixed media. The 2023 judge is Beatrice Gralton, Senior Curator of the Brett Whiteley Studio, AGNSW.

Yarrila Arts and Museum www.yarrilaartsandmuseum. com.au Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW Public Holidays. See our website for latest information. Yarrila Arts and Museum (YAM) is located in the heart of Coffs Harbour within the new, vibrant community hub, Yarrila Place. The name Yarrila, pronounced, YA-re-la, is a Gumbaynggirr word that means “illuminate / brighten / light up / illustrate”. This encapsulates YAM’s vision of illuminating knowledge, arts, heritage, and community creativity. YAM boasts five exhibition spaces. The centerpiece is Yaamanga Around here, a permanent exhibition that showcases the museum and gallery collections. The other four exhibition spaces come alive with dynamic rotating exhibitions, many of which proudly feature YAM’s own collections. 190

Yaamanga Around here, (installation view.) Permanent Exhibition Yaamanga Around here Yaamanga Around here is a permanent exhibition exploring the history and identity of the Coffs Coast through themes of place, community and belonging, with Gumbaynggirr culture at its heart. It features Daalga Nginundi Wajaarr Sing Your Country, created by ZAKPAGE, award-winning storytellers who work at the convergence of film, sculpture, design and architecture. This artwork is dedicated to the Gumbaynggirr people; it is their ancestral lands upon which we live and work; they who were so generous with their cultural knowledge and lore in the making of this film. Deep dive into local stories that will be a revelation: surprising, thoughtprovoking, playful and inspiring in turn. Until 4 February Never Neverland Never Neverland presents works by Karlee Rawkins in collaboration with her son Raj, exploring the perceptions, expectations and profound joy that being the mother of a son with a disability has brought. Karlee’s paintings explore the power of symbols and iconography to create a fantastical world of islands, tropical birds and portals of love, growth, resilience and transformation. We invite you to enter a world where imagination reigns supreme and freedom is celebrated. Until 11 February Australian Geographic Nature Photographer of the Year 2023 Celebrate the natural heritage of Australia, New Zealand, Antarctica and New Guinea with the Australian Geographic Nature Photographer of the Year 2023, a South Australian Museum exhibition. This breathtaking exhibition allows us to witness the unique beauty of the flora, fauna and landscapes of our own backyard and

How do distance, time, speed and space shape our perceptions of a place; and how does an identity derived from being the ‘halfway point on the highway’ change when the highway is no longer there? Halfway explores the duality of Coffs Harbour as a place and non-place – a highway town about to be bypassed, where the highway dominates the city’s rhythms and motels, service stations, ‘Big Things’ and tourism places prevail. 8 February–4 March Fluttering on the Surface Lose yourself in intricate geometric abstractions. Fluttering on the Surface is a solo exhibition of Sarah Mufford’s complex pattern works, informed by Eastern and Western sources. Mufford’s work invites the viewer to engage with a dynamic interplay of shapes and colours that constantly shift and transform without one element dominating. This sense of movement is enhanced by the artist’s use of negative space, allowing the eye to rest and refocus, creating a sense of rhythm and flow. 8 February–24 March OK! Motherhood Explore the connection between the mundane and the extraordinary by delving into the themes of parenthood and the transformative power of change through artist Richilde Flavell’s captivating ceramic works. From large vessels to a raw clay installation, these artworks evoke reverence and warmth through their generous forms, representing the flow of change, a movement from one state to another, showcasing the beauty and transformative power of clay. 23 February–26 May Sea Monsters While dinosaurs dominated the land, giant reptiles and sharks prowled the seas, and they’re making a comeback at Yarrila Arts and Museum. Sea Monsters offers an exciting experience that combines real fossils from millions of years ago and giant replicas, including a 13-meter long Elasmosaurus and a 9-meter Prognathdon. Dive into the secret lives of these fascinating creatures with interactive displays and immersive experiences. Not for the faint-hearted, Sea Monsters will ignite the imagination of all ages. It’s seriously scary and seriously fun.

Robert Moore, The Sydney to Brisbane silver hard arse service, 1989, sculpture/ found object.

A–Z Exhibitions

Queensland

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Above and Below Gallery www.aboveandbelowgallery.com.au Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach, QLD 4802 [Map 14] 0419 941 162 Wed to Sat 9am–4pm, Sun 9am–1pm.

Image courtesy of the National Archives of Australia.

Ruth Ellington, When Worlds Collide, 2023, soft sculpture.

Above and Below Gallery is the home of Whitsunday photographer, Brooke Miles. The gallery hosts a rolling exhibition year round featuring natures precious landscape and its creatures. Brooke Miles, Coral Veins. Focusing on the ocean as a canvas, from both above in the aerial sphere and below the waters surface, this collection will have you in awe of nature and its wonderous colours and spaces. Brooke’s goal is to capture the moment and slow down time, one photo at a time.

Artspace Mackay

painting, printing, soft sculpture and digital imagery, Ellington’s artworks will delight the senses through a flurry of handmade flowers. This exhibition juxtaposes naive aesthetics with the richer themes of the ebb and flow of life.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld. gov.au 22 Omrah Avenue, 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.

www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Free entry. The art gallery will be closed for renovations with public programs ongoing in various locations throughout the region. Visit our website to locate ongoing public programs and events, search the art collection, take virtual tours of past exhibitions and more.

Banana Shire Regional Art Gallery www.banana.qld.gov.au 62 Valentine Plains Road, Biloela, QLD 4715 [Map 14] 07 4992 9500 Mon to Fri 8.30am–4.30pm. See our website for latest information. 19 January—1 March The Tulip Project Ruth Ellington The Tulip Project is an autobiographical exhibition by Biloela-based artist Ruth Ellington. Steeped in symbolism, this body of work pieces together the artist’s life through her alter ego, Tulip. Combining 192

from family holidays and long road trips to continental breakfasts and mid-century mod-cons. In a land where the car has provided us with the ultimate freedom to hit the road and explore, it is no surprise that Australians wholeheartedly embraced the American concept of the motel. When motels began springing up in the 1950s, they represented a new, stylish and sophisticated way to travel. Join the National Archives and Tim Ross on a driving holiday through the quintessential Australian experience of staying in a motel - holidays of yesteryear! And find out why these images are part of the National Archives’ collection.

Caboolture Regional Art Gallery www.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. See our website for latest information. Housed within a contemporary, stateof-the-art gallery space, visitors will experience an exciting exhibition program of significant Australian and international artists. Presenting in-house curated exhibitions together with touring shows from Australia’s leading visual art institutions.

Toshinobu Onosato, Silk 6, silkscreen, 34 x 42.5 cm. Courtesy of the artist and the Japan Foundation. 8 December 2023—21 January Variation and Autonomy: The Prints of Contemporary Japanese Painters This exhibition at the Caloundra Regional Gallery explores the idea of contemporary art in Japan from the 1970s using the print medium. Curated by Kyoji Takizawa from the Machida City Museum of Graphic Arts, the exhibition introduces the work of ten well known painters who drew on trends in contemporary art and attempts to reassess the existing history of contemporary Japanese prints. This exhibition was made possible by the Japan Foundation, Sydney and the Consulate-General of Japan, Brisbane. 26 January—17 March Reception this way: motels - a sentimental journey with Tim Ross. Travel around Australia, revisiting your memories of the classic Aussie motel,

Alair Pambegan, Wik-Mungkan people, Australia QLD b. 1966, Kalben (detail), 2016-17, carved wood with synthetic polymer paint and natural pigments, raffia, 107 pieces ranging from 14 to 41cm in length (excluding raffia), installed dimensions variable. Purchased 2017, Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery | Gallery of Art. © Alair Pambegan.

QUEENSLAND

Gallery 48

Until 24 February I, Object Vernon Ah Kee, Tony Albert, Michael Boiyool Anning, Fiona Foley, D. Harding, Jennifer Herd, Naomi Hobson, Craig Koomeeta, Danie Mellor, Alair Pambegan, Christian Thompson, Warraba Weatherall

www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment.

I, Object considers the many complex relationships Indigenous Australian artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition demonstrates the great pride and inspiration of inherited cultural practices and historical Indigenous objects, and reveals the difficulties posed by their collection and estrangement. I, Object features contemporary painting, sculpture, and installation by leading Queensland artists alongside 20 historical shields, boomerangs and clubs. I, Object is a touring exhibition from Queensland Art Gallery | Gallery of Modern Art.

1 January—29 February Tumultuous Weather

David Hinchliffe, City Night Reflections, 2023, acrylic on canvas, 100 x 75 cm. Image courtesy of the artist. 18 January–4 February Illusions David Hinchliffe “All painting is illusion and all painters are illusionists” according to the artist David Hinchliffe. This eagerly awaited solo exhibition will be a beautiful example of the magic created, turning blank canvases into stunning works of art. Not to be missed and definitely a summer highlight at the G Contemporary.

Lyndon Davis with Leah Barclay and Tricia King, Beeyali, 2021–ongoing, single-channel video, 5:36. Courtesy of the artists.

Opening Night: Saturday 20 January, 5pm–7pm. RSVP essential. Janet Fountain, dust bath, 2023, watercolour on paper, 20.5 x 15 cm. 1 January—29 February Extended Small Works Vincent Bray, Jax Dillon, Janet Fountain, Marj Imlach and Rhonda Stevens.

Until 24 February Lyndon Davis: Djagan Yaman Born and raised on the Sunshine Coast, Lyndon Davis is an internationally acclaimed artist, educator and cultural performer. Djagan Yaman translates as Country calling. This exhibition presents paintings, objects, moving image and sound to consider the way Davis’ practice is grounded in listening to Country and communicating the importance of custodianship and caring for the land.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 See our website for latest information.

Exhibition developed by University of the Sunshine Coast Art Gallery.

The G Contemporary www.thegcontemporary.com 6/32 Hastings Street, Noosa Heads, QLD 4567 0400 716 526 Sun to Thur 10am–5pm Fri & Sat 10am–6pm. See our website for latest information. Art appreciation has become a conduit of conversation as well as enhancing the spaces in which we find ourselves in. The motivation to introduce an eclectic collection by dedicated artists to global citizens comes from a strong belief that art can provide pleasure and culture in so many ways. Please enjoy the art available and reach out to connect with The G Contemporary.

Dai Li, Daisy, 2023, stoneware with glaze, 25 x 12 x 24 cm. Image courtesy of the artist. 5 February–29 February Directors Choice An eclectic collection of artists rotated weekly with a special showcasing of works by Sunshine Coast ceramicist, Dai Li.

The Redfern School of Displacement taking place within Keg de Souza’s We Built This City, 2016, for the 20th Biennale of Sydney. 25 November–11 February Hervey Bay School of Displacement Keg de Souza In response to the housing crisis that faces the Fraser Coast and many communities around Australia, Hervey 193

ar t g ui d e .c o m . au Hervey Bay Regional Gallery continued... Bay Regional Gallery is proud to present Hervey Bay School of Displacement with nationally renowned artist Keg de Souza. An iterative, socially engaged and site-specific exhibition project, de Souza’s School of Displacement series has been staged previously in Redfern, North Melbourne and Newcastle. Turning its focus to the Fraser Coast, Hervey Bay School of Displacement invites our community to engage in active and deep listening through a suite a public programs designed to share stories, connect and build resilience together. Hervey Bay School of Displacement is presented in partnership with the Hervey Bay Neighbourhood Centre and Fraser Coast Regional Council’s Community Development and Engagement Team.

Justine Youssef, Somewhat Eternal, 2023, three-channel video, sound, 11 min.

Photograph: Ed Reeve. Courtesy of HOTA, Home of the Arts.

Michael Cook, Livin’ the dream (BBQ), 2020, inkjet print. 25 November–11 February 2024 Michael Cook: Livin’ the Dream Raised in Hervey Bay and currently residing on the Sunshine Coast, Michael Cook interrogates the legacy of colonisation by remixing, inverting and reconstructing icons of Australian identity. Theatrically staged and highly polished, Cook’s photographic artworks tease out the fictitious possibilities of familiar narratives, combining the personal with the political and the historical with the imaginary. Drawing on a recent gift to the Hervey Bay Regional Gallery Art Collection, works from Cook’s series Livin’ the Dream (2020) will be displayed alongside a new body or work, Fake (2022). Considered together, these works offer a timely reflection on the alienating absurdity of consumer desire and the “Australian dream”. As Michael explains, “When I consider our obsession with material wealth, I realise that maybe what we really want are the things that Aboriginal culture has always valued – community, family and giving back”.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm. Open from 25 November 2023 Sneakers Unboxed: Studio to Street Step into HOTA Gallery this summer for an Australian-exclusive exhibition. Sneakers 194

Unboxed: Studio to Street charts the design and cultural journey of sneakers. Discover the footwear phenomenon that’s challenged performance design, inspired subcultures, and shaken the world of fashion. From trainers originally designed for specific athletic activities, to sneakers that’ve become cultural symbols of our times. Take a journey through the design process behind today’s most inventive shoes and delve into the lucrative resale market that’s valued at over $10 billion. Relive the high-fashion reinvention of sneakers and uncover the icons and collaborations that have shaped the sneaker scene over the years.

Institute of Modern Art www.ima.org.au Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sat, 10am–5pm. Thu, 10am–8pm. Free Admission. The Institute of Modern Art (IMA) is one of the Asia-Pacific’s most important, visible, and relevant forums for contemporary visual art. The IMA champions contemporary art, artists, and ideas, connecting local voices to global dialogues via inclusive, sustainable, and innovative institutional practice. 20 January–7 April Somewhat Eternal Justine Youssef Relationships to land and the endurance of rituals are central to the work of Darug/ Sydney-based artist Justine Youssef. Her multi-sensory installation, Somewhat

Eternal, reveals the manifold impacts of displacement, and considers our complicity in reproducing these conditions. For generations, Youssef’s family have used their knowledge of the ecology of their village in Lebanon to survive famine and military occupation, and to heal everyday ailments and misfortunes. Central to the exhibition is a three-channel video documenting Youssef’s aunt performing R’sasa, a practice of clearing the ‘evil eye’ using molten lead, sourced from bullets that can be found in abundance in the region. Somewhat Eternal expands from familial narratives to consider broader cycles of dispossession. Through the maintenance of cultural practices, now fragmented and altered across geographies, lies belief in the alternatives and futures they offer us.

Arthur Jafa, Love Is the Message, the Message Is Death, 2016, single-channel video, sound, 7:25 min. Installation view, Museum of Contemporary Art, Los Angeles, 2017. Photograph: Brian Forrest. 20 January–7 April Love Is the Message, the Message Is Death Arthur Jafa In just a few minutes, Arthur Jafa’s roller-coaster video Love Is the Message, the Message Is Death encapsulates African American experience as a tale of resilience. It combines footage shot by Jafa, an artist with a long career as a cinematographer and director, with excerpts from films, newscasts, sporting events, music clips, and citizen videos. Love Is the Message, the Message Is Death exemplifies Jafa’s goal to craft ‘a Black cinema’, one with strong ties to music, responsive to the ‘existential, political, and spiritual’.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment.

QUEENSLAND

Jan Manton Gallery

colour to create mood and atmosphere with Wayne debuting new seascapes and Sophie’s paintings concentrating on landscapes featuring local hinterland scenes, amongst more iconic scenes inspired by overseas travel.

www.janmantonart.com 54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm.

February Lorraine Rogers An experienced watercolourist, Lorraine captures the light and colours of Queensland. Painting subjects are primarily around the Sunshine Coast Hinterland and Glasshouse Mountains, and the Noosa Headland with its’ many coves and tree-lined beaches.

Museum of Brisbane Jacqueline Scotcher, Hinterland Morning fog, 2023, acrylic on canvas.

Joachim Froese, Curiosity, Sol 1454, Mars, 2023, unfixed salt print, 20 x 25 cm. 23 January–17 February Turned Towards the Firmament Joachim Froese

Logan Art Gallery www.loganarts.com.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm.

26 January–1 March People and paintings in places Sue Poggioli Distract/Attend Jacqueline Scotcher

www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

Neon mugshot file Yu Chao Du Ripple effect: out of Artwaves Kiara Costamagna

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 07 5442 9211 Daily 10am–5pm. See our website for latest information. Showcasing world-class original art from over 40 of the regions’ best artists, in the picturesque and historic town of Montville, Queensland, Australia. All new works are available to view on our website. Monica Rohan, Hoped you wouldn’t notice, 2017, oil on board. Courtesy of the artist and Jan Murphy Gallery.

Sophie Malkin, Lake Baroon at Sunset. Image courtesy of Montville Art Gallery. Robert Burgess, The dream 2, 2023, acrylic on paper.

Until 11 August Rearranged: Art of the Flower Christopher Bassi, Ashlee Becks, Keith Burt, Norton Fredericks, John Honeywill, Elisa Jane Carmichael, Vida Lahey, Clairy Laurence, Boneta-Marie Mabo, Margaret Olley, Lyndall Phelps, Julian Podmore, Milomirka Radovic, Sarah Rayner, Edith Rewa, Monica Rohan, Bronwyn Searle, Pamela See (Xue Mei-Ling), Judith Sinnamon, Jaishree Srinivasan, Karen Stone, Man&Wah, Anna Varendorff, Michael Zavros and more.

Archibald portraits Jun Chen

Wayne Malkin, Wave Break. Image courtesy of Montville Art Gallery.

Paint on! Robert Burgess

January Wayne Malkin, Sophie Malkin

Still life takes on new life in this celebration of the art of the flower. Brisbane has a strong culture of artists using floral imagery to tell stories of this place. In a space reminiscent of a quintessential Queenslander house, Rearranged: Art of the Flower invites visitors to stroll through a lush collection of paintings, textiles, sculptures, ceramics and new media.

A coral community Wunderpeach (Nadine Schmoll and Tessie Liddell)

For the first time we are featuring the artworks of father/daughter duo Wayne and Sophie Malkin. Both paint in oils, using

Commonly associated with domestic settings and still life compositions, flowers continue to be reimagined and evoke

Until 20 January Remnants of the past Kate Douglas

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from Mirndiyan Gununa Aboriginal Corporation, Mornington Island Art, the outcome of a research project led by the ARC Centre of Excellence for Australian Biodiversity and Heritage (CABAH).

contemporary concerns. Rearranged beholds the beauty of this ever-popular subject and looks beyond to explore notions of place, memory and history.

Conversations with my barista (Real or imagined) Selina Kudo Cairns-based artist Selina Kudo delves deep into the intricate landscape of the human psyche—a realm teeming with ceaseless thoughts, ever-evolving emotions, and a cascade of neverending images.

Making Place: 100 Views of Brisbane at Museum of Brisbane. Photograph: Katie Bennett. Ongoing Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Ruth Cho, Danie Mellor, Kenneth Jack, Sam Fullbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more With the city we know shifting so rapidly, this is the ideal moment to ask—what makes a place? Which sites are significant for individuals and communities and why? Are the landmarks we recognise as characterising the city today the same landmarks we’ll see in the future? And can memories make a place? With these questions front of mind, Making Place presents more than 100 historical and contemporary depictions of the Brisbane region from our Collections. We invite you to explore our everchanging city through new eyes: from the past, to the present and into the future. Become immersed in a commissioned sound artwork by Artist in Residence Lawrence English, Site Listening : Brisbane, that captures the city’s many soundscapes and surround yourself in the textures and nuance of Jenna Lee’s installation, Growing Place, illustrating her insightful reflection on ‘place’. Hear from writer in residence Pat Hoffie as she draws upon the imagery of the exhibition and conversations with the public in a newly commissioned self-guided audio tour, Stories of Place.

NorthSite Contemporary Arts www.northsite.org.au

Malki Studio, Containment Vessel (2), painted handbuilt ceramic, responsibly sourced sterling silver and fine silver. Quapoor, Ellis Road Arts, Far North Studio, Flintstone Designs, Garry Jillett, Hannah Murray, Jennifer Valmadre, Julie McEnerny, Kate Hunter, Kim Gunst, Kim Nolan, Service Ceramics, Lois Hayes, Maharlina Gorospe-Lockie, Malki Studio, Muma.Nai, Nicole Elder, Paul Lester, Peter Morrison. The 2023-2024 NorthSite Art Market will showcase a range of jewellery and small objects from Queensland-based artists and designers. Explore these unique objects and purchase a handmade gift from the gallery this season. The Ascended Chantal Fraser The Ascended exhibition crystallises Fraser’s exploration of power and class through her anti-colonial and anticapitalist strategies, developing a theory that links ornamentation, personal protective devices and protest aesthetics as means to subvert and liberate identities. Fraser’s multimedia practice has garnered significant acclaim within Australian contemporary art and reflects the complexity of lived experiences for diasporic Sāmoan and Pasifika communities.

Facing Time: 50 Years Euan Macleod and Geoff Dixon This exhibition features works by artists and long-term friends, Euan Macleod and Cairns based artist Geoff Dixon.

Noosa Regional Gallery www.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.

Until 27 January other The Five5 other showcases a variety of art forms across film, visual media, sound and text from The 5Five collective: Roderick Newbury, Emma Bates, John DeSatge, Fletcher Glover and Tegan Koster with words by Nalisa Neuendorf.

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 9am–1pm. See our website for latest information.

3 February–28 March Ngurruwarra/Derndernyin (stone fish trap) Amy Loogatha, Dolly Loogatha, Elsie Gabori, Agnes Kohler, Dorothy Gabori, Amanda Gabori, Bereline Loogatha, Gloria Gavenor, Coralie Thompson, Joelene Roughsey.

Until 20 January NorthSite Art Market Akiko Hanazaki, Amber Seale, Artiz, Breath & Essence, Bunda Art, Danish

The inaugural presentation of Ngurruwarra/Derndernyin (stone fish trap) is a monumental painting installation by established and emerging artists

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Image courtesy of the artist.

Bill Henson, Untitled 3, 2018-19 (detail), from the series Untitled, 2018-19, Museum of Australian Photography, City of Monash Collection. Courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney). Until 18 February The light fades but the gods remain Bill Henson The light fades but the gods remain is a major exhibition commissioned by the Museum of Australian Photography showcasing two key series by Bill Henson, one of Australia’s most eminent artists. Exploring the suburb of Glen Waverley

QUEENSLAND where he grew up, Henson explores the notion of home, intensifying the everyday to a point of dramatic revelation and romantic beauty.

established by the Union Bank of Australia in 1885 as its northern headquarters. It was designed and built in 1885 by the then colonial architect F D G Stanley, whose niece, Gwendolyn, became a wellknown artist in Brisbane in the first half of this century. Her first solo exhibition in Brisbane in 1906 featured works from her time in North Queensland. Later she married W G Grant whose watercolours of North Queensland are in the Perc Tucker Regional Gallery Collection.

Until 18 February She Does Kellie O’Dempsey 24 February–14 April Pressed Into Place Press Gang Peter Hudson Michelle Rudder

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm.

Delma Russell, Country House, 2021, acrylic on canvas, 40 x 33 cm. 5 January–17 March Outback Now Community and Collection Exhibition An interpretation of Outback fusing local talent and the Outback Regional Gallery collection.

Sebastian Di Mauro, Frayed, from the Collective Labour series, 2023, 178 x 165 cm, repurposed vintage quilts, wool felt, thread. Photo: Louis Lim. Courtesy of the artist and Onespace. 2 February–24 February Collective Labour Launching our 2024 program is an exhibition of reworked vintage quilts by Australia/USA artist Sebastian Di Mauro. Di Mauro’s choice of vintage quilts is deliberate. His tactile interventions seek to comment on the current political landscape in the United States, utilising this symbolic medium to encapsulate the complex tapestry of contemporary American society. Steeped in history and tradition, these meticulously crafted quilts act as both a homage to the nation’s heritage and a reflection of its present struggles and ultimate deterioration. The juxtaposition of different patterns and materials in the quilts symbolises the stark internal divisions, from political polarisation to racial disparities. The frayed edges and worn-out patches serve as poignant reminders of the challenges that persist.

Outer Space Brisbane

Onespace

www.outerspacebrisbane.org

www.onespace.com.au

Judith Wright Arts Centre, 420 Brunswick Street, Fortitude Valley, QLD 4006 Free admission. All welcome. Wed to Sat 10am–5pm. See our website for latest information.

4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 11am–5pm or by appointment. Onespace is a trusted team for quality artists, contemporary art and commissioning services. Our work is part of a valuable conversation that draws a wider audience toward the cultural and environmental narratives that shape our era. Until 26 January Stockroom Selection Occupying the gallery space over the holiday break, Onespace will resurface a curated selection of the paintings from both represented and associate artists. To view this selection of works, contact the gallery to schedule an appointment or peruse online via onespace.com.au.

Tomoko Kashiki, Japan, b.1982, I am a rock (detail), 2012, synthetic polymer paint, masking tape on linen on plywood, 162 x 227.5 cm. The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation QAGOMA. © Tomoko Kashiki. Until 21 January Asia Pacific Contemporary: Three decades of APT Asia Pacific Contemporary celebrates the Gallery’s flagship exhibition, the Asia Pacific Triennial of Contemporary Art (APT), recently in its tenth iteration. Featuring works that have appeared in the Triennial since its debut in the 1990s, and across media from painting and sculpture to video, performance and works on paper, Asia Pacific Contemporary showcases art from Aotearoa New Zealand, Australia, Cambodia, China, India, Indonesia, Pakistan, Papua New Guinea, Taiwan, Vanuatu and Vietnam. As these varied and compelling artworks demonstrate, the Asia Pacific Triennial of Contemporary Art continues to be a pre-eminent platform for the art of Asia, Australia and the Pacific, surveying a vast and dynamic region through a series of exhibitions, forums and cultural exchanges.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. See our website for latest information. The Gallery is housed in a historic building

Clarence Maire Warina, Dahoru’e Mountains, 2019, beaten bark cloth and plant pigments, 168 x 64 cm. Until 11 February Sihot’e Nioge: When Skirts Become Artworks Curated by Joan Winter. Sihot’e Nioge reveals the centrality of nioge, painted, and sihot’e, appliquéd, beaten bark cloths in Omie culture and life from the first Omie man and woman who 197

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

Queensland Art Gallery | Gallery of Modern Art

Perc Tucker Regional Gallery continued... arrived on the earth until today. Working from the remote mountain rainforests of Oro Province, not so far from Kokoda, Papua New Guinea, the Omie Tapa artists continue to develop the most colourful and compositionally diverse, bark cloth art in the Pacific region, using all natural products from their vast, rainforest homelands.

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 3905 Tue to Sat 10am–4pm.

ANMM Collection. Reproduced courtesy of Alick Tipoti and Australian Art Network and licenced for use by the Museum. Mariw Minaral brings together some of the finest examples of Zendah Kes (Torres Strait Islands) artist Alick Tipoti’s unique and intricate linocut printmaking practice. The exhibition also contains his awardwinning sculptural works, contemporary masks and film.

Martin Edge, Martin’s painting day, 2022, acrylic on canvas, animation and augmented reality. Image courtesy of the artist and Anthea Polson Art.

A cultural and environmental artist, Tipoti is highly respected for his work in regenerating cultural knowledge and language. Guided by the traditional cultural practices of his people, Tipoti’s storytelling encompasses traditional cosmology, marine environments and ocean conservation – focusing on what it means to be a sea person.

Until 16 March All the best, from Martin Edge Martin Edge

Philip Bacon Galleries

See the world through the eyes of artist Martin Edge as Pine Rivers Art Gallery becomes a playful, sensory version of Martin’s inner world. Drawing from Martin’s memories, All the best, from Martin Edge, shares moments from his life, be they everyday, whimsical or monumental. Collaborating with neurodivergent artists and creatives, All the best, from Martin Edge will transport you into the wonderful world of Martin Edge. Martin Edge is a celebrated painter who has been working as a professional artist for the past 15 years. Exhibiting consistently since 2008, Martin has earned national and international recognition. In addition to his art practice, Martin is a proud ambassador for Autism Queensland. All the best, from Martin Edge is a partnership between City of Moreton Bay, The Culture Crusader and Martin Edge.

www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Until 3 March Mariw Miniral (Spiritual Patterns) 198

Cressida Campbell, Black kangaroo paw, 2008, watercolour on incised plywood, 20 x 20 cm. 23 January–11 February Summer Exhibition 13 February–9 March Three Private Collections 13 February–9 March 50th Anniversary Exhibition

Queensland Art Gallery | Gallery of Modern Art (QAGOMA) is the state’s premier institution for the visual arts, based in two neighbouring gallery buildings on Kurilpa Point in Brisbane. We present ever-changing exhibitions of contemporary and historical Australian and international art, accompanied by dynamic programs and events, and hold a globally significant collection of contemporary art from Australia, Asia and the Pacific. Until 11 February Living Patterns: Contemporary Australian Abstraction QAG | Free

Henrique Oliveira, Brazil, b.1973, Baitogogo, 2013, Palais de Tokyo, Paris, Plywood and tree branches, 6740 x 1179 x 2076cm. Courtesy SAM Art Projects, Galerie GP&N Vallois, Galeria Millan. © Henrique Oliveira. Photograph: André Morin. This work is indicative of a new commission by Henrique Oliveira for the exhibition Fairy Tales at QAGOMA. Until 28 April Fairy Tales’ GOMA | Ticketed

Latai Taumoepeau, Tonga/Australia, b.1972, Dark Continent (performance documentation), 2018, digital print on paper, 118.9 x 84.1 cm. Purchased 2018 with funds from the Bequest of Jennifer Taylor through the Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery | Gallery of Modern Art. © Latai Taumoepeau. Photograph: Zan Wimberley. Until 8 September sis: Pacific Art 1980-2023 GOMA | Free

QUEENSLAND

QUT Galleries + Museums www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays

Until 15 September William Robinson: The Painter and the Printmaker William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision. This exhibition provides rare insight into Robinson’s mastery as a colourist and markmaker by showcasing four decades of printmaking, in particular his lithographs and etchings, alongside major paintings.

also reflects his passion for jazz, classical music, poetry, and architecture. Intimate Immensity will feature works on paper alongside new paintings and sculptures created over the last five years. Ian Friend has exhibited widely and is represented in numerous international and Australian public collections, including The British Museum, the Tate, the Art Gallery of South Australia, National Gallery of Australia, the Australian War Memorial, National Gallery of Victoria, the Queensland Art Gallery, the University of Sunshine Coast Art Collection and City of Moreton Bay Art Collection. Intimate Immensity is a partnership between University of the Sunshine Coast Art Gallery, The Condensary and City of Moreton Bay Art Galleries.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery

Pat Hoffie, Force Majeure (Underworld Bunny), 2018, watercolour and gouache on tracing paper. Private collection, Brisbane. Until 10 March This Mess We’re In: Pat Hoffie This Mess We’re In explores the chaos and catastrophes that have become white noise in our everyday lives. Through a visual anthology of failures, propositions and imagined futures, Brisbane-based artist Pat Hoffie presents us with a series of mise en scènes where the borderlines between the factual and the fantastic disintegrate. Across three distinct bodies of work, the artist chronicles her observations of disasters that are both personal and more broadly socio-political. Until 10 March Helen Fuller: Bowerbird

1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. Until 10 February 15 Artists 2023 Robert Andrew, Mia Boe, Zaachariaha Fielding, Hannah Gartside, Nadia Hernandez, Dana Lawrie, Ross Manning, Julie Purcell, Sandra Selig, Erika Scott, Leyla Stevens, Curtis Taylor, Jasmine Togo-Brisby, Amanda Wolf, Louise Zhang 15 Artists is an annual acquisitive prize developed to enhance the City of Moreton Bay Art Collection and exhibition program. Each year, 15 artists are invited by the City of Moreton Bay to participate in the exhibition, with the winning artist awarded $20,000 and their work acquired into Council’s Art collection. The exhibition highlights recent works by Australian artists, presenting diverse voices and ideas.

Like the bowerbird, Helen Fuller is compelled to mine the archaeology of the everyday to create something new. In a world often fixated on flawlessness, Fuller embraces the irregular, the imperfect, and the beautifully organic. Her works rebel against conformity, encouraging us to see artistry in the crooked lines, the smudges, and the accidental imperfections.

Kate Douglas, Halfway down the Hill, 2023, acrylic on canvas. Courtesy of the artist. Photograph: Mick Richards. 24 February–27 April Remnants of the past Kate Douglas Kate Douglas is an Ipswich-based artist whose paintings describe the local built and natural landscape using unique compositions and viewpoints. Her latest works showcase Queensland’s rich heritage, featuring historical buildings and artefacts which still exist today in our community. The artworks explore the inherent feelings embedded in these relics which connect us to another time and pose questions about their former owners or inhabitants.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au

Ian Friend, Tidal (Moreton Bay) 3, 2005, casein pigment, gouache and crayon on Arches paper. City of Moreton Bay Art Collection. Donated by the artist as part ofthe Australian Government’s Cultural Gifts Program.

Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

17 February–11 May Intimate Immensity Ian Friend

William Robinson, Twin Falls, 2000, colour lithograph. QUT Art Collection. Gift of the artist under the Cultural Gifts Program, 2002.

Ipswich-based artist Ian Friend is known for his works on paper that explore the alchemy of materials. His works often incorporate layers of ink and gouache that are inscribed with lines of crayon and pencil, resulting in works that are both intimate and expansive. Friend’s work

Kathryn Christensen, Sun Shower on Wimborne Rd (detail), 2023, watercolour on paper. Courtesy of the artist. 199

ar t g ui d e .c o m . au Redland Art Gallery continued... Until 16 January In Focus Various Artists In Focus celebrates the wealth of artists living and working on the Redlands Coast and the important role art groups play in the cultural life of the region. Held annually, In Focus brings diverse art groups together, facilitates networking and collaborations between members, with artworks across a range of media. In Focus 2023 will centre on the theme, My Street.

Redland Art Gallery, Cleveland www.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.

Images of Sound presents new work by members of the Redland Yurara Art Society. Each work offers a visual translation of the auditory, and the exhibition showcases the diverse styles of these local artists.

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. Until 10 February COLLECTION FOCUS William Yaxley Central Queensland artist William Yaxley paints and sculpts Mount Morgan and Capricornian landscapes in his signature mix of naivety and humour. Rockhampton Museum of Art has invited the artist to select artworks from the RMOA Collection, by friends and colleagues he admires, to display alongside pieces by Yaxley himself, to tell the story of his artistic life. Until 10 February COLLECTION FOCUS Capricornia Printmakers

Terry Wilkinson, Waiting for the Ferry (Victoria Point), 2023, pastel on paper, 58 x 72 cm. Collection of the artist. Photograph: Louis Lim.

Over one inspiring year, local artist collective Capricornia Printmakers embarked on a transformative journey of selecting and responding to artworks from the Rockhampton Museum of Art Collection including works by Eduardo Paolozzi, Max Lovell, Peter Blake, and Lesbia Thorpe.

Until 18 February Bell’s Theorem Richard Bell Bell casts a critical eye over the racist paradoxes of Aboriginal art, utilising his canvases as ‘appropriations’ of the art canon, as well as highlighting his political heroes. Titled after the artist’s two groundbreaking manifestos, Bell’s Theorem will be Richard Bell’s largest solo exhibition in his home state to date, and his first in Australia after his triumphant participation in major exhibitions in Italy, the Netherlands, Germany and the United Kingdom. Until 18 February To Carry Light Jenna Lee Jenna Lee’s manipulation of paper is an expression of her mixed ancestry as a Japanese, Chinese, Filipino, Gulumerridjin (Larrakia), Wardaman and KarraJarri Saltwater woman. Developed over her recent artist residency in Kyoto, this display of recent sculpture, photography and works on paper speak of overlapping identities, childhood memory as well as maternal teachings of subject and process. Until 25 February The Lullaby of Industry Lawrence English Globally renowned artist Lawrence English’s sound-based installations investigate the politics of perception. Created from field recordings at Central Queensland sites of heavy industry, The Lullaby of Industry traces a contrasting history of industrialisation and encourages audiences to interrogate the temporality of place, the shifting nature of environments we create, and to lean into the strange familiar that exists amidst the everyday.

Until 28 January A Touch of Gold: Celebrating 50 Years of the Coochie Art Group A Touch of Gold pays tribute to one of the oldest community art groups in the Redlands, the Coochie Art Group. Featuring artwork by members and tutors, celebrating the 50th anniversary of the group’s first exhibition and the diverse professional tutors who have inspired members to explore new avenues of looking at subjects and expressing themselves.

Lynne Wright, Corellas at Dawn, 2023, acrylic on canvas, 76 x 61 cm. Courtesy of the artist. Until 28 January Images of Sound Redland Yurara Art Society 200

Richard Bell, Kamilaroi, Kooma, Jiman, and Gurang Gurang (b.1953), Scratch an Aussie (still) 2008, single channel digital video, colour, and sound, 10 mins. Courtesy the artist and Milani Gallery, Brisbane.

Julie Fragar, The Single Bed, 2017, oil on board, 135 x 100 cm. Collection of Griffith University Art Museum. Purchased 2017. Courtesy of the artist. Photograph: Carl Warner. Until 3 March Julie Fragar: Biograph Julie Fragar is one of the most acclaimed painters in Australia today. Her imagery, which reaches into her own life via personal photographs, resonates with

QUEENSLAND audiences in a profound and personal way. A Perc Tucker Regional Galleries touring exhibition. This exhibition is generously supported in partnership with Haymans. 18 February–25 August Industrial Sabotage Stephen Bird

and Lucy Gould Art Collection and the Toowoomba Regional Art Gallery – Toowoomba City Collection, the Gallery is owned and operated by Toowoomba Regional Council.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm.

Stephen Bird is a UK-born painter and ceramicist whose artworks take aim at the class divide of British pottery. Bird looks to the pre-Industrial Revolution records of workers creating one-off pieces of experimentation and selfexpression at the end of their workday.

Toowoomba Regional Art Gallery www.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, Tue & Public Hols. Free Admission. See our website for latest information. Established in 1937, Toowoomba Regional Art Gallery is the first public art gallery in regional Queensland. The Gallery is located in the downtown heart of Toowoomba, set amongst vibrant street art, green spaces, cafés and boutique shops. Home to the nationally significant Lionel Lindsay Gallery and Library Collection, the Fred

Max Dupain, Toowoomba, 1946 – Ruthven Street – bird’s eye, 1946, black and white photograph reprinted by Jill White, 2002, edition 10/90, 34.5 x 34.5cm.Toowoomba Regional Art Gallery. Toowoomba City Collection. Reproduced by kind permission of Jill White. January—19 May TRAG AT 531 Celebrating the 30th anniversary of Toowoomba Regional Art Gallery’s location at 531 Ruthven Street, in the downtown heart of Toowoomba. Showcasing Toowoomba street scenes and stories held in the Toowoomba Regional Art Gallery – Toowoomba City Collection.

EXHIBITION ON NOW

Sonia Ward, Nursing, 2022, digital composite photograph. 2 February–10 March Behind the Apron Sonia Ward

EXHIBITION PARTNERS

FREE ENTRY LEVEL 3, CITY HALL

Image: Monica Rohan, Hoped you wouldn’t notice (detail) 2017, oil on board. Courtesy the artist and Jan Murphy Gallery.

museumofbrisbane.com.au

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We represent a diverse range of artists and celebrate the creative work they bring to the art world. We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement. 4 Russell Street, Toowoomba QLD Open: 9 am – 5 pm Monday – Friday Phone (07) 4638 8209 gallery@featherandlawry.com.au www.featherandlawry.com.au

2024 EXHIBITIONS FEBE ZYLSTRA 5 Februay - 14 March 2024 MARISA AVANO April 2024

featherandlawry.com.au

art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD 202

arthousenorthside.com

www.arthousenorthside.com

QUEENSLAND Umbrella Studio continued...

through the Australia Council for the Arts, its arts funding and advisory body, and the Australian Government’s Visions of Australia program.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. Karla Marchesi, Daylight Gloaming, 2015, oil on composite board. University of the Sunshine Coast Art Collection. Donated in 2018 through the Australian Government Cultural Gifts Program.

Sonia Ward, Still in Pig Tails, 2022, digital composite photograph. The evocative household scene of portrait-lined walls and seated figures will be strangely familiar in Behind the Apron. Sonia Ward’s first solo exhibition examines how ancestry, secret-keeping and the remnants of the past impact future generations. The work plays with the relationship between the artist and viewer, establishing mnemonic prompts to shared personal, biographical and historical narratives.

independently of one another, throughout the work of the 19 artists represented in the exhibition interconnecting themes emerge. Many of the artists foreground their working processes to explore their chosen medium’s material and conceptual possibilities. Some respond to the social and physical aspects of place, while others turn inward to the intimate and personal. Together, the works reflect the changing shape of the UniSC Art Collection and contemporary Australian art of late.

UQ Art Museum is a site for progressive and contemporary creative inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University. We collect and exhibit progressive works of art, which stimulate dialogue and debate. We’re committed to opening up dialogue with the faculties, research institutes and centres of the University, and to place education at the core of our activities.

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information. The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the art gallery was redeveloped in 2020 establishing itself as the leading public gallery in the region. The Art Gallery presents a program of exhibitions by leading local, national and international artists that are research-led, enquiry based and shaped by the university’s commitment to enabling opportunities for our communities to participate meaningfully with UniSC. Until 27 January Of Late Of Late brings together selected artworks from the University of the Sunshine Coast Art Collection acquired over the last five years (2018-2023). Although collected

proppaNOW: Gordon Hookey, Jennifer Herd, Tony Albert, Megan Cope, Richard Bell, Vernon Ah Kee (left to right). Photo: Rhett Hammerton. 23 February–4 May OCCURRENT AFFAIR: proppaNOW OCCURRENT AFFAIR is a major exhibition featuring new and recent works by Brisbane-based Aboriginal artist collective proppaNOW. Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR will address current socio-political, economic and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. This exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW has been assisted by the Australian Government

Sonja Carmichael and Elisa Jane Carmichael, Capemba Bumbarra, 2023, Installation view Mare Amoris | Sea of Love, UQ Art Museum, 2023. Courtesy of the artists and Onespace Gallery, Brisbane. Photograph: Louis Lim. Until 20 January Mare Amoris | Sea of Love Abdul-Rahman Abdullah, Christopher Bassi, Drew Kahuʻāina Broderick, Seba Calfuqueo, Elisa Jane Carmichael, Sonja Carmichael, Chun Yin Rainbow Chan, Mariquita ‘Micki’ Davis, Djambawa Marawili, New Mineral Collective, Santiago Mostyn, Leyla Stevens, Shannon Te Ao, Unbound Collective, Judy Watson Mare Amoris | Sea of Love gathers creative and intellectual practices that dissolve the colonial boundaries of oceans and their connected waters. Artists and their kin give language, voice, and form to these watery spaces, passed down through matrilineal storytelling, bodily memory, and landbased knowledge systems. 203

A–Z Exhibitions

Australian Capital Territory

J A N U A R Y/ F E B R U A R Y 2 0 2 4

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery

a direct and persistent impact on the present and how past actions and energies are retained and transferred in place.” – Eliza Adam.

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. See our website for latest information.

DISCRIMINATE John Brookes “DISCRIMINATE takes a confronting and satirical look at how modern-day media depicts people with disabilities and, in doing so, often inadvertently reinforces limiting preconceptions of the sector by the wider public.” – John Brookes. TRANSFORMATION An open exhibition in A5

Artists Shed www.artistshed.com.au

Caroline Reid, Summer Reds, 2023, acrylic on canvas, 120 x 120 cm.

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm.

31 January–18 February Florisma—Spring Collection Caroline Reid

The Artists Shed has works by the principle artist Margaret Hadfield and ‘Shed Artists’ who are rising students and friends. The Artists Shed is a unusual artist run Gallery,Art School and Art Store.

This is the opening exhibition for 2024 of the ANCA Gallery Exhibition Program. Florisma—Spring Collection by Canberra artist Caroline Reid is an uplifting and delightful collection of large acrylic paintings. Painted en plein air in her Canberra garden in Spring 2023, Reid’s abstracts convey all the energy, joy and hopefulness of the flowers that emerged with each passing week. Reid has received numerous awards for her work and recently completed artist residencies at Venezia Contemporaine, Italy (2022) and at Chateau d’Orquevaux, France (2023). 21 February–10 March The Collective Group Exhibition A group show by five emerging artists. See website for details.

Belco Arts www.belcoarts.com.au Margaret Hadfield, Wanderings in France, Montargis, oil, 76 x 76 cm. Margaret Hadfield’s work is varied in subject and mediums. Margaret is well travelled to many corners of the world including Antarctica. Some of her works are conceptual and delve into history.

118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. Until 11 February Visual Expression The Bunker Studio Artists

Australian National Capital Artists (ANCA) Gallery

Paintings, drawings and sculptures by The Bunker Studio Artists explore an individual visual expression strengthened by a supportive group’s diversity and inclusion.

www.anca.net.au

Scenes from the Mall Spiros Coutroubas

1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays. See our website for latest information.

The portraits in this exhibition were all shot in the Belconnen Mall in 1989 and 1990. The exhibition comprises three distinct sets of work, each documenting people in different spaces in the mall. They show the more routine and functional aspects of daily life in these structured and artificial spaces.

ANCA Gallery is a not-for-profit artistrun initiative. The gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

Hesitation Eliza Adam “My work investigates time as it is registered in landscape, through light, growth movement and decay. I am interested in how past incidents have

Artists and creatively adventurous individuals from throughout Australia were invited to respond visually to the theme: TRANSFORMATION. TRANSFORMATION as change through life cycles, metamorphosis, renewal, and evolution, be it in the environment around us, within ourselves as individuals or as collectives embarking on a shared journey.

Emily Dvorin, Present Tense. 17 February–28 March Interwoven 7 Basketry and textile artists Traditional and experimental works relate to generations of makers that have come before, interacting with material, pattern, colour, design and texture, making the practice of fibre art a mindful, meditative, and soul-nourishing practice for most makers. Lines of Sight Patsy Payne, John Pratt This body of work is the outcome of three years phone conversations and postcard dialogues mostly at a distance of 1100 kilometres between Darkinjung and Ngunnawal country.

Francis Kenna, Structure for reflected light. 17 February–28 March atmo-spheres Francis Kenna 205

ar t g ui d e .c o m . au Belco Atrs continued... This exhibition takes these transitory states of atmosphere as a place to begin questions around the mutability of space and our own experience. The Benefit of Doubt Fran Romano, Zoe Slee This exhibition is an experimental project, exploring the idea of self-doubt. Working collaboratively, they focus on concepts of self-doubt, self-image and related preconceptions and biases.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. The gallery will be closed until 15 January. See our website for latest information.

8 February–24 February Glyphs–the poet’s garden GW Bot Wrack Shannon Garson 29 February–16 March Derek O’Connor Ulrica Trulsson

Burridge explores the relationship between naturally formed glass and human interventions. Opening event: Saturday 20 January, 4pm.

Craft + Design Canberra www.craftanddesigncanberra.org

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005 . Situated in the historic Kingston Power House, Canberra Glassworks combines spacious industrial cathedral interiors with the drama and thrill of glass blowing for a truly unforgettable experience. Canberra Glassworks provides artists with state-of-the-art equipment; intensive workshops taught by leading glass artists; studios and residency programs; and a unique context to explore, develop and realise new work. We also provide diverse opportunities for visitors to interact with and learn about glass making.

Level 1, North Building, 180 London Circuit, Canberra, ACT 2601 [Map 16] 02 6262 9333 Wed to Sat 12noon–4pm.

Jacqui Keogh. 2 February–16 March 2024 Craft + Design Canberra Emerging Contemporaries Exhibition Emerging Contemporaries is Craft + Design Canberra’s National Award Exhibition for early career artists. This exhibition plays a pivotal role in supporting and transitioning artists into professional practice and placing Australian artists in view of national cultural collecting institutions, industry, and audiences. Craft + Design Canberra is always looking for new talent to nurture and add to our growing community. Emerging Contemporaries features the works of emerging designers and makers from local institutions including Sturt School for Wood, Canberra Potters Society, Canberra Institute of Technology, and the ANU School of Art + Design.

M16 Artspace www.m16artspace.com.au

GW Bot, Glyphs - portrait of the golden sun moth, linocut on Kozo paper, edition of 10, 94 x 55 cm.

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information. Nicholas Burridge. Courtesy of the artist. 13 January–25 February Nicholas Burridge Curated by Aimee Frodsham

Shannon Garson, Wrack I – tesselation, 2023, wheel thrown porcelain, glaze, terra sigillata, 27 x 30 x 30 cm. 206

Nicholas Burridge is inspired by terraforming, a concept which literally translates to Earth-shaping. This process aims to modify the atmosphere, temperature, surface topography, or ecology of a planet, moon, or other celestial body to make it suitable for life. Showcasing works from his 2023 residency at Canberra Glassworks,

Founded in 1985, M16 Artspace is an inclusive organisation that supports a thriving arts community of emerging and established artists, writers and curators of any age, background or culture. We present high-quality exhibitions from both emerging and established artists and curators from Canberra, interstate and overseas. We are partially supported by the ACT Government for our gallery program. Today, M16 Artspace runs three gallery spaces, manages 31 artist studios and houses five arts organisations that offer art classes.

AUSTRALIAN CAPITAL TERRITORY

National Gallery of Australia → Kiki Smith, Untitled III (Upside-down body with beads), 1993. © Kiki Smith. National Gallery of Australia, Kamberri/Canberra, Purchased 2023. Photograph: Kyle Knodell. 23 February–17 March Opening Thurday 22 February, 6-8pm.

become part of the National Gallery’s collection.

Untitled Martin Paul Brace Nathan Hughes CAPTCHA Mathew Francis Cold Collations Susan Chancellor

National Gallery of Australia Saskia Haalebos, Brutalist Poetry 2, 2023. Image courtesy of the artist. 26 January–18 February Opening Thurday 25 January, 6pm-8pm. Unspoken Saskia Haalebos Trans(ap)parencies Anthea da Silva Glyph Clare Martin

www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information. Art gives us meaning. It tells the stories of where we have come from and imagines possible futures. Art matters. Welcome to the National Gallery, Australia’s national visual arts institution dedicated to collecting, sharing and celebrating art from Australia and the world. Until 28 January The Ballad of Sexual Dependency Nan Goldin

Martin Paul, Hangman, 2023. Photograph: Brenton McGeachie.

The Ballad of Sexual Dependency is a defining artwork of the 1980s. Nan Goldin’s extended photographic study of her chosen family – her ‘tribe’ – began life as a slide show screened in the clubs and bars of New York where Goldin and her friends worked and played. The slide show was then distilled to a series of 126 photographs, which has recently

Emily Kam Kngwarray, Anmatyerre people, Untitled (awelye), 1994,National Gallery of Australia, Kamberri/Canberra, purchased 2022 in celebration of the National Gallery of Australia’s 40th anniversary, with the assistance of the Foundation Gala Dinner Fund, 2021. © Emily Kam Kngwarray/Copyright Agency, 2023. Until 28 April Emily Kam Kngwarray Emily Kam Kngwarray celebrates the timeless art of a pre-eminent Australian artist, one of the world’s most significant contemporary painters to emerge in the twentieth century. A senior Anmatyerr woman, Kngwarray devoted her final years to painting, creating works that encapsulate the experience and authority she gained throughout an extraordinary life. The exhibition will be an extensive survey of Emily Kam Kngwarray’s work, bringing together the most important works of her oeuvre, from early vibrant batik textiles to later monumental paintings on canvas. The exhibition will also feature an audiovisual collaboration with the artist’s community, with the songs of the awely that informed Kngwarray’s works woven through a series of immersive soundscapes and audio tours. The Emily Kam Kngwarray exhibition includes paintings, textiles and works on paper drawn from 207

ar t g ui d e .c o m . au National Gallery of Australia continued... international and national collections. Many never before seen works from private collections are included in the exhibition, along with new acquisitions of the artist’s seminal works in the national collection. Until 28 April Jordan Wolfson: Body Sculpture Jordan Wolfson is an artist whose work reflects the situation of the world today. Acting as a witness to the shadow forces within the human condition, Wolfson positions the audience in a physical and moral confrontation with issues facing society and our own place within them. Until 19 May Deep inside my heart Deep inside my heart brings together new acquisitions and key works from the national collection by major women artists of the twentieth and twenty-first centuries, exploring representations of the figure across sculpture, drawing and related disciplines. The exhibition features work by Louise Bourgeois, Nancy Spero, Ana Mendieta, Lynda Benglis, Marlene Dumas, Kiki Smith, Bronwyn Oliver, Tracey Emin, Sarah Lucas and I Gusti Ayu Kadek Murniasih. These artists’ works refer to a key period of the 1980s when representations of the body were used to assert politics, gender and identity.

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Until September Janet Fieldhouse: Sister Charm Art Makers X National Gallery Ongoing The Aboriginal Memorial Worldwide Australian Art

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. Until 28 January Archie 100: A Century of the Archibald Prize We are thrilled to host the Art Gallery of NSW’s touring exhibition Archie 100: A Century of the Archibald Prize. This major exhibition celebrates 100 years of Australia’s oldest and most-loved portrait award and reflects upon the changing face of our nation. Arranged thematically, Archie 100 delves into the controversies and the commonplace, the triumphant and the thwarted, and honours the artists who have made the Archibald Prize the most sought-

bwoodworks.com.au

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. after accolade in Australian art today. Expect to see and discover stories of renowned portraits of identities from the past century, magnificent portraits of intriguing characters whose names have today been forgotten, and works that have not been seen in public since first being exhibited in the Archibald Prize.

A–Z Exhibitions

Tasmania

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Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. 9 January–10 February Group Show 16 February–9 March Amber Koroluk-Stephenson

12 December 2023–20 January Colville Summer Show Group Exhibition

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

16 February–9 March Dai Li

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 international artists.

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm.

Leyla Stevens, still from GROH GOH (Rehearsal for Rangda), 2023, single channel film, 28 minutes. 16 February–23 February Leyla Stevens

Devonport Regional Gallery www.paranapleartscentre.com.au Paranaple Arts Centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 9am–5pm, Sat and pub hols 9am–2pm, Sun closed. Until 6 January Zoonoses Dr Nicola Hooper Kylie Elkington, Melaleuca, Dove Lake Shore, 2023, oil on linen, 160 x 115 cm. 12 December 2023–20 January Above the Littoral: Lake and Remnant Coastal Woods Kylie Elkington

Through drawing and lithography, Dr Nicola Hooper uses fairy-tale iconology and rhymes to explore concepts surrounding zoonoses (animal diseases that can infect humans). The exhibition ZOONOSES explores how we perceive certain animals in the context of fear and disease. Nicola is a Logan-based artist with a background in design and illustration. ZOONOSES is a touring exhibition of works by Dr Nicola Hooper presented by Logan Art Gallery, Logan City Council, in partnership with Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program, and is supported by the Queensland Government through Arts Queensland, part of the Department of Communities, Housing and Digital Economy. Proudly sponsored by Haymes Paint. Until 20 January Little Gallery Emerging Artist Program

Carol Barnett, Evening Fires, 2023, oil on board, 76 x 56 cm. 210

Chloe Bonney, Remnants of Then (installation view), 2022. 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

Until 20 January Dusk Lou P Conboy, Peter Maarseveen, Bethany van Rijswijk, Rebecca C Robinson and Milly Yencken. Curated by Victor Manuel MedranoBonilla. Until 2 February North West Support School 2023 exhibition Students from the North West Support School. The North West Support School share their art as we celebrate International Day of Persons with Disabilities. This year works from Burnie and Devonport include drawings on handmade paper, ceramic portraits, and paintings. The North West Support school supports students with moderate to severe disabilities to participate in learning, from kindergarten up to year 12. 20 January–17 February North West Art Circle: Annual Community Art Exhibition & Awards 2024 The NWAC is a well-known group based on the north west coast of Tasmania, with a membership base of about 60 people, who all share their passion for making art and their goal to promote and further develop their arts practice. This annual exhibition is a popular and well-known community event, where both well-known and emerging artists exhibit examples of

Collared, 2023, steel, manna gum (Eucalyptus viminalis), messmate (Eucalyptus obliqua), pine, brass padlock, kelp, nylon, rubber, steel padlock, silver, 122.5 x 180 x 14.5 cm. Courtesy the artist. Photograph: Christian Capurro.

TASMANIA their work. Group members will present a series of taster workshops for the public. The popular Artists in Action will take place on the last day of the exhibition NWAC artists demonstrating their artistic processes and practices. 27 January–9 March Current: Gail Mabo, Lisa Waup, Dominic White Current features newly commissioned and recent work by three First Nations artists, Gail Mabo (Meriam), Lisa Waup (Gunditjmara/Torres Strait Islands), Dominic White (Palawa/Trawlwoolway) Their work affirms their powerful connection to their lands, waters and ancestors.

Handmark www.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.

26 January–12 February Faridah Cameron 16 February–4 March The Silence That Follows Melissa Smith

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7011 03 6277 9978 Fri to Mon 10am—5pm. See our website for latest information.

Madeline Gordon Gallery represents a convergence of passion and expression. It’s an invitation; to feel, defy, explore, connect, revere, and most importantly – to get lost in the wonderful work of our artists. On our walls and our website you’ll find the works of creators both celebrated and emerging. Because while we may be a gallery, we are first and foremost a community. A place that unites creators and appreciator alike in celebrating contemporary art in all forms.

Until 1 April 2024 Jean-Luc Moulène and Teams Jean-Luc Moulène Curated by Michel Blancsubé with Trudi Brinckman from Mona, commissioned by Olivier Varenne.

Emily Galicek,Flowers with Upholstery Fabric, acrylic on canvas, 62 x 76 cm. 17 January—3 February Garden Variety Emily Galicek 7 February—2 March How Light Carries the Heaviest Content Ryllton Viney

Nick Glade-Wright, Diluvium, 2022, oil on canvas, 138 x 138 cm. 5 January–22 January Between The Lines Nick Glade-Wright

Saint George and the Youth of Mytilene, Greece, 17th century. Private collection, Melbourne. Until 1 April Heavenly Beings: Icons of the Christian Orthodox World Curated by Jane Clark, Senior Research Curator, Mona, and Dr Sophie Matthiesson, Senior Curator of International Art, Auckland Art Gallery Toi o Tāmaki, Aotearoa New Zealand. Until 1 April Hrafntinna (Obsidian) Jónsi Curated by Sarah Wallace, Mona.

Madeline Gordon Gallery www.madelinegordongallery.com.au

Faridah Cameron, Life is not still (detail), acrylic on canvas, 168 x 168 cm.

57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment.

Leoni Duff, Double Hung, oil on canvas, 122 x 102 cm. 7 February—2 March Linen Leoni Duff

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Penny Contemporary www.pennycontemporary.com.au

12 January–1 February 13 New Collages Scot Cotterell

187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

The Plimsoll Gallery is located on Hobart’s historic waterfront, a short walk from the Tasmanian Museum and Art Gallery (TMAG), Salamanca Place and the city centre. The Plimsoll showcases touring and curated exhibitions of innovative local, national and international contemporary art and design, in addition to the work of the School of Creative Arts and Media, Research Higher Degree and Honours examinations students.

Trish Todd, A Stitch in Time #1, acrylic on birch plywood, 78 x 78 cm. 7 February–26 February A Stitch in Time Trish Todd

Plimsoll Gallery, University of Tasmania www.utas.edu.au/creative-arts-media/events/plimsoll-gallery Scot Cotterell, mixed media collage.

37 Hunter Street, Hobart, TAS 7000 [Map 17]

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03 6226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and public holidays. See our website for latest information.

bayoffiresartprize.com.au

Queen Victoria Museum& Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Free Admission. Until 18 February Making Space The practice of carving into any material is one of the earliest foundational skills of sculpture. From the awe-inspiring figures

TASMANIA

Queen Victoria Museum → Chi Ling Tabart, There’s plenty of fish in the sea. Image courtesy of the artist. of the Renaissance to the satisfaction of carving a spoon or small animal, the practice of carving allows the carver to find magic in the art of subtraction and removal. Making Space will take visitors on a trip into this art form through works that display skill and artistry. The exhibition features pieces from the QVMAG collection as well as examples of contemporary carving practice, that will leave you amazed at how raw materials can be transformed with simple tools and a lot of imagination. Until 3 March Botanica The unique environments of flora – land and sea – influence life in countless ways: from food and medicines to visual art and design. Botanica delights in the wonders of the plant world, illustrated through QVMAG’s diverse collections. Explore the intersection between natural science, social history and creative practice to discover, devour, and devise these fascinating patterns of nature. Be inspired by original plant specimens, curious objects, and marvellous artworks. Botanica is a portal into botany as science, industry and art. It captures the imagination through its beauty, its history, and its extraordinary properties as humans strive to document and celebrate flora’s beauty and impact. Until 14 April Strange Nature QVMAG is home to one of the oldest and most significant natural science collections in Australia and the Royal Park site has proudly housed all the wonders

origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843.

Troy Emery, Big Blue 2022. Courtesy of Martin Browne Contemporary. of these collections for over 130 years. Strange Nature immerses you into the art of major contemporary artists, both local and national, to display the weird and wonderful facets of the natural world that inspire their versions of plants and animals.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 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. TMAG is Australia’s second-oldest museum and has its

Image courtesy of the gallery. 17 November 2023–11 February Hobart Current: Epoch Hobart Current: Epoch showcases diverse contemporary artists both leading and emerging. Ten artists have been selected to take part in the second iteration of Hobart Current and they will create new works across a variety of media including visual art, performance, music, film, design and literature, responding to the 2023 theme Epoch. The works will be presented at the Tasmanian Museum and Art Gallery (TMAG) and at several public spaces across Hobart. This year, the exhibition is curated by Chris Twite and the selected artists are: Arushi Jain (US), Florence Shaw (UK), Georgia Morgan (Tasmania), Isabella Maria Foster (Tasmania), Lou Conboy (Tasmania), Nathan Maynard (Tasmania), Rochelle Haley (NSW), Tricky Walsh (Tasmania) and Wona Bae and Charlie Lawler (Tasmania).

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A–Z Exhibitions

South Australia

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S OUTH AUSTRALIA 19 February–19 April Between the Details: Video Art from the ACMI Collection An exhibition celebrating ACMI’s vibrant collecting and commissioning program. An ACMI touring exhibition.

Adelaide Contemporary Experimental www.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.

GAGPROJECTS Vincent Namatjira, Vincent Namatjira: Australia in colour (installation view), Art Gallery of South Australia, Adelaide. Photograph: Saul Steed. Don’t miss the first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira whose works offer a wry Aboriginal perspective on the politics of history, power and leadership.

Carrick Hill House Museum and Garden

www.gagprojects.com 39 Rundle Street, Kent Town, SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway Gallery closed until 1 March. 22 February–25 February Melbourne Art Fair Ariel Hassan and Joseph Häxan

www.carrickhill.sa.gov.au Sam Petersen, Wee, 2020, digital photograph. Courtesy of the artist. 17 February—4 May Yucky Sam Petersen plus others

46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm.

Art Gallery of South Australia www.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.

Gareth Sansom, List, 2011, oil on linen, 122 x 122 cm. Courtesy of GAGPROJECTS, Adelaide. 1 March–28 March Gareth Sansom Marcel Hoogstad Hay, Trace No. 2 & No. 3, 2022. Photograph: Grant Hancock. Until 28 January 2023 FUSE Glass Artist Residency Marcel Hoogstad Hay

Flinders University Museum of Art www.flinders.edu.au/museum-of-art

Bugai Whyoulter, Kartujarra people, Western Australia, born Pukayiyirna, Western Australia c.1939, Wantili (Warntili, Canning Stock Route Well 25), 2022, Kunawarritji, Western Australia, synthetic polymer paint on linen, 106 x 152 cm. Courtesy of Artist and Martumili Artists, © Bugai Whyoulter/ Martumili Artists.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thur until 7pm. Closed weekends and public holidays.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Until 21 January Tarnanthi at AGSA See the latest works of contemporary art from more than 100 Aboriginal and Torres Strait Islander artists across the continent. Until 21 January Vincent Namatjira: Australia in Colour

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts. Photograph: Max Mackinnon.

Kath Inglis, Stypopium flabelliforme Brooch, 2023, hand cut, carved coloured, and heat fused PVC, cellophane printing, ink, stainless steel pin, 6.2 x 9 x 1.3 cm. Photograph: Craig Arnold. 215

ar t g ui d e .c o m . au 23 February – 30 March Space and Time: Cat’Astrophe Wesley Tyson Maselli

Jamfactory continued... JamFactory Adelaide: Until 28 April Kath Inglis: Immersed in the Offsure

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm. Appointments welcome. See our website for latest information.

Sophie Horvat, Trails I Follow on the Weekend, 2023, reduction fired stoneware clay & Meandering Rivers From Above, 2023, raku clay. JamFactory Seppeltsfield: Until 17 March Patterns and Textures and Lines, Oh My!

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information.

Samstag Museum of Art Annabelle Collett, XO Jacket, 2017, mixed fabrics, buttons, plastics, hanger, 100 x 100 cm. inimitable artist and change-maker, with a selection of her fantastic plastics and fabulous fabrics.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed. See our website for latest information.

Murray Bridge Regional Gallery is set in the heart of the town’s arts precinct, located just 45 minutes from Adelaide, on beautiful Ngarrindjeri country near the banks of the majestic Murray River.

www.unisa.edu.au/connect/ samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information.

Sauerbier House Culture Exchange www.onkaparingacity.com/ sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information.

Taylor Parham, Anechoic Chamber, pigment print, 90 x 60 cm. 19 January—17 February Accidental Aesthetics Taylor Parham

Sam Mulcahy, Tetnesteii longus aedifićatió argentum, 2023, steel, 95 x 72 x 28 cm.

Jessie Lumb, Mock Dragon Boat Setup, 2023, digital still. Image courtesy of the artist.

Until 28 January Botanical Armour Sam Mulcahy

16 December 2023–27 January Hallway gallery & Wash House: Joy Follows Jessie Lumb

The first solo exhibition of a rising regional based artist. Until 28 January ReDress Annabelle Collett Celebrating the last 15 years of an 216

Wesley Tyson Maselli.

Lumb uses Sauerbier House as a site for play and experimentation to insert new techniques into an old practice/life. Artist in Residence Exhibition.

S OUTH AUSTRALIA 16 December 2023–27 January Lounge gallery: Ever Evolving Landscape Ryan Daffurn With mixed media works on paper Daffurn creates idiosyncratic and sensory images reflecting his discoveries in the landscape, combining observation, memory, and fantasy. Artist in Residence Exhibition.

3 February—16 March Hallway gallery, Lounge gallery, & Wash House garden: The Ephemeral/The Eternal Sam Howie Howie looks to highlight contradictions and similarities in relation to the universal and the particular, the past and present, and ultimately shares a deeper contemplation between the ephemeral and the eternal. Adelaide Fringe Festival.

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm.

2 December 2023–7 March Gondwana VR: the exhibition The South Australian Museum invites you to immerse yourself in the world’s oldest tropical rainforest with Gondwana, a multisensory installation contracting 100 years of climate data into a single day. Like the rainforest itself, Gondwana is a system of possibilities powered by climate data. Weather, seasons and biodiversity shift as visitors navigate a vast map of ancient trees, rugged mountains and idyllic beaches populated by rare animals and birdlife. But a broader narrative stirs below: the rainforest is deteriorating. The only salve to its decline is people the more time an audience spends in Gondwana, the more resilient the forest becomes. Gondwana can be experienced through virtual reality (VR) headsets that allow direct interaction with the forest or by exploring the constantly-evolving exhibition. Each cycle is unrepeatable and speculative, showing different possible futures for the forest through artistic renderings generated by climate projections up to the year 2090. Created by Ben Joseph Andrews and Emma Roberts, Gondwana has been seen around the world with screenings at SXSW, Sundance Film Festival and CPH:DOX in Copenhagen, and won Best Interactive/Immersive at the Australian Director’s Guild Awards in 2022.

Sam Howie, The Ephemeral, 2023, acrylic on paper, 180 x 168 cm. Photograph: Sam Roberts.

The forest is changing… Do you see it?, video still from GONDWANA VR: the exhibition.

Between [the] Details

Flinders University Museum of Art 19 Feb – 19 Apr 2024 Free Exhibition

Video Art from the ACMI Collection

Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Courtesy Kaylene Whiskey and Iwantja Arts.Photo: Max Mackinnon.

flinders.edu.au/museum-of-art

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A–Z Exhibitions

Western Australia

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Art Collective WA

Internationally recognised Kokatha and Nukunu artist Yhonnie Scarce brings her luminous and powerful works to The Art Gallery of Western Australia in the largest-ever ensemble of her collected glass and mixed-media works seen in Australia, for the Perth Festival in 2024.

www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment. Until 21 January TEN In celebration of Art Collective WA’s first decade of operation as an artist-owned, non-profit organisation, TEN showcases the achievements of its 36 member artists with a group show of entirely new works including painting, sculpture and photography. The exhibition illustrates the richness of contemporary art practice in Western Australia and features many of the state’s most significant artists. Showing at Holmes à Court Gallery, Vasse Felix, Margaret River.

Joanna Lamb, Streetside Garden 02, 2023, acrylic on Superfine polyester, 180 x 240 cm (diptych.) Art Collective WA presents new work by Joanna Lamb at Melbourne Art Fair. Wavering between realism and abstraction, Joanna is known for her hard-edged and highly refined compositions depicting the aesthetic qualities of Perth’s suburbs. Joanna’s work draws on her family connection with printing and a preoccupation with the processes involved in the reproduction of imagery.

The Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Free admission.

Giles Hohnen, 2023 #28, 2023, oil on canvas, 91 x 81 cm.

One of the country’s leading contemporary artists, Scarce is known for her large-scale, unforgettable glass installations that reveal hidden stories of Australia’s foray into nuclear testing, and the impacts of colonisation on First Nations people, illuminating the artist’s desire to bring the darkest shadows of Australia’s past into the direct light of day. Ongoing Balancing Act Our story is not one story but many stories to share. Balancing Act invites you to be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase. Until 5 February Exquisite Bodies Bruno Booth A participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Drawing 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. Until 18 February The Antipodean Manifesto This State Art Collection exhibition explores the formation and aspirations of the seven artists who formed the Antipodean group in Melbourne in 1959, situating their work within the social and political context of late 1950s Australia.

3 February–2 March New Paintings Giles Hohnen Pulsating combinations of both harmonious and discordant colour compositions imbue Giles Hohnen’s new colour soaked paintings. His process defies convention; no preliminary sketches or blueprints guide his paint application. Instead, each work evolves organically, born from bold, freeform shapes and colours cascading across the canvas, revealing layers of complexity woven into seemingly simplistic forms.

Tina Stefanou, Back-Breeding, 2023, production still. Photograph: Will Normyle. Until 18 February Spaced: Rural Utopias

3 February–2 March The Palette Barbara Bolt Colour is beautiful but appearances can be deceptive. Through a series of colourful diptychs Barbara Bolt creates a dialogue between digital and water colour painting, posing the questions: what is the relationship between the virtual and the material, the mutable and the “real” and what does this mean for the “auratic” quality of the digital? 22 February–25 February Melbourne Art Fair Joanna Lamb

Yhonnie Scarce, Thunder Raining Poison (detail), 2015, glass, wire, metal armature, 500 cm (h), (dimensions variable). National Gallery of Australia, purchased 2016. This acquisition has been supported by Susan Armitage in recognition of the 50th Anniversary of the 1967 Referendum. Courtesy of the artist and THIS IS NO FANTASY. © Yhonnie Scarce. From 2 February The Light of Day Yhonnie Scarce

Rural Utopias features new works from ten artists developed over a series of residencies in rural and remote Western Australia, in dialogue with selected objects from the State Art Collection. These artists developed new works alongside their host communities, responding to new social, environmental, and historical contexts. Until 10 March State of Abstraction Bringing together abstract works by some of WA’s most historically important artists as well as lesser-known makers from the mid-twentieth century to today, the exhibition examines diverse approaches and philosophies around art making. 219

ar t g ui d e .c o m . au Art Gallery of Western Australia continued... Until 21 April Death Metal Summer Shot entirely with film and employing a candid street-style manner, this collaborative exhibition by American photographers Deanna Templeton and Ed Templeton, is an incredibly energetic overview of their overlapping individual practices featuring more than 140 works produced between 1995 and 2019.

Until 18 February Ingress Stuart Elliott

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle, WA 6160 [Map 20] 08 9430 6616 Tue to Fri 10am–4pm, Sat 10am–2pm.

Artitja Fine Art Gallery

Sherylle Dovaston, Making Tracks, acrylic, earth washes on canvas, 45 x 45 cm.

www.artitja.com.au

Featuring the work of abstract artist Sherylle Dovaston Tracks and Traces investigates the inherent, constructed, and ambiguous meanings within the language of diverse Western Australian landscapes. The artist draws on her extensive travels throughout WA to present an artful retelling of landscape across the state.

South Fremantle, WA. 0418 900 954 Artitja Fine Art Gallery based in South Fremantle, Western Australia specialise in Australian Aboriginal Art. In 2023 we turned nineteen. We are proud to have developed ongoing trusting relationships with over twenty Aboriginal owned art centres in remote communities and continue to bring you the most exciting Indigenous art direct from these communities.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See our website for latest information.

Image courtesy of the gallery. 11 February–20 April Arising in the east Presented by Perth Festival in association with Tanpopo-no-ye Art Centre HANA (Nara), New Traditional Project, Good Job! Centre (Kashiba), and Atelier Yamanami (Shiga Prefecture) and DADAA Three Japanese arts and disability organisations reframe our understanding of disability arts and disability culture. Through this immersive survey of textiles, works on paper, books and illustrations, the artists challenge what and who we value, and ask us to reconsider the clockin, clock-out measure of human contribution.

Often combining organic materials to embed the landscape in the work, the artist offers an understanding of time and place as a convergence of memory, imagination, and sensation.

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

DOVA Collective www.dovacollective.com.au

Rhona Wallam, Painting 4, 2023, acrylic on canvas.

Plaza Arcade, 640 Hay Street Mall, Perth, WA 6000 0419 614 004 Tue to Sat 10am–4pm. See our website for latest information.

Until 4 February Painting my Country Rhona Wallam

Sherylle Dovaston, Coming Into View, acrylic, tannin-infused rainwater on canvas, 50.5 x 61 cm. Stuart Elliott, Ambiguous Magi (detail), 2015, wood and wood based media, cotton and synthetic textile and paint. 220

9 January–17 February Tracks And Traces Sherylle Dovaston

26 November–31 January 2024 York Botanic Art Prize 47 finalists: Kelsey Ashe, Katie Barron, Lorraine Biggs, Bethany Breslin, Jennifer Cochrane, Jane Coffey, Benjamin Cole, Sujora Conrad, Mya Cook, James Crombie, Paul Dennis, Samantha Dennison, Pippin Drysdale, Nina Ellis, Angela Ferolla, Mia Forrest, Margery Goodall, Yoshiko Gunning, Charlotte Haywood, Kirsten Hudson, Kyle HughesOdgers, Virginia Keft, Ali Kidd, Marina Lommerse, Michael McHugh, Matthew McVeigh, Sam Michelle, Sharon Muir, Barbara ODonovan, Cynthia Orr, Amanda Andlee Poland, Ross Potter, Jennifer Robertson, Zoe Sernack, Sultana Shamshie, Linelle Stepto, Rebecca Stewart-Bartell, Kimberly Stuart, Shin-I (Juliet) Tang, Kati Thamo, Sarah Thornton-Smith, Tineke Van der Eecken, Robin Wells, Jo White, Laura Williams, Jude Willis, Clarice Yuen. Open 7 days except for Xmas Day/Boxing Day and New Years Day.

WESTERN AUSTRALIA viewers to contemplate the mystical and otherworldly. Through her use of recycled materials and her exploration of magical thinking, she challenges us to reconsider our relationship with the world around us. Flavell’s art speaks to our collective connection to the environment and the importance of sustainable practices.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. 3 November 2023–28 January Pliable Planes: Expanded Textiles & Fibre Practices Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne-Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović, and Katie West.

Tim Georgeson, Pyrogenesis, 2020, still from work. Courtesy of the Adamfilmic Sébire, anthropoScene II : artist. Tideline, 2018, HD video still. Courtesy of the artist.

6 February—28 April Polarity: Fire & Fire Tim Georgeson, Maureen Gruben, Dr Cass Lynch, Mei Swan Lim, Adam Sébire, Indigenous Desert Alliance

KolbuszSpace Robert Fielding, Manta Miilmiilpa (sacred earth), 2021, UV print on cotton rag with aerosol paint alteration. Courtesy the artist and Mimili Maku Arts. Revealing a complex and intertwined relationship with the spirit of the land, Kinara munu Tjintu (Moon and Sun), showcases Yankunytjatjara artist Robert Fielding’s diverse practice through photography, print and video. Engaging with site-specific interventions and process-based practices, Fielding merges abandoned objects, natural elements and sacred language as an ongoing dance between artist and country upon which he works.

www.kolbuszspace.com 2 Gladstone Street, Perth, WA 6000 [Map 19] 0414 946 962 Open during exhibitions or by appointment, see website for latest information.

Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrente and Yankunytjatjara descent, who lives in Mimili Community in remote Anangu Pitjantjtjara Yankunytjatjara (APY) lands. Fielding won the work on paper category at the National Aboriginal and Torres Strait Islander Awards in 2015 and 2017. He also won the 2015 Desart Art Worker Prize.

Opening event: Friday 6 February. Sam Bloor, Tuesday, 2022, sign painters enamel on canvas, 121 x 90 cm. January Stockroom View online

John Curtin Gallery www.jcg.curtin.edu.au Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat 12pm–4pm (during Feb) Sun 12pm–4pm Closed Public holidays. Free admission. 9 February–14 April Kinara pulka irnyani palyanu. Tjintungku kampara utinu (The big moon shone brightly and made. The sun burnt through and brought it out) Robert Fielding

KolbuszSpace offers an expansive online stockroom of artworks to buy of noteworthy and collectible artists across broad mediums. We personalise our advice to help you choose the perfect artworks for you or for your project. Susan Flavell, The Horn of the Moon (Kali Goddess) (detail), 2017, installation view, John Curtin Gallery, recycled, found, gifted and made objects. Photograph: Tarryn Gill. 9 February–14 April The Horn of the Moon, 13 Goddesses and their consorts (there are no museums at the end of the world) Susan Flavell Seven years in the making, Walyalup based artist Susan Flavell’s The Horn of the Moon, 13 Goddesses and their consorts is a beautiful and frightening carnival: a day of the dead procession, a celebration, a call to arms. Like a shelter housing mythical beasts and animate detritus, washed up on an apocalyptic tide, the darkened gallery spaces are overwhelmed with objects, revealed through shimmering spotlights. Delving into realms of myth, objects, nature, and animals, Flavell invites

Waldemar Kolbusz, Away, 2023, 122 x 153 cm. 16 February–18 February Open Studio Waldemar Kolbusz Waldemar Kolbusz lives and works in Perth and has been painting full-time and exhibiting regularly for over two decades both nationally and internationally. 221

ar t g ui d e .c o m . au KolbuszSpace continued... Kolbusz paints in two streams which interrelate. His figurative works test the differences between an idealised human experience and actual experience – the increasingly blurred overlap between the two in our contemporary lives. His expressionistic works explore this same fine edge: they allude to a kind of perfection, but then to something else.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12noon–5pm. See our website for latest information.

Linton & Kay Galleries www.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.

Leigh Hewson-Bower, Monday Rock, 2023, acrylic on canvas, 190 x 100 cm. “I chose the title partly for its connection to our geographic location here in WA and for the ways it appears in numerous forecasts. In addition, it gives me the flexibility to choose my references. These are the digital photographs I take on my outings around our Local Waters. With the leaps in data storage my references are intensely detailed and the challenge is to distil and retain the essence that will make my works memorable paintings.” — Leigh Hewson-Bower, 2023.

Midland Junction Arts Centre

The Lawrence Wilson Art Gallery will be closed to the public from Sunday 10 December 2023, reopening Saturday 17 February.

www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Galleries currently closed for heritage works, re-opening 15 March with Re.Collection curated by Samara King.

Jasper Knight, Untitled, 2023, gloss acrylic and gesso on linen, 152 x 137 cm. Image courtesy Jasper Knight and Linton & Kay Galleries. Natalie Scholtz and Curtis Taylor, MUTHA CUNTRY, 2023, mixed medium on linen, 218 x 215 cm. Courtesy Natalie Scholtz and Curtis Taylor. Photography: Churchill Imaging. 17 February–27 April Jintulu: People of the Sun Jintulu: People of the Sun is an exhibition by Walmajarri artist Murungkurr Terry Murray, Persian South African artist Natalie Scholtz and Martu artist Curtis Taylor. Using filmmaking, photography, installation and painting, the artists present a powerful exploration of colonialism, race relations and Indigenous storytelling. Experience a new reading of the significant art collections of the Berndt Museum, Cruthers Collection of Women’s Art and The University of Western Australia Art Collection as they are placed in conversation with new works, uncovering the shifting perspectives of a dynamic and turbulent contemporary Australia. A Perth Festival exhibition supported by Visual Arts Program Partner Wesfarmers Arts.

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11 December 2023—31 January Subiaco: Dusk to Dawn Jasper Knight Dusk to Dawn sees Knight dividing his palm tree subjects into two categories: dusk epitomised by blues, and daybreak by ochres and golden yellows to reds. He has taken the “best bits” of the earlier works, added this new sunburst element and introduced ochre for the first and only time. “They evolved as fabrications from my imagination, not just from specific places but from everywhere; they are realistic but don’t have to be seen as realistic. Painting a specific type of tree has encouraged me to be experimental, and these are some of the freest and most enjoyable works I’ve done. They encapsulate this idea of the hidden tree: mostly unseen, but once noticed and remembered it’s impossible to ‘unsee’. They have been a big part of my identity for the past twenty-four months.” —Jasper Knight, November 2023 13 February—4 March Subiaco: Local Waters Leigh Hewson-Bower

Judith Wilton, Brush with Technology, 2022, hand dyed cottons, commercial and synthetic fabrics.

Sultana Shamshi, Shalimar Gardens, 2019, brooches, antique beads, silver. The 2024 program at Midland Junction Arts Centre features a diverse a line-up of group and solo shows including Stitched and Bound presented by West Australian Quilters Association and Revisiting the Mughal Gardens by renowned contemporary jeweller, Sultana Shamshi.

WESTERN AUSTRALIA

Perth Institute of Contemporary Arts (PICA) → Roberta Joy Rich: The Purple Shall Govern, installation view, Perth Institute of Contemporary Arts (PICA), 2023, image © the artist, photo: Dan McCabe.

MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

22 February–25 February Melbourne Art Fair 2024 Abdul-Rahman Abdullah For Melbourne Art Fair 2024, MOORE CONTEMPORARY is pleased to present a solo offering of new sculptural works from Abdul-Rahman Abdullah. Abdullah furthers his conceptual interest in the language of birds, presenting a suite of finely observed birds crowning pillars of books in his his distinctive handcarved wood.

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information. MAC’s two venues (Mundaring and Midland Junction Arts Centre) feature new exhibitions bi-monthly and showcase the cultural offerings of exceptional local artists and craftspeople. MAC also presents a range of community projects, workshops and cultural events at the arts centres, local schools and in the wider hills community.

Abdul-Rahman Abdullah, Harsh alarm screeching, 2024, painted wood, formply, 167 x 50 x 50 cm.

A not-for-profit community arts organisation, MAC is run by a volunteer management committee, dedicated professional staff and a large group of passionate volunteers. MAC provides arts leadership, advocacy for West Australian artists and cultural advisory services for individuals and organisations.

Marcia Espinosa, The Golden Thread, 2023, glazed stoneware, fabric. 22 January–11 February The Language Of Colour Andrew Nicholls, Alastair Taylor, Andre Lipscombe, Angela McHarrie, Bernard Kerr, Greg Crowe, Jillian Ciemitis, Judy Rogers, Kate Campbell-Pope, Kyle Hughes-Odgers, Madeleine Clear, Marcia Espinosa, Margery Goodall, Megan Kirwan-Ward, Penny Coss, Sandra Black, Sarah Thornton-Smith, Sultana Shamshi and Susie Vickery. 223

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

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information. 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 art

in Western Australia. 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 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 acts as a site for challenging and timely conversations. 9 February–31 March Sun Signals Joan Jonas

Angela McHarrie, Intersect 13, acrylic on aluminium. The Language of Colour showcases works inspired by the power of colour to communicate emotions, ideas, and narratives. Seventy-eight artists celebrate the richness and diversity of their arts practice, and the cultural expression colours incite.

Helen Johnson, The Actual, 2022, synthetic polymer paint and pencil on canvas. Courtesy of the artist .

9 February–31 March Untitled (eclipse) A.K. Burns

Susan Flavell, The Horn of the Moon (Kali Goddess) (detail), 2017, recycled, found, gifted and made objects, dimensions variable. Photo by Tarryn Gill.

jcg.curtin.edu.au

Kinara munu Tjintu [Moon and Sun]

9 FEBUARY - 14 APRIL

The Horn of the Moon, 13 Goddesses and their consorts

SUSAN FLAVELL ROBERT FIELDING

CURTIN UNIVERSITY Building 200A, Kent St, Bentley. WA. Mon - Fri 11am-5pm, Sun 12-4pm Closed Sat (except Feb) & Public Holidays @johncurtingallery www.jcg.curtin.edu.au 224

9 February–31 March Follower, Leader Helen Johnson

JOHN CURTIN GALLERY

A–Z Exhibitions

Northern Territory

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Araluen Arts Centre, Mparntwe

2 March—2 June 52 Actions Featuring works from 52 Australian artists and collectives from each state and territory. The exhibition is touring nationally with Artspace, Sydney, with support from Museums & Galleries of NSW. This project is proudly funded by the NSW Government through Create NSW. It has been assisted by the Australian Government through the Visions of Australia program and through the Australia Council for the Arts, its arts funding and advisory body. It is also supported by the City of Sydney and by the Copyright Agency’s Cultural Fund.

www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Tue to Sat 10am–4pm. Sun 10am–2pm. Closed Mondays. See our website for latest information

Samantha Everton, The sitting room, 2003, photograph, 81.5 x 79.5 cm. Araluen Art Collection. This exhibition includes many previous winners and highlights the strength of this collection and its importance not only to the local community but also nationally.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm.

2 March—2 June Gumurr’manydji Manapanmirr Djäma (Making successful business together) A photographic exhibition from the Arnhem Land Progress Aboriginal Corporation (ALPA) celebrating 50 years of Yolŋu economic independence, enterprise, self-determination, culture and ingenuity.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. NCCA is closed to the public during the wet season and re-opens for the first exhibition of the year from 24 February.

Claire Freer, Offering 1, 2023, clay and silk, 65 x 22 cm. 10 November 2023–18 February Raw Earth Claire Freer Inspired by her life in Central Australia and her experience living in remote communities, Claire Freer is presenting new ceramic, textile and sculptural creations deeply connected with the lands she has been living on. 10 November 2023–4 February My Country This exhibition highlights the strength of the Hermannsburg School of Art through a geographical experience of Western Arrernte Country. The paintings hold many important places for their Western Arrernte custodians and together they provide rich stories of ongoing connection with Country. Also included are artworks from the beginnings and continuation of the Western Desert art movement highlighting how this movement has influenced contemporary Aboriginal art in Central Australia. The artworks are ground-breaking and exciting and build on the legacy of past generations of artists.

Anne Nginyangka Thompson, Anangu History, 2023, stoneware, 38 x 18 x 18 cm (each). Courtesy of the artists and Ernabella Arts. Image MAGNT / Mark Sherwood. 12 August 2023—18 February 2023 Telstra National Aboriginal and Torres Strait Islander Art Awards (Telstra NATSIAA) The Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) is the longest running and most prestigious awards for Indigenous artists in the country. This exhibition celebrates the diverse artistic practice of contemporary Aboriginal and Torres Strait Islander art from across Australia.

Alice Prize 1970–2020

17 February—2 June Exit Art: Contemporary Art from 2023 NT Year 12 Students

This exhibition presents a broad selection of artworks acquired across the history of the Alice Prize. These artworks are permanently housed at the Araluen Arts Centre as part of the Araluen Collection.

A celebration of the talents and creativity of the next generation of artists and designers, presenting the very best contemporary art and design from Northern Territory year 12 students.

10 November 2023–3 March

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Cleverman installed at ACMI, Melbourne, 2018. Photograph: Michael Jalaru Torres. 24 February–27 April Cleverman Explore First Nations storytelling, mythology, language and creativity through the lens of Australia’s critically acclaimed Indigenous, superhero TV series, Cleverman. Visitors are welcomed into the Bindawu Spirit listening space, to hear the key Dreaming stories underpinning the series, and to explore behind-the-scenes interviews with cast and crew, original artwork, props and video content – revealing how this incredible series was made. Conceived and developed in close consultation with a multidisciplinary Indigenous Advisory Group, and First Nations curator Kathrine Clarke, Cleverman was co-curated with series concept creator Ryan Griffen and production designer Jacob Nash. Cleverman is on tour from the Australian Centre for Moving Images.

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CRONULLA

BARGO

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

WO L LO N G O N G

BY R O N 32 B AY 12

35 20

23 COBAR

3 BROKEN HILL

New South Wales

22 2 C E N T R A L 8 C OA ST

WO L LO N G O N G

33 16 EC H U C A

15 29 18 14 13 24 17 19

DUBBO

MILDURA

C O F FS HARBOUR

MOREE

BOURKE

9 21 27 25 28 30 6

KO S C I U S Z KO N AT PA R K

235

M A P 13 & 14 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

6 SUNSHINE C OA ST

12 8

11 14 3

Brisbane 18 4

TO OWO O M B A

2 15

13 9

16 10 5 1 8

GOLD C OA ST

17 STA N T H O R P E

7 CAIRNS

13 3

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11 12 13

236

Above and Below Gallery 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 Museum of Art Umbrella Studio UMI Arts

10 9 12 5 1 M AC K AY

Queensland 8 R O C K H A M P TO N

G L A D STO N E

M A P 15 & 1 6 BRISBANE & CANBERRA

ET RE ST

13 16

Fortitude Valley

IC 5 K ST

15 10

8 R

ST R E E

T ET

9 DA R Y

BOUN

Brisbane CBD South Bank

19 14 12

ST RE

Acton

RO IE UN

PA R K E

CO S WAY

19 16

15 KIN

ADE

E AV

Deakin G

Barton 20

8 13

CAN AY

BER

E AV

AV E

L A ID

Russell

T EN W E AV

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 Hadfield Gallery 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 PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

G G O D

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

A H K IC W

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 Metro Arts Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 17 Queensland Museum 18 QUT Art Museum 19 Robyn Bauer Studio 20 State Library of Queensland 21 UQ Art Museum

D R A W EET ED TR S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

RA A VE

237

M A P 17 & 18 H O B A RT & A D E L A I D E

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

EY S

L S T

1 2 3 4 5 6 7 8 9 10

Hobart R

1 N

RA Y

10 AB

SAL AM ANC A PL

FRO Y RD

NORTH TCE

21 10

EAST TCE

238

HA CK NE

17 1 13

Adelaide

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS 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

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

9 2

M A P 19 & 2 0 P E RT H & F R E M A N T L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary

7 W

ING

Perth

13 2

10 TH

SPL

11 EL

AID

6 RA

3 4 OR 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

1 239

L A S T WO R D

“Simple is better than complicated, quiet is better than noisy, and what is close at hand is better than that which has to be sought.” — G A L L E R I S T P H I L I P B AC O N O N M A R G A R E T O L L E Y

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