Art Guide Australia — July/August 2023 by Art Guide Australia

Inside this issue A Note From the Editor

Tiarney Miekus PR EV IEW

The Australian Women’s Weekly: 90 Years of an Australian Icon

Briony Downes

STU DIO

Karen Black

Karina Dias Pires & Hamish Ta-mé F E AT U R E

Dancing into the Museum

Erin Brannigan

Alice Lang: Flower Powah

Frida Kahlo: Her Own Revolution

Louise Martin-Chew

Sally Gearon

Simone Douglas

Chantal Fraser: All That Glitters

Sally Gearon

Lisa Sammut: a circular logic

Louise Martin-Chew

Nicola Moss: Choose Love

Briony Downes

Newell Harry: Esperanto

Andrew Stephens

Andrew Stephens INTERV IEW

Talking with Sancintya Mohini Simpson

Tiarney Miekus F E AT U R E

Making Memory: 40 Years of the NATISAA Awards

Clothilde Bullen

Alison McDonald: Belonging: Memory and Loss

COMMENT

Angus Gardner: Landscape paintings

F E AT U R E

Barnaby Smith

Andrew Stephens

Colour in Practice: Art Collective WA

Sally Gearon

Ian Parry: New Works

Barnaby Smith F E AT U R E

Warnarral Ngoorrngoorrool: The Journey Down

Neha Kale

Olana Janfa: Sharing Experience

Giselle Au-Nhien Nguyen INTERV IEW

Vicki Couzens

Tiarney Miekus

Why Do We Fund the Arts?

Lauren Carroll Harris Sally Anderson Blue

Briony Downes

EX HIBITION LISTINGS

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

TIM SILVER AMONG THE LEAVES 13 JULY – 12 AUGUST

EORA/SYDNEY

sullivanstrumpf.com

LARA MERRETT TISSU TISSUE 20 JULY – 12 AUGUST

NAARM/MELBOURNE

Sydney / Melbourne / Singapore / sullivanstrumpf.com / @sullivanstrumpf sullivanstrumpf.com

David Noonan MASKEN 21 July–19 August 2023

Roslyn Oxley9 Gallery

8 Soudan Lane Paddington NSW 2021 Sydney, Australia +612 9331 1919 roslynoxley9.com.au

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19/5/2023 2:50 pm

GOMA, BRISBANE

24 JUN – 2 OCT 2023 MAJOR PARTNERS

TOURISM & MEDIA PARTNERS

SUPPORTING PARTNER

PUBLICATION SPONSOR

eX de Medici / The Seat of Love and Hate (detail) 2017–18 / Commissioned by MAAS with support from the MAAS Foundation, 2018 / Collection: MAAS, Sydney / Photograph: Michael Myers

qagoma.qld.gov.au

ARCHIE 100 HOTA, Home of the Arts 15 July – 2 October 2023

A CENTURY OF THE ARCHIBALD PRIZE An Art Gallery of New South Wales touring exhibition

Support partner

This project has been assisted by the Australian Government’s Visions of Australia program.

Exhibition Presenting partner

Exhibition Major Partner

Exhibition Corporate Partners

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

hota.com.au

GOMA, BRISBANE

24 JUN – 2 OCT 2023 MAJOR PARTNERS

TOURISM & MEDIA PARTNERS

SUPPORTING PARTNER

Michael Zavros / The Phoenix (detail) 2016 / James and Diana Ramsay Fund supported by Philip Bacon AM through the Art Gallery of South Australia Foundation 2016 / Collection: Art Gallery of South Australia

qagoma.qld.gov.au

21 Jul — 10 Sep 2023

CENTRE FOR CONTEMPORARY PHOTOGRAPHY

WALKING THROUGH THE DARKNESS

Rushdi Anwar / Liss Fenwick / Seiichi Furuya / Buzz Gardiner / Amos Gebhardt / Ori Gersht / Todd Hido / Rinko Kawauchi / Fassih Keiso / Li Yang / Morganna Magee / Chloe Dewe Mathews / Georgia Metaxas / Darren Tanny Tan / Vanessa Winship TODD HIDO HOUSE HUNTING

ccp.org.au

PASSAGE

James Drinkwater Curated by Ken McGregor 9 June - 22 July

James Drinkwater, Pre-empting Tahiti, 2015 (detail)

12 August - 23 September

Iwantja Womens Film Project, Kungka Kuṉpu, 2019 (video still)

3 Vimy Lane, Parap, Darwin, Northern Territory Wednesday - Friday: 10am - 4pm, Saturday: 8am - 2pm

nccart.com.au

Chantal Fraser: The Ascended Griffith University Art Museum 15 June - 2 September 2023 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project is supported by the Queensland Government through Arts Queensland.

Chantal Fraser, Working helmet (gold) (2023) from the series ‘Riot Gear’ (2015 - ongoing), welding helmet, rhinestones, glass, 33 x 24 x 25.5cm. Courtesy of the artist. Photo: Louis Lim

griffith.edu.au/art-museum

18 March – 17 July 2023 Curated by Dr Stephen Jones

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

museumsvictoria.com.au/immigrationmuseum

Image: Cassie Sullivan, Mayana Trawna Body Country 2021 (video still). Courtesy the artist

BetweenWaves

1 July–3 September 2023

Hayley Millar Baker Maree Clarke Dean Cross Brad Darkson Matthew Harris James Howard Jazz Money Mandy Quadrio Cassie Sullivan this mob Curated by Jessica Clark

acca.melbourne

Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne, Australia acca.melbourne

Ingrid Morley The past is just behind 15 July – 10 September 2023 Ingrid Morley presents recent sculptures and drawings that have emerged in response to a period of destruction. Embracing absurdity and a profound experience of loss, Morley seeks through these new works to create a personal language that makes sense of disintegration.

Ingrid Morley, Shapeshifter V, 2023 from the series Alphabet ll acrylic on hand made rag paper, 21 x 29 cm

orange.nsw.gov.au/gallery

FROM WARMUN TO VENICE

8 JULY - 12 AUGUST BURRINJA GALLERY Burrinja presents the latest in its Masters of Aboriginal Contemporary Art series, featuring Rover Thomas’ timeless minimal paintings depicting cultural revival and historical events in the east Kimberley. He, alongside Trevor Nickolls, was the first Aboriginal artist representing Australia at the 1990 Venice Biennale.

Burrinja Cultural Centre Wurundjeri Country, 351 Glenfern Rd, Upwey, Vic 3158 Wed - Sat | 10am - 4pm | 03 9754 8723 hello@burrinja.org.au | exhibitions.burrinja.org.au Image Credit: Portrait of Rover Thomas circa. 1995, Photo: Neil McLeod burrinja.org.au

CELEBRATING CREATIVITY @gosfordgallery

ENGAGING COMMUNITY

PROMOTING CULTURE Gosford Regional Gallery & Edogawa Commemorative Garden galleries.centralcoast.nsw.gov.au/gosford-regional-gallery

lindenarts.org

RESIDENCIES WORKSHOPS STUDIO HIRE GALLERY LANE COVE + CREATIVE STUDIOS www.gallerylanecove.com.au | info@gallerylanecove.com.au 02 9428 4898 | 164 Longueville Road Lane Cove NSW 2069 gallerylanecove.com.au

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20/4/2023 3:11 p

zartconference.com.au

museum.wa.gov.au

Museum of Contemporary Art Australia

Zoe Leonard

11 August – 5 November 2023

Al río / To the River Exhibition Patron

Supporting Exhibition Patron

GRANTPIRRIE Private

Minyu Zhang Warwick Evans

Media Partner

Government Partners

Free for MCA Members Tickets mca.com.au

The exhibition Zoe Leonard: Al río / To the River is organised by the Museum of Contemporary Art Australia in association with Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and the Musée d’Art Moderne de Paris, Paris Musées. Zoe Leonard, Al río / To the River (detail), 2016–2022, gelatin silver prints, C-prints and inkjet prints, production supported by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, Musée d’Art Moderne de Paris, Paris Musées, Museum of Contemporary Art Australia, Graham Foundation for Advanced Studies in the Fine Arts, John Simon Guggenheim Memorial Foundation, Galerie Gisela Capitain and Hauser & Wirth, image courtesy the artist, Galerie Gisela Capitain, and Hauser & Wirth, © Zoe Leonard

mca.com.au

tamworthregionalgallery.com.au

canberrapotters.com.au

15 JULY 2023 MINI SOLO EXHIBITION

YOOL KIM KOREA BEAU B FRANK USA ALBUROTO PHILIPPINES PHILIP BOSMANS BELGIUM JOSIAS FIGUEIRIDO SPAIN/USA

@19karengallery 19karen.com.au | info@19karen.com.au | 07 5554 5019 Tue - Thurs: 9am – 4pm | Fri - Sat: 10am - 2pm 19 Karen Avenue, Mermaid Beach, Gold Coast QLD 4218

19karen.com.au

ART GALLERY • REPRESENTATION SOURCING • PLACEMENT • INSTALLATION 2023 GALLERY EXHIBITIONS MICHELLE KENNEDY 3 July - 10 August

VANESSA FROMMOLT 18 September - 26 October

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

bunjilplace.com.au

KIDS’ CREATIVE SPACE OPEN 24 JUNE - 15 OCTOBER 2023

Come and explore a variety of creative activities including musical storytelling, papercrafts, interactive rain displays, a giant puzzle painted by local artist Pippin Ellis, frog craft stations, a cosy cubby, selfie spots and more! Recommended for ages 3 - 12. Children must be supervised at all times.

OPEN 7 DAYS PER WEEK. ENTRY IS FREE.

THE RIDDOCH ARTS & CULTURAL CENTRE 1 Bay Road, Mount Gambier SA | Open 7 days 08 8721 2563 | theriddoch.com.au /THERIDDOCH #riddochwonderroom theriddoch.com.au

Hannah Coleman, Untitled (Mirror Wave), 2023, Digital collage

The Nexus Arts Gallery showcases emerging and established artists from diverse cultural backgrounds working across a range of mediums in a contemporary context. Lion Arts Centre Corner North Tce & Morphett St Kaurna Yarta Adelaide SA 5000

(08) 8212 4276 info@nexusarts.org.au nexusarts.org.au

nexusarts.org.au

July/August

2023

PAG E 62

Erin Brannigan on the dance turn in museums.

EDITOR–IN–CHIEF AND PODCAST PRODUCER

Jack Loel

Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and WurundjerI peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging.

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Linda Redman CONTRIBUTORS ISSUE #144

Erin Brannigan, Clothilde Bullen, Katrina Dias Pires, Briony Downes, Sally Gearon, Lauren Carroll Harris Neha Kale, Louise MartinChew, Tiarney Miekus, Giselle Au-Nhien Nguyen, Caitlin Shearer, Barnaby Smith, Andrew Stephens, Hamish Ta-mé. PRINT

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Cover artist: Shelley Lasica.

c o v e r a n d p r e v i o u s pa g e Shelley Lasica, WHEN I AM NOT THERE. cocommissioned by monash university museumof art, melbourne, and the art gallery of new south wales, sydney, supported by the austr alian government through the austr alian research council and the art gallery of new south wales. support partner atelier © shelley lasica. performers: lj connolly-hiatt, luke fryer, timothy harvey, rebecca jensen, shelley lasica, megan payne, lana špr ajcer. photogr aph: jacqui shelton.

A Note From the Editor In the last year or so, dance and choreography have infiltrated museums and galleries, with stunning performances that expand the historical preference for static artworks. The image on our cover attests to this— it’s a recent performance by Shelley Lasica, who moves ahead of a procession of collaborators. Lasica is a foremost Australian artist in this field, and features in our long-form article by Erin Brannigan that looks at the history of dance and contemporary art in this country, while understanding the triumphs and challenges of today, and what it means to bring performing bodies into the white cube. In other ways, the notion of an embodied experience is central to Keerray Woorroong Gunditjmara woman Vicki Couzens’s work. In my interview with Couzens, who has worked in the Aboriginal community for almost 40 years, she speaks to how she makes “creative cultural expression” rather than “artworks”. As she says, “Creative expression is a better way to describe how people interact with the world. It’s that immersed, embodied experience.” In our studio visit to Karen Black’s inspiring Sydney space, the body and its relation to human experience became a talking point with writer Karina Dias Pires, as Black is beginning to undress the inhabitants of her paintings, suggesting a deeper, or different, examination of humanity. When one thinks of bodies in art there is, of course, the historical throughline of women and their bodies being beholden to the male gaze— and yet women artists’ self-portraits often reclaim this agency, as Sally Gearon’s reflection on Frida Kahlo implies. Kahlo’s art is partly entwined with the physical suffering she bore—polio, amputation, a horrific bus accident resulting in lifelong injuries and operations—but also the beauty and endurance of that same body. And finally, you may have noticed that Art Guide has had a small glow up—we've changed up the design, and have added a handy gatefold (a content's page and bookmark in one!). As our editorial continues to evolve, so too does our magazine. We hope you enjoy this new July/August issue. Tiarney Miekus Editor-in-Chief, Art Guide Australia

“Dance and choreography have infiltrated museums and galleries, with stunning performances that expand the historical preference for static artworks.” 33

Issue 144 Contributors CLOTHILDE BULLEN is a Wardandi, Kaniyang

and Badimaya woman and senior curator and head of Indigenous Programs at the Art Gallery of Western Australia. Previously, Clothilde spent nearly five years as the senior curator of Aboriginal and Torres Strait Islander art at Sydney’s Museum of Contemporary Art. She is co-chair of Indigenous Voices, a critical writing and mentoring project for First Nations writers, a board member of the International Association of Art Critics (Australia), and the chair of the board of the National Association for the Visual Arts (NAVA).

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.

LAUR EN CA R ROLL H A R R IS is a writer who

has been published in Los Angeles Review of Books, Literary Hub and Sydney Review of Books. She curates the Prototype moving image platform.

NEH A K A LE is a writer, journalist and critic

who has been writing about art and culture for the last ten years. Her work features in publications such as the Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT.

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 Australian and New Zealand.

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. She is the producer of the Art Guide Australia podcast.

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

K A R INA DI AS PIR ES is a Sydney-based creative

director, author and photographer. She draws inspiration from everyday interactions, relationships, human essence, travels and arts. On her search for authenticity, beauty and intimacy, she lends her compelling and emotive aesthetic to both editorial and commercial clients. Pires’s book Artists at Home was released by Thames & Hudson in 2022.

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.

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 Melbournes independent galleries, and dabbles in poetry for pleasure.

H A MISH TA-MÉ is an established commercial

photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

Previews W R ITERS

Louise Martin Chew, Briony Downes, Sally Gearon, Barnaby Smith and Andrew Stephens.

Bendigo The Australian Women’s Weekly: 90 Years of an Australian Icon Bendigo Art Gallery On now—27 August

Seeing a copy of The Australian Women’s Weekly magazine might initially recall retro knitting patterns, budget meal planners and quirky birthday cakes. While these elements have remained a staple in the magazine for over 90 years, the AWW has also consistently reported on world affairs, sexual health and international fashion, providing readers with a lifeline to the outside world in pre-digital times. In an exhibition tracing the impact the AWW has had on the Australian psyche, curator Lauren Ellis has brought together collections of photographs, vintage clothing, memorabilia and personal items from former AWW staff, to shine a light on personal stories and the inner workings of the magazine. Behind-the-scenes photographs from Ita Buttrose’s tenure as editor, and The Australian Women’s Weekly November 23, the hand embroidered duffle bag war reporter Dorothy 1960 cover. photogr aph by adelie hurley. Drain took to Vietnam and Korea, are shown alongside handwritten notebooks and images of iconic AWW covers. Samples of unique Australian couture have also been sourced, including a two-piece Toni Maticevski outfit worn by chef Maggie Beer. Ellis says an interesting part of curating the exhibition was seeing how the AWW reflected societal shifts across multiple decades, particularly the changing role of women in domestic and public spheres. “The AWW began amid war era austerity in 1933 and went through the post-war period into the 80s and 90s, before being revitalised and managing to survive the intensely changing era of digital media.” Compact and intimate rather than visually bombastic, the exhibition is a unique view of Australian women through the lens of a magazine that many have viewed as a treasured friend. As Ellis puts it, “The AWW has had everything from the budget meal planner for busy women juggling paid work and unpaid domestic labor, to incredibly joyful glimpses into international couture. The exhibition really demonstrates how the AWW represented women as individuals who straddle multiple roles with strength and resilience.” —BR ION Y DOW NES

Brisbane Flower Powah Alice Lang

QUT Art Museum On now—1 October

Alice Lang draws unlikely elements together: puff paint, usually used for craft, with a psychedelic and protest movement aesthetic; marbled paper; slang and swear words; smiley faces on ceramic ‘dad bod’ torsos; and a beaded curtain made from novelty male genitalia straws. It looks compelling, colourful, low-tech and vibrant, and packs a feminist punch that emerges from the swirling Alice Lang, Cut Out 4, 2020, crystalline glaze on porcelain. courtesy of the artist. patterns, floppy surfaces and intense colour. With artworks that appear decorative, Lang delivers a message about gender stereotyping, body politics and the double standards that have existed for so long within patriarchal power structures. As a recent painting of Lang’s suspended from the ceiling at QUT Art Museum suggests in its text, cut out from marbled puff paint, “NEVER AGAIN”. Lang left Brisbane for the United States in 2013 to complete a masters in fine art in Los Angeles, and has been based in California ever since. Flowah Powah is her most significant solo exhibition in Australia to date. The show is mostly new work, with a few pieces from 2018 onwards providing context. Central to Lang’s art is the use of material as integral to meaning. As she says, “NEVER AGAIN refers to the rollback of women’s reproductive rights happening in the United States right now. Some paintings are made entirely out of puff paint and are floppy, a critique of the macho and heroic idea of painting. Puff paint is associated with decoration and clothing—but at this scale becomes a smothering force.” Other works integrate humour with an exploration of swear words, including 40 Ways to Say Shit, 2018. Large grids are presented like concrete poems to explore the vernacular, with text emerging from marbled patterns. Flowah Power’s witty texts destabilise our expectations with aesthetic appeal, speaking to often uncomfortable themes using humour. —LOUISE M A RTIN- CHEW

Sydney Simone Douglas Artereal Gallery 6 July—29 July

Simone Douglas, Another Ocean VI, 2022, dye sublimation print on brushed aluminum.

r ight Alice Lang, Slutz Vote, 2020, marbled paper and acrylic on paper. courtesy of the artist.

Simone Douglas uses installation, photography, sculpture, and video to create durational, and often site-specific, art in ‘slow time’. Her works are formed over months, using light drawings and alchemical processes to create something like a landscape, attending to what she describes as “the sublimity of light, water, and immensity in dynamic intensity”. Her solo exhibition at Artereal features works from four different ongoing series: An Ocean in Your Hand, Sanctuary, Another Ocean, and Parallel Infinities.

Douglas currently resides in New York but uses her homeland, Australia, as a major source of inspiration, with locality playing an important role. This can be seen in Ice Boat, a forthcoming sculpture made entirely of ice which she has been testing in New York. Douglas describes how in the city, “the ice responded to the heat of bodies nearby, frosting up when people were close and returning to clear when they moved away”. But Ice Boat will find its final form on-site in the Australian desert, this time, “responding to the arc of the sun”. Douglas describes her intention, explaining, “[Ice Boat] will be formed sustainably in situ and then melted back into the earth ground—thus ‘returning’ water to a mostly dry desert location in Australia. Literally and metaphorically connecting land to sky during the dry winter months, yet in sync with local rain cycles, it will then leave a “footprint” of wildflowers in its wake. The work’s remote location, its complex imbrication in contested and unresolved histories, and its multiple states of . . . existence, all exemplify the problem of art’s whereness.” Depictions of the project will be included in the exhibition, along with Douglas’s durational photographs, all contributing to this question of whereness—questioning where an artwork takes place or exists. It adds to Douglas’s ongoing conversation on time and place. —SA LLY GEA RON

Canberra Lisa Sammut: a circular logic Canberra Glassworks 26 July—8 October

Lisa Sammut has found working in the unfamiliar medium of glass an interesting challenge, with the results visible throughout a circular logic at Canberra Glassworks. As she says, “It’s really made me reconsider the way I work.” Sammut’s 10-decade practice spans sculpture, light, video and installation, often with kinetic components. She’s exhibited in The National: New Australian Art, was a finalist in the 2021 Ramsay Art Prize, and is Lisa Sammut during her residency at also currently showing in a group exhibition at Buxton Canberra Glassworks 2022–23. Contemporary. Earlier this year, she was invited to courtesy of canberr a glassworks. undertake a residency with Canberra Glassworks, selected for her interest in how glass could carry the translucent optical qualities of her work. “The idea was to activate the material in a different way,” explains Sammut of her residency. “I realised that I think quite two-dimensionally, even though I work in space. The objects I make are often quite flat, facades of what they pretend to be. Glass, particularly handblown, wants to be rounded, to pool around itself. As a result, I am letting the material lead the way.” The subsequent exhibition draws together three elements—light, photography and glass—to develop a theatrical space that speaks to Sammut’s interest in the cosmos, and the human lens through which we try to imagine its vast scale and scope. As she says, “To create something hand-held and intimate is a way to grasp big ideas, speculating on this magnitude.” Shapes found in nature, like the crescent moon, are used to express the subtle poetics of human emotions in response to cosmic events. “Handmade glass has its limits; it is almost always intimately bound to human scale. It demands closeness, as the maker or the viewer. It is interesting to me that I should try and make glass speak to ideas of expanse and magnitude. A futile, yet optimistic, gesture.” —LOUISE M A RTIN- CHEW

Sydney Choose Love Nicola Moss

Arthouse Gallery 6 July—22 July

In June 2022, Gold Coast-based artist Nicola Moss spent two weeks in London. It was the height of the English summer, and the urban green spaces were resplendent. Making the most of the warm weather, Moss walked through the Royal Botanic Gardens Kew, Chelsea Physics Nicola Moss, On the shelf (Love collects), acrylic and Garden, Hyde Park and The Regent’s Park. “These paper on linen, 140 x 180cm. London gardens and parks inspired a feeling of well-being,” she says. “With everything that is happening in the world it felt good to find places that could inspire a feeling of love.” Immersing herself in nature is a priority for Moss, and it’s a key influence on her practice. Directly inspired by the plants and gardens she saw in London, Moss’s new paintings are flooded with “many shades of green, pink, yellow, chartreuse and deep shadows of inky blue and red-black”. Works like Summer Love, 2022, are filled with organic shapes, textures and colours reminiscent of a well-tended garden, grown slowly over time and layered with history. “I like to think the works carry whispers of love and a feeling of wonder that marvels at life’s fecundity,” Moss explains. Using a variety of printed papers and acrylic paints, Moss also incorporates collage and stencils to capture the silhouettes and textures intimately connected to nature and the places she visits. While in London she was “drawn to collections of succulents and orchids” found in glasshouses like the Temperate House in Kew. Deeper within the city, the pockets of green space in Hyde Park and Regent’s Park offered places of solace for Moss, and this sense of calm is imbued within her paintings. “Choose Love is an affirmation of the wonder of life around us, the simple joy that contact with nature can bring to our everyday lives.” —BR ION Y DOW NES

Albury Esperanto Newell Harry

Murray Art Museum Albury (MAMA) 28 July—26 November

Newell Harry’s largest solo project to date, Esperanto, is named after the somewhat optimistic international Newell Harry, untitled (Vailala Madness / Kaptain language created in the 1880s. Likewise, Harry’s World), 2007, from the series gift mat, Pandanus exhibition draws on multiple sources and ideas, including and dye, 119 x 232 cm, irregular. courtesy of the artist and roslyn oxley9 gallery, sydney. archival material contained in his Sul Mare installation at last year’s Istanbul Biennial. As Murray Art Museum Albury’s acting director and curator Michael Moran says, Harry’s overarching interest is in an interconnected web of ideas. In this instance, linkages across Australia and the Pacific are explored, with layered narratives and histories on politics, trade, museums, migration and family. The Australian-born artist of South African and Mauritian descent is combining a re-imagining of Sul Mare with other pieces drawn from public and private collections, plus a new photographic commission. It’s conceived as a single artwork. “Within each part of the work are many components of text and images

and objects in vitrines, creating networks of meaning and dialogue,” says Moran. “There is a huge amount of content and stories, but Newell is not interested in grand narratives. In layering all these stories—whether they are neglected stories, cultural moments or personal narratives—they simmer together and destabilise the very idea of a grand narrative.” Harry says the new commission comprises photographs he took at Callan Park in Sydney, the site of a decommissioned mental asylum. There, Harry discovered that two inmates—identical twin brothers who were visionary soothsayers—had made sacred rock carvings that had prophesied the rise of an obscure Pacific religion. That is just one story among many, and Harry has employed a distinctive architecture for the entire project in which, Moran says, the various objects and artworks are embedded, and sometimes concealed. “It will be a dense show.” —A NDR EW STEPHENS

Townsville Belonging: Memory and Loss Alison McDonald

Umbrella Studio Contemporary Arts 7 July—13 August Alison McDonald has moved house 26 times. Not only does such an experience produce uncertainty and displacement, it also leaves an indelible imprint on one’s psyche—and it is this lasting sense of loss and impermanence that Townsville-based McDonald explores in Belonging: Memory and Loss. The show uses three principal materials for its diverse sculptures: donated wooden parquetry, donated keys, and anodised aluminium that once held household staples such as sugar or flour—with each material related to moving. As McDonald says, “Moving has been Alison McDonald, Crowns series, (detail), 2023, part of my existence since I was very young—sometimes repurposed anodised aluminium containers, exciting, other times terrifying and sad.” dimensions variable upon installation. Over the course of this peripatetic life, McDonald photogr aph: amanda galea. has had to shed possessions, and has mourned the loss of her deceased parents’ belongings after she moved interstate from Western Australia to Queensland. In this context, the exhibition is also a meditation on our relationship with our belongings, and how possessions trigger memory. “I wanted to explore the idea of belonging,” says McDonald. “Where we belong, our home, what belongs to us, our stuff we cart around and our heritage. What memories we gather into belongings and what we really need to remember a loss.” In some pieces, McDonald addresses wider issues such as the current housing crisis, as well as environmental collapse. Ultimately, though, the show is an expression of personal history and identity, with McDonald researching far to discover the fate of the many old dwellings she once inhabited. “I began researching all these places, some forgotten. It was a real journey to find them—some burnt down, some replaced, all with some sort of recollection of our time there. My artwork takes the viewer down this path. I think I’ve left a bit of myself in these places, and they too have left something in me.” —BA R NA BY SMITH

r ight Alison McDonald, Journey, 2022, reclaimed parquetry, antique Dutch keys and copper wire, 169 x 90 cm. photogr aph: amanda galea. 40

Sydney Landscape paintings Angus Gardner

Gallery 9 16 August—9 September

At Angus Gardner’s Brunswick studio in Melbourne, the ceramics kiln shares space with materials for painting and drawing. For Gardner, clear lines between the three practices blur. His new body of work emphasises this: the fired and partly glazed ceramic sculptures are also paintings, with the various components having a sketch-like quality. Angus Gardner, Landscape Painting 8, 2023, glazed earthenware, 45 x 42 x 13 cm. Gardner has long been interested in transitional zones and when he’s deep in working, he says he flows between mediums without distinction. With eight sculptures and eight paintings at Gallery 9, he explores relationships between two and three dimensions. “For me, it is a loop,” says Gardner. “In the past, the relationship has been a little bit linear, looking for elements in the paintings—forms, colours and relationships to texture—and trying to bring them out and create sculptures from them. But I think with this body of work I see the sculptures as paintings in themselves, which is a shift in my thinking.” The ceramic sculptures—necessarily limited in size by the kiln’s dimensions— reference paintings in that they are rectangular boxes with flat(ish) surfaces. Gardner began oil painting about two years ago and has recently moved some of those new techniques over to clay. Ceramics allow differences between matte and gloss surfaces in zones that are glazed or left natural—and the extruded clay piping around some sculptures references both frames and coiling techniques. As for the landscape-oriented subject matter, Gardner says there are references to Manly and its coast, where he lived before Melbourne, and time spent in the Northern Territory. “That [NT] environment was wild . . . those great expanses. Psychologically, they are enormous to comprehend.” —A NDR EW STEPHENS

Albany Colour in Practice

Art Collective WA Albany Town Hall 28 July—2 September

Colour often takes centre stage in abstract art. With nothing to hide behind, it becomes precise, focused and intentional. Even more so with minimal abstraction. For Colour in Practice, four abstract artists from Western Australia are placing their work in conversation, hosted by Art Collective WA in the Albany Town Hall. Cathy Blanchflower, Archz, 2015-21, oil on canvas, The location is key for curator and director Felicity 183 x 213 cm. Johnson, who describes, “a long history of abstraction, both formal and informal in Western Australia”. She continues, “Perhaps the isolation and the unique sparse landscapes with huge swathes of sky have influenced artists, resulting in a proportionally larger number of abstract artists here.” Featuring painters Cathy Blanchflower, Helen Smith and Michele Theunissen,

and installation artist Jennifer Cochrane, the stylistic focus is on geometric and minimal abstraction. “The four selected artists all use colour (often vibrant and primary) and form as the foundation of their practice,” says Johnson. “Patterning, texture, reflection, and shadows are also used to create optical movements and add depth to the artworks.” Representing women artists is intentional, with Johnson stating, “Abstraction, especially more formal geometric or hard-edged, was once regarded as a male pursuit. This exhibition certainly underlines that this is not always the case.” This sentiment is proven through the legacies of Western Australian artists like Miriam Stannage and Carol Rudyard, who are cited as influences on Colour in Practice. Their work, and certainly that of the exhibiting artists, has a stylistic quality that feels unique to the state. As Johnson describes it, “On the western edge of the continent, artists here have often looked towards Europe and America, drawing inspiration from there, and working more independently from artists in the eastern states of Australia.” —SA LLY GEA RON

Hobart New Works Ian Parry

Colville Gallery 11—31 July

Ian Parry’s art is an incisive complication of the term ‘abstract’. While the Tasmanian artist has described his approach as such—clearly seen through his use of amorphous shapes, swelling patterns and juxtaposition of colour—Parry’s paintings are foremost an interpretation of environment. The artist, who is a descendent of seafarers, renders impressions of the ocean and sky; the horizon is often integral. “These paintings continue to look at water and sky, the intangible and shifting elements,” says Parry of his latest exhibition at Colville Gallery. “They are painted in Ian Parry, Islands In Winter, 92 x 107 cm. the southernmost region of Tasmania, which is more an event than a landscape—a silent movie free of the chattering of humanity.” Parry sees his work in a tradition of “silent paintings”, citing the influence of Australian artists Clarice Beckett and David Davies, as well as French artist JeanFrancois Millet and German artist Caspar David Friedrich. “I grew up in [Clarice] Beckett country,” he says, referring the Bayside area of Victoria, “and as a very young painter, I lived through her eyes.” He also uses the term “slow painting” to describe the delicate and meditative unfolding of his oil paintings. Over his long career, Parry’s work has been procured by several major Australian public collections, as well as the prestigious Phillips Collection in Washington, DC. His art can be summarised as a combination of imagination, sensibility and memory, inspired by travels around his region, bringing back nature’s aesthetic cues to his studio shed in the rural town of Gardners Bay—where a process of abstraction takes place. “I do not work en plein air—more by the absorption method; these roamings supply my visual diet with at least a tonal naturalism.” —BA R NA BY SMITH

The Journey Down A 1975 Mazda ute is embarking on a 3,200-kilometre trek from Kununurra, in the Kimberley, to Perth’s WA Museum Boola Bardip. Painted by Warmun artists, and transformed into a sound sculpture, what’s the story behind this car? W R ITER

Neha Kale

The Journey Down, Patrick Mung Mung playing Warnarral Noorrngoorrool. photogr aph: jess w yld.

The Journey Down. photogr aph: jess w yld.

Cars possess a mythical status in Madeline Purdie’s life. Purdie, an acclaimed Gija artist, lives in Warmun, a township between Broome and Kununurra in the Kimberley, a part of Western Australia known for a near-infinite sense of space and the ethereal curves of the Bungle Bungles. Her mother, the senior Gija artist Shirley Purdie, used to walk the expanse of Country to visit members of her community. When her family acquired a vehicle, everything changed. “Mum’s paintings reflect how she grew up on a cattle station [Mable Downs] and had to work at a really young age,” says Purdie. “My mum and Aunty Mary grew up on the station. It would take them two to three weeks to get to their destination but when they had a car it only took them two hours. She used to sit in the back as her dad’s brother took them visiting family in Texas Downs, Bedford Downs.” She dissolves into laughter. “She told me that she thought that the car came down from heaven. That God gave them the car.” The Purdie family car, an old Dodge, is the subject of a painting by Shirley Purdie. Alongside works by artists such as Gordon Barney, Nancy Nodea, Lindsay Malay and Charlene Carrington, Purdie’s piece has been painted on an unlikely canvas: the surface of a 1975 Mazda ute. It was once owned within the Purdie family, then abandoned in the bush on Gija Country. Throughout July, this painted car will embark on a 3,200-kilometre trek from Kununurra to Perth’s WA Museum Boola Bardip, where it will be exhibited.

It will stop everywhere from Fitzroy Crossing and Broome, to Roebourne and Geraldton, as part of a project by Tura New Music called Warnarral Ngoorrngoorrool: The Journey Down. Tos Mahoney, the artistic director of Tura New Music, says that Warnarral Ngoorrngoorrool, the Gija word for ‘old car’, has roots in Wreck. This previous work, conceived by Jon Rose for the 2013 Sydney Festival, saw the renowned composer turn a dilapidated car from a New South Wales mining town into a musical instrument. “Fence wires were stretched from the front to the back of the car which brings this element of percussion,” Mahoney says. “It gets picked up and amplified and makes this amazing wall of sound with many possibilities.” The concept of turning an old car into an instrument, says Mahoney, resonated with Western Australia’s Gija and Miriwoong communities, for whom the car symbolises distance and displacement, but also tells a wider story about culture and connection. In 2017, Rose, as part of a regional residency with Tura New Music, collaborated with Warmun artists, musicians and students to create another iteration of Wreck, inviting participants to both paint and perform with the touring car. While Rose created the car-as-sound sculpture with the Warmun community, the sounds and performances involving the car will be produced by the Warmun artists.

“Sometimes we have to make our own roads. The car is such a powerful thing for my generation.” — M A DE L I N E PU R DI E

“I knew that there was a lot of story surrounding car wrecks on Country that make these amazing sculptural—and cultural—objects,” says Mahoney. “Through the Warmun Art Centre we commissioned stories to be painted [on the car]. You’ve got Gabriel Nodea’s story which is the Warmun creation story about the eagle and the crow. Gordon Barney’s is a massacre story which is very bleak. Charlene Carrington’s is a modern parable—she does a lot of health work and she did this painting of a tree whose seeds fall out.” He pauses. “There’s this juxtaposition with Jon’s postmodern deconstruction. It’s a very beautiful thing.” Warnarral Ngoorrngoorrool is a vehicle for Gija culture. But Mahoney wants the touring vehicle, which will feature performances by Gija and Miriwoong artists, to echo the spontaneity and inventiveness that unfold on Country. “Jon has written a manual on how [the car] can be played but we don’t want to overdefine it,” he says. “There are projections, animations of the painting, Gija songs and stories. We wanted Warnarral Ngoorrngoorrool to reflect what happens when song and story and dance happen in community. It has its own rules but varies.” Tura New Music has spent close to two decades fostering relationships with Gija and Miriwoong communities. Warnarral Ngoorrngoorrool, he says, is the result of intercultural collaboration and a commitment to long-term cultural exchange.

“It is part of an ongoing collaboration that involves various local people and artists and non-local people and artists, and it’s all been done observing protocols in good faith,” he says. “There’s this idea of the colonial object that is dumped into the bush and decomposes—that statement, in itself, is powerful. But there is this mythologising of First Nations cultures which Australia is getting guiltier of doing. There’s the idea of story equalling myth. But, equally, there’s also the story of the everyday. Of the car that ran out [of town] and is now over there.” Madeline Purdie is excited about what Warnarral Ngoorrngoorrool means for her community. “They are taking the car down to Perth, through a lot of Country and even getting our mob who will be travelling with it, speaking and dancing,” she enthuses. To Purdie, the car doesn’t just connect people and places. It’s also a bridge between past and present. “I use a car to go to work, to visit my clients who are elderly, to visit family,” she smiles. “If you go to healing camp, you have to drive. Sometimes we have to make our own roads. The car is such a powerful thing for my generation.”

Warnarral Ngoorrngoorrool: The Journey Down

Various touring locations, with final exhibition at WA Museum Boola Bardip, Perth WA 24 August—17 September

Sharing Experience An Ethiopian-Norwegian artist, Olana Janfa’s vivid, playful, and sometimes pointed paintings give a range of insights, from African diaspora to family love. W R ITER

Giselle Au-Nhien Nguyen

Keen eyes around Melbourne will recognise Olana Janfa’s artworks in different places across the city. From the colourful basketball court at Fitzroy’s Atherton Gardens to a clothing collaboration with local fashion designer Obus, Janfa’s eye-catching images have become part of his adoptive city’s fabric. The self-taught artist has come a long way since his humble beginnings: he had never picked up a brush before 2018, when he was inspired to start painting after being struck by an artwork he saw while on holiday in Byron Bay. Janfa started out by trying to recreate Ethiopian Orthodox Church imagery from his childhood, and from there his practice bloomed. “When I started, it was for fun—I wasn’t looking for a style. I just loved it,” he says. Born in Addis Ababa, Ethiopia, Janfa emigrated to Norway as a refugee with his younger brother when he was a teenager. “They have a really good system to help refugees with no parents, and a really good education system,” he says of the country. “I got the opportunity to study and learn a new language.” In 2015, he came to Australia on a working holiday visa, and has lived in Melbourne since. Making his love for art into a career, Janfa now works from his studio in the inner-city suburb of Thornbury, primarily painting on recycled timber and found materials with acrylic, oil and pastels. Janfa’s art captures his experiences as a Black migrant across two countries and cultures, though

his lives in the two places also have a significant difference: in Norway he was a refugee, whereas in Australia he is not. Despite only having relatively recently entered the art world, these lenses still make up a critical aspect of his work. “I was living as a Black person in those two different places, and I wasn’t an artist until three or four years ago, but that was my experience,” he says. “Art helps me to express those experiences.” Janfa’s latest exhibition, What is Your Gov’ment Name, brings his signature brightness and humour to the Immigration Museum across a series of nine works featuring imagined characters of the African diaspora. The images range from earnest depictions of family love, seen in one beautiful orange painting of two figures in a boat, and another titled Sisters; to more tongue-in-cheek commentary, such as works that read “get a white friend” and “no thoughts, just be hot”. Another piece, Send Money to Africa, highlights charitably wiring money back to where you come from—a comment on upward social mobility and class. Janfa’s frequent use of broken English in his work is intentional, pushing back against notions of intelligence that are rooted in racism and white supremacy. right Olana Janfa , Send Money to Africa. photogr aph: tim carr afa.

Olana Janfa, What is your Gov’ment Name.

“It’s my experience as a migrant living in Australia and living in Europe, as an immigrant, as a Black person, as a person with English as a third language.” — OL A N A J A N FA

“Living in Europe and Australia, foreign languages are to communicate, but sometimes people see it as a level of intelligence,” he says. “They’ll say, ‘You speak very well English as a Black person. Wow, that’s very smart.’ Or if you speak French or German or Norwegian . . . For me, a language is to communicate with each other.” To break those barriers down even further, Janfa teaches art to children from migrant backgrounds, both with schools and privately. It’s a way of giving back to the community, as well as rejecting notions of elitism and making access to art more equitable, regardless of class status. “I find that art, in Western countries and even in Australia, is more for the upper class—no one is valuing art from the immigrant experience or from the lower class,” he says. “As a child, I didn’t have the opportunity of someone who looks like me, someone who comes from where I come from, to show me it’s possible—you can do this, you can paint that. I want to show kids who come from the same background as me that it’s possible.” Having now collaborated with international brands and labels like Nike, and illustrated a children’s book, Janfa is looking to diversify his practice even

further with a range of different projects, including working alongside musicians. “Music and fashion are my biggest passions—it’s one of my dreams,” he says. “I’m working on those plans, so hopefully that will happen by this time next year.” Janfa hopes that by engaging with his work, viewers will come away with an understanding of, and insight into, his culture and his life, in all its shades of complexity; and that African people will see their own lives represented. It’s his past and present experiences—‘Melbourne dad’ being his latest identity—all rolled into one. “It’s my experience as a migrant living in Australia and living in Europe, as an immigrant, as a Black person, as a person with English as a third language,” he says. “I want them to experience those things.”

What is Your Gov’ment Name Olana Janfa Immigration Museum (Melbourne VIC) On now—24 August

Interview

Vicki Couzens

W R ITER

Tiarney Miekus

For almost 40 years, Keerray Woorroong Gunditjmara woman Vicki Couzens has worked in the Aboriginal community, profoundly changing the cultural landscape around her. In 1999, Couzens attended a workshop at Melbourne Museum and encountered the Lake Condah possum skin cloak. After this experience, and along with others, Couzens set about revitalising the practice of creating the cloaks, culminating in their appearance at the 2006 Commonwealth Games opening ceremony—and being exhibited at galleries Australia-wide. It’s just one example of how Couzens reclaims Aboriginal cultural practices and knowledges. Couzens has sat on various organisation boards, is undertaking a PhD in language revitalisation, and also creates “artworks”—although this term is contested in our interview. Ahead of Couzens’s sound and image installation for nightshifts at Buxton Contemporary, created with Robert Bundle, we talk about lifelong learning, the importance of listening, and what propels Couzens’s tireless work in creating moments of knowledge sharing.

right Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Vicki Couzens and Rob Bundle, First Sound, First Light, 2023. photogr aph: christian capurro.

Vicki Couzens, pang ngootee weeng wanoong, 2019. photogr aph: jody haines.

“Nothing in our culture is siloed to a department or sector: art is part of life.” — V ICK I C OUZ ENS 54

TI A R NEY MIEKUS

I know that your preferred description of your practice is “creative cultural expression” rather than “artist”. Can you unpack why that’s a better fit? V ICK I COUZENS

Creative cultural expression covers the spectrum of what I do, and it’s more accurate in terms of what the definition of “artist” might put in people’s minds. Like, “Oh, that’s a person who makes art and is part of the art world.” Which is a Western construct anyway, in terms of fine art and galleries, and the way that world works. I don’t feel connected to that. If I’m in galleries exhibiting, that’s great, but it’s not my goal. I get invited to do those things and sometimes it has been my goal to be in exhibitions because part of what you’re doing is sharing the story; a form of activism in terms of assertion of our presence by telling our stories and sharing them in those places, and therefore educating mainstream. I do create artworks like paintings and printmaking, and even public art, but it’s the purpose, intent and the story that is behind the artworks or the creative expression. In our culture—story, painting, song, dance, they’re all part of the same story and one can’t be without the other. Even though you might see a painting and you’ve got a little label and a story, it’s only part of the expression of that story. It’s also a form of documenting for the future and ways of sharing. Of course, while I’m not into the fine art world, we all make work for the market, which is nothing new. We had our own economy prior to colonisation with trade, including things that we would make, and now is no different in some respects. For example, in the early colonisation period, in the Gold Rush, people were advised to employ a black tracker and buy a possum skin cloak, so you didn’t freeze in the Goldfields. We were making them and selling them to the market. There’s also the underpinning of reclamation and revitalisation of our knowledges and practices. Nothing in our culture is siloed to a department or sector: art is part of life. Creative expression is a better way to describe how people interact with the world. It’s that immersed, embodied experience. TM

That reminds me of something you once said on creating: “Art is about working in a community rather than just making a pretty picture.” While I find much of your work visually profound, I wondered if that sense of art being communityled was happening before you even made what can be called “artworks”? VC

That’s a good question to make me think of it that way, because before I became an artist—or before people started calling me that—in the early 80s in Geelong, I ran a screen-printing project. I got the community in and I thought, “Oh, I’ll just have a little dabble myself.”

Not considering that I might be an artist, I was just having a go. So that community project happened to be a creative project. Another one was, we used to drive around and pick up lots of kids out of school one afternoon a week, and we would do cultural things, whether it’s singing contemporary songs, learning a bit of language if we could, talking about sites, or we’d have an afternoon tea for Elders and the kids would get to interact with the Elders. That is creative expression as well. But if I’m doing a public artwork, for instance, you have this responsibility to be representing not just yourself, but all those who’ve come before: your ancestors and that body of knowledge that you are working from. Most stories I tell aren’t mine alone. They might be a family story that’s part of a larger collective of knowledge. I’m very conscious and respectful, and acknowledge that what I know is part of a much larger thing. TM

Going back in time, I know that your father was a huge mentor and inspiration for you, particularly his involvement in revival languages. And that you were born Warrnambool, living on Country, and then relocated to Geelong in the early 70s, and that learning of your matrilineal history, particularly your grandmother’s story, was very important for you. What was that upbringing and learning like? VC

Learning is a lifelong thing. We were born into community, family and culture—but traditional dance, for instance, no, we didn’t do it. We revitalised and learned that, and brought that back. That is how it is in this time, where some of those practices have been left sleeping because of the colonial, oppressive systems that have interrupted our practices. Making possum cloaks, for example, was a vision gifted to me from the old people who made the Lake Condah possum skin cloak. Two of my great-grandfathers were makers on that cloak, which I didn’t know at the time [when first encountered the cloak], but the oral history was handed onto me from two of my Country women from that side of Gunditjmara country, my grandmother’s Country. That knowledge around making cloaks was something that had been interrupted and was not a common community practice anymore—but it is now. In that encounter I had at the museum [a workshop in 1999 at Melbourne Museum], the old people came, and I had this experience, and they gifted this mandate to bring the cloak back to community. That’s what I set about doing with other people. It was really 2006 with the Commonwealth Games [where the cloaks featured in the opening ceremony] that enabled us to bring that back into practice. It’s become iconic with the southeast of Australia. It’s an identity marker, a collective one. That’s creative cultural

expression. It’s not art; even though we exhibit them, and people are doing really creative things with them. Normally cloaks are about you, your family and your clan, and they’re used from everyday things to keeping babies warm to ceremony, and being buried in them. But now, people make them to tell a story about food and plants, or a particular site. They’ve become these vessels and repositories of knowledge in a contemporary sense. People have even been using them as evidence in their Native Title claims. This has seeded the need to know more about what’s our language for possums? How did we use them in ceremony? Who made them? What stories? Where do you get the ochre? These seeds ripple out into furthering that revitalisation. As an example in my own personal experience, I knew that my nan used to basket weave. But we were busy growing up and playing sport—and nan passed when I was 10—so we didn’t go basket weaving. Then in Gippsland, when I was around 30, I was working with the TAFE and we started doing basket weaving with the high school students. Auntie Linda Turner taught us all and I came home very proudly with my first basket, a bit dodgy, but I thought it was wonderful. And I showed my dad, and he’s like, “Oh, that’s cool.” And he stuck it on his head because dad was a joker. But then he started telling me how much he used to help his mum weave, and I didn’t even know that until I had a basket right there. Sometimes if you don’t have the circumstance this knowledge doesn’t get handed on. TM

So much of your work is about creating that circumstance, whether it’s in a gallery, your PhD on language revitalisation, or so many other projects—you’ve always centered knowledge sharing. Is that something you’ve consciously made your life’s work? Or it’s intuitive? VC

A bit of both because it’s the default setting! My husband and I have talked about this, and sometimes we go, “Why are we doing this? Why do we keep trying to share or educate or teach or learn, or share learning?” It’s our default setting; intuitive and deliberate at the same time. I’m also more able to talk about it because people ask me about it now, whereas I just used to do it. But we work in that community and collaborative way. Some collaborations are fairly quick, like, “I’ve got a deadline so come and help me finish this artwork!” And then there’s collaboration of creating space for where community come in. Like the possum workshops, but language and weaving are similar. People come in and they connect to the knowledge and the practice of weaving, and sewing the cloaks. And they’re not artists. Like how I started out, I was just someone who could make things happen. We’ve seeded lots of things. We’ll start something and then it grows, whether it’s an artwork or a

playgroup for the mums. Like when I was young and having my babies, there was no playgroup. So, I set one up and ran it, and then the organisation ended up getting resourced to run itself. Those ways are somewhat inherent in my being and there’s the creative thinking on how to create opportunities and make things happen. I see my role on boards and committees as creative because although there’s the boring paperwork, it’s about how can you grow your organisation to respond and fit the community, not the other way around? It has to be collaborative. TM

In learning about your life and work, I thought so many times, “This person really makes things happen.” Not only your work in the community, but you’ve also raised five daughters and now have grandchildren. And I can see how busy you are even right now—do you ever get exhausted, or does the work give you energy? VC

We get exhausted, we run out of steam. At one stage in the late 80s we moved from Geelong to Gippsland, and I was done. I said, “I’m not working in our community anymore.” I went out to the bush and didn’t talk to anyone for a couple of years. I took the kids to school and things like that, but stayed away from community. We just had massive, major political disappointments. But, in the end, I couldn’t stay away. When I met my husband and started having babies, that also flipped the switch. I mean, before having babies I was already on the board of directors at Geelong [Art Gallery] and looking to those kinds of roles, but having kids flipped the switch in terms of responsibility. And I think from my dad and mum, making the world a better place underpins all those things. TM

To talk about your current work at Buxton Contemporary, it’s a new sound and projection installation created with Robert Bundle that draws on the Indigenous concept of deep listening. Can you talk about that concept? VC

Deep listening is a phrase coined by Miriam Rose Ungunmerr Baumann from the Daly River mob in the Northern Territory. She talked about deep listening as an Aboriginal way of being, and understanding and connecting to the world, and belonging in the world. It’s really caught on, and it’s a good thing for mainstream to be understanding, because it’s that whole ontological sense of being in the world. It’s even the understanding of the first sound, the first light, from creation. People talk about “Oh, we’ve been here 60,000 years.” No, we’ve been here since the beginning, from creation. But Rob did most of the work in creating it because we’ve got so much sound and image recorded that we’ve drawn on our archive

Vicki Couzens, Leempeeyt Weeyn (Campfire), 2021.

from previous projects, and put them together. We’ve got sounds of the earth, space sounds, crickets and water running. We’ve got seating in the space; it’s a dark, immersive space, almost cocoonlike so it’s a sensory experience of visual and audio. Rob also came up with the idea that some of the seats have subwoofers; you can physically feel the sounds. We’re trying to evoke that sensory experience. Deep listening is about using all your senses, not just your eyes, ears and smell, but the extra sensory. Like you mentioned intuition before, not a lot of people follow their gut feeling. But that’s where knowing comes from, that intuition, being guided through that sense. TM

I’m probably taking this beyond the work, but you look at the news and these constant conversations on the left and right of politics, and people aren’t listening to each other; it’s like a refusal. Was that something you were thinking about?

Well, yes—but that’s a Rob thing. He thinks in the bigger. Like, I think in the big picture, but he thinks in that even bigger, bigger picture. Definitely the political and getting people to understand connectivity and interconnectedness. There is no separation. The consequence of not listening to each other is really destructive. TM

Can you ever persuade people to listen? VC

You can only offer the opportunity. It’s that old saying of leading the horse to water. With our [nightshifts] work, with the sound and light, it’s about frequency and vibration, because everything is frequency and vibration. How you be in the world impacts and contributes to that. But yes, it’s incremental and it’s slow sometimes.

nightshifts

Buxton Contemporary (Melbourne VIC) On now—29 October

Studio

Karen Black

“At times, your emotions might be conflicted by the outside world, and what is happening around you, but the heart and the mind are always intimately connected.” — K A R E N BL ACK

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-mé

Karina Dias Pires

Karen Black investigates the complexity of self and human interaction. Figures, self-portraits, monsters, goddesses, asanas, angels and demons make their way onto her canvases, appearing both familiar and strange. In the act of painting, Black’s abstractions explore various emotions while also dismantling hierarchical social dynamics. Ahead of the Sydney-based artist’s showing at Ngununggula in the Southern Highlands and Monash University Museum of Art in Melbourne (the latter curated by Jennifer Higgie), we visited her inspiring Marrickville studio. Here, Black speaks about feelings such as gentleness and compassion, as well as notions of self-care and head space. In her latest work, the artist has undressed the inhabitants of her paintings, suggesting that she is ready to reveal and examine deeper layers of the human experience.

PLACE

K A R EN BLACK: I have been in my current studio in

Marrickville for four years now, since moving to Sydney in 2019. For many years I had a home-based studio, and when I had smaller children, everything was structured around their routine. I would finish in the studio by 5.30pm so I could make dinner, and after they went to bed, I would go back to the studio around 9pm. It has taken me a few years to change that pattern, but my routine is more structured now, and I usually work from around 10am to 6pm. I am also trying to put more time into my life and my friends; I try to get out more and see shows, have people for dinner and socialise more. I mean, my work is about the emotional side of people and how they interact with each other, so I feel it is important that I am part of these conversations and dynamics. PROCESS

K A R EN BLACK : When it comes to process, my

research is primarily based on reading and writing. I see faces everywhere, and figures in everything. I usually work across a few paintings at the same time, and ceramics are also part of my practice. They help inform my paintings, and vice-versa. I like to use costume and posture to elevate the feeling of the figures or faces in my paintings. I mix up the body with other ideas and feelings, and more recently I have also undressed the body as I am exploring yoga poses. The titles of my works can come from old diary entries or research. I like the titles to add to the works, so there is another layer for the viewer to unravel.

The way that the painting reveals the brushstrokes is also important to me, and when it comes to colours, I always mix my own, starting with red, blue, yellow and white as a reducer. Every colour that I use is part of a conscious process. For Gentle Pulse, my last solo exhibition, I made a large raw clay sculpture in the gallery space which needed daily care to avoid cracking. It felt liberating to ask for help and receive it back. Conceptually, the sculpture was about self-care and caring for others, gentleness and compassion. And I think that moving forward, I am also talking about softer brush strokes, exploring a more meditative practice where I gently put paint on the surface, and I drag it across the canvas in various ways. I am currently bringing these ideas closer to myself as a woman, as a painter; rather than trying to change the world, I am trying to make a difference as an individual and trying to evolve as a person. PROJECTS

K A R EN BLACK: I am preparing for two upcoming

exhibitions. First, a show at Ngununggula in the Southern Highlands, Once more with feeling, which is curated by Megan Monte and Milena Stojanovska. For the first time, I am leaving a lot of white space on the canvas to investigate the idea of head space. One of the paintings is called The Changing Mind, which is also the name of a book I have been reading by Daniel Levitin, who is a neurologist and a cognitive psychologist, and it explores the power of the ageing brain. I am terrified of white space, it makes me feel very vulnerable, so conceptually I am pushing myself and 61

saying, “It is okay to be vulnerable and it doesn’t matter if people don’t like it, you are allowed to have white space on the canvas.” I am also thrilled to be part of Thin Skin, a group exhibition at MUMA curated by Jennifer Higgie, where I will be showing alongside some other extraordinary female artists including Mamma Andersson, Rose Wylie and Tracey Emin. The painting that Jennifer Higgie has chosen is titled My head is a mountain, my heart is a sea. “My head is a mountain” giving rise to thoughts, memories and beliefs, spirituality and contemplation. Mountains have an element of endurance, beauty and wonder about the natural world. And then “my heart is a sea”, depicting emotions and feelings rising from the heart, in the form of waves, swirling or being still. And I guess, at times, your emotions might be conflicted by the outside world, and what is happening around you, but the heart and the mind are always intimately connected. In a way, it really sums up my practice.

Once More with Feeling

Group exhibition Ngununggula (Southern Highlands NSW) On now—6 August

Thin Skin

Group exhibition Monash University Museum of Art (Melbourne VIC) 20 July—23 September

Dancing into the Museum Dance and choreography are experiencing a vital and widespread renaissance in contemporary art—but what’s the link and history between these two worlds, and how do they entwine in Australian arts today? W R ITER

Erin Brannigan

Shelley Lasica, WHEN I AM NOT THERE. co-commissioned by monash university museum of art, melbourne, and the art gallery of new south wales, sydney, supported by the austr alian government through the austr alian research council and the art gallery of new south wales support partner atelier © shelley lasica. photogr aph: jacqui shelton. 65

Dance is moving into the gallery. In the last six months across Sydney and Melbourne, we have seen choreographic works by Shelley Lasica at Monash University Museum of Art, Riana Head-Toussaint in the opening program of Sydney Modern, Lucy Guerin at the Australian Centre for Contemporary Art, Alicia Frankovich at the Ian Potter Museum: NGV Australia, for Melbourne Now, Jo Lloyd at Carriageworks, and can currently see Victoria Hunt as part of Dreamhome: Stories of Art and Shelter at the Art Gallery of New South Wales. While these are just a few examples of dance in gallery or museum spaces, they speak to hugely diverse moments where choreography and dance are foundational to an artist’s vision. Yet over time, dance at major institutions has been cultivated by smaller galleries and organisations such as West Space, Gertrude Contemporary and Neon Parc in Melbourne, and Artspace, Firstdraft and ALASKA Projects in Sydney, as well as multi-arts venues such as Phoenix Central Park, Performance Space/Carriageworks and Campbelltown Arts Centre. The 2009-2010 exhibition What I Think When I Think About Dancing at Campbelltown, curated by Emma Saunders and Lisa Havilah, was in step with international curatorial pre-occupations with dance in the early 2000s. Each of these venues have their own communities of artists and creative contexts that inform how artists approach the dance-visual arts interface. As artists Shelley Lasica and Zoe Theodore explain of their curation of To Do/To Make at Neon Parc, which centred dance and choreography, the opportunity allowed for curatorial experimentation; the artists “were encouraged to do what they want, present the work for as long as they want, engage as many performers as they want, and address the audience as they want”. But to understand why dance has moved into the gallery is to understand the international history of dance and contemporary art. This backstory fleshes out local and current Australian practices, tracing migrations of aesthetic traditions that reveal dance as implicated in major artistic progressions. HISTORY HER E A ND ELSEW HER E

Western contemporary dance emerged at the turn of the 20th century and flew into the arms of the avant-garde from its earliest years in Europe. The American dancer, Loie Fuller, moved to Paris and became the darling of Art Nouveau, attaining artist friends like Auguste Rodin. Dancers such as Isadora Duncan were associated with the Symbolist movement, and the Futurists included dancers such as Giannina Censi. Mary Wigman’s German Expressionist dance, and Bauhaus choreographies such as Oskar Schlemmer’s Triadic Ballet, 1922, sit alongside progressive forms of ballet from the Ballets Russes (who collaborated with artists such as Wassily

Kandinsky and Pablo Picasso) and Ballets Suédois (who worked with Fernand Léger and Giorgio de Chirico). Artistic communities and networks were built around shared compositional pre-occupations that were transferred between dance, choreography, visual art, set design and music, and presented as total works of art for the stage. Such productions also toured in Australia in the first half of the 20th century. The mid-century avant-garde saw a period of artists ‘trying on’ other art forms. American choreographers Simone Forti and Trisha Brown’s Dance Constructions, 1960-61, and Equipment Pieces, 1968-1971, were performed in visual art spaces in New York such as Yoko Ono’s loft at 112 Chambers St and the Whitney Museum of American Art. These performances troubled divisions between bodies and objects, props and action, sculpture and choreography. Robert Rauschenberg’s choreographies such as Pelican, 1963, and Map Room II, 1965, were informed by his close association with American dancer Merce Cunningham—and the younger generation of artists such as Forti and Brown took Cunningham’s cross-disciplinary experiments to a new level. Yet there was a gendered profile within avantgarde dance (as there is today). Notwithstanding the recurrent mind/body and male/female binaries, many artists working across dance and the visual arts remain female identifying, and dance has been a pathway through which female artists have moved into the broader arts landscape. The influence of women dancers and choreographers on their contemporary male artists has not been adequately acknowledged until recently—which speaks to the many challenges this feminised, transient art form faces. In Australia, classical choreographers such as Robert Helpmann collaborated with Arthur Boyd in the 1940s creating set and costume designs recently showcased at Bundanon gallery. Modernists such as Gertrud Bodenwieser brought European Expressionism to Sydney, seen in works such as The Demon Machine, 1923, that turned dancers into the pistons and wheels of a choreographed, human mechanism. Beyond artistic collaborations, the relationship between contemporary dance and trends in the visual arts is written through the bodies of our historic dancers; a certain formalism in the shapes and lines of the body, staccato or percussive rhythms reflecting pattern and repetition in the visual arts, and an absence of narrative and character that suppressed the subjective and reached toward the mythic. But it was in the 1970s that truly intermedial practices developed locally, such as the work of Sydney-based Philippa Cullen whose tragically brief career has come to light in the exhibition Dancing the Music: Philippa Cullen 1950-1975 (recently shown at McClelland Gallery) and in the work of artist Diana

Riana Head-Toussiant, Animate loading, 2022, with performer Jeremy Lowrenčev. supported by the keir foundation and the austr alian government through the austr alian research council as part of the research project precarious movements: choreogr aphy and the museum. © riana head-toussiant, photo: felicity jenkins, art gallery of nsw.

Lucy Geurin, Australian Centre for Contemporary Art. photogr aph: gregory lorenzutti.

Smith whose 2021 Artspace exhibition, Tasks yet to be composed for the occasion, was part of her series working with Cullen’s archive. Choreographer Helen Herbertson recalls a rich scene in Sydney during this time when herself, Cullen and Jacqui Carroll were involved in cross-disciplinary events with musicians and artists: “Much work across genres and artists seemed to flow in and out of galleries and others spaces—Central St Gallery, Sculpture Centre, Institute of Contemporary Art, Cell Block, Seymour Centre.” Margaret Lasica, who has influenced many, brought a more expansive approach to dance in Melbourne that sat outside the mainstream, engaging choreography in various contexts and facilitating cross-artform programming with experimental artists such as Stelarc. And it’s from this 20th-century history that dance and visual arts entwine today. DA NCE TODAY

The current story of dance in Australian contemporary art spaces really begins with Margaret Lasica’s daughter, Shelley Lasica, who has been making choreographic works for gallery spaces since the mid-1980s and is the first Australian dance artist to be represented by a major gallery (she was represented by Anna Schwartz from 1992 to 2012). Across the 80s and 90s, Lasica had no real contemporaries working in gallery contexts, and while dance artists may have collaborated with visual artists on occasion, there was no explicit framing of their choreographic work within contemporary art concerns. Lasica says that during this period, “All sorts of people were doing performances in galleries, a lot of visual artists such as Lyndal Jones, but not choreographers.” For Lasica, “The American scene was the point of reference” as well as the “Euro-performance scene” connected to experimental music. As theorist André Lepecki observed in 2017, “It is . . . important to note that what makes the current new/not-new performative turn in the arts quite an interesting event is the fact that it is essentially a choreographic (or dance) turn … the current turn is deeply informed by dance and choreography.” Internationally there have been major, recent retrospectives at institutions like MoMA and Museum der Moderne, Salzburg, tracing dance back to the mid-century New York avant-garde.

Dance is attractive for museums because of the new perspectives it offers on issues such as labour, presence, an emphasis on process over product, and a critique of visuality. Dance also allows for critiques of the wrestling between concept and material, as well as authorship and subjectivity. While one oft-cited critique is that this is a superficial extension of the museum preoccupation with the ‘experience economy’, the reply is that museums and galleries not only offer dancers increased visibility, but the possibility of creating works with audience involvement, as well as durational pieces beyond a traditional showtime, and the juxtaposition of movement with static visual artworks. These opportunities have propelled dance appearing in Australian arts institutions. Australian choreographer and artist Adam Linder, for example, is part of an international situation where dance is dominating the recent performance turn in galleries and museums. Linder has presented his work in major institutions such as MoMA, and has a monthlong durational performance at the Museum of Contemporary Art in Sydney, starting this mid-July. He is candid about the lure of the gallery, saying, “To be identified as a visual artist is to hold the place at the top of the pyramid within how we’ve understood art in the West.” However, he describes what dance, as a “community practice”, can enable in the gallery; how the dancer’s body can shape “an experiential affect for the context, for the work, for the viewer”. In Australia today, there are many dance artists equally comfortable working in a gallery as anywhere else: Lizzie Thomson, Matthew Day, Angela Goh, Lee Serle, Amrita Hepi, Jo Lloyd, Deanne Butterworth, Rhiannon Newton, Ivey Wawn, Rebecca Jensen, Lilian Steiner, Julie-Anne Long, Victoria Hunt, Latai Taumoepeau, and Brian Fuata. Collaboration is often central to many dance practices, and artists who engage with dance and dancers from other areas of specialisation include Agatha Gothe-Snape, Sally Smart, Alicia Frankovich, David Rosetzky and Rochelle Haley. Haley, who works with dance artists such as Goh and Wawn, says that she has “a deep interest in the moving body, and feels a similarity between painting and choreography at the level of composition”.

“Each of these venues have their own communities of artists and creative contexts that inform how artists approach the dancevisual arts interface.” — E R I N BR A N N IG A N

Victoria Hunt at Hinemihi, Clarendon Park, Surrey, United Kingdom. photogr aph: james brown.

“But for the moment, it’s about sustaining momentum in both theory and practice around dance and the visual arts.” — ER I N BR A N N IG A N

W HER E TO NOW ?

A first challenge is definitions. When dance enters contemporary art spaces it’s breaking with various historical traditions of dance, whereby dance doesn’t simply become subsumed into the logic of visual arts, but becomes a contemporary art medium in itself. Today, dance appears in galleries and museums as adaptations of stage-based works, performances responding to existing exhibitions and permanent collections, and public programs engaging visitors through observation or participation. But how does the self-determined artist assert their choreographic work within a post-disciplinary situation? Such works require the understanding of curators and relevant staff from the very first point of contact. What is the work? Who is involved? What does it require in terms of space and time? How will its development and performance be supported? There are also pragmatic aspects that dancers and choreographers consistently navigate, such as poor remuneration, inappropriate and unsafe flooring, lack of green rooms or rest areas, prohibition of drinking water in gallery spaces, inadequate security services to care for dancers, temperature-controlled discomfort, and a general lack of understanding of the support required for rigorous physical practice. One recent, infamous case is the mistreatment of performers (mostly dancers) who were asked to perform nude as centrepieces on tables in Marina Abramović’s piece for a 2011 fundraising gala at Los Angeles’s Museum of Contemporary Art—a highly visible example of what can go wrong. Yet artists find proactive ways to mitigate against such issues. Linder, for instance, imbeds working conditions within the materiality of his art, including contracts pasted to the wall in his performance Services, 2013-2019. Many other artists have made security and invigilation staff a part of their work. Finally, as a transient art form, dance and choreography are particularly susceptible to practical issues of collecting, archiving and conserving works. While no state institutions currently hold Australian choreographic works in their collections, this is left Adam Linder, Shelf Life, 2020, MoMA. photogr aph: will davidson.

set to change in the next few years. If dance is to be considered among venues, cultures, platforms and economies that have traditionally been reserved for the visual arts, its particular conditions, practices and knowledges need to be truly understood. Such work is central to a research project I’m currently working on, Precarious Movements: Choreography and the Museum. Alongside a team of Australian arts academics, curators and artists, we’ve interviewed more than 50 arts professionals, bringing artists, researchers and institutions into dialogue about how to best support both the choreographer and the museum—the results will be published in 2024. But for the moment, it’s about sustaining momentum in both theory and practice around dance and the visual arts. Precarious Movements: Choreography and the Museum is an Australian research project with partners University of New South Wales (UNSW), National Gallery of Victoria (NGV), Tate, Art Gallery of New South Wales (AGNSW) and Monash University Museum of Art (MUMA), Perth Institute of Contemporary Arts (PICA) and independent artist Shelley Lasica. Through this case study the National Gallery of Australia has commissioned A Sun Dance by Rochelle Haley for presentation at the National Gallery in February 2024.

Dreamhome: Stories of Art and Shelter Featuring Victoria Hunt Art Gallery of New South Wales (Sydney NSW) On now—until late 2023

Hustle Harder Adam Linder

Museum of Contemporary Art Australia (Sydney NSW) 22 July—20 August

Melbourne Now Featuring Alicia Frankovich

The Ian Potter Centre: NGV Australia (Melbourne VIC) On now—20 August

Her Own Revolution The intimacy, suffering and art between Frida Kahlo and Diego Rivera is infamous. While the personal reverberates in their paintings, a new exhibition places their art not only alongside each other, but within a wider Mexican modernist movement. W R ITER

Sally Gearon

Frida Kahlo was three years old when the Mexican Revolution began in 1910, but throughout her life she often said she was born in 1910 in order to directly, and symbolically, associate herself with the revolution. Of course, she did not know that the cultural impact of her life and work would stand so impermeable that she needn’t align herself with other moments of significance—and that her work, alongside that of Mexican modernists, would be its own revolution. Kahlo is almost indisputable. You would be hardpressed to find a detractor. There are those that find her omnipresence in arts and culture saturating, but that’s hardly a criticism of the woman or her work. And honestly, I really did try to not make this article a love letter to her, mainly due to said saturation, but I sense my devotion will pierce through. The first time I saw a Kahlo retrospective (of sorts), was at the New York Botanical Gardens in the Bronx in 2015. Her works aren’t often shown in Australia, and neither are those from any of her Mexican modernist counterparts. A lot is held in permanent, often private, collections. One of the exceptions is the Jacques and Natasha Gelman collection which, without a permanent home, is the most frequently touring exhibition that contains a significant amount of Mexican artwork, by Kahlo and her husband, the artist Diego Rivera, alongside their contemporaries, including Manuel and Lola Álvarez Bravo,

Miguel Covarrubias, María Izquierdo, Carlos Mérida, David Alfaro Siqueiros, Yasumasa Morimura and others. This is the collection that the Art Gallery of South Australia (AGSA) is showing for Frida & Diego: Love & Revolution, which considers Kahlo and Rivera’s relationship with each other, as well as where their art and lives sit within Mexican cultural history. One of Kahlo’s exhibiting paintings is Diego on My Mind (Self-Portrait as Tehuana). This, like many of her works, is something of an ode to her husband, explicitly in the placement of his image on her forehead—but also in the traditional garment she wears. While both Kahlo and Rivera were staunch communists and political activists, Rivera’s post-revolutionary reaffirmation of Mexican Indigenous culture was certainly an influence on Kahlo, whose work saw a notable increase in traditional Mexican imagery and dress after she met him. It’s more than a coincidence that the outfit she wears while brandishing her lover’s image on her body is ‘Diego approved’. The image of Rivera firmly and devotedly imprinted on Kahlo’s forehead bears an unsettling comparison to a recurring motif in her paintings of the third eye, which she places on Rivera’s forehead. This can be seen in another of her paintings in the show, The Love Embrace of the Universe, the Earth (Mexico), Diego, Me and Señor Xolotl. She uses the third eye to represent an all-seeing

Frida Kahlo, Diego on my Mind, 1943, oil on Masonite, 76 x 61 cm. the jacques and natasha gelman collection of mexican modernism, © banco de méxico river a k ahlo museums trust/ars. copyright agency, 2022.

“Kahlo is almost indisputable. You would be hard pressed to find a detractor.” — S A LLY GE A RON

and outward vision of the world. Rivera is always looking outwards, while she is looking at him. The Love Embrace also shows Kahlo with a wound on her chest, pouring blood out onto the naked baby that is Rivera, echoing a diary entry she once made: “At every moment he is my child, my child born every moment, diary, from myself.” At another time, she wrote, “Why do I call him My Diego? He never was nor ever will be mine. He belongs to himself.” Kahlo experienced much pain and suffering in her life. The physical pain is well-documented, both by her and her biographers: polio, amputation, a horrific bus accident in her teens that resulted in lifelong injuries. Then there’s the emotional suffering that accompanied her chronic pain, amplified by three miscarriages and the devastation of never being able to conceive a child. And then there is Rivera. On the one hand her biggest supporter, but simultaneously the cause of great heartache through his chronic infidelity, most excruciatingly with her favourite sister, a love affair that resulted in the couple's temporary divorce. The depiction of suffering in her work is one of the things that makes Kahlo so beloved and beguiling. left Martin Munkacsi, Frida and Diego, 1934, gelatin silver photograph, 35.6 x 27.9 cm. the jacques and natasha gelman collection of mexican modernism.

The visceral depictions of the body, its failings and endurance, coupled with the deeply personal yet universally relatable (especially to women) themes of love and loss, hit a nerve that runs deep. Even so, AGSA curator Tansy Curtin notes a less obvious, at least in the Western world, cultural milieu to Kahlo’s work: that of the Mexican modernists. Curtin describes how, “Frida and Diego are the two key artists, but they lead into this much bigger story. It’s a story about Indigenous cultures, colonisation, cultural destruction, cultural resilience, and cultural celebration through art.” Mexican Modernism is, in many ways, worlds apart from Australian culture, landscape, and experience. And yet we’ll each find our own resemblances, whether aesthetic, political, or personal. In Self-Portrait with Monkeys, Kahlo paints herself in a tropical scene, surrounded by her monkeys (it’s said that she referred to her various pets as the children she couldn’t have). Poking out from behind her is a bird of paradise. I can see a similar one out my window—they grow very well here.

Frida & Diego: Love & Revolution Art Gallery of South Australia (Adelaide SA) On now—17 September

All That Glitters Across rhinestone-encrusted objects to multi-channel videos, Chantal Fraser’s (literally) dazzling art reimagines the workings of power. W R ITER

Andrew Stephens

As an artist who scrutinises power structures, Chantal Fraser was intrigued when she first saw a satiric illustration portraying capitalism as a pyramid. Published in 1911 by Industrial Worker magazine, the picture shows multitudes of working folk and children on the lowest level, with a tiny clutch of rulers and royalty at the summit. What would happen, Fraser asks, if the pyramid were inverted, if the workers ascended? The diagram is one departure point for the Brisbane-based artist’s solo show The Ascending, which partly investigates how authority and power are represented by adornments. In using glittering adornment unexpectedly—on welding masks, gloves, safety goggles, hard hats or pot lids re-purposed as shields—she aims at re-centring societal expectations. Exquisitely, Fraser has used rhinestones to encrust an entire room of such objects in The Ascending. It is partly a reference to the first contact between white male colonialists and Pacific Island cultures when the inhabitants were given promises and trinkets to camouflage the real intent of colonisation. Fraser, a first-generation Sāmoan-Australian, says the way sparkly, shiny objects can mesmerise is a precipice for the “dazzling contradictions in human behaviour”. At that precipice, a viewer can be transfixed, lingering to consider how glittering objects can seduce and open the way for either a sinister outcome (colonisation) or something more positive

(cultural exchange). The objects, showing at Griffith Art Museum, are anything but knick-knacks, even though Fraser acknowledges “the beguiling pull of tourist trinkets” and their parallels with first contact strategies. Rather, the objects she presents speak to contemporary armoury and what Fraser describes as the “performance of power” in law enforcement and wider institutions of authority. “It’s almost as if you could roll up a roller door and stumble on a dazzling people’s riot gear garage,” she says of this fascinating room. “If you and your crew wanted to arm up, you could.” Since the early 2000s, Fraser’s exhibitions in Australia and abroad have included sculpture, installation, performance and video, and they have all been linked by what curator Naomi Evans describes as a distinctly feminist and anti-colonial vision. Fraser’s experiences in “lateral experimentation” at art school in the early 2000s led her, she says, to later ground herself in technical skills. She eventually applied for a grant enabling her fitter and turner brother to help her set up a small home foundry and learn appropriate metal-wrangling skills. The new exhibition, which includes a five-channel moving image work, is a nod to her brother and to the blue-collar people she imagines ascending in that 1911 pyramid. right The Ascended, 2023, production still. image courtesy of the artist.

“When we break it down, the people at the bottom hold the power.” — CH A N TA L F R A SE R

Chantal Fraser, Riot Helmet, 2015, polycarbonate plastic helmet, adhesive, plastic crystals, rhinestones, 33 x 25 x 17cm. image courtesy of the artist.

The Ascended, 2023, production still. image courtesy of the artist.

“When I was working on the characters I wanted in the moving image work, I didn’t want a sense of overthrowing but a tribute to the ordinary people, to everyday workers,” she says. Fraser says her perceptions of power dynamics include family experiences of interactions with figures of authority while she was growing up in Brisbane; male relatives experienced discrimination “for being brown boys” and her late father was “always skeptical and mistrusting of law and authority”. There was “anger, resistance, rebellion, sadness and a deep mistrust and a lowering of expectations”. As an artist, Fraser has encountered many assumptions about Pacific cultures. Some years ago, exhibiting jester-shaped hats she had created with materials gathered from Spotlight and Brisbane bargain shops, she was asked about “the amazing traditional headdresses from your [Sāmoan] cultural heritage”. They missed the point entirely about the figure of the jester: the person who, through history and literature, is able to speak truth to figures of authority, to royalty. By elevating objects that might normally be interpreted as blue-collar—the welding gear, for example—into precious adornments, Fraser inverts the pyramid. In the video that gives the exhibition its title, The Ascended presents its performers as possible deities, but also as ordinary people.

There is a young man in a workshop wearing a leather apron and displaying various glittering shields and a gorgeously rhinestone-encrusted welding mask. And there is an older woman, her face obscured by tulle, gracefully stepping through a dance. And there is the performer who stands completely enveloped by black-and-yellow “warning” tape, bristling with strength and something uncanny. Fraser says these various bodies make the sublime ordinary—just as that pyramid of capitalism infers that the “ordinary” people, the proletariat, are crucial to the existence of the regal and powerful. “When we break it down, the people at the bottom hold the power.” Little surprise, then, that Fraser has devoted one exhibition room for use by the wider Pacific community, to hold workshops, readings, rehearsals and so forth. While she says the space is not directly connected to her work, it is about making the museum “everyone’s space”. It also reflects the global swell of artists making work that alters the mainstream gaze by de-centring Western culture.

The Ascended Chantal Fraser

Griffith University Art Museum (Brisbane QLD) On now—2 September

Talking with

Sancintya Mohini Simpson

caption

W R ITER

Tiarney Miekus

Sancintya Mohini Simpson is a descendant of indentured labourers sent from India to work on colonial sugar plantations in South Africa—and her art is entwined with this history. With work spanning multiple forms from painting to performance, Simpson speaks about her familial history, accessibility in art, and the nature of collaboration—and what she’s exhibiting for her solo show at the Perth Institute of Contemporary Arts (PICA).

Your first art love?

Growing up, we didn’t go to many places outside of the usual, but we did go to art galleries, libraries, and parks—as they were free and accessible. So, my first art love was the art gallery itself, and the free activities and workshops for children they provided. Access has a big impact, and I’m grateful for these spaces in providing that.

Best time of day to create?

I try to mostly work usual day hours, but I find my most productive times are when it’s quiet and everyone is sleeping. The stillness allows for uninterrupted space to think, work and focus.

You work between painting, video, poetry, and performance—did you think you’d have a multidisciplinary practice, or did that evolve instinctually?

It’s funny, as my father was recently telling me about how he had never expected me to become an artist and had thought I’d do something like study law—but he had just realised how obvious it was that I would be an artist, and that he played a large role in this. I was always making things and reading. I did it all as a child and teenager: painting, writing poetry, performing. I was just unaware of the importance of it in my life, because in my mind I wanted to change things and say things, and I didn’t know I could do it through art at the time. I also was very privileged to grow up in a house of creative people, who just did it—but not for others or a job, just because they needed to create. This had a natural sway.

As an adult, I felt like I had to relearn that instinct to just make what I needed to, and navigate what I needed to communicate, even if it was learning new skills and asking for help to do these different things. And it’s also partially going back to that desire to make without structure and without someone telling you what to do, and the space that comes with that freedom.

Being a descendant of indentured labourers informs so much of your work. Was this entwined with your practice from the beginning, or did it take time to make work about this history?

My practice early on had been a way to make sense, understand and process things, so naturally what I’m navigating in my personal life is reflected in my practice. It was through my mother that the pieces came together. As I was trying to make sense of the experiences and lives of the women in my maternal line, and myself, my mother was trying to apply for an Overseas Citizenship of India document. As she needed to show proof of her Indian ancestry, we received a list of details of our ancestors taken as indentured labourers from Madras to Natal (now KwaZulu-Natal, South Africa). The list we received was taken from a ship list using numbers listed on my uncle’s birth certificate. It was through this list that the pieces came together, and I realised that I needed to address and understand this history, and the ongoing impacts of intergenerational trauma and acknowledgement of the women whose histories weren’t visible.

right Sancintya Mohini Simpson. photogr aph: sid coombes (sica media). 81

After this, in 2012 you travelled to South India with your mother, Indarami, whose ancestors were taken from India by the British Empire in the 19th century to work on sugarcane fields. It seems like that trip had a huge influence on you and your art. Can you reflect on that, especially now a decade later? I had just finished my undergraduate degree and was navigating my relationship to maternal cultural inheritance and had convinced my mother to spend an additional week of her usual trip to India visiting some of the villages our ancestors had come from—based on what was listed on the ship lists—and let me photograph her. I then went back to India in 2013 and spent a month learning Indian Miniature painting from artist Ajay Sharma in Jaipur, Rajasthan, and I then used this technique to paint on the photographs of the trip with my mother. At that point I hadn’t put any of these pieces together, in understanding what questions and answers I was looking for—and it was only in 2016 that I realised that I was trying to understand where the intergenerational trauma had come from and make sense of that history, and my and my mother’s relationship to it. Then in 2017 I started making work to acknowledge that history in a direct way.

You’ve since created pieces that involve collaboration, but if you could collaborate with any artist who would it be?

Collaboration is a pure joy when it works, and you can deeply connect with another person to create something together through mutual exchange and generosity. My list of living artists that I’ve made plans with is long enough. I personally feel that to collaborate with someone there needs to be a chemistry, an understanding, respect, and bond—and without knowing if that is there first, I personally don’t feel collaboration is right. I will say that my favourite artist to collaborate with is my brother, Isha Ram Das, who is an experimental sound artist and composer. I feel there is a real joy in collaborating from the natural understanding we have. Our natural languages of visual and sound support each other, especially through the sound and visual vocabulary we share from growing up together. We have been collaborating since we each began our practice and, in a sense, have been navigating collaboration since we were children playing together.

I know you’re a relatively young artist yourself, but what advice do you have for young artists?

Being an artist can be quite isolating and difficult to navigate alone, so your art community is so important—and the best part of being an artist. It took me a while to find artists who fill this space for me, and I am so grateful for how generous they are with

their knowledge and time. People who you can share knowledge with, and mutually support, are vital in keeping yourself and your art true, real, and honest— and yourself sane.

An art experience that’s stuck with you?

I was recently able to see new works exhibited by my dear friend and colleague D Harding—and I’d seen these paintings at the studio, but it was an entirely different experience seeing them hung and in conversation in the gallery. I had been travelling for work and had seen a Rothko painting for the first time the day before and didn’t really respond to it, but D’s paintings made me feel a lot. The presence of the work and materials, with D’s energy and body present in the strokes evoked a lot of emotions for me. It was so beautiful to see ochres from D’s grandmother’s and grandfather’s Country side-by-side in one work (She come from the low-country, he come from the high-country, 2023) and D’s use of PrEP tablets as pigments against lapis lazuli in another painting (I have learned your history, as well as my own, 2023).

For your solo show at PICA, can you talk through what you’ll be exhibiting?

For me this exhibition at PICA, ām / ammā / mā maram, feels the most personal. It’s almost a full circle thematically from 10 years ago when I was making that work with my mother in South India, except I have a fuller understanding of the story and my relationship with it now. I feel a lot of threads have come together, and this exhibition acknowledges histories, time and inheritance through materiality, place, and embodied memory. The works are all in conversation and are quieter. I feel they are saying more with their materials, and how they come together, rather than a direct or didactic depiction. There’s a photograph of the women in my family and female neighbours, in what seems to be only a few years before my mother was born, including her mother, aunt, paternal grandmother and maternal great-grandmother. There’s also handmade paper from the mango trees in my mother’s garden, black clay vessels fired in sugarcane ash, burnt mango wood, corrugated iron paintings, poetry and scent. I’m looking forward to sharing this work in this space—as Perth has a closer proximity to South Africa, I feel it is more apt.

ām / ammā / mā maram Sancintya Mohini Simpson

Perth Institute of Contemporary Arts (Perth WA) 4 August—22 October

“Collaboration is a pure joy when it works, and you can deeply connect with another person to create something together through mutual exchange and generosity.” — S A NCI N T YA MOH I N I SI M P S ON

Sancintya Mohini Simpson, The Plantation, (detail), watercolour and gouache on handmade wasli paper, 6 panels, approx. 95 x 125 cm irreg. each: 190 x 375 cm overall. photograph: carl warner. image courtesy of the artist and milani gallery, meanjin/brisbane.

The Power of Gathering Amidst celebrating 40 Years of the National Aboriginal and Torres Strait Islander Art Awards (NATSIAAs), Wardandi (Nyoongar) and Badimaya (Yamatji) senior curator and previous award judge, Clothilde Bullen, speaks to how these awards position First Nations art practice as contemporary art practice. W R ITER

Clothilde Bullen

When Richard Bell swaggered to the stage at the opening of the 20th Telstra National Aboriginal and Torres Strait Islander Awards in 2003 to claim the first prize for his painting Scientia E Metaphysica (Bell’s Theorem), he wore the now infamous t-shirt emblazoned in large white lettering with “White girls can’t hump”. Furore erupted, perhaps not so much in the crowd assembled on the front lawn of the Museum and Art Gallery of the Northern Territory (MAGNT), but certainly in the assembled media who sensed instantly (and with glee) that this incongruity of interpersonal truth, which was worn on the body of an Aboriginal artist and not framed within the confines of a gallery space, was not palatable in the world of the arts elite. The “Telstra Awards”, as the NATSIAAs are now colloquially known, have had their share of controversies and highlights, as have most other art awards around the country and globe, but perhaps less than some others. Being one of the oldest First Nations art awards in the country—established in 1984, and now featuring annual awards in a variety of artistic categories—has meant that it has become, in some ways, the Elder of the First Nations art awards; to be respected and to be acknowledged as having done the preliminary work, long before other awards, of understanding its place in the First Nations and Australian contemporary art ecosystem, and the place of First Nations art awards nationally. The NATSIAAs have helped to shift, and indeed itself be shifted, in a further understanding of First Nations art practice as contemporary art

practice—and this is significant and vital. Art as political performance, such that it is, has taken place in the judging also. Tony Albert’s compelling work We Can Be Heroes was selected as the overall winner in 2014 by me, Tina Baum, curator at the National Gallery of Australia, and David Broker, former director of Canberra Contemporary Art Space. It was selected against the backdrop of the Black Lives Matter movement which had begun less than a year previously in the United States. Albert’s work was an image of a young Aboriginal man with a bright red target on his chest, an agitate for the viewer to consider that young black men in this country at the time were targets of intense racial violence—and indeed still are. The discussions we had about the work winning were complicated, taking into account the challenge of the work itself for both artist and viewer—but ultimately it was selected for its ability to concisely summarise the Aboriginal experience of that moment. There are some moments that are memorable for other reasons. The delightful Tjanpi Grass Toyota, the winning entry in 2005 from the Blackstone Tjanpi Weavers, remains a crowd favourite when it is installed, for its life-size depiction of the ubiquitous ‘Troopie’ vehicle that transports artists and community members to remote locations for cultural business, art practices and hunting. Far more than just a replication of a car, this work educates folk who have not spent time in remote communities about the necessity of travel, of transport through and around Country, and the lifeline this

Richard Bell, Scientia e metaphysica (Bell’s theorem), 2003, synthetic polymer paint on canvas, 240 x 360 cm (overall). telstr a national aboriginal and torres str ait islander art awards collection, 2003. museum and art gallery of the northern territory.

“The NATSIAAs have long been contextualised by the community in which it is represented.” — CL O T H I LDE BU L L E N

Tjanpi Desert Weavers, Tjanpi grass Toyota, 2005, desert grass, mixed media, organic string and jute string, 190 x 120 x 420 cm. telstr a national aboriginal and torres str aitislander art awards collection, 2005. museum and art gallery of the northern territory.

brings to cultural and intergenerational transmission of knowledge. The NATSIAAs have led the country in recognising the work of bark painters as contemporary practitioners, and represented them as such in a broader contemporary context. This has meant not only showcasing some of the greatest bark and lorrkon painters of our time, such as John Mawurndjul, Ms D Yunupingu and Djambawa Marawili, but presenting them in such a way that the public have understood the cultural material of these and other artists to be contemporary arts practice, transmitting cultural knowledges and embodying political documents of sovereignty simultaneously. The NATSIAAs have long been contextualised by the community in which it is represented. The Larrakia people of Darwin have graciously allowed its hosting on Larrakia Country, but it is unique in that First Nations communities from literally every corner of the nation assemble in place to participate in the opening weekend celebrations. Given that the Darwin Festival and the National Indigenous Music Awards also open at roughly the same time as the NATSIAAs, the event attracts

enormous crowds from the arts ecosystem and the public alike. When the award first began, it was slow to attract entries from the eastern and southern parts of the continent, but with much labour over many years by the founder of the award, Margie West, and subsequent curator Luke Scholes, it has changed in response to the way First Nations communities have positioned their practices. MAGNT now has a First Nations curator at the helm of the NATSIAAs, Arabana, Kala Lagaw Ya and Wuthathi woman Rebekah Raymond, who is part of the next generation of First Nations curators who will transform the art awards yet again, in step with the prevailing practices and desires of First Nations artists and communities themselves. We look fondly back at the last 40 years of NATSIAA and eagerly forward to the next. 40: Celebrating four decades of the National Aboriginal and Torres Strait Islander Art Awards Museum and Art Gallery of the Northern Territory (Darwin NT) On now—29 October

Comment

Why do we fund the arts? Forget cultural nationalism, we fund art for a life of communal beauty and dignity. W R ITER

Lauren Carroll Harris

When we talk about arts funding, we tend to look back fondly, nostalgically, to the time of Gough Whitlam, who advanced the national arts approach begun by John Gorton's Liberal government several years prior. Throughout the 1970s, Whitlam created various national arts, film and media institutions to extend the vision of art for the public good, and made those working in the arts feel dignified for what they gave to others with their intangible abilities. A key tenet of Commonwealth arts policy from 1972 to 1975 was that the newly created Australia Council for the Arts should “foster the expression of a national identity by means of the arts”. This still permeates the essence of arts funding: the foremost rationale in Revive, the Labour Government’s recently revealed new arts policy, is to ensure “Australian stories are seen and heard”. It’s overlaid with an unclear mix of principles about entrepreneurialism, philanthropy and artists’ rights as workers. The intention is progressive. But sometimes it feels as though we’ve hardly evolved from those Whitlam days of utilising art for the nation-state. Some current policy ideas are inherited from an age before globalised capitalism, and others borrow heavily from the neoliberal concept of the ‘creative industries’, which instrumentalises art within economic activities like fashion, software, gaming and design—congruent with the economic liberalisation of Australian society since the 1980s. Perhaps Australian arts will never be able to tell a coherent story about this country. Nor should

it even try. What remains is a fragmented history: the vexatious founding of penal colonies on unceded Indigenous territories, a failure to decolonise, Australia’s federation, and the eventual replacement of the United Kingdom with the United States as the major political ally. Australia never made a clean break with the coloniser, only a gradual slide into a blurry ‘Australianness’. Over half of Australia’s inhabitants are either born overseas or have a parent born elsewhere. The biggest trading partner is China, yet the country retains the Union Jack on its flag and an octogenarian monarch as head of state. Modern Australia remains shaped by its previously labourist model of social protection for white male workers (in now-weakened unions), but with equally strong racial exclusion and unpaid, gendered domestic labour. Defined by a refusal to reckon with Indigenous sovereignty and the genocidal abuses of First Nations people, Australia has a peculiar history on which to impose a coherent national identity via artistic activity. How many practising artists really want to strengthen national identity? Does any child look into their future and say they want to be an artist for nation-building and myth-making purposes? That’s for politicians, not artists. Many artists and arts workers find nationalistic motivations for arts support to be irrelevant at best and repugnant at worst. Many, myself included, hold dual citizenship. Millions of us are living transnational lives. Citizenship continues to evolve in this way.

Illustration by Caitlin Aloisio Shearer.

We now find ourselves, globally, in an era where nationalism and protectionism have taken on deeply negative connotations. The shift is also generational; the gloss has come off the idea that nationalism in any guise can be progressive. What if we related to Whitlam’s idea of national identity critically rather than wistfully? Engagement with place and connection to land are powerful forces in art on this continent, but they can be separated from (even progressive versions of) nationalism and national ideology—they can enliven a deep form of community and localism, for instance. Internationalism and the living links of ancestry are other powerful forces, too. In the Republic of Ireland, for instance, cultural policy aligns with the European Union’s principles of support for creativity, participation in cultural life and cultural rights. It’s transnational. Granting all citizens access to the art of now, by way of their cultural birthright, synchronises with an outward-looking, progressive and modern society. As a proposition for why we fund the arts, this makes more sense than imposing an idealised vision of “who we are”. The Irish approach should resonate with Australia: both places once regarded art as ill-afforded luxuries or relics of British colonial rule. I often think of the phrase “bread and roses”, which came from early suffragettes who promised that if women were empowered, then bread and roses for all would follow. In three words, it still

offers a radical, subtle and joyful brief for why art requires serious and sustained government support. Conventional labour and social movements have campaigned for life’s basics: food, shelter, security, work, suffrage, citizenship. Bread, in a word. But our human needs and desires are more complex than bread can nourish. Not only do we want bread for everyone, but we want access to nature, beauty, pleasure, culture, leisure, and loveliness in everyday life. Roses, in a word. We need bread and roses, for dignity and fullness. For individuality, too. We can get by on much the same types of ‘bread’, but art affords us something more intimate. My artistic desires and dreams differ from yours: roses stand for freedom and privacy in that respect. They are equal to bread. This idea might seem utopian, but it befits the provision of cultural rights for all. Bordered and backward, the nation-state is a transient, historically recent, abnormal political form. It’s innately exclusionary, based on defining a foreign other. It’s time to let go of that idea. Bread and roses are fundamental for the type of public I would like to live in. Culture, nature and pleasure are civic needs, anchored in a human rights framework, and the right to create and access art is the heartbeat of that offering of communal luxury.

Sally Anderson Blue Motherhood, domesticity, landscape, memory—these are just some of the experiences and memories Sally Anderson has captured in her two-decade painting practice, underpinned by a persistent blue. W R ITER

Briony Downes

The outer edges of Sally Anderson’s paintings reveal multiple layers of canvas, the evidence of past works painted over yet still present deep within. Integral to how Anderson works, this layering connects to ideas of containment and the action of being physically held. “This could refer to a mother carrying her baby, being restricted to the home, a vessel holding flowers, frames, windows or pools,” she says. Anderson’s layered canvases also serve as physical markers of multiple experiences. Motherhood, femininity, domesticity, memory, and place are all major influences on her practice. On the surface, Anderson’s paintings depict abstract views of the ocean or landscape, often from the perspective of looking out open windows. Expressive angular brushstrokes of interiors contrast with the flowing lines of the landscape and water. On occasion, a vase holding flowers blooms forth as a central motif. Deep within, her paintings carry autobiographical elements heavy with memory and meaning. Hints to what each painting might embody are alluded to in titles and exhibition names. “The titles of my exhibitions are always really significant and revealing of the work,” says Anderson. “The title is an umbrella the work fits under.” The meanings behind her current exhibition, Carrying Flood Face Flowers are many: the body carrying a child through pregnancy, full shopping bags, pools and baths holding water, the experience of emotional flooding, still life painting, and the 2022

Northern Rivers floods. Anderson also cites Ursula K. Le Guin’s essay ‘The Carrier Bag Theory of Fiction’ as an influence on the exhibition title. Le Guin’s essay puts a positive spin on humans and technology, viewing technology as a vehicle to carry culture rather than dominate it. Throughout her painting practice, blue has remained a prevailing colour. “I was initially attracted to blue because of its capacity to reference so much at once,” she explains. “Blue is the sea and sky. Blue has also held references to my emotional state as a new mother and the various trips my son and I have made to the Blue Mountains.” Maggie Nelson’s 2017 book, Bluets, recently proved to be an inspiring discovery for Anderson. Taking the reader through a poetic journey of emotional highs and lows, Nelson weaves in stories relating to her lifelong love of blue and the artists and musicians associated with the colour, among them Joni Mitchell, Leonard Cohen, Yves Klein and Andy Warhol. As Anderson has pointed out, blue is interwoven into everything. Over time, blue has come to represent other experiences. “I recently made a body of work inspired by ocean views and eastern suburbs rooftops I sourced from realestate.com as a reaction to my childhood residing in public housing,” she says. right Sally Anderson in the studio. photogr aph: jessica maurer.

Sally Anderson, MA (Marry Clouds, Sleep

“I am interested in how we attempt to authenticate experiences and curate aspects of our lives . . .” — S A L LY A N DE R S ON

“The meaning of these works completely shifted when the Northern Rivers floods happened as they implicated my extended family. My paintings of ocean views now looked like floating, flooded rooftops in Lismore.” While containment remains a major theme of Carrying Flood Face Flowers, Anderson’s focus has shifted to views of the home and outdoor locations. “I am interested in how we attempt to authenticate experiences and curate aspects of our lives, and how two or more experiences of the same situation can be true.” Hints of green, orange and yellow are also starting to appear in between the blue. “The paintings are really pushing the concept of multiple realities,” Anderson explains. “They don’t really show one single reality, they present a multiplicity of landscapes, views and experiences. I think this reflects the modern world we live in, whereby we are inundated and saturated with images and insight into other people’s lives. We can be on our own holiday while we are watching someone else’s [holiday] on our phones. It’s hard to tell what authentic experience is anymore.” In paintings like Nat Silk’s Seatown Still Life, PB≈Nude Quilt, Bromeliad Washdown, 2022, multiple meanings are implied. A square view of coastline is cropped by large swathes of white acrylic paint, suggesting parts of the image have been deliberately hidden from view. The landscapes Anderson chooses

are sometimes known to her or borrowed from others. “These paintings re-contextualise screenshots of other people’s holidays either sourced on social media or shared via email. The windows in the works allow me to present two experiences at once.” A sketchy conglomeration of earth-coloured lines beneath the window recall the spindly veins on leaves, traces of bodily movement or tributaries gently flowing towards the ocean. To the right, a section of painterly blue fades into the edges of the canvas, causing the viewer to question if it is concealing something or if it was part of the original coastline view. Looking at Anderson’s work, it’s difficult to withhold curiosity about what might lie beneath the final image, what unseen stories these works might hold. “Someone once told me I paint like a writer—exposing the edits,” she says. “The edges are evidence of this process of layering and the history of the painting. It gives the work complexity and a kind of completeness.” Much like life itself, Anderson’s work makes it clear the journey is just as important as the destination.

Carrying Face Flooding Flowers Sally Anderson Edwina Corlette Gallery (Brisbane QLD) 26 July—17 August

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Walker Street Gallery and Arts Centre Corner Walker and Robinson streets, Dandenong 9706 8441 | greaterdandenong.vic.gov.au/wilambiik WILAM BIIK is a TarraWarra Museum of Art exhibition touring with NETS Victoria, curated by Stacie Piper.

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The Memory Palace: Cyrus Tang MA JOR EXHIBITION TOWN HALL GALLERY WED 26 JUL – SAT 21 OCT Image: Cyrus Tang, ‘Lacrimae Rerum 4505.00s’, 2016, archival pigment print, 100 x 100cm, image courtesy of the artist and ARC ONE Gallery.

boroondara.vic.gov.au/arts

IWARA – Robert Fielding

IWARA is a reminder that many cultural practices and traditions, worn down or destroyed by white intervention, are stronger than ever today. It comes from the very heart of our country – a unique perspective bringing together the knowledge of very distinct and divided realities.

Opening: Wed 7 June, 6.30 – 8.30pm Exhibition: 8 June – 30 July

ENDURING –

Recent acquisitions highlights from First Nations artists Presenting recent Wyndham Art Gallery acquisitions from leading contemporary First Nations artists. Works include photography, video, mixed media and painting. Curated by dr megan evans and Olivia Poloni. Artists: Tony Albert, Karen Casey, Maree Clarke, Michael Cook, Aunty Marlene Gilson and Peter Waples-Crowe.

Opening: Wed 7 June, 6.30 – 8.30pm Exhibition: 8 June – 30 July

2023 Wyndham Art Prize Wyndham Art Gallery established the Wyndham Art Prize in 2015. It has become one of the largest prizes, regarding the number of artists shortlisted, in the country. Each year the artists are selected by Wyndham Art Gallery curators and judged by independent curators and art professionals.

Opening: Wed 16 August, 6.30 – 8.30pm Exhibition: 17 Aug – 29 Oct

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

wyndham.vic.gov.au/arts

Stewart Macfarlane Australian Gothic 4 - 20 August Subiaco

Stewart Macfarlane, ‘Winds of Change’ 2023, Oil on canvas, 122 x 152.5 cm

Claire Beausein Elixir 23 August - 11 September Subiaco

Claire Beausein, ‘Chrysalis’ 2023 [detail], Wild silk cocoons and graphite on Washi paper, 70 x 70 cm

Julie Davidson Seasons 14 September - 1 October Subiaco

Julie Davidson, ‘Songs of Spring’ 2023, Oil on linen, 122 x 137 cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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

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

lintonandkay.com.au

Natalie Lavelle Flesh for Fantasy 4 - 22 July 2023 54 Vernon Tce, Qld | janmantonart.com | @janmantongallery janmantonart.com

spring1883.com

VICTORIA

A–Z Exhibitions

Victoria

JULY/AUGUST 2023

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ACAE Gallery

Alcaston Gallery

Art Gallery of Ballarat

www.acaearts.com.au

www.alcastongallery.com.au

www.artgalleryofballarat.com.au

Australasian Cultural Arts Exchange 82A Wellington Street, Collingwood, VIC 3066 [Map 3] 0406 711 378 Tue to Sun 10am–5pm.

84 William Street, Melbourne, VIC 3000 [Map 2] 03 8849 9668

40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information.

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–6pm, Sat 1pm–5pm.

Our purpose is to reflect the story of Ballarat; past, present and future. To champion audience experience and the accessibility of art. We tell the stories of ‘now’, by looking back, looking forward, looking inward, looking out. 20 May–6 August Pre-Raphaelites: Drawings & Watercolours

Cen Yunyang, Hui, 2021, mixed media, 240 x 25 x 25 cm. Image courtesy of the artist.

One ticket, two exhibitions. These rarely seen and fragile works offer an intimate look into the world of the artists, models and friends of one of the most significant art movements on the 19th century. Touring exclusively to Ballarat from the Ashmolean Museum, Oxford. Presented in conjunction with In the Company of Morris.

22 July–3 September Cen Yunyang

20 May–6 August In the Company of Morris

Based in Jingdezhen, China, Cen Yunyang presents her first Australian solo exhibition since graduating from the Victorian College of the Arts, Melbourne. Yunyang is a contemporary visual artist with years of experience producing works in the form of installation, video and performance. Through a culturally hybrid point of view, her work embeds commentary on social issues into everyday objects and behaviours, focusing on the absurdity and weakness of the modern state of mind.

ACMI

One ticket, two exhibitions. Works from the gallery collection by artists inspired by the legacy of influential designer William Morris. Presented in conjunction with Pre-Raphaelites: Drawings & Watercolours. 20 May–6 August Looking in Stephen Bram, Untitled (two point perspective), 2020, synthetic polymer paint on canvas board, 35.6 x 27.9 cm. 3 June–29 July Perspective Paintings 1987-2023 Stephen Bram

www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Open daily 10am–5pm.

Interior spaces through the eyes of artists who have been inspired by their own surroundings. 20 May–6 August Del Kathryn Barton: In another land & RED The work of Del Kathryn Barton is a celebration of body, self and sexual expression. This selection of works from her Inside another land series are presented with Barton’s short video RED, featuring Cate Blanchett. 29 April–6 August Stephen Davidson: Greatest fishing story never told An exhibition of work in different mediums which the artists describes as “a storm in a tea bowl, a homage to Hokusai”. 29 April–13 August Upheaval on the Goldfields Historical and contemporary works from the gallery’s collection by artists responding to the disruption brought about by the gold-rushes and their aftermath in the Ballarat region. 12 August–26 November 2023 Karenne Ann And Heather Horrocks: Effacement

L-R: Laverne Cox in Paper Magazine, 2020, © Joshua Kissi. Marilyn Monroe, image by Milton H. Greene, © Archive on behalf of Milton H. Greene. 2007 SAKURAN Film Committee © Moyoco Anno/ Kodansha. Winnie Harlow. Courtesy Albert Sanchez and Pedro Zalba.

Stieg Persson, Modernist, 2023, watercolour on paper, 76 cm x 55 cm. Courtesy of the Artist and Anna Schwartz Gallery. Photo: Christian Capurro.

5 April—1 October Goddess: Power, Glamour, Rebellion Curated by Bethan Johnson

8 July–12 August Bloom Stieg Persson

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This exhibition is about identity. Masks can change everything. Photographic images by Karenne Anne loom from the walls and distort the identity of the maker, Heather Horrocks, who wears them. This exhibition is presented as part of the Ballarat International Foto Biennale 2023.

VICTORIA 12 August–5 November Bifb: Yvonne Todd Yvonne Todd is a New Zealand-based photographer known for her unique and unconventional approach to portraiture. 26 August–22 October Bifb: Platon: People Power This exhibition features arresting portraits of some of the most significant people of our time, from the cool gaze of Vladimir Putin to the art and power of Vivienne Westwood, Michelle Obama and Adele and the rebellion of Pussy Riot. A Ballarat International Foto Biennale exhibition created in partnership with Platon Studio. A BIFB Festival Pass is required for this ticketed exhibition. Last entry at 4pm. 26 August–22 October Bifb: Andy Warhol 26 August–5 November Ramak Bamzar: Pro Femina

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.

Ramak Bamzar is a Melbourne-based Iranian photographer. Her work explores how cultural and religious norms can shape women’s beliefs, values, and behaviours and can influence their sense of self-worth and agency. This exhibition is presented as part of the Ballarat International Foto Biennale 2023.

17 August–22 October Bifb: Ian Kemp: Neverlasting For Ballarat-based photographer Ian Kemp, images of the natural world are a metaphor for the transience of human life – its permanence and impermanence. The works in this exhibition capture a changing world where beauty is ephemeral and temporary. This exhibition is presented as part of the Ballarat International Foto Biennale 2023. Artscreen In Alfred Deakin Place: Until 25 August Leila Jeffreys The inaugural work displayed on the new outdoor Art Screen in Alfred Deakin Place is a three-panel video work Nature is not a place to visit. It is home by renowned Sydney-based contemporary artist Leila Jeffreys. Using some of the world’s most advanced slow-motion film technology, this video draws a parallel between the bonds that exist between humans, the way actions can shape collective behaviour and the intimate dynamics of the flock. It will be displayed alongside eight photographs from Jeffreys’ 2019 series High Society.

Representing traditional art practices that have been passed down from our ancestors for over 60,000 years to the present time, combined with modern materials and techniques, this truly magical exhibition celebrates the oldest living culture in the world. The work of First Nations artists is imbued with spiritual meaning; expressing the knowledge and beliefs that underpin our lores, laws, ceremonies and daily lives. Mythical stories of The Dreaming are embedded in traditional and contemporary approaches to media ranging across: weaving, drawing, painting, burning symbols on possum skins, implements, tools and weapons.

www.artsproject.org.au

Selina Ou, The Kite, 2020, inkjet print, 120 x 80 cm. Courtesy of the artist and Sophie Gannon Gallery, Melbourne. ArtSpace at Realm: 15 July–17 September Neighbourhood Tales Selina Ou Neighbourhood Tales is an exhibition of photographs produced in the City of Maroondah and surrounding suburbs between 2020 and 2022 by Selina Ou in collaboration with her two sons who appear in each of the images, sometimes together, sometimes alone. Ou, an Australian artist of Malaysian Chinese descent, describes these artworks as “narrative landscape photographs”, meaning that she has invited her children to pose as figures within colour documentary images of local landscapes to tell stories about their shared experience of suburban life. Each image (or tale) is carefully staged and subtly lit, bringing a theatrical scenography to these familiar environments.

29 August–22 October BIFB: Serwah Attafuah & Jonathan Zawada: Digital Anthropocene Search beyond the algorithm and witness new cyber landscapes, with the work of Serwah Attafuah and Jonathan Zawada who merge the worlds of science and art at the virtual forefront. Part of the Ballarat International Foto Biennale 2023 Digital Program.

Mullum Mullum Indigenous Gathering Place and Arts in Maroondah present Mullum Mullum Community Blak Arts. This exhibition embraces the extraordinary range, scope and talent of artists within the Mullum Mullum Community.

Arts Project Australia

29 June–13 August Tammy Gilson: Beenyak Wadawurrung artist Tammy Gilson presents works absorbed in cultural landscape, the woven objects and adornments expresses continuity of cultural practice. .

Artists from Mullum Mullum Indigenous Gathering Place.

The artistic magnitude of Mullum Mullum (installation view) at Maroondah Federation Estate Gallery, 2022. Maroondah Federation Estate Gallery:

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.

Fulli Andrinopoulos, Untitled, 2021, ink on paper, 19 x 18.5 cm. 22 July–26 August Sensitive Antennae Curated by Jo Salt. Featuring works by Bronwyn Hack, Ruth Howard, Julian Martin, Fulli Andrinopoulos, Wendy Dawson and more. The simplest works can hold remarkable depth and power. Pared down and abstracted they are released from the structures of fixed, coherent form, speaking directly to the notion of inherent beauty. Sensitive Antennae celebrates works by APA artists that resonate with a kind of earthly, and at times universal energy.

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Ararat Gallery TAMA

Curated by: Jessica Clark. Between Waves is the the third edition of the Yalingwa exhibition series that supports the development of outstanding contemporary First Peoples art and curatorial practice in Southeast Australia. Between Waves explores and experiments with the visible and invisible energy fields and flows of material memory to illuminate an interconnected web of shapeshifting ecologies within, beyond, and between what can be seen. The exhibition presents ten ambitious new commissions by emerging and established artists working at the intersection of material and immaterial realms of knowledge and knowing.

www.araratgallerytama.com.au 82 Vincent Street, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm.

Imants Tillers,The disquieting muses (something that...), 2023, synthetic polymer paint and gouache on 54 canvas boards, nos. 113555–113608, 229 x 214 cm. Courtesy of the artist and ARC ONE Gallery. 27 May–1 July After de Chirico Imants Tillers

Australian Galleries 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.

Pat Brassington, The Branching, 2015, pigment print, 94 x 270 cm. Courtesy of the artist and ARC ONE Gallery. Olga de Amaral, Coraza En Dos Colores, 1973, dyed horsehair, sisal, pink hand spun wool, bound rope, 400 x 160cm. © The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: Terence Bogue. Until 3 September Works from the TAMA Collection

Ema Shin, Hearts of Absent Women, 2021–2022, embroidery, glass, polyester, linen, cotton, wool, hanji paper, lokta paper, steel, 70 x 78 x 60 cm, (Installation). © The artist.

5 July–5 August No One Place Pat Brassington, Peter Daverington, John Davis, Murray Fredericks, Marina Rolfe, and John Young. 9 August–16 September Guo Jian

Australian Centre for Contemporary Art (ACCA)

Peter Churcher, The Bathers, Olot, 2021, oil on canvas, 150 x 162 cm.

www.acca.melbourne

Anne Saunders and Doug Wright

111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Tue to Fri 10am–5pm, Sat & Sun 11am–5pm.

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25 July–12 August Place of the heart Phillip Edwards Drawn to poetry Peter Neilson Sarah Tomasetti

www.austapestry.com.au

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

Cliff Burtt

Australian Tapestry Workshop (ATW)

Until 29 October Hearts of Absent Women Ema Shin

www.arcone.com.au

27 June–15 July Peter Churcher

Cassie Sullivan, Mayana Trawna Body Country, (detail) 2021, video. Courtesy of the artist. 1 July–3 September Between Waves: 2023 Yalingwa Exhibition Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Hayley Millar Baker, Jazz Money, Cassie Sullivan, this mob and Mandy Quadrio.

262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tue to Sat 1pm–5pm. See our website for latest information. 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.

VICTORIA

Bond Street Gallery www.bondstreeteventcentre.com 10 Bond Street, Sale, Gippsland, Victoria 3850 03 51828770 By appointment only.

Seth Damm/Neon Zinn, Respire, 2022, constructed from one single length of hand-dyed cotton rope, bound with mercerized cotton yarn, 46 x 61 cm. Courtesy of the artist. 18 May—29 July Vessel, Cloth and Cloak Jacky Cheng, Kait James (WADAWURRUNG), Isabel Avendano Hazbun, Florence Jaukue Kamel, DNJ Paper, Robyn Phelan, Seth Damm/Neon Zinn. Vessel, Cloth and Cloak features artists and designers who use textiles to create functional objects, jewellery, vessels, and wearable objects that carry, protect, contain, and cover. These textiles serve a dual purpose as containers of culture, stories, and identity. This exhibition has been curated alongside Melbourne Design Week, responding to the themes of cultural currency, production transparency and legacy. 10 August—13 October Studio Brieditis & Evans Studio Brieditis & Evans: Swedish artist/ designers Katarina Brieditis and Katarina Evans have worked together since 2002 exploring textiles, sustainability, and textile recycling. Recipients of the ATW’s Irene Davies International Scholarship, Brieditis & Evans’ will be exhibiting in Australia for the first time. This exhibition will explore a curated selection of textile-based works that question the foundations of textile construction, consumer use and functional materiality.

Anne Ross, Whichway, 1992, patinated cast bronze, 12 x 12 x 6 cm. Courtesy of the artist. Ross’ preoccupation with the human and animal form, revealing her interest in key iconography such as dogs, trees, frames, arrows and her ongoing engagement with symbolism and dreamlike imagery. Comprising more than 40 works in bronze dating from the mid-1980s to the present, Whichway demonstrates Ross’ major achievements working in patinated cast bronze sculpture.

Bendigo Art Gallery www.bendigoartgallery.com.au 42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm. We are one of the oldest and largest regional galleries in Australia. Audiences come from around Australia to our innovative international exhibitions, public programs and events.

Daniel Church, Dolphin and Fish Arch, mixed media, 228 x 160 cm. 2 July–23 July (NAIDOC Week) Durug Yellow Mundie (Durug Story Teller) Daniel Church. Curated by Allison Yanez. Daniel Church, now based on Gunaikurnai Country in Gippsland Victoria, practices woodcarving, acrylic painting on canvas, timber sculpting and includes timber birds, furniture pieces, full size archways, shields and walking sticks. Daniel’s work, Pelican Mudjin (Family), 2022, was chosen for display at the National Gallery Victoria Melbourne Now exhibition. Daniel recently won the 2021 Lechte Corporation Acquisitive Award.

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. Free admission. See our website for latest information. 8 July–27 August Anne Ross: Whichway For over four decades, Anne Ross has explored pathos and humour within the themes of companionship, belonging and self-containment through the medium of bronze. This first-ever major survey of representational sculpture illustrates

Phillipa Hall on the cover of The Australian Women’s Weekly, November 23, 1960 edition. Photograph by Adelie Hurley. 27 May–27 August The Australian Women’s Weekly: 90 Years of an Australian icon This exhibition marks the 90th anniversary of The Australian Women’s Weekly through a look back at some of the inspiring women who have been part of the magazine’s history, the changing eras of fashion and style brought to life on its pages, and the creativity it has inspired in the domestic sphere.

Mitchell Johnson, Transience, 2021, photograph. 14 August–31 August Local History Exhibition: A History of Lake Guyatt Curated by Allison Yanez. A History of Lake Guyatt coincides with the 1-year anniversary of Nakunbalook Environmental and Cultural Education Centre in Sale, Gippsland. Nakunbalook is a Gunaikurnai name which translates to ‘Grandfather Gumtree’ it represents knowledge and place. Learn, grow and develop with local history at Bond Street Gallery. 135

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Brunswick Street Gallery www.brunswickstreetgallery. com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. Amanda Page, Precipice ll, 2020, photopolymer etching on Fabriano 280gsm from charcoal drawings, 70 x 100 cm. natural systems such as weather patterns and phenomena such as erosion to record and reveal processes of melting and the movement of energy in materials. 19 August—30 September The Land Speaks Meg Gooch

Aaron Pei Pie, Kamela (22-1063KA), acrylic on canvas, 56 x 91.5 cm.

Rover Thomas Joolama, Yari country, 1984, earth pigments and natural binder on plywood, 104 x 105 cm. Ebes Collection, © Rover Thomas/Copyright Agency, 2023. 8 July—12 August Rover: From Warmun to Venice Rover Thomas Joolama

Woodism, I love you all the way to the end of counting, linocut print, 57 x 76 cm. Edition of 30. 15 July–30 July Big Mob Animals Aaron Pei Pie and Tjarlirli & Kaltukatjara Arts Silent Hymns Jahman Davine MONOCHROME Marianne Sebetti All the way to the end of counting Woodism Opening Saturday 15 July, 6pm–8pm. 3 August–20 August Crossing Paths Edwina Edwards A Cupboard Full of Light Britt Neech Taking Up Space Alison Willoughby Nothing is Too Beautiful to Be True Freda Davies A Bizarre Thyme Billy Oakley This is the Idea Sioux Tempestt Well Aged Carrie McDowell Opening Friday 4 August, 6pm–8pm. 24 August–10 September Kabirriwokdi (People talking to each other) Graham Rostron Drift Rachelle Mascini Opening Friday 25 August, 6pm–8pm. 136

In this iteration of the series Masters of Aboriginal Contemporary Art Burrinja presents Rover, turning the focus on one of Australia’s most celebrated, recognised and original Indigenous artists. Together with urban Aboriginal artist Trevor Nickolls he was the first Aboriginal artist to represent Australia at the Venice Biennale in 1990. His seamless amalgamation of figurative and abstract styles to depict topographical features and at times horrific historical events has been an outstanding characteristic of his art.

In this exhibition of watercolours and paintings Meg Gooch explores memories embedded in the land and elements of change that have effected the Gippsland lakes system since colonisation. Using natural dyes from the local vegetation and made inks from the vegetation at the Barrier Landing area in Lakes Entrance.

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. See our website for latest information.

22 July—2 September Collections of Colour Tracey Samios Collections of Colour showcases the artistic journey of Tracey Samios. The works are the expression of a long held dream realised, a labour of lock-down manifest. Tracey had always harboured the dream of becoming an artist, and after retiring from her office job, she joined an online art challenge and her talent for painting was unmasked. Works from her surrounds and her imagination Collections of Colour is an exhibition not to be missed. When you visit the exhibition and visit the artist in her aerie creative ecology studio at Burrinja. 19 August—30 September Transition Amanda Page Transition depicts states of change in atmospheric activity. Through site-specific observations of icy vistas in Antarctica and Iceland Amanda Page developed artworks which reference that change. Camera-less exposure processes combined with digital photography, drawing and printmaking are used to explore

Uncle Herb Patten, Wall Paper Flowers, (detail) 2004, oil on canvas. Darebin Art Collection. 1 July–23 September Us Mob Aunty Bunta Patten, Aunty Frances Gallagher, Uncle Herb Patten, Aunty Gwen Garoni, Aunty Gwen Brooke, Uncle Kennedy Edwards, Aunty Lorraine Nelson, Ray Thomas and Uncle Talgium Edwards. Curated by Sharon West, Dr. Lyndon Ormond Parker and Simon Rose. 1 July–Ongoing Truth-Telling Permanent display created by the Wurundjeri Woi-Wurrung Cultural Heritage Aboriginal Corporation, in collaboration with Darebin Council. We invite you to learn more about living Wurundjeri Woi-wurrung culture, and the varied history of Bundoora

VICTORIA 26 May–29 October nightshifts

Megan Evans, Les Griggs (Gundjitmara/ Kerup Marra), Ian Johnson, Ray Thomas (Gunnai/Barlijan), Elaine Trott, & Millie Yarran (Noongar), Koori Mural, 1983 digital print on vinyl based on original painting (detail of), Darebin Public Art Collection. Park, Darebin, and the place where Bundoora Homestead stands.

Bunjil Place Gallery www.bunjilplace.com.au

nightshifts is a contemplative new group exhibition that considers the importance of solitude through contemporary arts practice. Drawing from the Michael Buxton and the University of Melbourne Collections, the exhibition looks to the ‘after hours’ as a metaphor to explore the restorative qualities of rest, privacy and temporary seclusion from peers and public. Curated by Hannah Presley and Annika Aitken.

C. Gallery www.cgallery.com.au

3 August—15 September Winter Group Show Jeremy Blincoe, Jenny Norberg, Claudia Lau, Hendel Futerfas, Ben Mazey.

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

66 Gwynne Street, Cremorne, VIC 3121 03 9421 2636 Mon to Fri 10am–5pm, Sat by appointment.

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

Nici Cumpston, Barkandji people, Old Mutawintji Gorge I, from the series mirrimpilyi, happy and contented, 2023, Adelaide - Kaurna Country, pigment inkjet print on Hahnemühle paper hand coloured with PanPastel, crayon and pencil. 44 x 120 cm. Courtesy of the artist and Michael Reid Gallery. Photograph: Michael Haines. 14 May—3 September ngaratya (together, us group, all in it together) Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrianne Semmens, Raymond Zada. Barkandji/Barkindji artists share travels together on Country.

Buxton Contemporary www.buxtoncontemporary.com

Pixy Liao. Courtesy of the artist 21 April—9 July Pixy Liao: Experimental Relationship

Jenny Norberg, 3-5 Second Mirror XXV, 2023, glass. 16 May—20 July Some People Have Died But You Haven’t Ben Mazey 3-5 Second Series Jenny Norberg Some People Have Died But You Haven’t Ben Mazey

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

Lisa Sammut, FULL CIRCLE (ii), 2023, video still. Image courtesy of the artist.

Jeremy Blincoe, Atmospheric Sea, 2023, foam, fibreglass, auto paint, stainless steel, led.

Pixy Liao is among the most exciting contemporary artists practicing photography today. Born in China, she now resides in New York. Her work is extensively exhibited internationally including recent exhibitions at Fotografiska. Her long-standing project Experimental Relationship (2007-) explores gender, relationship and cultural dynamics through a series of staged photographs, often featuring herself and her Japanese partner Moro. The works range from tender and intimate moments to submissive and humorous arrangements. 21 April—9 July I Loved You: Works from the White Rabbit Collection Produced in collaboration with White Rabbit Gallery, and with reference to their recent highly successful exhibition I Loved You, CCP has selected key photographic and film works from the White Rabbit Gallery’s collection. The works are united by their exploration of love: What is the experience of love today? Can we capture and document the intimate feelings, the emotions and traces? From sweet early romance, to shattering revelations of infidelity, to the overwhelming passion for a boyband, the artists in I Loved You use a range of photographic and video techniques to capture and convey personal moments representative of love, memory, fantasy and connection.

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Until 15 July Field of Gold Leonard Brown

premier community facilities. In addition, 171 outdoor artworks are on display in the streets and parks of Melbourne

22 July–12 August Richard Dunn

City of Melbourne: Art and Heritage Collection store Tours Visit: whatson.melbourne.vic.gov.au/ things-to-do/art-and-heritage-collection-tour

CLIMARTE Gallery www.climarte.org/gallery

Rinko Kawauchi, from the series, Halo, 2017. © Rinko Kawauchi. 21 July—10 September Walking Through the Darkness Photography is often thought of as the medium of light; however, in truth, photography relies on darkness and light in equal measures. Walking Through the Darkness embraces the potential of photography to bring stories out of the darkness and into the light through its capacity to explore, comprehend and record new landscapes and impressions, to remember and ensure posterity across time and absence, or to combat censorship and draw attention to forgotten or suppressed histories. This exhibition features the work of Australian and international artists and photographers Rushdi Anwar, Liss Fenwick, Seiichi Furuya, Buzz Gardiner, Amos Gebhardt, Ori Gersht, Todd Hido, Rinko Kawauchi, Fassih Keiso, Li Yang, Morganna Magee, Chloe Dewe Mathews, Georgia Metaxas, Kristine Roepstorff, Darren Tanny Tan and Vanessa Winship.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au

120 Bridge Road, Richmond, VIC 3121 [Map 6] 0458 447 702 Weds to Sat 12pm–5pm. See our website for latest information.

Trevor Vickers & Mike Brown, Foster Blind 3, c. 1972, acrylic on repurposed blind, 108 x 84 cm.

CLIMARTE harnesses the creative power of the arts to inform, engage and inspire action on the climate crisis. Bringing together a broad alliance from across the arts, humanities and sciences, CLIMARTE advocates for immediate, effective and creative action to restore a climate capable of sustaining all life.

19 August–9 September Trevor Vickers & Mike Brown

City of Melbourne www.citycollection.melbourne. vic.gov.au Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street, Melbourne, VIC 3000. [Map 2] Tuesdays 1pm–2pm, Thursdays 9.30am–10.30am. Bookings essential.

267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–5pm. The gallery presents regularly changing solo and group exhibitions of modern and contemporary Australian art, with a strong focus on 1960s Australian abstract and alternative art movements – as well as some international art of the period.

6 July—5 August Disability and Climate Change Exhibition

City of Melbourne Art and Heritage Collection store, 2023, photo by Tobias Titz.

Leonard Brown, Pool of Siloam, 2015, oil on linen, 120 x 120 cm. 138

The earliest items in the collection date to the 1850s but it is only over the last twenty or thirty years that it has been organised, stored and staffed along contemporary museological lines. A major development, dating to 2000, was the establishment of a permanent collection store with facilities in line with international museum standards. More incrementally, the display of the collection has expanded beyond a single floor of Melbourne Town Hall to take in the entire building. It is also now displayed in Council’s two administration buildings, Council House 1 and Council House 2, and in the municipality’s

An exhibition of A3 works that exhibit views, concerns and voice from Disabled and d/ Deaf within Victoria, around the climate emergency.

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tues to Fri 11am–5pm, Sat 11am–4pm. Craft is dedicated to supporting the production and presentation of craft and design. We champion makers from around Victoria, Australia and beyond, via

VICTORIA 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] 03 5989 0496 Fri to Sun 10am–3pm. See our website for latest information. Kaapa Mbitjana Tjampitjinpa, Mikantji and Tywerl, 1971. Kaapa Mbitjana Tjampitjinpa/Aboriginal Artists Agency Ltd, 2003. This year, our most highly anticipated exhibition in the calendar, Significant, will be presented in two parts to show the breadth of the best works in modern and contemporary Australian First Nations art. Part I will feature works of impeccable provenance from the first ten years from the birth of the Western Desert art movement in Papunya, including a recent, significant discovery of a work by protagonist Kaapa Mbitjana Tjampitjinpa - Mikantji and Tywerl, 1971 - alongside many of the movement’s founding artists, such as Old Walter Tjampitjinpa, Anatjari Tjakamarra and Timmy Payungka Tjapangati. Jonathan McBurnie, Birdland, 2019, print. 7 July—29 August Dread Sovereign Drawings Jonathan McBurnie Work that oscillates on that fine line between pathos and sincerity, a relentless outpouring of ideas and moments is hammered out with a vast and sophisticated graphic lexicon, in turns delicate and brutish. 7 July—29 August 25 Works Julie Poulsen Paintings from Julie’s personal archive, celebrating her exploration into four pivotal periods of her practice.

D’Lan Contemporary www.dlancontemporary.com.au Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tues to Fri 10am–5pm, Saturday 11am–4pm. D’Lan Contemporary hosts regular exhibitions of exceptional modern and contemporary art by Australian First Nations artists in Melbourne, and at partner venues in Sydney, Brisbane, and New York. D’Lan Contemporary also exhibits at Australian and international art fairs. 22 June–21 July Significant

Contemporary Australian First Nations art since saw both further developments of abstraction in painting and the rise of influential women artists from across the central and western deserts. This section features works by Ginger Riley, Paddy Bedford and Mick Namarari Tjapaltjarri, as well as the great Emily Kame Kngwarreye, Eubena Nampitjinpa, Makinti Napanangka, Naata Nungurrayi and Carlene West.

Deakin University Art Gallery at Burwood

Fayen d’Evie and Trent Walter, Janaleen sings, and hides, 2017, tactile screenprint and 3-channel audio description, printed by Trent Walter, Negative Press. © and courtesy of the artist. performance maker Alex Craig, dancers Benjamin Hancock and Anna Seymour, printmaker Trent Walter, and paintings by the San Francisco based artist and advocate Jennifer Justice. Curated by James Lynch.

Everywhen Artspace www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Sun 11am–4pm. See our website for latest information. Contemporary Australian art gallery art established by art writers and gallerists Susan McCulloch OAM and Emily McCulloch Childs. Presenting fine quality art by leading Aboriginal artists Australia-wide, Everywhen is known for representing the work of high-level, established artists, discovering, promoting, and supporting the work of exciting new talents and elevating the art experience by an educative exploration of the art on show.

www.deakin.edu.au/art-collection 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 11am–5pm during exhibitions. Closed public holidays. 10 July–11 August Fayen d’Evie: I brave a whirlwind of dust, while those about me close their eyes... Fayen d’Evie is an artist and writer, born in Malaysia, raised in Aotearoa New Zealand, and now living in the bushlands of Jaara country, Australia. This exhibition celebrates d’Evie’s far reaching and influential practice that explores access as a force of new creative potentialities. Using sound, touch, movement, performance and language d’Evie expands upon the limitations of the visual arts. This exhibition surveys recent projects with a range of interdisciplinary collaborators including, among others,

Amanda Jane Gabori Dibirdibi, My Country, acrylic on canvas, 90 x 151 cm. Courtesy the artist and Mornington Island Arts. 7 July—29 August Winter Salon: Warm Hues + Winter Lights A selection of new Aboriginal art from Central Australia, the Western Desert, Utopia, the Kimberley & Arnhem Land. Featuring new works from FNQ artists including Rosella Namok, Fiona Omeenyo, Silas Hobson and paintings by the artists of Mornington Island Arts.

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Federation University Post Office Gallery 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 Wed to Fri 12pm–5pm, Tues by appointment.

H.M.Prison Langi Kal Kal and Hopkins Correctional Centre, select First Nations Indigenous artists present their recent work to celebrate their rich cultural heritage and traditions and the significance and power of creativity, expressing ideas surrounding identity, country, kinship and friendship during NAIDOC23. 21 July– 11 August BENCHMARK23 Visual Arts Undergraduates An important annual Arts Academy Visual Arts’ undergraduate students’ exhibition, BENCHMARK showcases a rich mix of contemporary approaches completed individually and collaboratively across a diverse mix of studio areas including painting, printmaking, ceramics and digital media. Here students not only illustrate the breadth of creative knowledge and skill but also reveal complex concepts and ideas that underpin a broad range of visual approaches, styles, media and interpretations. 26 August–22 October BIFB’23: BALLARAT INTERNATIONAL FOTO BIENNALE As part of the core program of the 2023 Ballarat Internationale Foto Biennale, the Post Office Gallery will showcase an intriguing exhibition that will challenge our understanding of the medium and its presentation.

Fiona and Sidney Myer Gallery Nev F, Dancing Man, (Happiness is so overlooked until you have none. Dance and be happy), 2023, acrylic on canvas, 80 x 50 cm. Courtesy of the artist. 28 June–8 July NAIDOC2023 Marra-Narrap Lakorra (Under Blue Sky) Through a unique collaboration between Federation TAFE’s visual arts program,

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 entry.

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 Tues to Fri 11am–5pm. See our website for latest information. Until 15 July Exploration 23: FLG Annual Emerging Artist Exhibition Featuring works by shortlisted artists: Braden Howard, Brent Lukey, Bridget Hillebrand, Liz Priestley, Lucy Ray, Luke Neil / Nicholas Hopwood, Prita Tina Yeganeh, Samuel Massey, Vyvian Wilson

Michael Gromm, I only take what I need, but there is always more available at the supermarket, 2023, oil on linen, 180 x 240 cm. 18 July–5 August Doom ‘n’ Bloom Michael Gromm 8 August–26 August Anthropocene Michelle Molinari

30 June–22 July Paul Selzer Exhibition and Prize Kay Abude, Trent Crawford, Lisa Waup, Nusra Latif Qureshi The Paul Selzer Exhibition honours the memory of artist and entrepreneur Paul Selzer and is made possible thanks to the generosity of the Selzer family. The fellowship funds new commissions by contemporary artists who are alumni of the Victorian College of the Arts. As part of the exhibition, a prize of $25,000 will be awarded to one of the four finalists. 3 August–20 August 2023 Majlis Travelling Scholarship

Peta Kalisperis, Through the Window, 2023, lino print on paper, 76 cm x 56 cm. Courtesy of the artist. 140

The Majlis Travelling Fellowship is open to third (final) year VCA ART undergraduate students at the Faculty of Fine Arts and Music, School of Art. The winning student is awarded a travelling scholarship of $15,000 that allow them to travel overseas at the conclusion of their undergraduate studies. This keenly anticipated exhibition of the works of all shortlisted students provides a snapshot of student activity within the VCA School of Art.

Kirthana Selvaraj, Diva in Recline, 2023, oil on canvas, 61 x 46 cm. 8 August–26 August Making Space Kirthana Selvaraj - Winner of the 2022 FLG Emerging Artist Award

VICTORIA

Footscray Community Arts www.footscrayarts.com 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.

David Asher Brook, Figure (Skating), 2023, oil stick and enamel on linen, 122 x 136 cm. Kuncir Sathya Viku, The Garden of Edan, 2023. 18 April—25 June Sekala Niskala Agus Saputra, Kuncir Sathya Viku, Ni Luh Pangestu, Satya Cipta and Septa Adi Sekala Niskala (The Seen and Unseen) exhibition presents works from five Indonesian contemporary artists based in Bali. The artists include Agus Saputra, Kuncir Sathya Viku, Ni Luh Pangestu, Satya Cipta and Septa Adi, all of whom mastered elements of Balinese craftsmanship and style of Batuan painting, Rerajahan drawing and Kamasan painting. This exhibition celebrates the continuity of art styles based on Balinese Hindu belief and local influences within a contemporary context. The artists’ explorations in the belief of Sekala Niskala pushes the boundaries of traditional art practices not only through their technique, but most importantly through their modern-day, and at times, disruptive and unconventional subject matter. Presented by Footscray Community Arts and Project 11.

Somebody’s Daughter (Trynh), Emptiness of Jail, 2004.

Sophie Perez, A Moment Before, oil on canvas, 100 x 110 cm. 25 July–5 August Everything is Connected Sophie Perez Landscape painting.

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25 July–5 August Solo show Lindi Forde

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Abstract paintings.

45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Mon to Fri 12pm–7pm, Sat 12pm–4pm. Opening nights 5pm–7pm. See our website for latest information. 27 June–8 July Honne Ksenia Shinkarenko Painting. 27 June–8 July Voice Plains and Memory Depth Metres Annette Wagner Light, installation, photography. 11 July–22 July Somebody’s Daughter Theatre Presents: SEE BEYOND: Artwork by Women in Victorian Prisons Mixed media.

8 August–2 September Unsprung Janno Craft, painting, fabric.

Fox Galleries www.foxgalleries.com.au 63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon and Wed to Sat 10am–6pm, Sun 11am–4pm. Open by appointment Tuesday. See our website for latest information Modern and contemporary art with a focus on the conceptually driven and visually compelling, Fox Galleries is located in the heart of the Collingwood arts precinct.

29 June–30 July Eudaimonia David Asher Brook

Esther Erlich, Heavenly, 2023, acrylic on canvas, 137 x 137 cm. 3 August—27 August Devine Esther Erlich 3 August—27 August An Imitation of Life Jason Moad

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tues to Fri 10am–5pm, Sat 9am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. One of the largest outer metropolitan arts venues in Australia, Frankston Arts Centre was designed by renowned Australian Architect, Daryl Jackson, and incorporates an 800 seat theatre, five exhibition gallery spaces, a function centre, a 200 seat black box theatre, and a creative arts hub. Each year approximately 160,000 people visit Frankston Arts Centre, with over 50% of visitors from outside the Frankston municipality. 141

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FUTURES www.futuresgallery.com.au 21 Easey Street, Collingwood, VIC 3066 [Map 3] 0450 103 744 Thu to Sat 12pm–5pm. See our website for latest information.

Ceberio Johnson, Untitled, photograph.

Elio Sanciolo ,Concerto in C Minor, oil on canvas, 152 x 172 cm.

22 June—19 August Your Eyes. My Heart: FAC Open Exhibition Winner 2022 Ceberio Johnson Ceberio Johnson is an indigenous, blind photographer and asks his audience to be his eyes. “I take the photo of my moments, then they see the moment for me”. Ceberio presents a series of photographs from a recent trip back to his birthplace in NT. The first trip home since losing his vision. Opening Event: Thursday 6 July, 6pm8pm. Registration Essential. 22 June—7 October For Our Elders Nairm Marr Djambana Nairm Marr Djambana is proud to present an upcoming exhibition that celebrates the wisdom, strength and resilience of our Elders. Through a series of paintings created by our local Aboriginal community members, we honour and pay tribute to the contributions of our Elders in shaping our community and our society.

3June–23July Director’s Choice–Rotating Group Exhibition Various artists

Daniel Noonan, Pleasure Seeker (no.2), 2023, oil on linen, 275 x 275 cm. 22 June–15 July Cosmic Glory Daniel Noonan/ Sam Martin

Jaedon Shin, At the Temple (detail, acrylic on canvas , 146 x 146 cm. 29 July–20 August Pinkscape Jaedon Shin

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

Emily Jacobsen, Fantasy Scene Course, photograph. Course: Cert IV in Design. 6 July—29 July Small Works, Winter Series Chisholm Institute Small Works, Winter Series is a show of big ideas. Works will be for sale, and are created by current Chisholm Art and Design Students. Including traditional visual arts mediums, printed, digital and multimedia works. 21 March—15 July FAC Open Exhibition 2023 Call-Out Call out to Visual Artists: Sculptors, Photographers, Digital Artists, Graphic Designers, Textile and Installation Artists. Win $1,000 and your own exhibition with an opening event at the FAC. The FAC Open Exhibition is seeking submissions from Victorian visual artists to explore the theme of Renewal in any medium. The theme is open to broad artistic inter pretation and may be approached from a personal, social or cultural perspective. 142

Matilda Davis, I’ll be happy when I jump out the window, 2023, oil on canvas and board, ceramic trim, 40 x 30 cm. 20 July—19 August never together Lara Chamas, Matilda Davis, Christopher Duncan, Evangeline Riddiford-Graham, Fiona Williams. Curated by Victoria Wynne-Jones.

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

Timothy White, Outback View, porcelain, 22 x 24 cm. Courtesy of the artist and Geelong Art Space. 10 June—22 July A Splendiferous View A group exhibition featuring works created by local and regional contemporary artists and craft makers together with those from further afield.

VICTORIA

Geelong Gallery

Until 29 October Phenomena

Gippsland Art Gallery

www.geelonggallery.org.au

Phenomena draws together a selection of contemporary works from the Geelong Gallery collection that illustrate the ways in which artists feel and see the phenomena of the world around us. The material and visual qualities and subjects of each of these diverse works create quietly powerful and affective moods and spaces for contemplation. A Geelong Gallery exhibition.

www.gippslandartgallery.com

55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith. Open daily 10am–5pm. 29 July–8 October 2023 Geelong Acquisitive Print Awards This nationally acclaimed acquisitive prize exhibition features entries from around Australia by established and emerging printmakers representing the diversity of current practice through both traditional printmaking techniques as well as contemporary processes. A Geelong Gallery exhibition.

Port of Sale, 70 Foster Street, Sale, VIC 3850 [Map 1] 03 5142 3500 Mon to Fri 9am–5.30pm, Sat, Sun & pub hols 10am–4pm. See our website for latest information.

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

Ludwig Hirschfeld Mack, Striped composition, 1960, monotype and watercolour, Geelong Gallery, Gift of Mrs Olive Hirschfeld, 1976, © Estate of Ludwig Hirschfeld Mack.

Nadine Lineham, Let the Ocean Stand Between It, 2023, oil and mixed media on board, 90 x 90cm. Courtesy the artist. © The artist. 3 June–20 August Winter Rohan Hutchinson: Polar Convergence Double Vision: Nadine Lineham & Frank Mesaric

22 July–15 October Graphic Investigation—Prints by Post-War Emigré Artists in Australia This exhibition presents a selection of works on paper by two generations of European émigré artists who exerted a profound influence on the production, reception, and teaching of printmaking in post-war Australia. Through their direct and diverse experiences of European art traditions, contemporaneous practices and pedagogical models—including the German Bauhaus—these artists went on to develop networks, associations and educational structures that shaped future generations of local artists. A Geelong Gallery exhibition.

Yona Lee, Lamp in Transit, 2022, lamp, stainless steel, 44 x 57 x 58.5cm, unique. Courtesy of the artist and Fine Arts, Sydney. 24 June–27 August Wall, floor and ceiling Yona Lee Klara Jones, Old Mother [detail], 2022, silicone and found objects, dimensions variable. Courtesy the artist. © The artist. 3 June–20 August Klara Jones: Our Mother Ongoing & Evolving The Art of Annemieke Mein

Image courtesy of the artist and Patrick Hamilton 24 June–27 August Flesh and Diamonds Lillian Steiner Gertrude Glasshouse: Andrew Browne, The awakening, 2017, oil on canvas, Geelong Gallery, Geelong Contemporary Art Prize (winner), 2018, © courtesy of the artist.

30 June—29 July Developing Sunset Scotty So 4 August—2 September Mia Boe

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. See our website for latest information. 143

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Robert Martiensen, The K Factor, 2006, acrylic on canvas. Private collection. 12 August—29 October The Secret Robert Martiensen

Heide Museum of Modern Art www.heide.com.au Vipoo Srivilasa, Hmī bupphā 9, 2020, porcelain, pom pom, Swarovski crystal and glass eyes, 28 x 22 x 13 cm. Courtesy of the artist and Scott Livesey Galleries, Melbourne, Edwina Corlette Gallery, Brisbane, and Olsen Gallery, Sydney. 7 July–13 August Flourish Kate Beynon, Kate Rohde, Valerie Sparks, Vipoo Srivilasa Explore a re-imagined natural world. Curated by Diane Soumilas.

Hamilton Gallery

7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. See our website for latest information. Until 9 July Catherine Opie: Binding Ties Until 23 July Sarah Ujmaia: Of Particle and Wave Until 6 August Raafat Ishak: Eye Looking at Large Glass Broken

multi-disciplinary collaborative artwork about human connection, learning exchange, belief and hope that takes the form of a queer insurrectionary science fiction climate change religion. CREATION evolves in real-time through a series of cross-disciplinary projects, public brainstorms and participatory performances drawn from practical politics, evidence, mysticism and practices of collectivity. It seeks to enchant powers of collective creativity and cooperative decision-making, and to centre marginalised voices in all its aspects. At the heart of CREATION is The Liturgy of the Saprophyte by artist and writer SJ Norman, which sets out the principles and aspirations of this new belief system, and grounds the CREATION project in a gothic First Nations sensibility. The liturgy guides the iterations of CREATION throughout artforms, across time and space. CREATION continues its evolution at Horsham Regional Art Gallery in 2023, bringing together elements from each of its previous sites in interesting and unexpected ways to create a magnificent new spectacle of song, dance, poetry, costume and custom in a joyous celebration of human connection and collaboration.

www.hamiltongallery.org 107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Reopens 5.30pm July 14 for exhibition opening event, then regular hours: Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information.

CREATION Regalia, James Lionel King co-design and construction 2021. Cotton, wool, silk, linen, lace, mother of pearl, wire, papier-mâché, felt, paint, glue, beads, pearls. Installation view, Griffith University Art Museum, Brisbane, 2022. Photo: Carl Warner.

Installation view, Paul Yore + Albert Tucker: Structures of Feeling, Heide Museum of Modern Art, photograph: Christian Capurro. Until 3 September Paul Yore + Albert Tucker: Structures of Feeling 29 July—22 October Beneath the Surface, Behind the Scenes

The Hue and Cry Collective www.hueandcry.com.au 64-66 Ryrie Street, Geelong, VIC 3220 [Map 4] 03 5200 7532 Wed to Fri 10am–4pm, Sat 11am–2pm. See our website for latest information.

Horsham Regional Art Gallery horshamtownhall.com.au

Kate Beynon, Auspicious Flower Charm Tattoo, 2009, acrylic on canvas. Gift of the Friends of Hamilton Gallery to mark their 40th Anniversary. 15 July—29 October Friends: Passion & Commitment 144

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. 8 July—5 November CREATION Deborah Kelly Deborah Kelly’s CREATION is a multi-venue,

Interior of The Hue and Cry Collective: Beyond The Horizon Exhibition.

VICTORIA of the ocean that use a mixture of illustration, code, three-dimensional digital modelling and reconstructed footage taken in Samoa. Lomiga Lua: i Luga ‘o le Moana (Issue Two: Over the Ocean) was made in collaboration with Tacy Fatu, Moira Roberts, Denise Roberts and Adrian Tuitama. C.W.Notaristefano, Amniotic. 2 September–24 September Hue & Cry Art Prize 2023 Applications are now open for the annual Hue & Cry Art Prize. The prize is open to all artistic mediums and both emerging and established artists. All works which meet the criteria will be shown. Enter now for the opportunity to win $5000. Please see our website for more information. Entries close 16 August at 7pm.

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. 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. . 3 March–9 July Through the Viewfinder Wodonga Albury Camera Club 31 March—16 July Transmogrification Gav Barbey and Andrew Howie

Tai Snaith, The first step of taking action is paying attention, 2023, digital collage using photography of watercolour collage. 28 July—18 November Hierarchy of needs Tai Snaith

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm.

Leitu Bonnici, Lomiga Lua: i Luga ‘o le Moana (Issue Two: Over the Ocean), 2022, digital drawing. 21 July—24 September Lomiga Lua: i Luga ‘o le Moana (Issue Two: Over the Ocean) Leitu Bonnici This exhibition is the third manifestation of Lomiga Lua: i Luga ‘o le Moana (Issue Two: Over the Ocean), a series of installations that use language and imagery to ponder distance, memory and connection in relation to Samoan language and culture.

Jess Johnson and Simon Ward, Terminus (still), 2017 - 2018, National Gallery of Australia, Kamberri/Canberra, commissioned with the assistance of The Balnaves Foundation 2017, purchased 2018 © Jess Johnson and Simon Ward, courtesy of Darren Knight Gallery, Sydney; Ivan Anthony Gallery, Auckland and Jack Hanley Gallery, New York. 16 June–13 August Terminus Jess Johnson and Simon Ward

A continuation of an ongoing project, ‘Afa’afakasi, this chapter is a representation of the link that exists between ‘āiga (family) across geographies despite physical distance from each other, and from Samoa. The work features text formed through familial connection, memory and shared interactions by ‘āiga in Tāmaki Makaurau (Auckland), on Komburmerri Country (Gold Coast) and in Kirikiriroa (Hamilton). Compositions using this text were created in Naarm, along with digitally constructed interpretations

Nikhil James Arlo and Phoebe Kelly, Collective Breath, (detail), 2022, copper sheet, body etching trace, breath. Courtesy of the artists. 21 July—24 September Collective Breath Nikhil James Arlo, Phoebe Kelly and Chloe Arnott. In and out. A process of transference is felt throughout the body. Through the inhalation we gain energy, and through exhalation we cast off its waste. Conversely, through the historic incineration of waste at Incinerator Gallery, energy was created. Through this exhibition, artists Nikhil James Arlo and Phoebe Kelly will explore this action of breath in relation to the body, and material and architecture. The artists will capture fragments of the body in a state of breathing, and record and etch each into the conductive surface of copper metal. These fiery fragments will float throughout the space connected by copper tubing, acting as veins flowing into the gallery’s Atrium space like a set of lungs. Incorporating dance as a somatic trace of the space, dancer Chloe Arnott will move through the space, activating this collective action. A sheet of copper will be placed on the floor, creating a recording of breath and movement on the site. Altogether, the artists and dancer envision these recordings of bodies to site as an alchemical energy transference, shared with audiences to take a collective breath.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 Art Gallery 275: Until 30 July (Missing Once In, Reborn Once Out) Miream Salameh Curated by Nur Shkembi Miream Salameh is a Syrian awardwinning multi-disciplinary artist based 145

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exhibition. Check the website for details, and pop in for a chat with Jodie.

in Naarm (Melbourne) working across painting, sculpture, video, performance, and photography. Miream is the recipient of The Lionel Gell Foundation Scholarship and Fiona Myer Award, and recently exhibited in Documenta Fifteen in Kassel, Germany with Refugee Art Project Collective.

17 August–10 September Nature’s Bounty Julia Greenham Julia’s large-scale paintings showcase the unique forms, colours and stunning beauty of our Australian flora. Whether it be gazing up a giant gum tree, up close with some bees immersed in bush flowers, or marvelling at the alien-like forms of gum nuts, Julia’s art will transport you to a place of wonder and beauty. Opening Friday 18 August, 6pm–8pm. 21 July–13 August Cat-isms: Exhibition of art inspired by our feline friends Junko Azukawa, Lou Endicott, Emerson Zandegu

Jacob Hoerner Galleries www.jacobhoernergalleries.com

Murray Griffin, Linocut self-portrait, 1932.

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.

Rebecca Agnew, Guessing who was who: considering things from the window, 2023, gouache and oil stick on archival paper, 70 x 89 cm. 3 August–26 August Spooky Action Rebecca Agnew

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).

9 August–3 September Murray Griffin: A Life and a Journey This exhibition is a showcase of art and memorabilia of renowned printmaker, painter, and war artist, Murray Griffin (1903-1992), who was an influential and popular member of the Melbourne art scene from the early 1920s. Opening Friday 18 August, 6pm–8pm.

Marc Chagall, Si Mon Soleil (If my Sun), 1968, xylography from Poèmes series, courtesy The Art Co. © Marc Chagall, ADAGP/Copyright Agency, 2023.

Jodie OhmZutt , Self Portrait post dissociative state, 2022. Loft 275: Until 13 July brain blink Jodie OhmZutt Jodie OhmZutt is fast and terrifying. Like an animal clawing its way out of a hole in fear, Zutt scratches and smears across the surface of her compositions with a frantic energy. The work is often strange and violent, but Zutt’s hand is never cruel. The speed at which she creates does not compromise the sense of tenderness within them. The urgency of Zutt is the urgency to capture the world as it passes by, to harness the emotive aspect of a world that is often cold and fleeting. No image is wasted. Jodie will also be in residence in the Mungga Artist Studios during her

Alex Hamilton, Self Portrait as Colonel Eric Campbell, 2023, acrylic paint, varnish, gel on canvas, 65 x 45 x 2cm. 14 June–8 July Unbecoming Georgia Biggs, Julia Powles & Peter Westwood (Represented by Block Projects), Alex Hamilton & David Palliser (Represented by Jacob Hoerner Galleries) Moya McKenna (Represented by Neon Parc), Gareth Sansom (Represented by Station Gallery) and Dord Burrough (Represented by LON Gallery) and Beatrice Dalhoff. 12 July–29 July Group Exhibition Various artists

9 June–10 December CHAGALL Marc Chagall, Yvette Coppersmith International curator and art historian, Jade Niklai, has transformed the Jewish Museum into a Chagallinspired dreamscape that includes an exclusive capsule of original works and poems, alongside bespoke immersive experiences. Combining the Jewish folkloric painterly roots of Marc Chagall’s (1887—1985) native Russia and the Parisian avant-garde, with fauvist, cubist, and expressionist styles, Chagall created a sensibility that was truly his own, with his name and influence held by many alongside Picasso, Matisse and Monet. 147

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Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] 9556 4440 Wed to Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Sat 11am–4pm. G3 Artspace: Until 8 July I Just Want to Do My Silly Little Paintings Billie Dreadful

Yvette Coppersmith, Self Portrait with Orange Bow, 2023, oil on jute. CHAGALL expands on the Museum’s previous offerings through a Contemporary Australian Artist Commission – supported by Daniel Besen – that provides an inspired opportunity of interpretation and response to Chagall’s story, themes and practice. The Jewish Museum is thrilled to have Archibald Prize winning creative practitioner Yvette Coppersmith as the inaugural Contemporary Australian Artist Commission. Coppersmith will take over the ground floor galleries during CHAGALL with a selection of works featuring portraits, still life and abstracts.

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.

I Just Want to do My Silly Little Paintings explores the concept of identity, encouraging the viewer to reflect on their own. Billie Dreadful examines ‘lived body experience’ as a method of deconstructing queer expressions of self.

Reflecting on the 2023 NAIDOC Week theme, For our Elders, Kingston Arts presents a group exhibition of esteemed Aboriginal and Torres Strait Islander artists that encourages conversation between traditional practices and contemporary approaches.

Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country, 5 Malakoff Street, North Caulfield, VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous Painting, Sculpture, Works on Paper and Decorative Arts.

Robert Scholten, Landscape, 2023, watercolour on paper. 14 July–12 August Kingston Layers Robert Scholten Emerging from collective creativity, Kingston Layers is an exhibition of paintings, printmaking and drawings inspired by different areas of Kingston all made in the spirit of en plein air art and includes sketches and photos demonstrating the creative process.

Hilda Rix Nicholas, 1884–1961, Elsie in the Garden, Etaples, c.1913, oil on canvas, 98 x 79 cm.

Judy Thompson, Approaching Rain, 2022. 25 August–2 September Moments in Time Granary Lane Artists Photograph: Adam Luttick, Luts Photography, Melbourne. 5 April—1 October THE BEST OF BRITAIN | William Johnston: His Residence and Collection

Granary Lane Artists share figurative, impressionist and abstract works in various fine art media in their eighth group show. Kingston Arts Centre: Until 26 August For our Elders Presented by Kingston Arts.

Hilda Rix Nicholas, 1884–1961, Knockalong Studio and Garden, oil on canvas on board, 40 x 32 cm, signed verso. Forthcoming exhibition featuring Hilda Rix Nicholas paintings and works on paper. 1 September—3 September AAADA Fair in Sydney 149

CROSSING PATHS EDWINA EDWARDS 3–20 AUGUST 2023

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

VICTORIA

Latrobe Regional Gallery

exhibition by Tiwi artist Johnathon World Peace Bush. Bringing together fifteen major works, the exhibition explores Bush’s interest in global politics, family, and cultural heritage through the lens of three key themes, Religion, Colonial Crimes and Indigenous Culture. Bush’s works are defined by his layering of figurative elements, often sourced from Western art history, religious iconography and images of political figureheads, over cultural mark-making that reflects Jilamara, Tiwi body paint designs. This unique amalgamation of imagery addresses the impacts of colonialism and the missionaries on Tiwi cultureand Bush’s connection to community, and acknowledgement of the diverse cultural influences that shape his life and that of his community.

www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. Until 17 September Spectral Sea Kim McDonald Until 17 September A Forest Ros Atkins, John Bellany, Juan Ford, Janina Green, Eileen Harrison, John Ford Patterson, Bob Pelchen, Pezaloom, Susan Purdy, Dean Smith, Polly Stanton, Sophia Szilagyi, Peter Whitting, John Wolseley.

The LUME Melbourne Kate Mitchell, Taking out the karmic trash (detail), 2022, copic ink on paper, digital collage, digital print on archival watercolour paper, edition 1/1, 29.7 x 42 cm. Courtesy of the artist. 5 August–22 October Open Channels Kate Mitchell

www.thelumemelbourne.com 5 Convention Centre Place, South Wharf, Melbourne VIC [Map 2] Sun to Wed 10am–6.30pm, (last entry 5pm), Thur to Sat 10am–9.30pm, (last entry 8pm).

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

Pitcha Makin Fellas (Trudy Edgeley, Gimuy Walubarra Yidinji; Alison McRae, Dja Dja Wurrung, Gunditjmara and Yorta Yorta; and Ted Laxton, Gunditjmara), Why Don’t Whitefellas Like Trees? (detail), 2022, synthetic polymer paint on foamboard, 260 x 156 cm. Monash University Collection, Melbourne, Installation view, Collective Movements, Monash University Museum of Art, Melbourne, 2022. Photo: Christian Capurro. 5 August–22 October Collective Movements Collective Movements is a MUMA / NETS Victoria touring exhibition, curated by Kate ten Buuren, Maya Hodge and N’Arweet Professor Carolyn Briggs AM PhD with advice from Professor Brian Martin. This project has been supported by the Victorian Government through Creative Victoria and the Australian Government through the Australia Council for the Arts.

Johnathon World Peace Bush, King Charles, 2022, locally sourced natural earth pigments on linen, 120 x 120 cm. Image courtesy of the artist, Jilamara Arts and Crafts Association and THIS IS NO FANTASY. 17 June—10 September Everything that came before makes the present Johnathon World Peace Bush Everything that came before makes the present is the first institutional solo

Opening 23 June 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 over 550 artworks from more than 110 artists including Emily Kame Kngwarreye, Tommy Watson, Sarrita King, Kate Constantine 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 ground-breaking showcase that fuses the world’s oldest culture with the most cutting-edge technology. Connection spans 3,000 square metres of immersive gallery space, with projections four storeys high and an incredible display of original art to complement the main multi-sensory gallery. Visitors are invited to step inside the works of Australia’s most celebrated 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. 151

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LON Gallery

Until 29 July Unfinished Business

www.longallery.com

Reveals the stories of 30 First Nations people with disability. Their deeply personal stories are complex and intertwined with Australia’s political and social history, which has resulted in today’s unacceptably high rates of disability in Australia’s First Nations communities. This was a collaborative project between participants and Artist and Social Documentarian, Belinda Mason Knierim OAM. With thanks to Australian Museum for loaning Unfinished Business to Manningham. Warning: First Nations peoples should be aware that this exhibition contains images, voices, or names of deceased persons.

136a Bridge Road, Richmond, VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. Philippa Cullen on a pedestal antenna rehearsing Homage to Theremin II at the Joseph Post Auditorium, NSW Conservatorium of Music, 1972. Photograph: Lillian Kristall. 18 March–17 July Dancing the music: Philippa Cullen 1950–1975 Curated by Dr Stephen Jones.

MAGMA Galleries

Adam John Cullen. 28 June—22 July Itanos Adam John Cullen

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.

Nicholas Mangan, Core-coralations, 2021, detail. Image courtesy Sutton Gallery. Photo Andrew Curtis. 18 March–17 July The McClelland Collection Andrew Browne, Amias Hanley, Sam Jinks, Nicholas Mangan, Dorothy Napangardi

Annika Koops.

Manningham Art Gallery

26 July—19 August Bad Actors Annika Koops

www.manningham.vic.gov.au/ gallery

McClelland Sculpture Park + Gallery www.mcclelland.org.au

MAGMA is a Melbourne based contemporary art program. It is a gallery and dynamic platform for the promotion and exhibition of the visual arts in Australia. Situated in an iconic architectural setting, originally designed by renowned architect Tom Kovac, the Collingwood space is respected for producing impactful exhibition presentations and offers a cross cultural, multi disciplinary presentation of art. 5 August–27 August Objects in the Mirror Piers Greville

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

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. 152

Standing Tall, Uncle John Baxter, Latja Latja/Narungga man. Board Member Reconciliation Victoria and First Peoples Disability Network, Aboriginal Partnership Coordinator - Brotherhood of St Laurence / NDIS. From the series Unfinished Business. Photographer: Belinda Mason Knierim OAM.

Dylan Bandarr Wirrpanda, Wäŋa-Wataŋu - owners of the land. 2 September–24 September Wäŋa-Wataŋu - owners of the land Bandarr Wirrpanda

VICTORIA

Midnight in Paris

10 June–6 August Looking Glass Judy Watson and Yhonnie Scarce

www.midnightinparis.com.au 71 High Street, Prahran, VIC 3181 [Map 6] 03 9510 9312 Tues and Weds 11am–5pm, Thurs to Sat 11am–11pm.

Belinda Fox, Still/Life (fill me up) (detail), 2015, watercolour, ink, and pen on board. Mildura Arts Centre Collection. Add It Up | Belinda Fox spans two rooms: survey room and the collage room.

Van Xavier. 1 July—30 July Van Xavier

The survey room features selected works from 2011 to present, and loosely focuses on the idea of ‘a sense of place’, and how living in multiple countries has had an influence on Fox’s arts practice. There are common themes of environment and human frailty throughout the different works. The collage room highlights the large-scale paper installations in the Mildura Arts Centre Collection, titled Finding my way I and II from 2009. These pieces were created by cutting up past work – etching plates and collaged elements – with the idea that Fox’s past is always informing her future. The works were made whilst the artist was pregnant and her future as an artist seemed uncertain – a pivotal point in the artist’s life. Two paintings, Still/Life II (too much), and Still/Life VII (fill me up) formed the inspiration for two new collage works. The Collage Project is a new large-scale, experimental, and community-based work, developed in collaboration with students/participants from the Mildura region. Participants will provide new artworks, drawings, poems, and letters to create two large collages. The final work will be a celebration of how a sense of place is powerful and enduring.

1 August—31 August Jennifer Taranto, Tommy Salmon, Max Richards, Rory Garland and more. Group show.

Mildura Arts Centre www.milduraartscentre.com.au

3 June–13 August Add It Up | Belinda Fox

Looking Glass is organised by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria.

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

Tim Ingold, Figure 1, Threads. 19 July–12 August Threads Curators: Chantelle Mitchell and Jaxon Waterhouse Presented by Chantelle Mitchell and Jaxon Waterhouse, MADA Curators in Residence 2023. Through their ongoing collaborative practice and research project, Ecological Gyre Theory, Chantelle and Jaxon work across academic and contemporary arts frames, presenting exhibitions, texts and lectures across Australia and internationally.

Jennifer Taranto, Idle Reflections.

199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–4pm. See our website for latest information.

Looking Glass is an important and timely exhibition which brings together two of Australia’s most acclaimed contemporary artists – Waanyi artist Judy Watson, and Kokatha and Nukunu artist Yhonnie Scarce. At its heart, the exhibition is both a love song and a lament for Country; a fantastical alchemy of the elemental forces of earth, water, fire and air. Watson’s ochres, charcoal and pigments, pooled and washed upon flayed canvases, have a natural affinity and synergy with Scarce’s fusion of fire, earth and air. Watson and Scarce express the inseparable oneness of Aboriginal people with Country, a familial relationship established for millennia.

Judy Watson, spot fires, our country is burning now, 2020, acrylic, pastel, graphite on canvas. Courtesy of the artist and Milani Gallery, Brisbane. Photo by Carl Warner.

This exhibition employs an experimental hang of works with lines in various forms, in order to create a continuous thread throughout the exhibition space. In doing so, simultaneously seeking to unravel art historical taxonomies, whilst toying with the notion of the dizzying turn of contemporary art and theory such as educational and participatory turns.

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Mornington Peninsula Regional Gallery

Museum of Australian Photography (MAPh)

www.mprg.mornpen.vic.gov.au

www.maph.org.au

Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information

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

Until 3 September Vera Möller: sea.liquid.sensation.flux.space This exhibition brings together new small and large-scale works, including drawings and watercolours, collages, objects and paintings by cross-disciplinary artist Vera Möller. Drawing on the biological, visual, and spatial phenomena found in natural environments, Möller’s practice acts as a form of speculative biological hybridity. Until 3 September Layers of Blak A Koorie Heritage Trust exhibition Layers of Blak presents Victorian First Nations designers who have participated in the second year of the KHT’s Blak Design Program. In Layers of Blak, each designer presents a collection of jewellery reflecting on their personal stories, layered with meaning – of healing, resilience, collaboration and empowerment. Participating First Nations designers are: Thelma Austin (Gunditjmara), Mandi Barton (Yorta Yorta, Barapa Barapa, Wemba Wemba), Lorraine Brigdale (Yorta Yorta), Nikki Browne (Bidjara), Deanne Gilson (Wadawurrung), Tammy Gilson (Wadawurrung), Elijah Money (Wiradjuri), Yasmin Silveira (Palawa), Sammy Trist (Taungurung), Dominic White (Palawa) and Tracy Wise (Barkindji Ngiyampaa Maligundidj). Until 3 September Michael Cook – Invasion Six large-scale prints from Michael Cook’s Invasion series that were donated by the artist in 2021. Invasion places an imaginative eye on Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims.

Monash Gallery of Art has transformed into the Museum of Australian Photography (MAPh), the preeminent national photography museum, dedicated to championing Australian photography and its vital role in culture and society. Our new identity builds on the incredible legacy forged over 30 years and will create a renewed platform to engage local, national and international audiences as we cultivate a community that is actively engaged with Australian photography and its stories, and empower and celebrate its artists.

Until 10 September ZAHALKAWORLD – an artist’s archive Anne Zahalka is one of Australia’s most highly regarded photo-media artists who has exhibited extensively in Australia and overseas for over 40 years. Her work explores cultural and environmental points of tension, interrogating them with humour and a critical perspective. Her practice is centred around deconstructing familiar scenes and representing them to allow for alternative narratives that reflect, amongst other things, on cultural diversity within Australian society and the ecological impact of the global climate crisis. ZAHALKAWORLD – an artist’s archive is a major survey exhibition centred around the artist’s archive and brings together key bodies of work that span Zahalka’s practice presented alongside collected treasures from her archive that inform and inspire her. Curator: Anouska Phizacklea, MAPh Director.

National Gallery of Victoria— NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne, VIC 3004 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information. 1 October 2022–October Richard Mosse: Broken Spectre

Anne Zahalka, The Bathers, 1989, from the series Bondi: Playground of the Pacific, chromogenic print, 95 x 112 cm. Museum of Australian Photography, City of Monash Collection, donated through the Australian Government’s Cultural Gifts Program by the Bowness Family 2010. Courtesy of the artist. Represented by ARC ONE Gallery (Melbourne), Josef Lebovic and Dominik Mersch Gallery (Sydney).

22 November 2022–30 July 2022 NGV Architecture Commission: Temple of Boom

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

Rembrandt Harmensz. van Rijn, Selfportrait in a cap, wide-eyed and openmouthed, 1630, etching, 5.0 × 4.5 cm, Rijksmuseum, Amsterdam. Photograph: Rijksmuseum. Anne Zahalka, The Cleaner (Maryanne Redpath/performance artist), 1987, from the series Resemblance, silver dye bleach print, 80 x 80 cm.Courtesy of the artist. Represented by ARC ONE Gallery (Melbourne) and Dominik Mersch Gallery (Sydney).

2 June–10 September Rembrandt: True to Life 2 June–8 October Up, Down and All Around: Daniel Emma for Kids

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

Pierre Bonnard, French, 1867–1947, The dining room in the country, 1913, oil on canvas, 164.5 × 205.7 cm, Minneapolis Institute of Arts, The John R. Van Derlip Fund, Photograph: Minneapolis Institute of Art.

Sue Cooke, Kimberley Landscape III, collagraph, 94 x 91 mm.

9 June–8 October Pierre Bonnard: Designed by India Mahdavi

National Gallery of Victoria—The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

Helen Maudsley, Colours and Tones, not mixed, but Calling to Each Other, 2022, oil on canvas, 61 x 61.2 cm. 26 July–19 August The Coil, the Screws, the Rectangle, and the Chain that Hangs Helen Maudsley

important ideas. The Pilbara and Kimberley regions in North Western Australia embody the concept of Deep Time with ancient geological land forms shaped through the lives of indigenous peoples, rain, wind, volcanic activity and more recently an arid climate exposing many geological formations. Opening event: 6 July, 5.30pm–7.30pm.

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

Kevin Lincoln, South Gippsland Hills, 2018, watercolour on paper, 49 x 69 cm. Installation view of Casper Plum Bergman Carthew’s Passing, 2022, in Top Arts 2023, on display at The Ian Potter Centre: NGV Australia from 17 March–9 July. Photo: SeanFennessy. 17 March–10 July Top Arts 2023

26 July–19 August Kevin Lincoln: watercolours

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. 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.

Installation view of Rel Pham’s Temple, 2022-2023, on display as part of the Melbourne Now exhibition at The Ian Potter Centre: NGV Australia, Melbourne from 24 March–20 August, 2023. Photograph: Sean Fennessy. 24 March–20 August Melbourne Now 156

4 July—15 July Deep Time Sue Cooke The concept of Deep Time refers to the time scale of geological events. Almost unimaginably greater than the time scale of human lives and history. It is one of geologies great gifts to the worlds set of

Anu Kumar, Choti Chachi, 2023. Image courtesy of the artist. 15 July—11 August On Holy Water Sarah Walker curates artists working across painting, photography, video and writing, responding to Joan Didion’s essay, ‘Holy Water.’ Didion’s essay asks us to consider what water is and what it can do, how it does or does not directly affect us. Water is ever present and endlessly in motion and works without seeking praise or worship, but through channels such as religion, nature, and personal experience we come to appreciate its potency and importance. Curated by Sarah Walker.

VICTORIA 15 July - 11 August Quantus Liam Herne Quantus is an exploration and documentation of three spaces: the physical environment, the virtual space and the internal space in one’s mind. Herne explores the intersection of these spaces through photography, performance and augmented reality.

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

Until September Ashika, Clayton Blake , Clifford Burtt, Clive Murray-White, Deirde Walsh. Fredrick White, Jamie Willis, Jo Todd, Karleena Mitchell, Mark Cuthbertson. Martin George, Graeme Altmann, Roman Leibach, Stevens Vaughn, Deborah Halper. David Waters, David Long, Deborah Sleeman, Ryan Kennedy, Graeme Wilkie , Faustas Sadauskas. Jos Van Hulsen.

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

Honi Ryan, Silent Dinner 50, social performance, Thaddaeus Ropac Gallery, Paris-Pantin, 2020. Photo by Chris Lee. Until 22 July Honi Ryan: Silent Dinners

In a Dream, Norm Stanley 2021, synthetic polymer paint on canvas. Image courtesy of the artist. 26 August - 22 September MOB TAKEOVER Wurri-Ki Culture + YOOKAPA “Our stories are the oldest stories in the world. Our ancestors passed these stories down to us over thousands of years and across hundreds of generations. Now we have a role to play, we have become the holders of these stories. We are now The Keepers of the flame.” Norm Jurrawaa Stanley is a Kurnai / Wotjabaluk musician, artist and storyteller who was born on and still lives, works and plays on Wathaurong Country. He is a proud father of 5 children aged 5 to 26 years old. He has worked in many areas, but teaching his culture is his passion. Norm follows in the footsteps of his ancestors by sharing the stories of land, life and culture through the many different art forms he practises. Nikki McKenzie is a proud Wadawurrung Woman, born and raised in Warrnambool, Gunditjmara Country. She is a proud mum of two young children who share her passion in their Culture and art. YOOKAPA offers First Nations community within the arts a framework for creative development and a shared hub to explore and experiment with creative and cultural practice. YOOKAPA acknowledges and celebrates ways of Being, Knowing and Doing that signifies the diversity of social experiences, cultural identities and subjective positions of First Nations people. It is a space to have autonomy and agency in how we tell our stories. Artists from Platform Arts YOOKAPA program will show alongside Wurri-Ki Culture throughout the Platform Arts building.

The Silent Dinners (2006–23) is an international participatory performance project based around a meal, conceived and developed by Berlin and Paris based artist Honi Ryan. The exhibition will bookend 16 years of 57 global Silent Dinner events occurring over 12 countries and 20 cities. It comprises three performances and an exuberant constellation of original indexical paintings, photographs drawn from previous Silent Dinner events around the world, performance artefacts, intercultural anecdotal memories, audio recordings, sculptural elements, and various material representations of data and inventory, both from the history of the project and accumulated on site. Three performances are open for public booking, leading to the landmark 60th Silent Dinner occurring on 14 July 2023. Participation is by reservation only at www.silentdinner.net/rsvp.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 By appointment only. Qdos is currently closed for winter recess, however major outdoor sculptures are viewable online. Please visit qdosarts.com and click on ‘In the Park’.

1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. ArtHouse is a dedicated building at RACV Goldfields Resort showcasing specially curated visual art programs for our guests and local communities. Complementing Arthouse at the RACV Goldfields Resort, is the Goldfields Gallery. Immerse yourself in our visual arts program and experiences.

Catherine Nelson, Sydney Botanical Gardens, 2010, pigment from digital photograph, 100 x 100 cm. Courtesy the artists and Michael Reid, Sydney. RACV Art Collection. 8 May—13 August Collection Highlights: Autio, Nelson & Wei This exhibition highlights the works of three outstanding RACV Collection artists: Narelle Autio, Catherine Nelson and Guan Wei. The RACV Art Collection holds over 1000 contemporary artworks, highlighting key social themes our artists have considered over the last 20 years. 27 May—13 August Julia Gorman: Pattern D Saturated in shades of pink Julia Gorman transforms ArtHouse into a space of contemplation. Taking inspiration from Creswick’s historic Old State Nursery Office Gorman infuses ArtHouse with a decorative treatment that merges the traditions of industrial manufacturing with handmade DIY.

Image courtesy of QDOS Fine Arts. 157

Marsotto Edizioni

Marsotto Edizioni are design editions from seventh generation Italian stonemason family, Marsotto. From their two-hundred year old atelier near Venice, working exclusively with one of the world’s most noble and ancient materials, the family are passionate about their craft. Pairing master skills with elite design collaborations, including leading luminaries Nendo and Naoto Fukasawa among them, the resulting collection of contemporary heirloom pieces abridge functional design and collectible art objects, made for everyday use. Photography captured by Alberto Strada. Enquire for information and pricing.

The Front Room at Industry Lanes Shamrock Street, Richmond VIC 3121

@thefrontroom__gallery thefrontroomgallery.com.au

thefrontroomgallery.com.au

VICTORIA

RMIT First Site Gallery → Xanthe Dobbie, AI Avatar, Real_Things’ Collection, 2021. Image courtesy of the artist.

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 12.30–5pm. Free Admission. See our website for latest information.

RMIT First Site Gallery www.rmit.edu.au/about/culture/ first-site-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. 11 July–4 August On-Site Lab 02: Matrix Re-loaded Xanthe Dobbie

RMIT Gallery www.rmitgallery.com

Maj Plemenitas, MSFM- Multi Scale Flow Map - Perpetual Generative Territories Water flow as an adaptive, developmental and evolutionary generative agent, 2023. Image courtesy of the artist. 15 August–30 September Wild Hope: Conversations for a Planetary Commons Wild Hope: Conversations for a Planetary Commons calls for a radical shift towards ‘planetary thinking’ for the survival of human and non-human life on Earth.

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 12:30–5pm.. Until 12 August Closer Together Closer Together reflects on the 25-year cross-cultural relationship between the Hong Kong Art School and RMIT’s School of Art. It is proudly one of the university’s longest running transnational

Movana Chen, Dreconstructing, 2009. Image courtesy of the artist and Flowers Gallery, Hong Kong. Photography by Gyeonggi MoMA, Korea. educational partnerships. This exhibition shines a light on 15 artists from the Hong Kong Art School and RMIT community whose works celebrate connectivity and kinship and uncover new knowledge through exchange. Artists include Kay Mei Ling Beadman, Movana Chen, Ryan Christopher Cheng, Kris Coad, Carolyn Eskdale, Daphne Alexis Ho, Jaffa Lam, Ivy MA King Chu, Sally Mannall, Drew Pettifer, Kate Siu Man Kit, Scotty So, Kwong San Tang, Fiona Wong Lai Ching and June Wong. Curated by Shirky Chan, Rachel Cheung and Tammy Wong Hulbert. This project has been supported by the Hong Kong Art School (HKAS) and the Hong Kong Economic and Trade Office (HKETO). 159

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

cusackgallery.com

VICTORIA

Shepparton Art Museum

Sofitel Melbourne on Collins

www.sheppartonartmuseum.com.au

www.sofitel-melbourne.com

530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuesdays.

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

18 March–18 June Ash Keating: Elevation

25 February–3 September Three Hares: SAM Ceramics Collection With invited artists Enrique Tochez Anderson, Tia Ansell, Jordan Mitchell-Fletcher, Kate Wallace and Philomena Yeatman. 13 May–1 October Little big, Big little

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

25 February–3 September Adam John Cullen: Three Ears

Three Hares, SAM Collection exhibition image (detail), 2023, Shepparton Art Museum 2023.

Stockroom Kyneton

Richard Dunn, Quarta-tooma (Ormiston Gorge), 1939 (After Albert Namatjira), Blasted Geometries, 2018, 200 x 165 cm. Sofi’s Lounge, Level 1: 4 July–1 October Blasted Geometries After Namatjira, 2002-2018 Richard Dunn, In collaboration with Charles Nodrum Gallery, Melbourne.

Dawn Vachon, Wood Pile, 2023, glazed ceramic, firewood, 21 x 20 x 32 cm. 10 June–16 July Recent Studio Paintings Angela Chauvin. The decision is emerging Anthea Kemp Props Dawn Vachon

Sally Coggle, Melbourne 2022, 2022, archival inkjet print, 30 cm x 42 cm. Atrium Gallery, Level 35: 1 July–30 September Kaleidoscope The Australian Association of Street Photographers Inc (AASPi)

Sam Jinks, Woman and Child, 2010. Shepparton Art Museum Collection, purchased with the assistance of the public and Greater Shepparton City Council, 2011. © the artist. Photograph: Shepparton Art Museum. Now open Dance me to the End of Love: Journeys from birth to death in the SAM Collection

The Australian Association of Street Photographers bring together the creative vision of over 30 Australian Street Photographers, showcasing chance encounters of daily life in a kaleidoscope of colour and the ephemeral. Documenting the unique vitality and quirks of everyday Australian life, this photography exhibition celebrates the heart of Street Photography, the art of observation. “The marvels of daily life are exciting; no movie director can arrange the unexpected that you find in the street.” — Robert Doisneau.

Wanda Gillespie, A Counting Frame for a Sacred Economy 1, 2023, Totara frame, brass, with wood and brass beads, 63 x 54 x 6.5cm. 22 July–27 August You Never Got Me Right Kez Hughes The ministry for mystical reckoning Wanda Gillespie 161

Sofi’s Lounge, Level One, 7am—8pm

4 July—1 October 2023 Richard Dunn Blasted Geometries After Namatjira, 2002–2018

Quarta-tooma, (Ormiston Gorge) 1939 (After Albert Namatjira) Blasted Geometries, 2018. 200 x 165 cm.

In collaboration with Charles Nodrum Gallery.

Sofitel Melbourne On Collins

25 Collins Street Melbourne 3000

(03) 9653 0000 sofitel-melbourne.com.au The exhibition programme at Sofitel Melbourne On Collins is managed by Global Art Projects. www.gap.net.au. @globalartprojectsmelbourne.

sofitel-melbourne.com.

gap.net.

VICTORIA

STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm. Established in Melbourne in 2011, with a second space opened in Sydney in 2019, STATION is dedicated to presenting an engaging, conceptually-driven exhibition program, with the aim of fostering rigorous, critically-engaged contemporary art practices. STATION represents a broad stable of established and emerging Australian and international artists

Sullivan+Strumpf Melbourne www.sullivanstrumpf.com 107–109 Rupert Street, Collingwood, VIC 3066 02 9698 4696 Tue to Sat 10am–5pm, or by appointment.

Milloo Dreaming. Courtesy of Ricky Kirby. 5 August—24 September Home Ground Donna Bailey, Dean Bowen, Helen Cooper, Paul Dunn, Rennie Ellis, Louise Hearman, Glenn Morgan, Peter Nicholson, Jim Pavlidis, David Ray, Stewart Russell and Kate Daw, Geoffrey Ricardo, Kahled Sabsabi and Michael Shannon.

Jake Walker, #201 (Park Mews), 2023, oil paint, linen, glaze, ceramic, 47 x 52 cm irregular. Courtesy of the artist & STATION. 23 June—22 July IN ON IT Jake Walker

Glenn Barkley, Amphora with golden balls, 2022, earthernware, 30 x 13 x 6 cm. Until 15 July the electrical experience Glenn Barkley 20 July—12 August tissu tissue Lara Merrett

Home Ground invites our “Home” players and supporters, as well as the broader public, to view the game of Australian Rules Football through a lens quite different to the all-consuming high paced world of weekend footy. Through photography, ceramics, paintings and prints, Home Ground will take the viewer behind the scenes and in many cases beyond the glare of the bright lights to a more contemplative and nuanced interpretation of players and supporters.

17 August—9 September Jemima Wyman

Swan Hill Regional Art Gallery www.swanhillregionalartgallery. com.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. 17 June—30 July Milloo Dreaming (This Time in a Wet Land)

Julia Trybala, Untitled, 2023. Courtesy of the artist & STATION. 29 July—26 August Julia Trybala 29 July—26 August Kate Bohunnis

Following a year of extraordinary rainfall and flooding, replenishing the floodplains of our region, First Nations artists from the Swan Hill region of North West Victoria and Southern NSW respond with traditional weaving, drawings, paintings, sculptures, ceramics, historical artefacts and photography. Milloo Dreaming allows us to reflect on the deep connection between our First Nation’s people and the extensive network of rivers, creeks, billabongs, lakes and floodplains. They will be complemented by works from young First Nations artists in our Studio Gallery.

Tayla Harris, 2019. Courtesy of Michael Willson. 5 August—24 September Beyond the Boundary Michael Willson Michael Wilson, the AFL’s Chief Photographer captures the action, the heartache and the emotion both on and off the oval in this dramatic and insightful photographic expose.

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BANDARR WIRRPANDA OWNERS OF WÄŊA-WAT A Ŋ U THE LAND

2-24 SEPT OPENING RECEPTION SATURDAY 2 SEPT, FROM 2PM 5 BEDFORD ST, COLLINGWOOD WWW.MAGMAGALLERIES.COM

PRESENTED IN COLLABORATION WITH BUKU-LARRŊGAY MULKA CENTRE magmagalleries.com

VICTORIA

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.

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.

Ravit Tidhar, Exploration 2:3, 2022, bark and plastic on wood substrate, 32 x 32 cm, image courtesy of the artist. 7 June–15 July Community Exhibition: ‘From Nature’ Diewke van den Heuvel, Cave, 2020, from the series Melting Heart, digital print on recycled pet-bottle fabric, dimensions variable. Courtesy of the artist. 5 August—12 November The Soils Project Tim Maguire, Untitled 20230102, 2023, oil on canvas, 150 x 150 cm. 8 July–5 August Tim Maguire

The Soils Project is a collaboration between Struggles for Sovereignty, TarraWarra Museum of Art and the Van Abbemuseum.

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. See our website for latest information.

From Nature is a community exhibition examining the world around us. Artists Michael Adeney and Ravit Tidhar borrow from the natural environment to create their work.

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

Stephan Balleux, Ars Memoriae (Stairs), 2023, acrylic on printed canvas, 195 x 230 cm. Image courtesy of the artist. 22 June—15 July Slick Slopes Stephan Balleux and Sam Leach

Brendan Huntley, Cocoon Head (Green), 2023, hite raku, glaze, slip and steel base, 92 x 34 x 40 cm. Photograph: Andrew Curtis. Courtesy the artist and Tolarno Galleries. 12 August–2 September True to Life Brendan Huntley 19 August–9 September Works on Paper Kieren Karritpul

Cyrus Tang, Lacrimae Rerum - 4505.00s, 2016, archival pigment print, 100 x 100 cm. Image courtesy of the artist and ARC ONE Gallery. 26 July–21 October The Memory Palace: Cyrus Tang The Memory Palace: Cyrus Tang is a major exhibition at Town Hall Gallery featuring highlights from Cyrus Tang’s multidisciplinary art practice. Over the past 20 years Tang has examined sentiments of nostalgia within memory and fantasy, reconstructing ephemeral mental images and sensations in permanent materials.

Paula Mahoney, Act 1 All the world's a stage, pigment inkjet print. Courtesy of the artist. 3 August—26 August Photo Plexism 165

Somebody’s Daughter Theatre Presents

SEE BEYOND Artwork by Women in Victorian Prisons Exhibition Runs 11 July – 22 July 2023

Image: Loarrine, Sinking Boats, 2007

fortyfivedownstairs.com

VICTORIA VOID Melbourne continued...

responsibilities never left.

Joanne Handley, David Hempenstall, Paula Mahoney, Eugenia Raskopoulos, Val Wens

Wilam Biik is a TarraWarra Museum of Art exhibition touring with NETS Victoria, curated by Stacie Piper. This project has been assisted by the Victorian Government through Creative Victoria.

9 August—12 August Spring1883 Art Fair Nancy Constandelia, Nick Devlin, Sarah Goffman, Paul Handley, Mark Hislop, Travis John Ficarra, Jane O’neill, Louise Paramor, Elvis Richardson, Todd Robinson

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov. au/arts Corner of Walker and Robinson Streets, Dandenong, VIC 3175 03 9706 8441 Tue to Fri 12pm–4pm. See our website for latest information.

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.

Yeatman, Sairi Yoshizawa.

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

The City of Greater Dandenong is a vibrant hub for Arts and Culture. From dynamic community led initiatives to high calibre professional presentations, Greater Dandenong offers a host of artistic experiences for residents and visitors alike across a range of artforms.

Andrew Sinclair, Untitled (detail), oil on canvas, 40 x 30 cm, 2021. © artist.

Kent Morris (Barkindji), Barkindji Blue Sky-Ancestral Connections #4, 2019, giclee print on rag paper, edition of 5 + 2AP, 110 x 160 cm. Courtesy of the artist and Vivien Anderson Gallery. 25 July–8 September Wilam Biik Paola Balla (Wemba Wemba, Gundjitmara), Deanne Gilson (Wadawurrung), Kent Morris (Barkindji), Glenda Nicholls (Ngarrindjeri and Yorta Yorta), Steven Rhall (Taungurung), Nannette Shaw (Tyereelore, Trawoolway, Bunurong), Kim Wandin (Wurundjeri), Arika Waulu (Gunditjmara, Djapwurrung, Gunnai), Rhiannon Williams (Wakaman, Waradjuri), and the Djirri Djirri Wurundjeri Women’s Dance Group (Wurundjeri, Dja Dja Wurrung, Ngurai Illum-Wurrung). In the Woiwurrung language of the Wurundjeri people, Wilam Biik means Home Country. How do we see Country? How do we listen to Country? How do we connect to Country? You are called to listen deeply with your ears, eyes and hearts–to understand how First People connect with Wilam Biik. Wilam Biik is the Soil, the Land, the Water, the Air, the Sky and the Animals that reside within. It is the only home we know, and we honour it for its sacred exchange. A home where Custodial rights and

1 June–29 August Moon Paintings Andrew Sinclair

Helen S. Tiernan, Woi Wurrung Ancient Bark Canoe. 8 July–5 August 202 Connections Helen S. Tiernan

Gillian Bencke, Cope, wool, silk, cotton, sequins, beads, brass, 130 x 253 x 0.1cm. Wangaratta Art Gallery Collection. Winner of the Wangaratta Contemporary Textile Award 2021. ©Artist. 10 June–20 August Wangaratta Contemporary Textile Award Tia Ansell, Julia Boros, Glennys Briggs, Evangeline Cachinero, Carolyn Cardinet, Fiona Currey-Billyard, Mary Dhapalany, Sepideh Farzam, Stevie Fieldsend, Fiona Foley, Agnieszka Golda, Tim Gresham, Blake Griffiths, Treahna Hamm, Amanda Ho, Camille Laddawan, Susie Losch, Kyra Mancktelow, Dani Marti, Louise Meuwissen, Jennifer Robertson, Todd Robinson, Britt Salt, Donna Sgro, Ema Shin, Hiromi Tango, Tara Whalley, Yarrabah Arts & Cultural Precinct Artists: Edna Ambrym, Wayne Connolly, Andrew Garrett, Valmai Pollard, Philomena Yeatman & Michelle

Featured artist Helen S. Tiernan, represented by Lauraine Diggins Fine Art, showcases her striking new landscapes, infused with European and Indigenous art sensibilities. Her work speaks of spirituality and also references her mixed cultural connections, recalling the work of historic and contemporary masters. The artist’s insightful paintings are exhibited alongside art by First Nations artists from the Whitehorse Art Collection. 12 August–23 September Back to Box Hill An exhibition of artworks created by artists who taught in the remarkable heyday of art education, offered at the Box Hill Institute of TAFE. Artists include Rona Green, Dawna Richardson-Hyde and Sue McFarland, together with artwork by the enigmatic Ian Gardiner. Multiple artworks by Gardiner were donated to the Whitehorse Art Collection from the estate of this important artist in 2015.

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7 July–13 August 2023 Kate Beynon Kate Rohde Valerie Sparks Vipoo Srivilasa Curator Diane Soumilas Glen Eira City Council Gallery Corner Glen Eira and Hawthorn Roads Caulfield (enter via Glen Eira Road)

Monday–Friday, 10am–5pm. Saturday and Sunday, 1pm–5pm. Closed public holidays. Free admission. Public programs:

www.gleneira.vic.gov.au/gallery-programs

/gleneiraarts

Image: Valerie Sparks Red Flowering Gum 1. 2023 Sanctuary Series 3 Inkjet Print on Bauhaus New York SA Wallpaper 170x76cm. Courtesy of the artist and Gallery Smith gleneira.vic.gov.au/gallery-programs

VICTORIA

Wyndham Art Gallery

Casey, Maree Clarke, Michael Cook, Aunty Marlene Gilson and Peter Waples-Crowe.

www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. Wyndham Art Gallery is a council owned and run gallery in the City of Wyndham. Over the last 11 years it has offered a curated program that reflects the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas. Its programs and projects allow the diverse community of Wyndham to see themselves reflected back, providing a safe space for people of all cultures, genders and abilities to participate in what the gallery offers. Underlying these considerations is the ongoing commitment in the gallery to centre First Nations people, culture and knowledge and expand our community’s connection to place, generating a sense of belonging in our community, learning from Indigenous ways of relating to people and place. Until 30 July IWARA: a solo exhibition Robert Fielding

Robert Fielding, Echoes #3: Tjalini (Lift or carry something heavy, carry a load, lug), 2019, C-type print on lustre paper. Image courtesy of the artist. Robert Fielding is a contemporary artist of Yankunytjatjara, Western Arrente, Pakistani and Afghan descent, who lives in Mimili Community in the remote Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. In his practice, he combines strong cultural roots with contemporary perspectives, sharing a unique view at the threshold between remote community life and global narratives. Curated by David Hagger. Until 30 July ENDURING– Recent acquisitions highlights by First Nations artists Presenting recent Wyndham Art Gallery acquisitions from First Nations artists. Covering photography, video, mixed media and painting by leading contemporary First Nations artists Tony Albert, Karen

Wyndham Art Prize Winner 2022, Lilah Benetti, More Like a River, (Portrait), 2022. Image courtesy of the artist. 17 August—22 October 2023 Wyndham Art Prize Wyndham Art Gallery established the Wyndham Art Prize in 2015. It has become one of the largest prizes, regarding the number of artists shortlisted, in the country. Each year the artists are shortlisted by Wyndham Art Gallery curators and the judging is done by independent curators and art professionals. This year’s Wyndham Art Prize judges include Jason Smith, Director and CEO of Geelong Gallery, Nicole Durling, Executive Director at Craft Victoria and Gail Harradine, Curatorial Manager at Koorie Herritage Trust.

Stephen Glover Fragments of Experience - Collage Saturday July 1 until Sunday August 6 2023 Glimpse - Assemblage / painting with sculptor Michael Sibel Saturday September 23 until Sunday October 30 2023 @stephen_glover6 Yering Station Art Gallery, 38 Melba Hwy Yering VIC. Open 10-5 daily, 10-6 weekends instagram.com/stephen_glover6

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A–Z Exhibitions

New South Wales

JULY/AUGUST 2023

NEW S OUTH WALES

16albermarle

5 August—16 September Disruption: Discourse and Exchange

www.16albermarle.com

An exchange program in which final year students and their lecturers from the printmaking departments of four well known art schools from Australia and southeast Asia address the theme of disruption in small bodies of prints. The exhibition features work from the National Art School, Sydney, Queensland College of Arts, Brisbane, Institut Seni Indonesia, Surakarta and King Mongkut Institute of Technology, Bangkok. These works will be exhibited in Sydney at 16albermarle Project Space and in Brisbane, Yogyakarta and Bangkok. Curated by Carolyn Mckenzie-Craig.

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

Art Gallery of New South WalesOriginal Building www.artgallery.nsw.gov.au

Surajate Tongchua, Lying Mountain no 1, 2022, mixed media drawing on handmade paper, 31 x 21 cm. 10 June—22 July แผ ่ นด น ิ /Tanah/Land: Surajate Tongchua and Maryanto An exhibition presenting two artists whose work engages with landscape and place in very different ways. Chiang Mai-based Surajate Tongchua contrasts the massive forms of mountains with clouds and freeform linear outlines. But on closer inspection the mountains have words collaged onto their bulky slopes, mostly the word lying, endlessly repeated. Passionate about politics and his country, Tongchua uses the power of mountains to comment on the doubtful legitimacy of the Thai government. Yogyakarta artist Maryanto employs scraperboard technique, drawing and embroidery to create works exploring the consequences of human interaction with the undeveloped Indonesian landscape in agriculture, mining and tourism. Curated by Haisang Javanalikhikara and John Cruthers.

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.

Visitors in the Archibald, Wynne and Sulman Prizes ,2023, exhibition at the Art Gallery of New South Wales. Photo: © Art Gallery of New South Wales, Jenni Carter. Prizes are the most engaging art events of the year, eagerly anticipated by artists and audiences alike. The Archibald Prize for portrait painting is a who’s who of Australian culture – from politicians to celebrities, sporting heroes to artists.

Art Gallery of New South Wales - New 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. 3 December 2022—16 July The End of Imagination Adrián Villar Rojas In 2020, the Argentine-Peruvian artist Adrián Villar Rojas embarked on a remarkable sculptural experiment, which took place not in a physical studio but in times and places that no human has visited. Developing a new software system dubbed the ‘Time Engine’, he and his team created a series of intensely detailed and constantly evolving worlds, including those above, and placed virtual sculptures within them.

Installation view: Nabilah Nordin, Corinthian Clump, 2023. Presented as part of The National 4: Australian Art Now at the Art Gallery of New South Wales on 27th March 2023. Photo: © Art Gallery of New South Wales, Mim Stirling. Until 23 July The National The fourth edition of a biennial survey of contemporary Australian art, showcases work being made across the country by artists of different generations and cultural backgrounds. The National 4 is a partnership between four of Sydney’s leading cultural institutions: the Art Gallery of New South Wales, Campbelltown Arts Centre, Carriageworks and the Museum of Contemporary Art Australia.

Shani Black, West Connex Revisited, 2021, etching, 29.5 x 29.5cm.

Until 3 September Archibald, Wynne and Sulman Prizes 2023 The annual Archibald, Wynne and Sulman

Samara Golden, Guts, 2022, installation view, Night Gallery North, Los Angeles © Samara Golden, photo: Nik Massey. 3 December 2022—late 2023 Dreamhome: Stories of Art and Shelter From Igshaan Adams in Cape Town to Samara Golden in Los Angeles and John Prince Siddon in Fitzroy Crossing, Western Australia, the artists in Dreamhome: Stories of Art and Shelter reflect on ’home’ from their own richly local perspectives, while also registering shared hopes and anxieties that are felt in many places at this time. 171

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Art Space on The Concourse www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed, Thu, Fri 11am–5pm Sat and Sun 11am–4pm. See our website for latest information. 15 June–9 July (Re)telling: Stories of Country and Truth Maddison Gibbs, Dennis Golding, Edwina Green, Emma Hicks, Virginia Keft, Nicole Monks and Jenine Boeree, Shana O’Brien and Jason Wing This is an exhibition curated by Muruwari woman Dr Virginia Keft. It brings together emerging and established Aboriginal artists from around Australia to present new and existing works that showcase their resilience, strength, and connection to culture. The exhibition of painting, sculpture, photography, weaving and textiles uses potent strategies of visual storytelling, which foregrounds deep connections to place, knowledge sharing, and resistance while weaving narratives of Country and ‘truth telling’ through a First Nations lens.

Peta Kruger, Used, 2020. Photograph: Sam Roberts. Celebrating creative projects by designers, artists and architects working to design a better future. These practitioners are focussed on creating outcomes that are both beautiful and good for the planet. Claire Healy and Sean Cordeiro, Enfield Poltergeist (detail), 2023, repurposed Lego. the past such as The Loch Ness Monster, ghostly spectres, Little Green Men and Bigfoot have mostly been put to bed through modern scientific analysis. But what has replaced these bug-a-boos? Claire Healy and Sean Cordeiro combine the diaphanous spectres of the past with the delusions of the near-present. Utilising Lego as its primary medium, The Sleep of Reason Produces Monsters offers Lego mosaic renderings of endearing paranormal entities of the past combined with small Lego sculptures of improvised weapons collected in the aftermath of the January 6 insurrection in DC.

Glen Preece, Night, 2022, oil on board. 12 July–23 July Glen Preece An exhibition of paintings and drawings by Australian artist Glen Preece. Glen Preece has always created art that reflects his emotional response to moments and memories from his life. He began creating art from a very young age, and has exhibited in various exhibitions and galleries world-wide. 26 July–6 August High Country: Timeless Energy Bruce Daniel Contemporary paintings of the NSW High Country by Bruce Daniel. An exhibition of contemporary landscapes exploring the majestic granite outcrops on the top of this vast country that reach to the sky as Gaia reaches out to the Universe.

Artsite Contemporary Australia

1 June–27 July For our Elders Celebrate 2023 NAIDOC. For our Elders present a selection of handcrafted ceramic works created by the Elders Ceramics Group for Campbelltown Arts Centre’s exhibition: Budjari Mudjingaal, meaning ‘good friends’ in Dharawal language.

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

www.artsite.com.au 165 Salisbury Road, Camperdown, NSW 2050 [Map 7] 02 9519 9677 Thu to Sun, 11am–5pm. See our website for latest information.

Australian Design Centre www.australiandesigncentre.com

9 August–3 September Persistence of vision; The Sleep of Reason Produces Monsters Claire Healy and Sean Cordeiro

113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Entry by donation.

A Willoughby City Council curated exhibition exploring the realm of the phantastic. Belief in the phantasms of

1 June–27 July Good Natured: Design Art Architecture

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Jennifer Keeler-Milne, Maple branch, 2022, oil on linen, 41 x 62 cm. 11 July–30 July Time and Memory Michael Buzacott Mount Wilson and other works Jennifer Keeler-Milne 10 August–27 August Jenny Bell

NEW S OUTH WALES

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Weekends and public holidays 10am–2pm, closed Mon. Facebook: facebook.com/ bathurstart or Instagram: @bathurstregionalartgallery

Blacktown Arts is thrilled to present Arabic Treasures by local artist Raneen Shamon. Arabic Treasures features a collection of works that celebrate the traditions and beauty of Arabic culture. Blending traditional art-making techniques of calligraphy and tapestry with contemporary approaches to painting, Raneen Shamon invites viewers to experience the beauty of Arabic language and the rich history of belly dancing.

Emma Fielden, States of Matter, 2018, photograph from performance. Courtesy of Parramatta Artists’ Studio. ship with Parramatta Artists’ Studio, Blacktown Arts are thrilled to introduce, The Unseen.

Vicky Browne, work/play, Blue Mountains Cultural Centre, 10 September–16 October 2022, installation detail. Photograph: Silversalt. Courtesy of the artist and BMCC. 1 July—27 August West of Central Home to an increasing cohort of contemporary artists and creatives seeking connection, respite, and balance, regional Australia is a place where artists have space to create, experiment, respond and challenge. This exhibition showcases the work of 16 regionally based artists who choose to make work on Wiradjuri Country in the Central Tablelands of NSW. Of primary concern is the impact of man-made and climactic events on the ecologies and landscape of the region. A chaptered exhibition, to recur we hope over multiple iterations, it celebrates artists who choose to live and work regionally, beyond an urban-centric ‘centre’ and in so doing resituate the regional as a core tenet of some incredible work being produced from the Blue Mountains to Mudgee, Bathurst to Hill End and their surrounds. Featured artists include Aleshia Lonsdale, Anne Graham, Bill Moseley, Blak Douglas, Georgina Pollard, Genevieve Carroll, Dan Kojta, Jason Wing, Joyce Hinterding and David Haines, June Golland, Karla Dickens, Leo Cremonese, Maddison Gibbs, Nicole Welch, and Vicky Browne.

Blacktown Arts www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. Until 1 July Arabic Treasures Raneen Shamon

Until 22 July Raw Records: Materials in Practice Maddison Gibbs, Virginia Keft, Jayne Christian, Paula Do Prado, Simryn Gill and more. Guest-curated by Annie Areum Shin, with mentorship by Tian Zhang.

The Unseen explores the invisible qualities of our world as a metaphor for personal or collective reflection. Parramatta Artists’ Studios artists and alumni present a contemplative and deeply felt examination of the intangible qualities of memory, cosmos, and sensation. The exhibition brings together works that handle and express this theme through video, sculpture, collage and installation. Through a range of approaches, the exhibition shows that the unseen can be imagined through expansive and intimate gestures alike. In addition to the exhibition, The Unseen will feature a range of engaging public programs that allow visitors to interact with the artists and their works.

Raw Records: Materials in Practice gathers the work of fifteen contemporary artists who reflect on materiality in their art and making practices.

Blue Mountains City Art Gallery

Paula Do Prado, Guidai / Moon, 2019, Acquired by Blacktown City Council 2019. Photo: Jennifer Leahy.

Raw Records presents female voices from the Blacktown City Art Collection that intricately and strategically pull together traditional, natural, industrial, and found mediums. These artworks attend to materials and processes as means to document, unravel, or conceal meaning. 4 July–22 July Bread and Longing Stan Florek Blacktown Arts are thrilled to present Bread and Longing, an exhibition of works by Open Studio artist and 2022/23 Blacktown City Art Prize finalist, Stan Florek. Bread and Longing begins with stories discovered at a local bakery in Blacktown. Bread is the catalyst for connection, as people come to the bakery daily for their bread. Modest, nourishing and familiar, bread passes between hands, carrying with it real and imagined stories of love, fulfillment and happiness. As stories unfurl, a deeper longing for distant relatives, friends, culture and language is uncovered. 3 August–9 September The Unseen Emma Fielden, Owen Leong, James Nguyen, Emily Parsons-Lord, Lisa Sammut Curated by Elizabeth Chang. In partner-

www.bluemountainsculturalcentre.com. au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba, NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. Admission fees apply.

Audrey Napper, Ce n’est pas une maison de poupée, 2022, sculpture, 90 x 110 cm, Figtree High School. 27 May–16 July ARTEXPRESS ARTEXPRESS brings together a selection of outstanding student artworks 173

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Bundanon

Blue Mountains City Gallery continued...

www.bundanon.com.au

developed for the artmaking component of the HSC examination in Visual Arts in NSW. ARTEXPRESS is a joint project between New South Wales Department of Education and New South Wales Education Standards Authority. 24 June–14 August Ida Jaroš and Bette Mifsud: Shifting Screens Shifting Screens is a sublime collaboration between artists Ida Jaroš and Dr Bette Mifsud containing over 60 urban and rural landscapes photographed from moving vehicles. This mesmerising exhibition engages with the fleeting nature of human life, and the navigation of its uncertain terrains.

Alison Clouston & Boyd, DragonGoatMulga, 2019, mulga tree, soundtrack, feral goat horns, old sawhorses, 387 x 160 cm. 5 May—30 July mirrityana – out in the sunlight Alison Clouston & Boyd A sculpture, sound and drawing installation about an exquisite, small creature and it’s habitat, the Barrier Range Dragon or Ctenophorus mirrityana, the endemic and endangered dragon lizard. 5 May—30 July Time Place Verity Nunan & Brian Nunan

Juundaal Strang-Yettica, Sister Everywhen no.2, 2022, photograph on cotton rag. 22 July–10 September Tracing the Rupture

Brian Nunan navigates Country through rivers, not roads. Verity Nunan (grand-daughter) is a research based artist who is using mapping to trace how biased legacies manifest as a mode of rationality. In an attempt to open an intergenerational dialogue, the exhibition weaves historical and contemporary stories to encourage a non-linear understanding of Time and Place.

Tracing the Rupture explores selfhood and the fractured contexts we experience throughout life. Those moments where we confirm or develop our identity as a consequence of what we’ve lost or what has been taken from us.

www.bhartgallery.com.au

The Broken Hill Regional Art Gallery provides an annual program of locally curated exhibitions along with touring exhibitions from major cultural institutions. A selection of works from the collection is on permanent display in the upstairs gallery. The annual program endeavours to include work by established and emerging Aboriginal artists from around the Far West region of New South Wales 174

8 July—8 October The Polyphonic Sea Antonia Barnett-McIntosh, Andrew Beck, Ruth Buchanan, The Estate of L. Budd, Sione Faletau, Sarah Hudson, Samuel Holloway et al., Sonya Lacey, Nova Paul, Sriwhana Spong, Shannon Te Ao The Polyphonic Sea explores the wealth of languages that constantly swirl around us all, through speech and writing, gesture and music, and in the ongoing flow of communications from the natural environment. The exhibition is a survey of recent work by ten artists from Aotearoa New Zealand.

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

Katya Petetskaya’s solo exhibition, Self of Nature, features expanded, sculptural paintings which respond to environmental change as they are felt at an individual level. The biomorphic forms act as an invitation to acknowledge, accept, and transcend one’s own grief, anxiety, vulnerability, and homesickness in the quickly changing natural world.

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

Sonya Lacey, Chlorophyll (680–950nm), 2022, three-channel digital video, (still).

Casula Powerhouse Arts Centre

19 August–8 October Katya Petetskaya: Self of Nature

Broken Hill City Art Gallery

Wodi Wodi & Yuin Country 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm See our website for latest information.

David Milaybuma, Mimi Spirit Hunting Kolobarr the Kangaroo, 1979, screenprint, 76 x 57.5 cm. Until February 2024 Shades of Blak Collection Curator David Doyle, Barkindji/ Malyangapa. As an invited curator an idea evolved for David Doyle after looking through the BHCAG collection to discover what art 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 also includes works by David Doyle.

Casula Powerhouse aims to draw on the strengths of its community, and to make work that speaks to people both locally and globally. With over 140 languages spoken in the local area, we aim to represent our city’s culturally diverse stories. As both producer and presenter, we highlight the skill and creativity of local artists through music, exhibitions, performances and programs. 17 June–8 October Birds Lisa Woolfe 24 June–24 September Regional Futures: artists in volatile landscapes (Exhibition and Symposium) Jodie Munday, Kim V. Goldsmith, Kris Schubert & Jade Flynn (Janhadarrambal), Ronnie Grammatica, Scott Baker, Juanita McLauchlan, Kit Kelen Allison Reynolds, Tracy Luff, Joanne Stead & Tania Hartigan, Jane Richens, Alana Blackburn & Mike Terry, Laura Baker, Holly Ahern & Eden Crawford-Harriman, Caity Reynolds,

NEW S OUTH WALES Grace Barnes, Ian Tully & Kristin Rule, Anna Glynn, Jacob Charles & Hape Kiddle, Sian Harris, Andrew Hull, Julianne Piko.

From 22 April The Staged Photograph

Chalk Horse

This exhibition explores staged photographs created in the theatrical space of the photographic studio from the mid-19th to early 20th century. Drawn from the Chau Chak Wing’s historic photography collection.

www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 10am–5pm.

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

Dylan Mortimer, Airway Clearance, 2015, glitter and paint on paper. Courtesy of the artist. 1 July–24 September Paradoxes of Paradise Curated by Creative Hybrids Lab Andrea Barrett (UK), Tereza Crvenkovic (NSW), Dylan Mortimer (USA), Dominic Quagliozzi (USA), Bianca Willoughby (NSW).

Toggle in the shape of two boys tumbling in an embrace, amber, China, 1700s–1900s. Powerhouse collection.

Chau Chak Wing Museum

Belt toggles, known as zhuizi, are small carved ornaments used as counterweights on cords tied around belts in traditional Chinese dress. Carved from a diverse range of natural materials to represent a variety of plants, animals, and everyday objects, these splendid miniatures manifest Chinese culture and material values. The exhibition Chinese Toggles: Culture in Miniature was developed in a partnership with Powerhouse Museum and features objects on loan from the Powerhouse collection, which includes one of the world’s largest collections of Chinese toggles donated to the Museum by Hedda and Alastair Morrison.

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, Thurs evenings until 9pm, Weekends 12noon–4pm. See our website for latest information. 9 January—November Ömie barkcloth: Pathways of nioge

From 29 April Chinese Toggles: Culture in Miniature

An exhibition of dynamic contemporary nioge (barkcloth) made by Ömie artists from the rain-forested highlands of Northern (Oro) Province, Papua New Guinea. These vibrant and stylistically distinct works resonate with the cultural jögore (law), environmental knowledge, and creativity of their makers. This is the first showcase of Ömie nioge, with the Museum housing what is thought to be one of the largest public collections – including some of the earliest commercially collected works. From 11 March Penelope and the Seahorse The newest work of Mikala Dwyer will be an aquatic-themed installation, Penelope and the Seahorse which alludes to the hippocampus and its multiple meanings: the genus name for the fragile and now endangered sea-horse; the equine fish in Greek mythology who drew Poseidon’s water chariot; and the structure within the brain often associated with memory and spatial navigation. Incorporating antiquities from the museum’s collections, Dwyer’s work also includes video and sound collaborations with animator Gina Moore and composer James Hayes.

Wayne Quilliam, Country, 2023, digital photograph on paper. 29 June—22 July Ash to Ascension: I am now Emancipated Wayne Quilliam

Artists Kitty Napapngka Simon and Neil Ernest Tomkins outside Warnayaka Art Centre. 27 July—26 August country x Country Kitty Napapngka Simon and Neil Ernest Tomkins Opening Thursday 27 July, 6pm– 8pm. Hiroshi Sugimoto, State Theatre, Sydney, 1997, silver gelatin photograph. University Art Collection, Chau Chak Wing Museum. From 29 April Photography and the Performative This exhibition examines recent ideas and theories that frame performance as a phenomenon that is everywhere. Performative actions may include the manifestation of ideas, whether literal, oral, spoken, or written. Such forms can be visual, architectural, spatial, gestural and gendered. This exhibition looks at how these different modes may be ‘recorded’ via the medium of photography.

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. The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council. CALL FOR ENTRIES – NOW OPEN 2023 Calleen Art Award - $25,000 175

26 July - 26 August

Julie Harris Iwillbegood... promise

ANNANDALE GALLERIES annandalegalleries.com.au info@annandalegalleries.com.au 110 Trafalgar Street Annandale NSW Australia +61 2 9552 1699 11am - 4pm Wed - Sat Also showing Fiona Currey-Billyard Dark Crossings annandalegalleries.com.au

NEW S OUTH WALES Cowra Regional Art Gallery continued... Acquisitive Painting Prize - Entries close 21 July 2023. Enter online at www.cowraartgallery.com. au – 2023 Calleen Art Award finalist’s exhibition is from 8 October to 19 November 2023.

Sidney Nolan (1917−1992), Escape, 1948, oil and ripolin on composition board, 89.5 x 121 cm. Bequest of Mrs I.F. Cantwell, 1990, Macquarie University Art Collection. 9 July–20 August Nationalism in the Wake of COVID Nationalism in the Wake of COVID: a unique exhibition bringing the concept of internationalism to the forefront and exploring the interconnection between, localism and national identity within the context of the global pandemic. At stake is recognising the importance of localism and its diversity, the environment, decolonisation, and First Nations knowledge systems as avenues of more in-depth investigating that will help shape a better future. To form the narrative of nationalism for this exhibition the following core artists have been selected: Rebecca Agnew, David Griggs, NOT, Paul Ryan, Leanne Tobin and NC Qin, together with works by the following artists courtesy of the Macquarie University art collection: Arthur Boyd, Mark Davis, Lawrence Daws, James Doolin, Louise Forthun, Rosallie Gascoigne, James Gleeson, Rew Hanks, Tracey Moffat, Sidney Nolan, Naata Nunggurrayi, John Olsen and Margaret Preston. A Macquarie University exhibition in partnership with Cowra Regional Art Gallery.

Robyn Stacey: as still as life explores the tantalising world of the still-life tradition. The exhibition includes large scale monumental and magnificent photographs by Robyn Stacey spectacular in their detailed beauty as well as still-life photographs drawn from the Museum of Australian Photography Collection. Still life is one of the most enduring genres that flourished during the 17thcentury Baroque period in Europe. Inanimate objects took on symbolic meaning, creating a type of code through which status and narrative could be communicated. Still life reflected, responded to and shaped society, changing and democratising the art market into what it is today. Still life was the perfect subject matter for photographers to focus on during the medium’s infancy. Inanimate, unmoving objects could be composed in elaborate and dynamic compositions within a controlled environment, allowing for the long exposures that photography demanded. Still life through photography has continued to evolve, from compositions that mimicked Baroque paintings, through to highly conceptual and experimental works that reflect, respond and speak to contemporary society. Artists include: Katthy Cavaliere, Olive Cotton, Max Dupain, Joachim Froese, Christine Godden, Janina Green, Fiona Hall, Penelope Malone, David Moore, George J Morris, Michael Riley and Anne Zahalka. Curator: Anouska Phizacklea, Director, Museum of Australian Photography. A Museum of Australian Photography travelling exhibition.

24 June—15 July Daine Singer at Darren Knight Gallery Matt Arbuckle, Kirsty Budge, Zoe Croggon, Grant Nimmo and Kate Tucker

Paul Williams, Corridor, 2022, oil on linen, 36 x 46 cm. Photograph: Matthew Stanton. 22 July—19 August Paul Williams 9 August—12 August SPRING 1883 Windsor Hotel, Melbourne

Fairfield City Museum & Gallery www.fcmg.nsw.gov.au 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.

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

Mylyn Nguyen, 43 The Crescent, Fairfield NSW, 2165, 2023. 15 April–12 August Aftertaste Curator: Megan R. Fizell.

Robyn Stacey, Fontaine de Vaucluse, 2009, from the series Empire line, chromogenic print, 120.0 x 169.5 cm. Courtesy of the artist, Darren Knight Gallery (Sydney) and Jan Manton Gallery (Brisbane). 27 August–1 October Robyn Stacey: as still as life

Artists: Reanne Chidiac, Dylan Goh, Lindsay Kelley, Mylyn Nguyen, Mariam Slewo, James Tylor, Elizabeth Willing, Justine Youssef, and Siying Zhou.

Kate Tucker, Care 2, 2021, linen, digitally printed cotton, acrylic, acrylic mediums on board, glazed stoneware and earthenware base, 56 x 26 x 13 cm.

Aftertaste considers how food can act as a link between a person’s past, present, and future, activating and containing memories that connect us to a shared experience or place in time. Through contact with food - cooking, eating, and sharing - we maintain cultural ties and 177

Hornsby Art Prize 2023 call for entries Entries close 5 september Prizes worth over $23,000

hornsby.nsw.gov.au/artprize hornsby.nsw.gov.au/artprize

NEW S OUTH WALES Fairfield City Museum continued... access different forms of knowledge. The food-related artworks in Aftertaste speak about culture, identity, and representation by way of tastes on the tongue.

8 July—29 July Another Cosmos Grace Burzese Opening 8 July, 4pm–6pm.

Maureen Baker and family, Untitled (detail), 2003, enamel car paint on primed car bonnet. © Maureen Baker and family/Copyright Agency, 2019. Donated through the Australian Government’s Cultural Gifts Program by Patrick Corrigan, 2017. Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite.

Lynn Nguyễn, Echo, 2023. 29 April–14 October MÌNH Curator: Sheila Ngọ c Phạm. Contributors: Dacchi Dang, Christina Huynh, Matt Huynh, Phương Ngô, Đình Huy Nguyễn, James Nguyen, Lucia Tường Vy Nguyễn, Lynn Nguyễn, Kim Phạm, Victoria Pham, Vivian Pham, Hoài Mành Tất, My Lệ Thi, Bic Tieu, Huyen Hac Helen Tran, Maria Trần, and Garry Trinh. MÌNH is an everyday word which refers to our bodies and selves, but it also means us; about who we are as individuals as well as how we exist together. Through the work of artists and writers, MÌNH explores Vietnamese and Chinese diasporic life in Australia today, and questions what it means to be who we are now. Presenting 17 contributors, the exhibition reveals these collective memories.

Guy Brown, Water colour Impressions, oil on board, 30 x 25 cm.

Iyawi Wikilyiri, Yirawala, Frank Young and Yartitji Young.

8 July—29 July New Work Guy Brown

Curated by Blak Douglas.

Opening 8 July, 4pm–6pm.

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

A Lane Cove Public School K-6 student exhibition. Organised by the school management. 21 August–9 September Lane Cove Art Awards The annual Lane Cove Art Awards exhibition featuring works across various mediums, administered by Lane Cove Art Society. Supported by Lane Cove Council.

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

www.flindersstreetgallery.com

Grace Burzese, Plotting the Stars, 2023 acrylic on poly cotton, 168 x 153 cm.

8 August–12 August Express Yourself 2023

Gallery76

Flinders Street Gallery 61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment.

Objectified presents a selection of work by First Nation artists from the Art Collection of Macquarie University.

Iyawi Wikilyiri, Untitled, 2003, enamel car paint on primed car bonnet. © Iyawi Wikilyiri /Copyright Agency, 2019. Donated through the Australian Government’s Cultural Gifts Program by Patrick Corrigan, 2017. Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. 4 July–29 July Objectified Artists include Lorraine Babui, Maringka Baker (& family), Maureen Baker, Bronwyn Bancroft, Kenny Brown, Hector Burton Gloreen Campion, Bessie Daylight James Iyuna, Jenni Kemarre Martiniello, Ken Tjungkara, Kerrie Kenton, Lipundja, Minnie Lumai, Queenie Mckenzie, Enraeld Djulabinyanna Munkara, Michael Mick Munkara Mitjili Napurrula, Peter Newry, Trevor Nickolls, Billy Morton Petyarre, Linda Stevens, Phyllis Thomes, Tjanpi Desert Weavers, Chris Tobin Leanne Tobin, Adam Victor,

Julie Paterson, Thrifty. 179

ar t g ui d e .c o m . au Gallery76 continued... 28 June–2 August Thrifty Julie Paterson Thrifty is an exhibition by artist and textile designer Julie Paterson, focussing on the beauty of visible mending, the joy of repair and the spirit of creative community. Using scraps from her own ClothFabric designs and other pieces that hold significance, Julie’s new work will showcase salvaged and mended furnishings and artworks that enrich homes with personal histories. Julie will be in residence during her exhibition, creating a large-scale collaborative artwork with locals, using plants they have grown or foraged in their neighbourhood. Entitled Community Garden, this hand-printed and slowstitched artwork will celebrate the nurturing power of working together creatively to make beneficial change.

Glasshouse Port Macquarie www.glasshouse.org.au Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 Tues to Fri 10am–4pm, Sat and Sun 10am–2pm. See our website for latest information. 15 July–17 September ARTEXPRESS Featuring a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in NSW.

Image courtesy of Glasshouse Port Macquarie. 29 July–10 September This Special Place

Jenny Bell, Banners for life - Bees No 1 study, 2022, vinyl paint on 300gsm Magnani paper. Image courtesy of Jenny Bell. 23 June–5 August Life forms Jenny Bell Curated by Anne Sanders. Jenny Bell’s major solo exhibition Life Forms looks at drawing, line and form as constant threads throughout the artist’s 40 year artistic practice. This exhibition follows drawing as the underpinning of all of Bell’s work; with observation, rhythms and pattern-searching informing Bell’s life as both a regenerative farmer and an artist. Life Forms brings together drawings, sculptures and installations from Bell’s impressive oeuvre. The exhibition features recent breakthrough work, which emphasises graphic line, shape and colour, whilst continuing to capture the essence and vitality of the natural world.

The artists of the Hastings Valley are thrilled to provide this glimpse of what is meaningful in their world.

Nicci Haynes, Incidental TV, 2023, found TV screens, shopping trolley and video. Photograph: Andrew Sikorski. Courtesy of the artist.

Catherine O’Leary, Hope. Winner of AFAA 2021. 5 August–3 September Australian Fibre Arts Award The Australian Fibre Art Award (AFAA) showcases the incredible talent of fibre artists from across Australia. First held in 2021, this biennial competition offers a non-acquisitive prize of $2,000. Contemporary artists are invited to submit recent, unseen works made of any fibre-related media, with an expert panel assessing criteria including creativity and technical execution. AFAA is organised by independent publishing company ArtWear Publications Pty Ltd. An exhibition of finalists will be held at Gallery76, Sydney’s only gallery dedicated to textile and fibre arts, with the winner announced at the opening event on Saturday, 5 August.

180

Image courtesy of Glasshouse Port Macquarie. 23 September–26 November William Kentridge: I am Not Me, the Horse Is Not Mine One of the most powerful voices in art today. William Kentridge emerged as an artist during the apartheid regime in South Africa.

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

23 June–5 August Incidental TV Nicci Haynes Nicci Haynes’ artistic practice traverses media, working across drawing, performance, print, film, and installation. Haynes’ new installation Incidental TV (2023) was sparked by encountering a hoard of screens on a nature strip. As Haynes amassed screens from roadsides and e-waste bins for this exhibition, the installation formed a particular aesthetic, with broken and degraded imagery developing in tandem with the growing collection of discarded equipment. The focus of the work waste, transience and randomness. Incidental TV is an extension of the artist’s ongoing interest in film which disrupts regular viewing tropes, creating works that are short, without typical narrative structure and presented in unconventional forms.

NEW S OUTH WALES

Gosford Regional Gallery

Grace Cossington Smith Gallery

www.centralcoast.nsw.gov.au

www.gcsgallery.com.au

36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Find us on Instagram: @gosfordgallery Open daily 9.30am–4pm. Admission free. See our website for latest information.

Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Tues to Sat 10am–5pm. The Grace Cossington Smith Gallery is a not-for-profit initiative run by Abbotsleigh, an Anglican pre K-12 Day and Boarding School for girls.

20 July–11 November The Great Granville Garden Show The Great Granville Garden Show explores the importance of the humble garden. From creating community to their decorative and joyful nature or to their political controversies, this exhibition celebrates all things gardens. Featuring new commissions by artists Garry Trinh and Raquel Caballero and loaned works from local and wider artists.

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

Roslyn Kean, Night Rain Softly Falling, 2013, woodblock and Ink, 76 x 95 cm. Image courtesy of Gosford Regional Gallery. Call for entries : For the 2023 Gosford Art Prize. Entries close 4pm, Monday 24 July. Over $27,000 in prizes to be won, head to www.judgify.me/gosfordartprize2023.

21 June–22 July Along the Way Printmaker Roslyn Kean is recognised nationally and internationally for her exquisite, spiritually charged woodblock prints. Saturday 1 July, Conversation with Sasha Grishin AM, art historian, art critic and curator, and Rhonda Davis, Senior Curator Macquarie University Art Gallery. 27 July–16 August Treasured - the ideas and process of Alan Jones Abbotsleigh and Hornsby Girls High School Young Curators, facilitated by 3:33 Art Projects, present works by Alan Jones.

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

Minka Gillian, Super Bloom (detail). Until 18 July Minka Gillian: Super Bloom

1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Wed to Fri 11am–4pm, Sat 11am–3pm.

Central Coast based artist Minka Gillian’s exhibition titled Super Bloom represents the power and joy of creativity to overcome adversity. Super Bloom is a phenomenon where wildflowers bloom all at once after a long period of drought. A reminder that even in the darkest of times life finds a way to flourish and thrive.

1 July–3 September In the Arms of Unconsciousness: Women, Feminism and the Surreal Artists include Del Kathryn Barton, Pat Brassington, Louisa Chircop, Madeleine Kelly, Deborah Kelly, Juz Kitson, Lucy O’Doherty, Caroline Rothwell, Kaylene Whiskey, Jelena Telecki, Lynda Draper, Freya Jobbins, Jenny Orchard, Jill Orr, Patricia Piccinini, Julie Rrap, Honey Long and Prue Stent, Marikit Santiago, Anne Wallace and Amanda Williams. A cross generational exhibition that brings together 21 significant female Australian artists that examines feminism and the surreal.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Sat 10am—4pm, Sun 2pm—5pm. 6 May–23 July Home in St George 1920-1960

Until August 27 William Kentridge: I Am Not Me, The Horse Is Not Mine

This exhibition explores notions of home and domestic life in the Georges River area from the 1920s to the 1960s.

‘One of the most powerful voices in art today’. An Art Gallery of NSW Touring exhibition. 22 July–27 August Robert Bennetts: Sojourn

Honey Long & Prue Stent, Venus Milk, 2015. Courtesy of the artists and ARC ONE Gallery.

Archival photo from Cumberland City Council archives, courtesy of CCC.

How were homes designed, built, and made in the local area during these decades? What made a house a ‘home’? Furnishings, equipment, tools, gardens, 181

SOMETHING IN THE WATER

MADDISON GIBBS 17 Jun – 10 Sep

Maddison Gibbs, Something in the water, 2023, installation, exterior acrylic polymer paint, leaves, acrylic spray paint, stereo sound, approx. 2.05 mins (sound engineer Greg Le Couter). Image courtesy and (c) the artist

Joanna Cole, Magnetic Island-At the Setting of the Sun, 2023, oil on linen, 104 x 104 cm.

mosmanartgallery.org.au

1 August to 31 August

Finding the familiar in the unfamiliar Joanna Cole

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 Opening hours: Mon-Sat 9am-4pm brendacolahanfineart.com 182

brendacolahanfineart.com

NEW S OUTH WALES Hurtsville Museum continued...

Villa Maria interior, Woniora Road, Hurstville NSW, c. 1920. Reference number: LMG13-32 Georges River Libraries Local Studies collection. recreation, hobbies? What were the lives of women, men and children like during these decades? Showcasing Hurstville Museum & Gallery’s extensive collection, the exhibition highlights the social, cultural and family lives of residents in the St George region during the first half of the 20th century.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby NSW 2068 0401 638 501 Wed to Sun, 10am–4pm.

Satoru Abe, Hachiro Kumagawa, Boatman, Kuma, Kumamoto, 2012. Image courtesy of the artist.

Barbara Weir, Spirits Watching over my Mother’s Country, 2017, acrylic on linen. remote community based art centres. Ancestral stories passed down through the generations are represented on canvas. Presented from an aerial perspective, the artists share the events that formed our country and all its living creatures. 9 August–27 August Sculpture In Focus Sculptors Society Sculpture In Focus presents a selection of artworks from members of The Sculptors Society. Featuring a range of contemporary artworks, from abstract to realistic, these artists work with a variety of materials, including bronze, stainless steel, mixed media, glass, foraged materials, wood and ceramic. 30 August–17 September Wasted Opportunities Annarie Hildebrand and Yuri Shimmyo

Barbara Goldin, Wattle, MacDonnell Ranges, 2022, mixed media on paper. 28 June–16 July Flourishing Barbara Goldin, Deirdre Hart and Ruth Hymann Goldin, Hart and Hymann often work en plein air, inspired by their local bushland environment, as well as forays into the wider Australian landscape. Although their artistic styles are diverse, they find that working together sparks ideas, motivates experimentation with different media and techniques and creates a space in which they artistically flourish.

Wasted Opportunities is grounded on the notion of contemplating waste as an opportunity for creativity. As creatives, Hildebrand and Shimmyo are constantly on the lookout for inspiration. Sorting through recycling containers, they found shapes and forms for thoughtprovoking still life compositions. Exploring the boundaries between reality and imagination, the artists reference domestic life to create innovative contemporary artworks, including mixed media paintings, works on paper and ceramics.

Until 29 July OH!Bento Satoru Abe, Toru Koyamada, Hiraku Ogura OH!Bento celebrates a universally loved aspect of Japan’s rich food culture and unveils the entire bento experience, from its careful preparation to its completion and eventual consumption. Through this process, bento has the power to strengthen human relationships, like a gift that contains a story connecting the preparer and the eater. Included in the exhibition are works by photographer Satoru Abe, artist Toru Koyamada and designer Hiraku Ogura, along with a variety of bento boxes on display. The exhibition also includes an interactive workspace where visitors will have the chance to design their very own bento box and display them within the gallery.

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.

The Japan Foundation Gallery www.jpf.org.au

19 July–6 August Desert Colours 2023 Honey Ant Gallery

Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

Honey Ant Gallery proudly returns to Incinerator Art Space for their eighth consecutive exhibition showcasing the very best of Australian Indigenous talent. Desert Colours 2023 presents a diverse selection of beautiful paintings from Australia’s desert centre. View works by leading and emerging artists from numerous

Our arts and culture program brings a variety of events exploring Japan’s diverse identity to Australian audiences throughout the year, ranging from gallery exhibitions to creative exchange workshops. Many take place at our Central Park premises in Sydney, which features a gallery and an event space.

Ken Done, Yellow coral, 2023, oil and acrylic on linen, 50 x 40cm. 15 June–9 August Ken Done: Recent Work 183

Persistence of vision; The Sleep of Reason Produces Monsters 9 AUGUST – 3 SEPTEMBER An exhibition exploring the realm of the phantastic by Claire Healy and Sean Cordeiro.

ART SPACE ON THE CONCOURSE 409 Victoria Avenue, Chatswood (next to Box Office) VISIT www.willoughby.nsw. gov.au/Events/Persistenceof-vision-The-Sleep-ofReason-Produces-Monsters ChatswoodNSW ChatswoodNSW IMAGE: Claire Healy and Sean Cordeiro, Enfield Poltergeist (detail), 2023, repurposed Lego A Willoughby City Council curated exhibition, presented in partnership with Chatswood Culture Bites. Chatswood Culture Bites is Willoughby City Council’s innovative program of music, theatre, comedy and more in Chatswood CBD.

willoughby.nsw.gov.au

NEW S OUTH WALES

King Street Gallery on William

Lavendar Bay Society www.royalart.com.au

www.kingstreetgallery.com.au

25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays.

177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. See our website for latest information.

Kyungja Chun, Portrait Woman, 1985, colour on paper, 45.5 x 60.8 cm. Jongsang Lee, Loijin Jeun, Jongtae Choi, Taijung Um, Euisoon Choi, Shinja Lee, Chankyun Kang, Changryun Kwon, Seungjoong Yoon, Hwanki Kim, Youngkuk Yoo, Seoungwoo Oh, Kyungja Chun, Seok Suh, Chongyoung Kim, Soonsuk Lee, Jaihyung Sohn.

John Bokor, After the Party, oil on board, 80 x 60 cm, 2022. 4 July–29 July John Bokor

Wendy Sharpe, 3 Fates with suburban street, 2023, oil on linen, 122 x 137 cm. 1 August–26 August Wheel of Fortune Wendy Sharpe

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 Entry. 21 July–8 September Archetypes: a special exhibition by the National Academy of Arts, Republic of Korea Myeungro Yoon, Heeyoung Yoo, Kwangjin Park, Souckchin Kim, Sanghwa Chung,

In partnership with the National Academy of Arts, Republic of Korea (NAA), the Korean Cultural Centre (KCC) Australia presents Archetypes, an exhibition that highlights a rich range of Korean contemporary art by 22 pioneering Korean artists who attempted to overcome reality amid rapidly changing times. Archetypes encompasses a wide array of artistic mediums, including paintings, sculptures, craft, calligraphy, and architecture. With a combination of newly created pieces presented alongside key existing works, the exhibition showcases a total of 32 works unveiling the legitimacy and modernity of Korean art while highlighting its significant impact on the establishment of Korean contemporary art. Established in 1954, the NAA is dedicated to recognising and honouring artists who have made significant contributions to the development of culture and the arts. As a prominent organisation representing culture and arts, the NAA boasts 79 members across various fields such as literature, art, music, theatre, film, and dance. Only senior artists who have rendered meritorious services in artistic creation can be elected as members. Featuring 14 current members of the art division of the NAA including Myeungro Yoon, Heeyoung Yoo, Kwangjin Park, Souckchin Kim, Sanghwa Chung, Jongsang Lee, Loijin Jeun, Jongtae Choi, Taijung Um, Euisoon Choi, Shinja Lee, Chankyun Kang, Changryun Kwon, Seungjoong Yoon, Archetypes also brings together a collection of works by seminal former members of the NAA, such as Hwanki Kim, Youngkuk Yoo, Seoungwoo Oh, Kyungja Chun, Seok Suh, Chongyoung Kim, Soonsuk Lee, Jaihyung Sohn.

John Perkins FRAS, Wattle. Viewing all July ‘Art Ballot Fundraiser’ at the RAS $400 per ticket everyone chooses a painting. It’s exciting to be part of this unique event. July viewing every day. Draw on Sunday 6 August at 12 noon sharp. View paintings on our website. Enquiries to lavender@royalart.com.au

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.

COLLECT, Installation view. Photograph: Wanagi Zable-Andrews. 2 June–16 July COLLECT Featuring nearly 100 Hunter-based artists, COLLECT is The Lock-Up’s annual fundraiser. 26 May–27 May Hysteria / Catapult Dance Alysha Fewster, Angie Diaz, Jasmin Sheppard and Maddison Fraser. 185

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daniel weber 2023

danielweberpaintings.com Phantom by Daniel Weber

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Shan Turner-Carroll and Ryota Sato, My blanket is shrinking. 4 August–8 October SIGNALS FROM Shan Turner-Carroll and Ryota Sato

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

William Dobell, Russell Drysdale, Ian Howard, Hendrik Kolenberg, Lisa Jones, Dan Kyle, Nathalie Hartog-Gautier, Francis Lymburner, Euan Macleod, Michael Muir, Trevor Nickolls, Peter O’Doherty, Susan O’Doherty, Sue Pedley and Phaptawan Suwannakudt, Lloyd Rees, Paul Ryan, Gary Shinfield, Jeffrey Smart, Patrick Shirvington, Brett Whiteley, Hayden Wilson, Can Yalcinkaya and more Curatorium: Rhonda Davis, Kon Gouriotis, Leonard Janiszewksi, Tom Murray, Andrew Simpson. A major exhibition that explores the act of drawing in its compulsion, innovation and intimacy within the context of production. We want to expand the concept of what constitutes a drawing and its fusion within a range of artistic endeavours. Making connections between historical and contemporary drawings from the permanent collection and invited artists Re-Drawn resonates with the challenge of what constitutes a drawing. In partnership with the Creative Documentary Research Centre, Macquarie University and Cowra Regional Art Gallery.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–2pm. Free entry, donations always welcomed. See our website for latest information. Like much of the city of Maitland, Maitland Regional Art Gallery has a fascinating history. Architecturally, the Gallery building is one of the most significant buildings in Maitland and at the time of opening was described as one of the finest buildings of its kind in the State.

Euan Macleod, Large floating figure, 1998-1999, oil on polyester, Maitland Regional Art Gallery Collection, with model in a 1970s jumpsuit, courtesy of the Australian Museum of Clothing and Textiles Collection. 26 August–29 October Collecting in Colour: Stories of Fashion and Art Various artist from the Maitland Regional Art Gallery Collection.

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

10 June–13 August Upriver Downriver Various artists including Una Rey, Todd Fuller, Lucas Grogan, Michael Bell, Sally Bourke and James Drinkwater – to name a few.

Blak Douglas, #6 (Past code), 2023, synthetic ploymer paints on canvas, 71 x 101 cm. Until 30 July Blak Douglas: Inverted Commoners A.H. Vincent, Portrait of Albert Fullwood, 1894, pen, ink and wash on card. Macquarie University Art Collection, Donated through the Australian Government’s Cultural Gifts Program by Denis Savill, 2017. Photograph: Effy Alexakis, Photowrite.

Vincent Namatjira and Ben Quilty, The Crown, 2022, oil on linen.

12 July–31 August Re-Drawn John Brack, Jacqueline Balassa, Joanna Braithwaite, Dean Brown, Anthony Cahill, Mark Davis, Janet Dawson, Rhonda Dee,

26 August–5 November Crownland Karla Dickens, Vincent Namatjira, Ben Quilty, Andrew Quilty, Megan Cope and Jake Chapman.

The narrative of Gayamay/Manly Cove viewed from a First Nations perspective brings to the fore issues of place and displacement. In Inverted Commoners, Dhungatti artist Blak Douglas examines Australian identity through Gayamay/ Manly Cove as a site of first contact, finding connections to place as a platform for discussion and debate. MAG&M’s external Art Wall has transformed into a 24/7 public artwork. This exhibition is supported by the Aboriginal Heritage Office and Colormaker Industries. 187

Sculpture In Focus 9 August to 27 August Sculpture Exhibition at the Incinerator Artspace Opening party Saturday 12 August from 2pm to 4pm.

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 Chris Cowell, Sound of Ice, thermoplastics, copper wire, timber.

Willoughby City Council is gratefully acknowledged for the provision of Incinerator Art Space.

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wash to investigate Self, and the ideas of ‘other’ in this time and space.

Until 30 July Ink in the Lines Behind every tattoo is a story. This photographic exhibition shares the stories of Australia’s military veterans through their tattoos. These tattoos are as personal and unique as the stories they convey. The narrative is divided into four major themes - identity and belonging, mateship and family, loss, grief and commemoration, and healing. An Australian War Memorial Touring Exhibition.

22 June—12 August Winter Group Exhibition The Winter Group Exhibition includes new works by Gallery Artists including Ildiko Kovacs, Troy Emery, and Sam Michelle, and introducing the work of Tia Ansell and Emma Fitts. 17 August—9 September New Light Ildiko Kovacs

Until 10 September Maddison Gibbs

4 August—27 August Environmental Art & Design Prize 2023

Proud Gunu Baakandji women, artist and activist Maddison Gibbs newly commissioned work will focus on the Menindee fish kills, memorialising the life and journey of each fish that has been killed.

New works by artists and designers across Australia focused on the climate emergency, environmental regeneration, and the circular economy. 2023 Judges are leading creative practitioners and thinkers; First Nations curator Emily McDaniel, industrial designers Adam Goodrum, and multidisciplinary Australian visual artist Caroline Rothwell. Presented across three Northern Beaches’ arts venues: Manly Art Gallery & Museum, Curl Curl Creative Space and Mona Vale Creative Space Gallery.

Mosman Art Gallery

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

www.mosmanartgallery.org.au

17 August—9 September Dan Kyle

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. 10 March–16 July No Easy Answers Group show: Ella Barclay (AU), Christopher Hanrahan (AU/USA), Vera Hong (AU), Tracey Moffatt (AU/USA), Vitche-Boul Ra (USA), Wilmer Wilson IV (USA).

1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Weds open until 8pm. Closed public holidays.

No Easy Answers explores art as a way of thinking. Bringing together six artists from across Australia and the United States, it makes the case for art as a necessary strategy in confronting contemporary challenges that have no easy answers. Responding to the human tendency to fill gaps in knowledge and understanding with superstitious beliefs, conspiracy theories and polarized politics, these artists break apart the invisible structures that constrain comprehension of our contemporary moment.

Until 10 September Yasmin Smith Yasmin Smiths works are a visual manifestation of the environmental and human history of a particular site. Her exhibition features newly commissioned works that focus on the sea kelp of Mosman’s harbour bays and the angophora forests at Booragy (Bradleys Head). Until 10 September Unseen Khaled Sabsabi Coffee covers the floor of the Gallery amidst a series of portraits that are anonymised and veiled by a layer of coffee

Dan Kyle, The lightest waters, 2023, oil and mixed media on canvas, 180 x 120 cm.

Tia Ansell, Hudson, 2023, acrylic on handwoven cotton weaving, aluminium, 33 x 22 x 6 cm.

12 May–8 October Home Group show: Auriel Alford, Brook Andrew, 189

ar t g ui d e .c o m . au Murray Art Museum Albury continued...

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Mon, Wed to Sun, 10am–5pm, Fri until 9pm. Closed Tuesdays.

John Rigby, Red and Black Interior, 1966, oil paint on masonite. Image by Jeremy Weihrauch, Murray Art Museum Albury Collection. Purchased through the Albury Art Prize, 1967. Jack Bennett, Alan Thomas Bernaldo, Kate Breakey, Ernest Buckmaster, Katthy Cavaliere, Fred Cress, Olive Cotton, Destiny Deacon, Russell Drysdale, Max Dupain, Cherine Fahd, Bruce Fletcher, Nicole Foreshew, Nornie Gude, Carol Hamilton, Patrick Hartigan, Margaret Olley, John Rigby, David Strachan, Salome Tanuvasa. Works from the Murray Art Museum Albury Collection that remind us that home does not always need to be made of brick and mortar – it can be a sense of belonging, a fleeting memory, the people around us, or the ground under our feet.

31 March–9 July The National 4: Australian Art Now Hoda Afshar (VIC), Daniel Boyd (NSW), Eugene Carchesio (QLD), Allison Chhorn (SA), Léuli Eshrāghi (NT/QLD/Canada), Ivi (QLD/Aotearoa/Tonga), Diena Georgetti (VIC), Simryn Gill (NSW/Malaysia), Jilamara Arts and Crafts Association (NT), Mia Salsjö (VIC), Kieren Seymour (VIC), Nicholas Smith (VIC/USA), Isabelle Sully (The Netherlands/VIC), Amanda Williams (NSW), Rudi Williams (VIC) Featuring new commissions and recent works by an intergenerational and culturally diverse group of artists and collectives, The National 4: Australian Art Now reflects how artists are responding to some of the most urgent and critical ideas of our times, imagining new ways of seeing and being in the world at a time of unprecedented change.

Zoe Leonard, Al río / To the River, (detail), 2016–2022, gelatin silver prints,C-prints and inkjet prints, production supported by Mudam Luxembourg – Musée d’ArtModerne Grand-Duc Jean, Musée d’Art Moderne de Paris, Paris Musées, Museum ofContemporary Art Australia, Graham Foundation for Advanced Studies in the Fine Arts, JohnSimon Guggenheim Memorial Foundation, Galerie Gisela Capitain and Hauser & Wirth. Image courtesy the artist, Galerie Gisela Capitain, and Hauser & Wirth, © Zoe Leonard. acclaimed American artist Zoe Leonard presents her large-scale photographic work Al río / To the River. Leonard’s complex and nuanced portrait of the river, which forms a border between Mexico and the United States of America, is a visually poetic and probing meditation on the river’s broader role as a site of agriculture, commerce, culture, policing and surveillance.

Muswellbrook Regional Arts Centre www.artgallery.muswellbrook. nsw.gov.au

Susie Losch, New Old Stock, 2019, Installation view, Murray Art Museum Albury. 9 June–28 April 2024 Kids Gallery: Susie Losch MAMA’s popular Kids Gallery welcomes its second artist commission. Susie Losch is an artist who knows how to play! Her studio is filled with curiosities and objects collected for future inspiration. She is always looking at the beauty and usefulness of everyday things; seeing possibilities in shape and form and the vibrant colours with an endless sense of experimentation and discovery. 28 July–26 November Newell Harry: Esperanto MAMA presents the largest solo project to date by the internationally celebrated contemporary artist. Newell Harry is an Australian born artist of South African and Mauritian descent. The exhibition features a series of text works, found archival film, photographs and objects from the artist’s collection that link artwork and archives by de-stabilising notional hierarchies and acting as a connector in the artist’s web of political, conceptual, and subjective concerns. 190

1–3 Bridge Street, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. See our website for latest information. Naminapu Maymuru-White, Milŋiyawuy 7, 2022, installation view, MCA Collection: Eight Artists, Museum of Contemporary Art Australia, 2023, earth pigments on stringy bark, Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2022, image courtesy the artist and Museum of Contemporary Art Australia, © the artist, photograph: Jessica Maurer. 17 March—20 August MCA Collection: Eight Artists Sally Gabori, Raelene Kerinauia Lampuwatu, Emily Kame Kngwarreye, Naminapu Maymuru-White, Sandra Selig, Esme Timbery Judith Wright, Gulumbu Yunupiŋu Bringing together eight Australian artists drawn primarily from the MCA Collection, MCA Collection: Eight Artists features works which respond to notions of seriality, repetition and return. Diverse in their subject matter and materiality, they are also connected by their bold use of colour and form. 11 August—5 November Zoe Leonard: Al río / To the River For her first exhibition in Australia,

3 July–26 August Mullins Conceptual Photography Prize 2023 The Australian Photographic Society’s Mullins Conceptual Photography Prize is a national $25,000 acquisitive prize that seeks to find Australia’s best conceptual photographic works. Finalists of the prize are exhibited annually at Muswellbrook Regional Arts Centre with the prize-winning work joining the Muswellbrook Shire Art Collection, and a collection of contemporary photographic works acquired through the Muswellbrook Photographic Award (1987 – 2014). Means of work presentation are unrestricted, inviting photographers to illustrate the intent of their works through a myriad of mediums. 3 July–21 October Flurries: Hanna Kay Flurries, a new series of works by artist Hanna Kay, derives its inspiration from seasonal cycles connected to natural processes of growth, decay, and regeneration. ‘The cascading leaves and the swaying grasses in the artworks are an aesthetic expression of the tensions I observe in my immediate surroundings in the Upper

NEW S OUTH WALES

Nanda\Hobbs www.nandahobbs.com

Hanna Kay, Flurry 1, 2023, oil and tempera on linen, 100 x 200 cm.

12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 See our website for latest information.

Hunter Valley, and other parts of the country. They reflect the ambiguities that are innate to the working of the natural elements in particular as they are induced by breezes, by the dry and by the wet.’ – Hanna Kay.

Gordon Hookey, Jennifer Herd, Tony Albert, Megan Cope, Richard Bell, Vernon Ah Kee (left to right). Photo by Rhett Hammerton. provoking, subverting and re- thinking what it means to be a ‘contemporary Aboriginal artist’.

With the use of tempera oils to create depth, Hanna Kay masterfully paints atmospheric and immersive artworks that reveal the often overlooked scenes of nature, inviting viewers to contemplate the subtlety of the their own environments. Development of work supported by the Arts Upper Hunter Micro Grants Program and the NSW Government.

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.

Braddon Snape, Redline Suppression, 2023, welded, cold inflate and mirror polished stainless, steel, painted steel and stainless steel hardware, 52 h x 75 w x 14 cm d. 6 July—22 July Suppression Order Braddon Snape 27 July—12 August American Salt - Montauk to the Bowery James Drinkwater Michael Stair, Spirits Awakened, 2009, acrylic on canvas, 105 x 75 cm. Muswellbrook Shire Art Collection, Muswellbrook Local Art Awards 2017, Purchased by Muswellbrook Shire Council. 8 May–26 August Message Stick: Works by First Nations Artists Message Stick: Works by First Nations Artists, brings together works from the collections by local First Nations people, alongside the work of Aboriginal and Torres Strait Islander inmates participating in the Gundi Program at St Heliers Correctional Centre. Works from the collections include the Gamilaroi artist Maria De Vries’s Message Stick, along with original work reinterpreted as public artworks for permanent display by George Anderson (Muswellbrook Reconciliation Mural), and Denise Hedges (Sunset). Recent works from St Heliers’ Gundi Program are featured in recognition of a renewed, and now continuing partnership between Muswellbrook Regional Arts Centre and St Heliers Correctional Centre. The works in Message Stick meld the ancient with the contemporary in a celebration of culture and Country.

2 June—27 August Three Echoes: Western Desert Art Various Three Echoes – Western Desert Art showcases Australian Aboriginal art spanning the first 30 years of the Western Desert art movement, with works from 57 artists, curated by Djon Mundine OAM FAHA. It is a stunning exhibition exploring the poetic notion of echoes – how metaphorically and metaphonically we can echo a thought, a sentiment, or a consciousness.

17 August—30 August CUTOUTS Tom Adair

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, NSW 2010 02 9339 8686 Mon to Sat 11am–5pm. Free admission. See our website for latest information. 24 June–5 August Occurrent Affair Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey, Laurie Nilsen OCCURRENT AFFAIR is a major exhibition featuring new and recent works by Brisbane-established 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

Ali Tahayori, Sisterhood, 2021, pigment inkjet print. Courtesy the artist. 2 June—3 September EMANATE: Recent graduates from the National Art School Alexandra James, Alexandra Michael, Ali Tahayori, Alyssa Jarjoura, Judy-Ann Moule, Justine Roche, Kate Coyne, Lynsey McGee, Phoebe Lockwood, Shelley Bowles. EMANATE illuminates and celebrates the conceptual and material concerns of a new creative generation, presenting the fresh and bold work of emerging 191

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15 July–10 September Ingrid Morley

artists who have recently graduated from the National Art School (NAS), Sydney. EMANATE showcases the works of ten graduating students, drawn from across the full range of disciplines taught at NAS including painting, sculpture, ceramics, photo media and printmaking.

An exhibition of new and innovative work by Ingrid Morley.

program. The exhibition For our Elders, it’s in our hands explores the stories, Cultural Practices and wisdom from Elders that have guided the narratives and themes of this exhibition. A reverence for the Connection to Country is evident in each piece. The yearning for language elevates the artworks and provides a sense of identity and cultural growth. Opening 12 July. 10 June–30 June Not Our First Rodeo – Quilt Show Celebrating 20 years Material Girls Coonamble This highly anticipated annual exhibition shows the talented patchwork artists in the region and the stories they tell with fabric and thread. Opening over the June Long Weekend each year this exhibition will celebrate 20 years of Quilt shows in Coonamble with Not Our First Rodeo.

Paul Selwood, Sacred Play, 2009, steel and varnish, 245.5 x 245 cm. 8 July–2 September Abstract: Works from the Permanent Collection Jonathon Larsen, The Wassily chair or Model B3 chair designed by Marcel Breuer in 1925-26 at the Bauhaus, 2023, acrylic on canvas. Courtesy of the artist. 23 June—23 July Chair Jonathon Larsen Jonathon Larsen’s paintings of designer chairs are rendered in fluoro colours reminiscent of a post-pop style. These images of high design are made relatable and accessible using a cartoon-like style somewhere between Keith Haring and Walt Disney. These objects d’ art were to became chattels of an elite but Larsen’s painted representations are repurposed for a broader audience. 2 June—23 July Women in Stitches Juliet D Collins, Maggie Hensel Brown, Giselle Quinto, Ema Shin There is an ongoing revival and reclamation of traditional ‘female’ needlecraft with a new generation reworking and reinterpreting techniques and subject matter. Women in Stitches explores the work of some these contemporary practitioners who infuse their creations with their experiences of life with a focus on female embodiment.

A selection of abstract works for Orange Regional Gallery’s Permanent Collection. 4 August–8 October HERE/NOW Orange Regional Gallery’s annual community exhibition open to artists across Central West NSW.

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

OutbackArts www.outbackarts.com.au 26 Castlereagh Street, Coonamble NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm. Outback Arts is a non-profit regional arts and cultural development organisation. We work with individuals, organisations and government to generate, promote and advocate for the arts and creative industries in the Far West region of NSW. Michael Swaney, Finger Family 81st, 2022, oil, oil bar, acrylic, spray paint, ball point pen, graphite and gouache on canvas, 150.5 x 140.3 cm. 27 July–13 August Apricot Chakra Michael Swaney

Orange Regional Gallery www.orange.nsw.gov.au/gallery 149 Byng Street, Orange, NSW 2800 [Map 12] 02 6393 8136 Open daily 10am–4pm. 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.

It’s in Our Hands, 2023, superimposed photography of Waabii ChapmanBurgess and Andrew Hull. 12 July–1 September For Our Elders, It’s In Our Hands Adele Waabii Chapman-Burgess, Andrew Hull, Mary Small, Tania Hartigan, Sophie Honess, Rainy King, Veneta Dutton, Frank Wright, Raquel Clarke. Outback Arts Creative Arts Gallery is exhibiting artworks, objects and artefacts carefully curated by ten first nations artists and emerging curators as part of the first nations led curatorial intensive

Humberto Poblete-Bustamante, Untitled, 2023, oil on canvas, 200 × 250 cm. 17 August–3 September Humberto Poblete-Bustamante 193

KEN DONE

Yellow coral, 2023, oil and acrylic on linen, 50 x 40cm.

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

kendone.com

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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. See our website for latest information.

Filmed as a meditation on the art of walking, Ecce Red Hill, a short film by Frances Wild and Carol Williamson, follows a group of women who join forces to summit their local nature reserve in a weekly quest for wellness, friendship and a deeper connection to the landscape and one another.

Until 15 July Jacob took seven minutes before he could piss Dale Frank

Graham Gall, Spotted Pardolote. Our forest in focus, 2023. 1 July–22 July Our Forest in focus – the wildlife that calls them home The Canberra Tree Network

David Noonan, Mina, 2023, liquid pigment on hand-dyed fabric, aluminium frame, 42 x 57 x 35 cm.

The Canberra Tree Network is proud to present a photography exhibition showcasing some of the region’s spectacular trees and the creatures who live in them. This exhibition is a collaboration between ACT Government and Government House, Canberra Institute of Technology, Yarralumla Nursery, Australian Botanical Gardens, Queanbeyan–Palerang Regional Council, the National Arboretum Canberra, ANU, ACT Parks and Conservation Service. The stunning 22 photos were taken by local photographer Graham Gall.

Rodney Pople, FF descending a staircase (Felicity Fenner, curator), oil on linen, 207 x 141 cm. The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. Principal Sponsor: Holding Redlich.

21 July–19 August MASKEN David Noonan 25 August–23 September Tom Polo 25 August–23 September Sarah Contos

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. 1 July–8 July Ecce Red Hill Frances Wild and Carol Williamson.

Katie Volter, Cheeky Chap. 29 July–19 August Endless Possibilities All Sorts Artist Collective The Allsorts are a collective of artists from Canberra and surrounds. The exhibition Endless Possibilities reflects the diverse styles of the group’s work through their approach to nature of the area.

S.H. Ervin Gallery 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. Until July 23 Salon des Refusés: The ‘alternative’ Archibald and Wynne Prize selection

Megan Cope, Flight or Fight #1, Old Rivers, Deep Water (Lake Qadisiya & Lake Assad), 2018-2019, used engine oil, ink and acrylic on paper and linen, mounted in North Stradbroke Island blue gum, 121 x 103 cm. 29 July–10 September Art in Conflict Art in Conflict is a touring exhibition of contemporary art from the collection of the Australian War Memorial. Three major bodies of work debut in this exhibition: two recent official war art commissions – Susan Norrie (Iraq, 2016) and Megan Cope (Middle East, 2017) – and a landmark 195

Works now available by: D Boyd, R Dickerson, R Crooke, G Gittoes, B Whiteley, M Woodward, W Coleman, J Coburn, S Nolan, J Olsen, C Canning, G Shead, V Rubin, P Griffith, R Harvey, T Irving, S Paxton, S West, M Winch, S Buchan, M Perceval, S Weaver, S Dunlop, M Worrall, M Zavros and many others

2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au Robert Dickerson, “Japanese Ladies”, Pastel on Paper, 94x68cm

fmelasgallery.com.au

Art Ballot Fundraiser at the Royal Art Society $400 per ticket everyone chooses a painting. It’s exciting to be part of this unique event. July viewing every day. Draw on Sunday 6 August 12noon. Catherine Harry FRAS, Sydney Harbour.

Warwick Fuller FRAS, Shadows Across Old Bathurst Road.

Enquiries to lavender@royalart.com.au – View paintings on website www.royalart.com.au

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

NEW S OUTH WALES S.H. Ervin Gallery continued... commemorative work by Angelica Mesiti. A showcase of diverse responses to war, the exhibition includes more than 70 paintings, drawings, films, prints, photography and sculptures. Leading Australian artists are represented such as Khadim Ali, Rushdi Anwar, eX de Medici, Denise Green, Richard Lewer, Mike Parr and Ben Quilty. Aboriginal and Torres Strait Islander art, a collection priority for the Memorial in recent years, is featured, with works by Tony Albert, Paddy Bedford, Robert Campbell Jr, Michael Cook, Shirley Macnamara and Betty Muffler.

Shoalhaven Regional Gallery, Nowra

1 July—22 July Creative Moments Shoalhaven Woodcraft Society, Nowra Spinners & Weavers and Shoalhaven Potters.

South East Centre for Contemporary Art – SECCA

curated solo, group and represented artist exhibitions. The gallery was established to create a space that not only supports artists by providing a professional gallery in which to exhibit and sell their artwork, but also to produce exhibitions for audiences that challenge, explore and investigate contemporary ideas and concepts. 24 June—16 July Marlene Houston, Fleur Stevenson, Katrina Holden

www.secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Sun 10am–5pm.

www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra NSW 2541 [Map 12] 02 4429 5444 Tues to Fri 10am–4pm, Sat 10am–2pm. Free entry.

Susan Ryman, Songstress. Dean Cross, gunalgunal (A Contracted Field), installation 2021-22, Sydney and Adelaide. Photograph: Saul Steed. Opening Soon Perforated Sovereignty Katherine Boland, Eric Bridgeman, Susan Chancellor, Lissy Cole and Rudi Robinson, Dean Cross, Cheryl Davison, Timo Hogan, Jumaadi, Sang Hyun Lee, Maharani Mancanagara, Noŋgirrŋa Marawili, Emily Phyo, Dias Prabu, Citra Samistra, Greg Semu and Mr Wanambi.

22 July—13 August Barbara Nanshe, Memento Mori curated by Laura Wilson and Ahn Wells, Susan Ryman.

STATION www.stationgallery. com.au 91 Campbell Street, Surry Hills, NSW 2010 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm. See our website for latest information. Tim Rushby-Smith, Stunning rural and mountain views (Regent Honeyeater), 2020, banner vinyl collage on plywood. 1 July—22 July Interconnected Anne Richmond, Tim Rushby-Smith, Penny Sadubin and Leanne Waterhouse

22 July—12 August Nuestro Consuelo, Mi Consuelo Nadia Hernández 19 August—16 September Dry Bones, Crying Stones Adam Lee

Straitjacket www.straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 0434 886 450 Thu to Fri 11am–7pm. Sat & Sun 11am–5pm. See our website for latest information.

Elena Fletcher-Carter, vessel in feeneys clay dark stoneware.

Straitjacket is an art partnership run by two artists: Dino Consalvo and Ahn Wells in Newcastle, NSW Australia. We present

Lezlie Tilley, Razzle Dazzle. 19 August—10 September Daniella Cristallo, Lezlie Tilley, Ron Royes, Kara Wood

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. See our website for latest information. 27 July—2 August hauslieder Kirsten Coelho 13 July—2 August Tim Silver 197

Guy Brown New Work Grace Burzese Another Cosmos 12 July–29 July Opening event: 8 July, 4–6pm

Guy Brown, Bubbles the Rabbit, oil on canvas, 50x40cm oil on canvas, 40x50cm.

FLINDERS STREET GALLERY 61 Flinders Street, Surry Hills, NSW 2010 Wed to Sat 11am – 6pm or by appointment. p: 02 9380 5663 flindersstgallery www.flindersstreetgallery.com info@flindersstreetgallery.com flindersstreetgallery.com

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Tin Sheds Gallery

Sullivan + Strumpf, Sydney continued...

www.sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 11am–5pm, Sat 12pm–5pm.

Stephen Hartup. Image courtesy of the artist. 6 July–29 July Stephen Hartup Lynda Draper, Relic, ceramic, various glazes, 58 x 62 x 62 cm. 24 August—6 September Drifting Moon Lynda Draper

Studio Altenburg Fine Art Gallery www.studioaltenburg.com.au 104 Wallace Street, Braidwood, NSW 2622 [Map 11] 0413 943 158 Thur to Sun 10am–3pm. Closed Mon to Wed.

3 August–26 August Culture Kitchen and Taring Padi

Tamworth Regional Gallery 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. See our website for latest information.

The Tin Sheds Gallery provides a platform for public debates about the role of architecture, art, design and urbanism in contemporary society through the production of innovative exhibitions, publications and related activities. 18 May—8 July Fossil Fables This exhibition explores fossil fuel extraction in Australia today, using architectural approaches and tools to tell stories of scale, space and matter. Fossil Fables involves research developed by the Global Extraction Observatory (GEO), a collective led by Eduardo Kairuz and Sam Spurr examining the effects of resource extraction through creative practice, scholarship, and engagement. In this exhibition, GEO grapples with the challenges of energy production and carbon ideologies in a time of climate crisis. These works explore the entanglement of history, myth, politics, and the economic and material issues with play out in the shaping of Australia’s unique national ethos and identity.

Transformation of 530 Dwellings, Bordeaux, France, photo by Philippe Ruault 2015

Catherine O’Donnell, Glenbrook Window #1, 2021, charcoal on paper, 75 x 46 cm, (unframed). Courtesy of the Artist and Dominik Mersch Gallery. Winner of the 2022 JADA. 3 June—27 August 2022 Jacaranda Acquisitive Drawing Award (JADA) A Grafton Regional Gallery touring exhibition 1 July—20 August Dhurranmay-Gal Dhirrabuu (Outstanding Leaders) Tamworth NAIDOC Committee 2023 Julian Laffan. Image courtesy of the artist and Culture Kitchen Collective.

26 August—15 October Weaving Eucalypts Project Liz Williamson

27 July—3 September Lacaton & Vassal: Living in the City This exhibition presents three years of teaching and research framed by inaugural Rothwell co-chairs Anne Lacaton & Jean-Philippe Vassal at the University of Sydney School of Architecture, Design, and Planning. Connecting Lacaton & Vassal’s architectural projects, documentary films, research, and studio investigations focused on the Sirius Building and the Waterloo Housing Estate, Lacaton & Vassal: Living in the City illuminates a method based on close attention, transformation rather than demolition, and provision of the highest quality of living space. It foregrounds a critical priority for the Pritzker Prize-winning French architects: Urbanism begins inside each apartment, with quality housing for everyone. Curators: Anne Lacaton, Jean-Philippe Vassal, Hannes Frykholm and Catherine Lassen. Collaborators: Matthew Asimakis, Liat Busqila, Mackenzie Nix, Caitlin Roseby. 199

fyregallery.com

lanecoveartsociety.com.au

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Tweed Regional Gallery & Margaret Olley Art Centre www.gallery.tweed.nsw.gov.au

nature and the ephemeral watermarks she discovered on river rocks during her recovery. Heart Stones shares her creative response to this experience, via a series of relief prints on Japanese Kozo paper.

2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. See our website for latest information. The Tweed Regional Gallery & Margaret Olley Art Centre is housed in a large, modern, architecturally award-winning building with views to Wollumbin / Mount Warning.

Until 27 August Biograph Julie Fragar

14 July—24 September 2023 Olive Cotton Award for photographic portraiture

The Offering highlights iconic works from Stockdale’s extensive practice over the past 15 years and demonstrates the power of imagination and transformation, told through the lens of Stockdale’s formidable storytelling. Until 27 August Keepsakes Hilary Herrmann

4 August—26 November In the Glow of Green Clare Belfrage

Keepsakes by regional artist Hilary Herrmann presents a new body of oil paintings inspired by a box of old photographs. “I stumbled upon memories, vague and half-forgotten. Faces emerged repeated, places too, known and disremembered. There’s no one left to ask, no one to tell me. And hence began a visual conversation, a filling in of the gaps and the cracks and the shaky-in-between places. Maybe a homage, maybe just a keepsake.”

In 2022 artist Clare Belfrage completed a residency in the Gallery’s Nancy Fairfax Artist in Residence Studio (AIR) to undertake research and conceptual development for the creation of new work at home in her Adelaide hot glass studio.

Following a second open-heart surgery in 2021, Saunders found herself drawn to

Until 30 July barangga: First Nations Design Debra Beale, Sharyn Egan, Luke Russell, Leanne Tobin, Yamaji Women: Elvie Dann, Margaret Whitehurst, Barbara Merritt, Jenine Boeree, Charmaine Papertalk Green, Donna Ronan, Nicole Monks & Yarra Monks, Michelle Sims, Chloe Sims This exhibition and workshops series celebrates design and making practices as a vital form of cultural knowledge in First Nations Communities across Australia.

Biograph is the first career survey of Julie Fragar’s work. Mapping more than twenty years of practice, the exhibition assembles key works made between 1998 and 2021, including some previously unexhibited. This major retrospective of Fragar’s distinctive style has been curated by Jonathan McBurnie and is a Perc Tucker Regional Gallery Touring Exhibition.

The Olive Cotton Award is generously funded by the family of Olive Cotton, one of Australia’s leading twentieth century photographers, and aims to show new portraits by professional and emerging artists. The 2023 Award will be the thirteenth Award since the prize inception in 2005.

Until 27 August Heart Stones Robin Saunders

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. See our website for latest information.

This survey exhibition brings together ten years of practice from leading Australian artist James Tylor, exploring the Australian environment, culture, and social history through experimental photographic processes and the remaking of Kaurna cultural design.

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 29 October The Offering Jacqui Stockdale

www.unsw.to/galleries

Until 30 July James Tylor: Turrangka… In the shadows

Until 30 July The River in the Sky Susie Dureau

Jacqui Stockdale, The Offering, 2016, type C print, edition of 8 + 2AP, 140 x 110 cm. ©The artist, Jacqui Stockdale is represented by Olsen Gallery in Sydney, Australia.

UNSW Galleries

Renee So, Learn to Weave ,2019. Image courtesy of the artist and Sandra Cohen, London. Photography: Rob Harris. 18 August–19 November Renee So: Provenance Provenance is the first major exhibition for Renee So in Australia, bringing together over a decade of work inspired by art history, museum collections and popular forms of gendered symbolism.

Until 8 October Margaret Olley: Far from a Still Life This exhibition tells the story of Olley’s incredible life and enduring career through her greatest legacy – her art. Presented exclusively at the Tweed Regional Gallery, to celebrate the 100th anniversary of Margaret Olley’s birthday, the exhibition is drawn entirely from the Tweed Regional Gallery collection.

David Sequeria, History & Infinity, 2022. Image courtesy of the artist. Photograph: Christian Capurro. 18 August–19 November History & Infinity David Sequeira 201

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

She says, ‘I always seek to find new ways to explore my Aboriginal heritage’.

Wentworth Galleries

This exhibition features major works by celebrated Australian artist David Sequeira, who uses languages of colour, space, and geometry to intervene and rethink the narratives of art.

Until 20 August Only a Remnant Nicola Dickson

www.wentworthgalleries.com.au

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

Only a Remnant explores biodiversity loss in the Riverina, centring upon the Box Gum Grassy Woodlands that once covered much of south eastern Australia and were the homelands of Indigenous Peoples including Wiradjuri. Until 20 August River in my mind, in my work Nathalie Hartog-Gautier

61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm.

In River artist Nathalie Hartog-Gautier utilises river landscapes to explore colonised environments and ecological devastation. Her experimentations with surface, medium and technique produces marks both subtle and intimate. Until 20 August HERE NOW: Photobooks for the Future F.Stop HERE NOW is an exhibition of photography by local young people. Over the course of eight weeks, these young artists worked with F.Stop Workshop to explore film and digital photography and bookmaking. Each hand-made book in this collection was created as a record of what life looks and feels like here and now.

Hayden Fowler, New World Order, (production still), 2013, HD digital video, colour, sound, 15 min 17 secs. Until 6 August UnEarthly Hayden Fowler Presenting a survey over nearly two decades of artist Hayden Fowlers career, UnEarthly explores a wide-ranging body of work that invites viewers to engage with the complexity of the human condition and our relationship to the environment around us.

22 July–14 January 2024 Glasshouse/Greenhouse - Maison de Verre Verte Elizabeth Kelly Maison de Verre Verte is the Gallery’s major art glass commission for 2023. Produced using recycled glass tiles, Elizabeth Kelly has created a walk-in Greenhouse, which references to a warming planet and sustainable art practice.

Ken Knight, Waterhole at Sunset, oil on board, 107 x 82 cm. 26 July—6 August Martin Place: Australian Landscape Group Show featuring Ken Knight, Emily Persson, Johnny K, Helen McCarthy, Peter Coad.

15 July–14 January 2024 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.

Juanita McLauchlan, from the series Standing In The Heart Of Seven Generations II (detail) (1 of 15), 2023, wool, thread, possum fur. Photo courtesy James T Farley. Until 20 August gii mara-bula / Heart hand-also Juanita McLauchlan Juanita McLauchlan is an artist of Gamilaraay descent living on Wiradjuri Country. Her prints on blankets, made with dyes from local plants, express generations of Aboriginal memory: behind her, and still to come. Wool and possum-fur necklaces evoke the power of hand-made objects held close to the body. 202

15 July– 12 November Said Hanrahan: Land Management Practice, Choices, Crisis Lorraine Connelly Northey, Wendy Teakel Utilising historic photographs from the collection of the Museum of the Riverina alongside artwork by Lorraine Connelly Northey and Wendy Teakel, Said Hanrahan critiques land management choices since colonisation – and asks us to rethink farming and land care practices.

Antoinette Ferwerda, Cobalt Stellar, mixed media on canvas, 204 x 154 cm. 9 August—19 August This Is Abstract Group Show featuring Antoinette Ferwerda, Harold David, Phil Stallard and Emily Kngwarreye. 23 August—3 September Palla New Works by Palla Jeroff.

NEW S OUTH WALES

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 See our website for latest information.

the very thing we take for granted; sight. Can You Hear What I See? is a body of work that focuses on the beauty of the Bell and Macquarie rivers and the element of water; a matter that Kenworthy can both touch and hear, leaving her mind to imagine what it must look like. The paintings featured in this exhibition are Kenworthy’s interpretations of her surroundings and how the river system are entwined into this. Curated by Mariam Abboud. This is a HomeGround exhibition, produced by the WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental.

Until 22 October Fifty Fine Photographs: Bob Montgomery “I am naive enough to believe that art has a definite relation to what may be called beauty.” - Ansel Adams Bob Montgomery is well known to many as the proprietor of Montgomery’s Photographic Studio which operated in Dubbo for many years. But they may not know that Montgomery produced photographs in his spare time. Inspired by the great American landscape photographer, Ansel Adams (1902 – 1984), Montgomery produced hundreds of photographs of the Australian landscape during family holidays around the country. This exhibition will present a selection of Montgomery’s works that cover a 40 year period. Curated by Kent Buchanan.

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org

Justin Lees, Flowers For His Grave. 4 August—26 August I Saw Your Ghost Tonight Justin Lees I Saw Your Ghost Tonight is an exhibition by artist Justin Lees, a poignant tribute to his late father, Max Lees, a respected horse trainer from Newcastle who passed away two decades ago. Through a diverse range of artistic mediums, Justin delves into the ethereal realm of memory, inviting viewers to embark on a contemplative journey that celebrates the enduring presence of his beloved father. Justin Lees invites you to embrace the ephemeral nature of existence, to honour the presence of those who have departed, and to celebrate the profound connections that transcend time and space. Opening event: 4 August, 6pm–8pm.

Western Plains Cultural Centre, Dubbo www.westernplainsculturalcentre.org

Lucia Dohrmann, Quatrefoil 1 – Weft, 2022, acrylic on canvas, aluminium bars, unravelled, knotted. Courtesy of the artist, Adelaide. Photo: Jacquie Manning. 5 August–15 October Pliable Planes: Expanded Textiles & Fibre Practices

30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.

Pliable Planes draws together twelve Australian practitioners who reimagine practices in textiles and fibre art. The project takes its title from a 1957 essay by Bauhaus artist Anni Albers that sought to rethink the use of weaving through an architectural lens, interpreting textiles as fundamentally structural and endlessly mutable. Using this concept as a point of departure, the exhibition presents the work of contemporary practitioners experimenting with the boundaries of materiality and spatiality through unexpected approaches to making. Curators: Karen Hall & Catherine WoolleyPliable Planes: Expanded Textiles & Fibre Practices is a UNSW Galleries touring exhibition presented with the support of the Australian Government’s Visions of Australia touring initiative, the Australia Council for the Arts, and Museums & Galleries NSW on behalf of the NSW Government. Hailun Ma 马海伦, Xinjiang Cowboys 3, 2019, inkjet print, 69 x 99 cm.

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. Until 30 July Can You Hear What I See?: Kate Kenworthy Can You Hear What I See? is an exhibition by Wellington-based artist, Kate Kenworthy that explores her connection to water. Drawing on her senses of touch and hearing, due to a visual impairment, Kenworthy’s exhibition aims to question

Bob Montgomery, Frost on Paterson’s Curse, Dubbo NSW, 2nd July, 1987. 5” x 4”, Arca Swiss monorail camera with roll film back. Negative #87 362B. Plus-X 120 roll film exposed through a 150mm Sironar-N lens for 1 second @ f22/32 and developed 50% more than normal. Image © Bob Montgomery.

Chen Wei 陈维, In the Waves 2, 2013, archival inkjet print, 150 x 187.5 cm. 203

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Wollongong Art Gallery → Daniel Mudie Cunningham, The Ballad of Technological Dependency, 1998. Production still for video.

White Rabbit Contemporary continued... 30 June–12 November I Am The People Group Exhibition. 28 Artists including, Chen Wei 陈维, Hailun Ma 马海伦 and Shyu Ruey-Shiann 徐瑞憲

Are You There? observes Cunningham’s lifelong practice of enactment, documentation, and memorialisation, addressing varied and shifting socio-political dimensions of queer identity.

What is the future of class in China? At a time when the nation is rapidly transforming into a global economic and political powerhouse, issues of class stratification and social mobility become increasingly urgent.

6 May–12 November An Unbroken Voice: First Nations Works From The Collection

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 and Sun 12pm–4pm. See our website for latest information. 30 June–10 September Are You There?: Daniel Mudie Cunningham Curated By James Gatt Are You There?, the first career survey of Australian artist, curator and writer Daniel Mudie Cunningham. Focusing on Cunningham’s artistic output, the exhibition maps thirty years of practice bringing together videos, photographs and previously unexhibited archival material produced between 1993 and 2023. 204

materials and colour. The artists’ work examines ‘roundness’—exploring interpretations of circularity, curvature, bending— through exploration of shape, space, and colour. Round highlights the problems, questions, and answers of individual art practice, whilst collectively reflecting broader themes and subjects of popular culture, current affairs and global politics.

Richard Dunn, Parts of Speech #2, noun, 2021, digital print, 40cm. Edition of 3 + 1AP. 30 June–17 September ROUND Andrew Christofides, Richard Dunn, Lynne Eastaway, Daniel Hollier, Pollyxenia Joannou, Lisa Jones, Tom Loveday, Hilarie Mais, Dani Marti, Al Munro, Eugenia Raskopoulos, Jacky Redgate and Nuha Saad. Coordinated by Lisa Jones and Tom Loveday. An artist-led exhibition by mid-career artists whose practices include painting, sculpture, construction, installation and video, incorporating diverse media,

Diverse and nuanced stories that speak to the ongoing resilience of First Nations people withstanding Australia’s colonial history of violence, oppression and forced assimilation. While some works evoke a strong cultural continuity through custodianship and ancestral knowledge, others highlight the loss, displacement and trauma suffered by First Nations people taken from their families or incarcerated. 1 April–20 August Reflection: Works From The Collection Recently acquired works which reflect past and present encounters of the Illawarra and the coast. This exhibition includes photographs, ceramics, paintings, prints and installation responding to the beauty of the natural and built environments, with recognition of the rights of First Nations’ peoples. Also included are works rising from the recent bushfire disasters, social experiences of the pandemic and the socio-political landscape of the region.

A–Z Exhibitions

Queensland

JULY/AUGUST 2023

ar t g ui d e .c o m . au and Carol Rosser

19 Karen Contemporary Artspace

12 August–5 November Kara Day: Ladylike 12 August–5 November Stephen Homewood

www.19karen.com.au 19 Karen Avenue, Mermaid Beach, Gold Coast, QLD 4218 [Map 13] 07 5554 5019 Tues to Thurs 10am–5pm, Fri and Sat 10am–2pm. Mini Solo Shows Showcasing a small body of work from a selection of Australian and International artists.

18 August–12 November Zanny Begg: These Stories will be Different 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 www.artspacemackay.com.au

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.

Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat and Sun 10am–3pm. Free entry.

Joaquin Valdez Macher, Hang Out, acrylic on canvas, 60 x 50 cm. Opening 4 October Mini Solo Show 4 Amber Kingi (AUS), Caitlyn Taylor (AUS), Joaquin Valdez Macher (USA), Ju Schnee (Austria), Nector (Colombia), Sean Edward Whelan (AUS), Silas (Netherlands)

Above and Below Gallery

Donna Maree Robinson, The garden of unearthly delights (detail), 2017, digital installation shown at Decade Three, Dalrymple Bay Coal Terminal Illuminate, Mackay. Photo: Rolf Muller. 13 May–6 August Time of Our Lives

www.aboveandbelowgallery.com.au

Hope O’Chin, Metamorphosis of Hope, 2021, acrylic on canvas, 22 x 88 cm. 30 June–13 August Saltwater Dreaming: Recent Works by Dr Hope O’Chin Dr Hope O’Chin (Kabi Kabi /Gubbi Gubbi, Wakka Wakka, Koa, Gugu-Yalanji), known as Aunty Hope in her community, artworks link back to her Mother’s Country of the Sunshine Coast and the Dreaming/ Creation/Spiritual stories embedded within that place and within her.

Shop 12a, Port of Airlie, 33 Port Drive, Airlie Beach QLD 4802 [Map 14] 0419 941 162 Weds to Sat 9am–4pm, Sun 9am–1pm. See our website for latest information.

The Saltwater Dreaming: Recent Works by Dr Hope O’Chin exhibition is a wonderful example of Aunty Hope’s generous

Man Cheung, Phaius australis (swamp orchid), 2017, c-type photographic print mounted on Aluplane, 101 x 75 cm. Mackay Regional Botanic Gardens Collection, donated by the artist, 2017. Image courtesy the artist. 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. 206

13 May–6 August In Bloom 19 May–6 August Dylan Mooney: The Wall 19 May–13 August Fire and Ash: Woodfire Pottery of Arthur

Steven Kepper, Octopus, 2016, ghost net, plastic trellis and wire, 27 x 266 x 54 cm. Image courtesy of the artist and Pormpuraaw Art & Culture Centre.

QUEENSLAND

creative and cultural sharing. The body of work links her People’s story of the first surfer – the Dolphin – to the current – the board surfers of the waves; and how both co-inhabit on the shores of her Country. This exhibition is a visual example of humans and other species working together to maintain the ecosystems of the coastal region. 30 June–13 August Ghost net sculptures from Pormpuraaw On loan from Pormpuraaw Art & Cultural Centre through FireWorks Gallery, Brisbane. Ghost net sculpture started a decade ago and Pormpuraaw was one of the pioneers of this genre. These sculptures focus on utilising recycled materials.

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.

Joyce Ho, Overexposed memory (still), 2015. Purchased 2018. Collection: Queensland Art Gallery. 13 May–22 July Asia Pacific Video Neha Choksi (India), Chim Pom (Japan), Joyce Ho (Taiwan), Takahiko Iimura (Japan), Salote Tawale (Fiji/Australia), Junebum Park (South Korea), Nathan Pohio (New Zealand), UuDam Tran Nguyen (Vietnam), Tsui Kuang-Yu (Taiwan), Yang Zhenzhong (China) Asia Pacific Video, developed by Queensland Art Gallery | Gallery of Modern Art (QAGOMA) focuses on performance, experimentation and theatricality in video art from the 1960s to the present. The exhibition highlights artists experimenting with video as an art form, capturing bodily actions and performative practices, creating intersections between contemporary art and other screen and film cultures, and developing new ways to explore materials, objects and environments. 13 May–22 July Asia Pacific Contemporary: Three Decades of APT on tour Heri Dono (Indonesia), Lee Wen (Singapore), Tracey Moffat (Australia) United States of America), Lorraine Connelly-Northey (Waradgerie, Australia), Tomoko Kashiki (Japan), Michel Tuffery (Aotearoa, New Zealand).

Tomoko Kashiki, I am a rock, 2012.The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2013 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation Photograph: Natasha Harth, QAGOMA. © Tomoko Kashiki. Asia Pacific Contemporary: Three Decades of APT shares highlights from the Queensland Art Gallery | Gallery of Modern Art’s (QAGOMA) long running Asia Pacific Triennial of Contemporary Art (APT) series of exhibitions. Featuring works of art commissioned or collected from APT1 (1993) through to APT10 (2021-22), this diverse travelling exhibition highlights the internationally significant works by leading artists dating from the 1980s to the present day. 5 August–21 October Get me out! Merinda Davies, 110% Collective, Michaela Gleave & Vicki Hallett, Katie Rasch, Erin Coates, Robert Nugent, The Huxleys, Helena Papageorgiou, Spencer Harvie, Ryan Presley, Michael Cook. The outlook for the future can seem bleak, the doomsday clock is currently set at 90 seconds to midnight and there does not seem to be a solution on the table. With this depressing forecast how do we find hope? In Get Me Out!, artists share ways of escape from our current reality - be that through protest, imagining a new future or completely checking out.

David Paulson, Still life & Daffodill II, 2010, oilstick & graphite on paper, 77 x 77 cm.

Samantha Hobson, Night fishing, 2022, acrylic on canvas, 100 x 150 cm. 20 April—13 May Samantha Hobson: Lockhart Nights

Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 0408 287 203 Wed and Sat 12pm–5pm, and Fridays by appointment.

Across diverse practices proposals for new worlds, futurist inspired thinking and science fiction inspired realities will be presented. What possibilities are on the table if we can escape from the current state? Who would benefit and who gets left behind? Here you will find both utopic and dystopic futures some filled with hope and others with humour.

FireWorks Gallery

Vincent Bray, Lilies Upper Ross (detail), 2022, paint on glass, 21 x 29.5 cm.

www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information. 20 April—13 May Morbid Curiosities David Paulson, Glen Mackie, Ian Waldron, Laurie Nilsen Estate, Michael Eather, Michael Nelson Jagamara, Pat Hoffie, Paul Bong, Piyali Ghosh, Rod Moss, Vincent Serico, Yvonne Mills-Stanley.

Anne Lord, Painting 6 (detail), 2023, acrylic on canvas, 100 x 133 cm. 1 July—30 August Swamped to brilliance Vincent Bray, Sylvia Ditchburn, Ann Greig, Margot Laver and Anne Lord. 207

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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.

Gordon Hookey in his studio. Photograph: Rhett Hammerton. Courtesy of the artist and IMA. 9 June–27 August 2023 Gordon Hookey: A MURRIALITY A MURRIALITY is the first survey of renowned Waanyi artist Gordon Hookey. Across sculpture, printmaking, video, and large-scale painting, A MURRIALITY presents perspectives on historical and contemporary issues affecting Aboriginal and Torres Strait Islander peoples. Best known for its biting satire of Australian culture and politics, Hookey’s work interprets the world through the lens of a Murri person, questioning everyday language, cultural representations, legal injustices and international politics. Curated by Liz Nowell and José Da Silva.

artworks from Teho Ropeyarn, Phoebe Paradise, Erika Scott and many more, Origin Story brings together sport and art like you’ve never seen before.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm.

Despite this, systems of surveillance, classification and control extend far beyond prison walls, parole boards and courtrooms. They are embedded in archives, bureaucratic procedures, and the documents that record a person’s lived experience. You’ll Know It When You Feel It unveils the ineptitude of ‘official records’ and resists bureaucratic representations of women whose lives intersect with the Prison Industrial Complex. Emerging over fifteen years, this intimate work has been co-created by artist Raphaela Rosella and several women in her life. From six-minute phone calls to handwritten letters that circulate between Rosella, friends and family, this multi-authored exhibition examines their co-created archive as a site of resistance.

Tempe Manning Self-portrait, (detail), 1939, Art Gallery of New South Wales, purchased with funds provided by the Art Gallery Society of NSW 2021. © Estate of Tempe Manning. 15 July—2 October Archie 100: A Century of the Archibald Prize

Institute of Modern Art www.ima.org.au Judith Wright Arts Centre 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 See our website for latest information.

Raf McDonald, How ___ Relates to a Pair of Pants, I’m Not Sure, 2020. Installation view, West Space, Melbourne. Photograph: Aaron Rees. 20 May–19 August the churchie emerging art prize 2023 Alrey Batol, Amanda Bennetts, Dylan Bolger, Luke Brennan, Matthew Brown, Raf McDonald, Corben Mudjandi, Melody Paloma, Roberta Joy Rich, Joel Spring, Jess Tan, Debbie Taylor-Worley and Ash Tower.

Featuring Phillip Piperides, Darren Lockyer, 2011, bronze sculpture. 9 June–27 August Origin Story Nothing says Queensland quite like the colour Maroon. Inspired by our state’s passion for the greatest sporting rivalry of all time, Origin Story brings together artists from across the region to reflect on the cultural contribution of State of Origin to Queensland’s identity. From the tribal costuming of spectatorship to the adulation of our immortal state heroes, Origin Story celebrates the significance of Rugby League within the Fraser Coast community. Featuring commissioned 208

Raphaela Rosella and Tricia Whitton, Tricia, 2019. Courtesy of the artists. 20 May–19 August You’ll Know It When You Feel It Raphaela Rosella with Dayannah Baker Barlow, Kathleen Duncan, Gillianne Laurie, Tammara Macrokanis, Amelia Rosella, Nunjul Townsend, Laurinda Whitton, Tricia Whitton, and family. In Australia and across the globe, demands are growing for a society in which prisons and policing are no longer the solution to the social, economic and political issues in our communities.

the churchie emerging art prize has been renowned for profiling the next generation of contemporary artists since its inception in 1987. One of Australia’s leading prizes for emerging artists, ‘the churchie’ offers a $25,000 prize pool, with the overall winner receiving the major $15,000 non-acquisitive prize. The finalists’ exhibition surveys the compelling and diverse work being produced by early-career artists today. Curated by Sebastian Henry-Jones, the exhibition spans painting, sculpture, video, drawing, printmaking and photography in an examination of the theme of context. This year’s prize will be judged by Tara McDowell, Associate Professor and Director of Curatorial Practice at Monash University.

QUEENSLAND

Logan Art Gallery

Jan Murphy Gallery

Metro Arts

www.loganarts.com.au/artgallery

www.janmurphygallery.com.au

www.metroarts.com.au

Logan Art Gallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm. See our website for latest information.

486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. See our website for latest information.

Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 10am–5pm. See our website for up-to-date gallery opening times and special events in conjunction with these exhibitions.

Our award-winning gallery showcases artworks from many different cultures including works by Aboriginal and Torres Strait Islander artists. It also features touring exhibitions on loan from major galleries and national touring bodies.

Until 15 July This night, this garden of light Jacqueline Hennessy Until 15 July Shape I’m In Adam Lester 18 July–5 August Kungkarangkalpa: Seven Sisters Sylvia Kanytjupai Ken 8 August–26 August Based on a true story Michael Muir 29 August–16 September A change of scenery Louise Tate 29 August–16 September Landscapes Claudia Greathead

Jan Manton Gallery www.janmantonart.com

Sha Sawari, Untitled (from the series archaeology of memory and ongoing), 2022, charcoal and charcoal powder on marine plywood. Image: Louis Lim. 14 June–22 July Archaeology of memory Sha Sawari

54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tues to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

Still water Henri van Noordenburg

Artefacts of the Working Process

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville QLD 4560 07 5442 9211 Daily 10am–5pm.

1 July–31 July Steve Tyerman

World Environment Day posters

28 July–2 September Conflated Toured by the National Exhibitions Touring Support (NETS) Victoria

24 June–15 July Caitlin Franzmann, Elizabeth Willing and James Barth

Steve Tyerman, It Washed Into My Dreams.

Walk gently Rachael Lee and Gillian Richards

Pamela See, John McGuiness Williams and one of his old spots, 2021, Canson Mi-Teintes and cotton rag paper.

Image courtesy of the artists.

Natalie Lavelle, In The Flesh, 2023, acrylic on Italian linen, 137 x 112 cm. 4 July—22 July Flesh for Fantasy Natalie Lavelle

The Pride of Logan Pamela See In space Imman Grashuis

De Gillett Cox, Waterfall. 209

ar t g ui d e .c o m . au Montville Art Gallery continued... Our featured artist for July is Gold Coast based artist Steve Tyerman. Inspired by the wildlife and flora in his hinterland home, and visits to his beloved beaches of Northern NSW, Steve uses thick impasto techniques to create stunning landscapes, full of textured colour and emotion. See new works on display in the gallery or on our website.

treasure-trove, paper boat press. A film commissioned for the exhibition insinuates the viewer into intimate spaces of ceramics themselves. Woven throughout are many makers’ ruminations on how they lost their hearts to this most elementary, seductive material.

Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 4000 07 3339 0800 [Map 18] Mon to Sun 10am–5pm. Free entry.

Clay: Collected Ceramics at Museum of Brisbane. Photo: Katie Bennett. Until 22 October Clay: Collected Ceramics Carl McConnell, Gwyn Hanssen Pigott, Milton Moor, Kevin Grealy, Bonnie Hislop, Nicolette Johnson, Jane du Rand, Kenji Uranishi, Steph Woods and more. Clay: Collected Ceramics is a celebration of ceramics from two collections: Museum of Brisbane’s and Kylie Johnson’s. It is accompanied by Commune, a display of single pieces contributed by more than 300 makers responding to MoB’s largest community callout to date. The many highlights of Clay include a bold grouping selected from the MoB Collection to represent the many shades of brown, featuring works by ten renowned makers including Carl McConnell, Gwyn Hanssen Pigott, Milton Moon, Lyndal Moor and Kevin Grealy. In stunning contrast are newly commissioned and acquired pieces by diverse contemporary makers Bonnie Hislop, Nicolette Johnson, Jane du Rand, Kenji Uranishi and Steph Woods. Flowing throughout is an evolving performative installation by Artist in Residence Jody Rallah. A generous array of objects gleaned from years of collecting speaks of the life of Kylie Johnson, author, poet, traveller and founder of Brisbane 210

5 August–1 October Experimenta : Life Forms Experimenta Life Forms explores the idea of sentience in 21st-century society, showcasing 26 leading Australian and International artists whose work makes a significant contribution to current dialogues about the changing landscape of life as we know it.

1 August–31 August De Gillett Cox De is a Brisbane artist and teacher, and her multi-layered works are vivid and impactful. Large botanical scenes along with Queensland landscapes are shown in bright and evocative colour. New works are arriving for her featured artist month, and can be found on our website as well as on display in the gallery.

Judy Watson created challenging new works for her latest exhibition, using evidence discovered in State archives to bring to light colonial conflicts, the mistruth of terra nullius, and stories of Aboriginal resistance.

The Local at Museum of Brisbane. Photo: Joe Ruckli. Until 21 January 2024 The Local Taloi Havini, Gordon Hookey, Tammy Law, Richard Randall, Noel McKenna, Robert Moore, Judy Watson and more. As Artist in Residence, Taloi Havini was invited to investigate the City of Brisbane and Museum of Brisbane Collections and subsequently developed The Local, framed as an ‘artistic intervention’. She looked at the language of architecture, museum display and curatorial selection. In collaboration with Dirk Yates of Speculative Architecture, Taloi has curated an experience that evokes a scene from inside a Queensland pub. On display are some of the earliest works in the MoB Collections, through to contemporary works that give prominence to Indigenous, women and migrant voices.

Noosa Regional Gallery

NorthSite Contemporary Arts www.northsite.org.au 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. 24 June–19 August Malu Bardthar Dapar | Sea Land Sky Moa Arts, Curated by Aven Noah Jr Through their print, new media and sculptural practices, the artists of Moa investigate and reinterpret Melanesian mark marking, and explore political and sociological storytelling related to Torres Strait culture, history and identity, building upon a rich audio-visual archive of traditional mythology. These senior and emerging artists come together at Moa Arts Centre, (Ngalmun Lagau Minaral) to share moral and spiritual perspectives and materialise observations of environment and daily life through art and culture.

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. 3 June–30 July Warwick Gow : An Ode To DIY An exhibition of photographic works in celebration of the DIY ethic that challenges notions of representation.

Kim Ah Sam, Where our journey takes us, SUPERCUT Window Gallery, installation view, OuterSpace Brisbane, 2022. Documentation by Louis Lim. Judy Watson, Bones (detail). Courtesy of the artist. 3 June–30 July Judy Watson: skeletons Internationally acclaimed Waanyi artist

24 June–19 August Woven Identity Kim Ah Sam Ah Sam’s weaving practice embodies storytelling and knowledge-sharing and is tied to the renewal and reconnection

QUEENSLAND with her father’s country, the Kalkadoon people. Ah Sam explores weaving as a therapeutic practice towards a process of cultural healing and a way to address feelings of disconnection and reconnection with her Country.

Onespace www.onespace.com.au 4/349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–5pm, Sat 11am–5pm or by appointment.

language, is a series of imagery stitched together using cyanotypes, wildflowers and talwalpin (cotton tree) threads. The textile installation captures the changes of plant life in the land and sands of Quandamooka ragi, blooming with the cycles of seasons and abundance.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

Image courtesy of the artist. 1 July–19 August KAIKAI Keemon Williams Keemon Williams (b.1999) is a queer Meanjin (Brisbane) based artist of Koa, Kuku Yalanji and Meriam Mir descent. He utilizes an array of mediums old and new to expand his relationships with location, personal histories and cultural plasticity. Through practice he forges belonging within all parts of the self. 19 June–19 August SOVEREIGNTY Curated by Jamaylya Ballangarry-Kearins In response to the CIAF 2023 theme of “Weaving our stories, claiming our sovereignty”, Ballangarry-Kearins invites female First Nations artists to explore their own perspectives of sovereignty and self-determination - giving thought to the idea that sovereignty is only achievable for colonised indigenous peoples through decolonisation and self-determination.

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.

Len Cook, Set of 3 square vases (detail), 2013, 100-hour wood fire, reduction kiln using pine and black wattle, a. 24 x 10 cm, b. 20 x 11 cm, c. 17 x 10 cm. Collection of the artist. Photography Michael Marzik. Darren Blackman, Fight The Power, 2023. Photo: Ketakii Jewson-Brown. Model: Jarwin Blackman, Gureng Gureng, Wakka Wakka First Nations. Courtesy the artist and Onespace. 7 July–12 August Darren Blackman: Language of intent This month we welcome Darren Blackman’s voice into our gallery program. Darren is a proud Gureng Gureng/Gangalu man from Queensland’s central coast with maternal South Sea Island heritage from Vanuatu. Darren has undertaken a wide-ranging cultural practice incorporating printmaking, ceramics, improv performance, music, and painting. More recently he has become well-known for his text works. His first solo show at Onespace, brings together paintings, screenprints and textiles (boxer’s robes) that address contemporary issues for First Nations peoples. Blackman’s language constantly unpacks the asserted legitimacy of government policy and assuredness of corporate behaviour. In this, the year of the Voice referendum, his work carries quiet but powerful messages. 18 August–2 September Elisa Jane Carmichael: ragi

Winton Boulder Opal specimen, courtesy Queensland Boulder Opal Association 8 July—23 July Queen of Gems Jewellery Design Awards

In late August, early September we present a very vibrant, short season of new work by acclaimed mid-career artist Elisa Jane Carmichael. Her exhibition, titled ragi, comprises 100 cyanotypes that celebrate the seasonal change on Minjerribah. Ragi, meaning ‘bush’ in jandai

12 May–13 August Len Cook: Fire and Rain Len Cook is one of Australia’s foremost woodfired potters. The exhibition Fire and Rain draws together nearly 80 artworks created over 40 years of ceramic practice with loans from public and private collections, as well as key works from the artist’s own collection. The exhibition highlights the artists lifelong passion for wood-fired kilns and pots that are glazed by natural ash deposits over extended firing in traditional Japanese anagama (cave) kilns. Len Cook’s practice encompasses domestic ware, ceramic sculpture inspired by the coral forms of the Great Barrier Reef, and his anagama-fired work.

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. 3 June–19 August Moreton Bay Region Art Prize 2023 The Moreton Bay Region Art Prize is an annual exhibition and prize that supports and celebrates the diverse creative talent of local artists. This exhibition will showcase artwork from 40 artists who have been selected as finalists for the Moreton Bay Art Prize. 211

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Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information.

Exhibition install image, Moreton Bay Region Art Prize 2022, artwork by Anna Turnbull. Photograph: Katie Bennett (Embellysh).

Exhibition view of Fresh Eyes 2021, featuring artwork by Julia Thornton and Ian McClaren. Photography by Embellysh Photography. 26 August–2 December Fresh Eyes Kieron Anderson, Shannon Michaels, Lexie Abel, Gabe Parker

Margaret Olley, Early evening interior, 1997, oil on board , 107 x 76 cm.

In 2023, guest curator Libby Harward will guide artists to consider their own unique views on the Moreton Bay landscape, providing a snapshot of this region for generations to come. Libby Harward is a descendant of the Ngugi people of Mulgumpin (Moreton Island) in the Quandamooka. She has over 20 years experience as a visual artist and arts worker. Harward is the director of Munimba-Ja, an Aboriginal-run gallery, shop front and yarning place on Jinibara Country in Maleny.

www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 24 June—27 August One foot on the ground, one foot in the water A La Trobe Art Institute exhibition toured by NETS Victoria. Curated by Travis Curtin. Eleven contemporary artists present paintings, sculptures, installations and sound works that invoke experiences of loss, impermanence, transience, remembrance, memorialisation and their own expressions of grief. 212

While William Robinson is not widely recognised for depicting the human form in art, one figure is central to his practice and represents the most consistent subject in his oeuvre: his wife Shirley. Love in Life & Art explores how the domestic and aesthetic are intrinsically linked, and how the figure of Shirley Robinson (née Rees, 1936–2022), encapsulates essential aspects of his vision. These artworks are not only visual meditations on the environment in which the artist lives; rather, they pay homage to the broader rhythms of life, nature and love—but, most importantly, to Shirley.

Troy-Anthony Baylis, Two Hearts (Kylie Minogue), 2022, sliced and rewoven acrylic on linen, embroidery cotton, buttons. Courtesy of the artist. Photograph: Grant Hancock. 20 June—1 October Troy-Anthony Baylis: I wanna be adorned Through a powerful assemblage of objects entwined around notions of the body or adornment, this exhibition delves into the textile practice of Troy-Anthony Baylis. The artist traverses disparate sources, from high to low brow and the ground in between – spanning literature, pop music, op shops and haute couture – to imagine a new language and reality; a technicolor dreaming of his own making.

Fresh Eyes is a biennial exhibition that documents the changing landscape of the Moreton Bay region. Four artists connected to this region are invited to reflect on their relationships to this place and the changes they have experienced.

Pinnacles Gallery

Until 27 August Love in Life & Art William Robinson

John Honeywill, Orchid and Japanese Stool, 2023, oil on linen, 112 x 92 cm. 20 June–15 July Margaret Olley John Honeywill

QUT Galleries + Museums www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays.

Alice Lang, Slutz Vote, 2020, marbled paper and acrylic on paper. Courtesy of the artist.

QUEENSLAND 20 June—1 October Flowah Powah: Alice Lang This exhibition borrows from a vibrant counterculture aesthetic that rose out of LA in the 1960s, while playing on a uniquely Australian vernacular, through goading and sometimes humorous painting, text and sculpture. Lang taps into the current political and cultural climate to deliver a high impact visual journey full of kitsch, vulgarism and the absurd, challenging the audience to consider biases and assumptions surrounding heteronormativity, gender roles and body politics in her first major institutional show.

24 June–2 October Michael Zavros: The Favourite GOMA | Ticketed – includes admission to eX de Medici: Beautiful Wickedness.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 3883 5670 Tue to Sat 10am–4pm. See our website for latest information.

Queensland Art Gallery | Gallery of Modern Art

No thrills is a solo exhibition of recent works by Redcliffe-based painter, Jamie Congdon. Through this exhibition, Congdon provides an intimate portrait of his life, focusing on the locations and scenes from his everyday experiences. Imbued with his personality, No Thrills shares irreverent yet honest interpretations of Congdon’s experience living alone, and its associated feelings of idleness, boredom and loneliness. You will be brought into Congdon’s living room, taxi cab and the neighbourhood streets tucked away from Redcliffe’s tourist hotspots. Exhibition developed by Moreton Bay Regional Council.

Redland Art Gallery, Capalaba

www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

GOMA | Ticketed: Admission includes access to both eX de Medici: Beautiful Wickedness and Michael Zavros: The Favourite.

Jane Burton, Motherland #6, 2008. Winner Moreton Bay Region Art Awards 2013, Moreton Bay Regional Council Art Collection. 22 April–2 September Her beauty and her terror Jane Burton, Nici Cumpston, Libby Harward, Katarina Vesterberg, Anna Litwinowicz, Mandy Quadrio, Merri Randall, Samantha Lang, Polly Stanton, Jarrod Van Der Ryken.

eX de Medici, Australia, b.1959, Skull (Blue and Green), 2004, watercolour on Arches paper, 57.5 x 55 cm.Purchased 2004. Queensland Art Gallery Foundation Grant. Collection: Queensland Art Gallery. Gallery of Modern Art. © eX de Medici. 24 June–2 October eX de Medici: Beautiful Wickedness GOMA | Ticketed – includes admission to Michael Zavros: The Favourite.

The Australian landscape can instil fear and inspire awe - it is an ecosystem that is entirely its own. The picture of Australia evoked by Dorothea Mackellar’s prose in ‘My Country’ still rings true more than 100 years later. She is a land that is beautiful and terrifying, she can be harsh just as she is nurturing.

Richard Blundell, Emptiness, 2021, oil on linen. Courtesy of the artist. 13 May—11 July Watersheds: Richard Blundell

For Her beauty and her terror contemporary artists explore the Australian landscape in its extremities, subtleties and forms to consider our connection to it. Exhibition developed by Moreton Bay Regional Council.

Robby-Jane Edwards, Village Serenity, 2022, fabric collage, paint, and stitching. Courtesy of the artist. 15 July—5 September Connected by Thread: SmartArts Creative Textile Group Michael Zavros, Australia, b.1974, V12 Narcissus, 2009, oil on board, 20 x 29.5 x 2 cm. Collection: Art Gallery of New South Wales, Gift of the artist 2013. Donated through the Australian Government’s Cultural Gifts Program. Image courtesy: Michael Zavros. © Michael Zavros.

Jamie Congdon, Nothing to do, 2022. Courtesy of the artist. 24 June–30 September No thrills Jamie Congdon 213

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Redland Art Gallery, Cleveland

by appointment on other days. See our website for latest information.

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.

Robyn Bauer, Scars of a Survivor, charcoal on gesso on card, 84 x 65 cm.

Grace Rosendale, Seedpods Top and Pant, 2019, linen. Courtesy of the artist Hopevale Arts and Cultural Centre and Queensland University of Technology. Model: Magnolia Maymuru. Photograph: Bronwyn Kidd and Virginia Dowzer. design movement that is fast becoming a national fashion phenomenon. Featuring the work of Indigenous artists and designers from the inner city to remote desert art centres, Piinpi highlights the strength and diversity of the rapidly expanding Indigenous fashion and textile industry.

Jordan Azcune, Vision (iv) (detail) 2022, beeswax, pigment, brass, and aluminium. Courtesy of the artist. Photography by Louis Lim. 25 June—13 August Green sky, orange clouds, purple rain Jordan Azcune

20 May–23 July Easton Dunne: Welcome to Paradise. Robyn Bauer, Remember you cannot Look at the Sun – Evening Silhouette, charcoal on paper, 65 x 58 cm. The gallery features continually changing exhibitions of original paintings, drawings, prints and books by mother and daughter Robyn Bauer and Sarah Matsuda. There is a particular focus on Australian subject matter including flora and fauna. See our Instagram @robynbauerstudio2 @sarah. matsuda. Robyn Bauer is well known for her urban landscapes and large charcoal works. Sarah Matsuda is a children’s book illustrator and her original paintings celebrate Australia’s unique landscapes, wildlife and ecology.

Paula Irene Payne, Enclosure, 2022, synthetic polymer paint on canvas. Courtesy of the artist. 25 June—13 August View from the Edge Paula Irene Payne

Robyn Bauer Studio Gallery www.robynbauerstudio.com www.sarahmatsuda.com 54 Latrobe Terrace, Paddington, QLD 4064 0404 016 573 Sat only 9.30am–4.30pm and 214

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. 28 July–22 October Piinpi: Contemporary Australian Indigenous Fashion Created by Bendigo Art Gallery, Piinpi: Contemporary Australian Indigenous Fashion shines a light on Australia’s leading First Nations creatives, and a

Central Queensland-based artist Easton Dunne’s breakthrough works on paper and sculptural installations express the unique experiences, frustrations, and joys of living Queer in regional Australia. Symbols, colours, shapes, and turns of phrase that will be familiar to many people who live rurally and regionally are deconstructed and put together again in quick-witted and Queer-coded contexts. 1 July–15 October Red Rag Press: Women’s Work Utilising North Queensland’s decommissioned letterpress printing equipment, Red Rag Press is for writers, poets, and printmakers. Lead by Townsville artist Sheree Kinlyside, the press facilitates connections with collaborators near and far. Women’s Work showcases the press’s finest editions from over two decades, many now found in major institutions in Australia and the world. 10 June–17 September COLLECTION FOCUS: Paper Planes Paper Planes brings together a selection of works on paper from the Rockhampton Museum of Art Collection to explore several different but related themes. With multiple approaches to form, mark making, abstraction and representation, the 36 artists of Paper Planes explore the graphic sensibility as an expanded response to the world, visually shaping, analysing and commentating through the contained, world-in-miniature of the picture plane. Curated by Jonathan McBurnie.

QUEENSLAND contemporary art textiles and this the second Biennale, reflects a wide range of works related to the textiles medium. The goal of the exhibition is to include innovative work rooted primarily in textiles as well as art that explores unexpected relationships between textiles and other creative disciplines. JamFactory ICON Jessica Loughlin: of light, installation at JamFactory Adelaide, 2022, photograph: Rachel Harris. 19 August–5 November JamFactory ICON Jessica Loughlin: of light (selected works) A studio glass artist for over twenty years, Jessica Loughlin creates ethereal kiln formed glass works that explore her fascination with the beauty of emptiness and her extensive research into light and space. Known for her understated aesthetic, Loughlin takes her artistic cues from the vastness of the Australian landscape and is particularly drawn to the inherent quietness and stillness of the land. This display features a curated selection of works from the major touring exhibition. JamFactory ICON Jessica Loughlin: of light is a JamFactory touring exhibition assisted by the Australian Government through the Australia Council, its arts funding and advisory board.

State Library of Queensland (SLQ) www.slq.qld.gov.au Cultural Centre, Stanley Place, South Bank , Brisbane, QLD 4000 07 3840 7666 9am–5pm Mon to Fri, 10am–5pm Sat and Sun.

IATB23 is proudly produced & managed by Fibre Arts Australia. Michael Schlitz, Fragment xvii, 1996, diptych etching, 76 x 113 cm. Toowoomba Regional Art Gallery, Toowoomba City Collection, 444. © Michael Schlitz. 13 May–13 August These Fragments These Fragments concerns the fragmentary. Each artwork is a whole unto itself, resolved to its creator’s satisfaction, and a fragment, detached for this exhibition from the creature that largely lives in our storerooms, namely Toowoomba Regional Art Gallery – Toowoomba City Collection.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm.

27 May–20 August Guns, Spears & Spectres ‘The past continues to haunt the present’ – Aileen Moreton-Robinson, a Goenpul woman of the Quandamooka people. This exhibition highlights the haunted state of Queensland. It presents works by First Nations artists and colonialist images of dispossession from the Gallery’s collections. 27 May–20 August The Heartbeats of a Shell Necklace: First Nations Adornment This exhibition celebrates First Nations adornment and wearable art, where cultural expression from time immemorial meets present practice. The exhibition title is inspired by Mununjali poet Ellen van Neerven: ‘with shell stringed close / heartbeat close’ (“Oyster Shell Necklace,” 2020).

Alison McDonald, Spill (detail), 2023, Repurposed anodised aluminium containers and acrylic, 195 x 120cm. Photograph: Amanda Galea. 7 July–13 August Belonging: Memory and Loss Alison McDonald For this exhibition, Alison McDonald drew inspiration from moving from home to home many times with her family and experiencing associated loss. McDonald conveys these feelings of loss and memory to once fashionable (but now abandoned) domestic objects from around the era of the artist’s birth.

Bonita Ely. Photograph: Joe Ruckli, 2022. 7 July Portrait of an Artist: Bonita Ely in conversation with Angela Goddard Artist Bonita Ely Artist talk.

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, Tues & Public Hols.

June Lee, Bystander (detail), 2022, thread on resin cast, 24 x 5 x 4 cm each figure. Photograph: Myoung Studio. © June Lee. 15 July–27 August International Art Textile Biennale 2023 The International Art Textile Biennale 2023 seeks to exhibit the best of

Anida Yoeu Ali, Water Birth, The Red Chador: Genesis I, 2019, digital colour print with archival pigment ink, 75 x 112.5 cm. Kaiona Beach, Honolulu, Hawaii, USA. Courtesy of Studio Revolt. Performance and concept: Anida Yoeu Ali. Photograph: Masahiro Sugano. 7 July–13 August The Red Chador: Stranded Anida Yoeu Ali The Red Chador: Stranded presents artist Anida Yoeu Ali as her alter ego The Red Chador, a heroine figure in a sparkling red sequined “Muslim” headdress, who 215

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weekends and public holidays.

responds to Islamophobia through public encounters. As a performance artist, Ali defines her artwork as the public, live moment itself – of durational exchange with audiences, offering and extending her body’s presence, gestures, and importantly, her return of the gaze.

UMI Arts Gallery www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm. UMI Arts is the incubator Aboriginal and Torres Strait Islander Cultural organisation for Far North Queensland, an area that extends north of Cairns to include the Torres Strait Islands, south to Cardwell, west to Camooweal and includes the Gulf and Mt. Isa regions. UMI Arts is a not-for-profit company governed and managed by an Aboriginal and Torres Strait Islander Board and has been operating since 2005.

Mandy Quadrio, Here lies lies, 2019, steel wool, bronze and resin text, dimensions variable. Photo: Louis Lim. Until 12 August Compositional Utterances: Mandy Quadrio, Susan Hawkins and Jan Oliver Compositional Utterances is a site responsive, collaborative exhibition by three artists whose material-led practices share feminist and ecological concerns. Working together as friends, collaborators and peers, Mandy Quadrio, Susan Hawkins and Jan Oliver will bring together their chosen materials as an immersive installation. Curated by Hamish Sawyer.

Makers unrecorded, Shield, spear thrower, firestick, Central Australia and Aurukun. UQ Anthropology Museum Collection. Photos: Carl Warner. 18 August—15 December Anthropocene Linking past and present to shape a better future Megan Cope, Nora Walytjaka Holland, Kunmanara (Niningka) Lewis, Naata Nungurrayi, Ningura Napurrula, Tjunkaya Tapaya, Barrupu Yunupingu, Ray Troll. Documentary film and animated works: Miriam Alexander, Chris Bennie, Dja Dja Wurrung (Djandak Wi), Amy Bruce, Dunghutti/Thunghutti (Macleay Valley interviews).

UQ Art Museum www.art-museum.uq.edu.au UMI Arts member artist Kevin Edmondstone with his artwork in Freshwater Saltwater, 2022, UMI Arts Gallery, Cairns. Courtesy Lovegreen Photography. 7 July–31 August Freshwater Saltwater Freshwater Saltwater is an annual curated group exhibition at UMI Arts showcasing major new artworks by our senior and established member artists. The title reflects a metaphorical ideology of mainland Aboriginal custodians mostly connected to ‘freshwater’ and Torres Strait Islanders who are surrounded by ‘saltwater’.

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.

Ian Frien, The Rose Lake (after Sir Michael Tippett), 2021, ink, gouache, watercolour, graphite and crayon on Arches paper, 80 x 15 cm. Courtesy the artist and Jan Manton Gallery, Brisbane. Until 12 August Ian Friend: Intimate Immensity Ian Friend is best known for his subtle and evocative works on paper. With a fascination for the alchemy of materials and an obsession with hand-made art papers, Friend’s works are made through processes that speak to the artist’s reverence for the materiality of making. A partnership with The Condensery and Moreton Bay Regional Council Art Galleries.

UQ Anthropology Museum www.anthropologymuseum. uq.edu.au Level 1, Michie Building 9, The University of Queensland St Lucia, QLD 4072 07 3365 2674 Mon to Fri 11am–3pm. Closed

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. See our website for latest information.

Mariquita ‘Micki’ Davis, Magellan doesn’t live here, 2017, still from single-channel video with sound. Courtesy of the artist, Yaangar/Los Angeles. 25 July–20 January 2024 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. 217

A–Z Exhibitions

Australian Capital Territory

JULY/AUGUST 2023

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery aarwungallery.com.au 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm. See our website for latest information. ANCA Gallery is a not-for-profit artist-run initiative. The Gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

23 August—10 September Out of the Shadows Megan Munro Out of the Shadows is an exhibition of digital drawings, crochet sculptures and video works. The works reflect Megan Munro’s life as a queer, disabled artist. The exhibition itself will be as accessible as possible for viewers as this is integral to the artist’s work.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Alice Pulvers, Luminescence, oil on canvas, 122 x 122 cm. 5 August–27 August Luminescence Alice Pulvers, Lucy Pulvers, Sophie Pulvers

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

Margaret Hadfield. 1 July—1 August Paintings of France

Olivia Gates, Solomon Gates, Discomfort and longing, 2023, glass and sterling silver, 6 x 6.5 x 2.5 cm. 12 July—30 July Coming home with Metal and Glass Olivia Gates, Solomon Gates Working for the first time collaboratively, sister and brother artists, Olivia and Solomon Gates use this opportunity to expand upon their existing practices of glass and metal to reflect on their concerns for environmental conservation, generational connection with place, and the ongoing ramifications of their colonial lineage, all localised to their home in Kiama, Dharawal Country. 9 August—19 August PIN 9 Show PIN 9 is a contemporary exhibition showcasing the work of 46 visual artists, designers, craft practitioners and makers of all disciplines in an exhibition that focuses on the miniature—wearable artwork that can be pinned to the body.

Sophia Szilagyi, A distant stirring, digital pigment ink on archival rag paper, 90 x 94 cm. 20 July–5 August Sophia Szilagyi Digital prints. 20 July–5 August Dai Li Ceramics. 10 August–26 August Robert Boynes Paintings.

To coincide with the Tour de France. Some of the painters at the Artists Shed have connections or have travelled to France. For some fun we would focus on some wonderful French scenes. Some of the exhibiting artists are Jenny Mossard, Diana Reid-Rowland and Margaret Hadfield. Award winning artist Margaret Hadfield is the principal artist and owner of this enterprising art space. Artist Shed is a large gallery, art supply store and Art School under one roof.

Megan Munro, CPAP Self-portrait, 2022, yarn and fabric, 20 x 40 x 30 cm.

Prue Venables, Black pointed form, limoges porcelain, thrown and altered, 15 x 12 x 24 cm. 219

ar t g ui d e .c o m . au Beaver Galleries continued... 10 August–26 August Prue Venables Porcelain. 31 August–23 September Lucy Culliton / Graeme Drendel Paintings.

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

26 July–8 October WHAT GAVE YOU THAT IDEA Zoe Brand Zoe Brand is a jeweller and artist who explores the performative nature of jewellery through ready-made and text. In this exhibition, Brand adopts traditional gilding techniques to apply text on discarded glass items, flipping notions of trash and treasure. Her interest in conversation and moments of connection find new opportunities through gilded proclamations on former glass-topped tables. Pairing select materials with succinct phrases, her work vacillates between the comic and tragic.

Canberra Potters, Watson Arts Centre www.canberrapotters.com.au

Lisa Sammut, studio detail of work in progress, 2023, hand blown glass, timber, video projection. Courtesy of the artist. 26 July–8 October a circular logic Lisa Sammut Created during her 2023 residency at Canberra Glassworks, Lisa Sammut experiments with glass for the first time to develop a playful exhibition that focuses on the poetic, intuitive and experiential. Incorporating glass, mirror, light and moving image, a circular logic draws on historical images of celestial apparitions, transforming familiar visual language in unexpected ways. Oscillating between the earthly and the otherworldly, a circular logic acts as a conduit for self-reflection with connections formed between maker, viewer, object and cosmos.

1 Aspinall Street, Watson, ACT 2602 [Map 16] 02 6241 1670 Tues to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information.

3-dimensional forms and 2-dimensional works on board.

Until 9 July Variations Susie McMeekin

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information.

Variations explores gentle variations of form through the material exploration of clay and the tradition of woodfiring, unveiling the simple beauty of ceramics.

www.m16artspace.com.au

Julie Pennington, Vessels, midfired ceramic, 2022. Photograph courtesy of the artist.

Studio to Spotlight is an exhibition featuring seven ceramic artists from Canberra Potters, celebrating their unique and diverse clay experiences. Explore the creations of these talented artists as they emerge from their creative sanctuaries to share their ceramic expressions with the world. 24 August–24 September Synergy: Pattern and Patina Sandra McMahon and Christine Murphy

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M16 Artspace

9 June–2 July Bushranger Blue Rory King

13 July–6 August Studio to Spotlight: Canberra Potters Studio Holders Robyn Booth, John Heaney, Jackie Lallemand, Tanya McArthur, Maricelle Olivier, Sue Peachy and Julie Pennington

Zoe Brand, I DIDN’T KNOW WHAT TO SAY/ SO I SAID NOTHING, 2022, pantograph engraved acrylic, cord, paint, plywood, modified shopfitting. Courtesy of the artist.

Sandra McMahon (painting) and Christine Murphy (ceramic), 2023. Photograph courtesy of the artists.

Sharing an appreciation for a minimalist philosophy, Synergy: Pattern and Patina presents the ceramic pieces created by Christine Murphy alongside the paintings by Sandra McMahon. This exhibition explores the relationships between

Lani Shea-An, gourd like a moon, 2023, acrylic on cardboard. Image courtesy of the artist. 9 June–2 July mutual acts: ecologies of a garden Lani Shea-An 9 June–2 July Sensory Bodies Zev Aviv, Isabelle MacKay Sim, Gemma Wheildon, Megan Wilkinson, Samantha Rachele, Samuel Parkhill, Alexander Sarsfield, April Widdup, Beatrice Tucker, Mimir Soboslay Moore, ZHI & Genie Stuart. Performances by Miriam Slater and Shiara Astle. 7 July–30 July Show Offs M16 Artspace Studio Artists Still Life

AUSTRALIAN CAPITAL TERRITORY making us some of the world’s oldest bread-makers. Yet like most Aboriginal stories, this story has been ignored and displaced by Australia’s colonial narrative. This work is about bringing those stories to light. The project has drawn on the work of Uncle Bruce Pascoe and Bill Gammage, key thinkers within the conversation about how south-east Australia is understood.

Programs: 22 July, 12.30pm The ballad of sexual dependency with curator Anne O’Hehir – Talk 22 July, 2pm All the Beauty and the Bloodshed – Film 2 August, 6pm Australian Institute of Architects Gold Medal Lecture – Lecture 26 August, 2pm Death by Hanging (1968) – Film

Isabelle Mackay-Sim, This Dream of Flesh #3 (detail), 2023. Image courtesy of Luis Power. Canberra Art Workshop Out of the Window Hands On Studio Artists Opening Thursday 6 July, 6pm–8pm. 4 August–27 August Step into the Limelight Students from Canberra public schools (preschool to year 12) Opening Thursday 3 August, 6pm–8pm. 1 September–24 September Melody Spangaro ‘überlastung’ (overload) Freya Jobbins & Shani Nottingham

Haegue Yang, Sonic Intermediates – Three Differential Equations, 2020, National Gallery of Australia, Kamberri/ Canberra, purchased 202. © the artist. 27 May–24 September Changing From From To From Haegue Yang Haegue Yang is known for her open, fluid approach to art-making. Her prolific practice synthesises diverse media and subject matter with the ambitious desire to connect disparate locations, periods and styles. Constantly on the move, the Seoul and Berlin-based artist continually seeks out unexplored narratives, processes and materials, combining industrial objects and intensive, craftbased techniques to produce immersive and engaging artworks.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access.

we are of this earth Rosalie Urosevic Opening Thursday 31 August, 6pm–8pm.

National Gallery of Australia 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. 4 March–23 July Untitled (Walam-Wunga.galang) Jonathan Jones untitled (walam-wunga.galang) is a collaborative project with Uncle Stan Grant Senior and Beatrice Murray. It celebrates the south-east cultural practice of collecting seeds, grinding them to make flour, to make bread, feeding our families. This practice has occurred for countless generations in this region. A grindstone believed to be 32,000 years old was unearthed in central New South Wales,

Nan Goldin, Nan and Brian in bed, New York City, 1983, from the series The ballad of sexual dependency, 1973-86, National Gallery of Australia, Kamberri/ Canberra, purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary, 2022. © Nan Goldin. 8 July–28 January 2024 The Ballad Of Sexual Dependency Nan Goldin 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 become part of the National Gallery’s collection. Ongoing The Aboriginal Memorial Ongoing Worldwide

Heidi Margocsy, Brave New World, 2022. 17 June—2 October National Photographic Portrait Prize Group exhibition of finalists. The National Photographic Portrait Prize exhibition is selected from a national field of entries, reflecting the distinctive vision of Australia’s aspiring and professional portrait photographers and the unique nature of their subjects.

Nancy Sever Gallery www.nancysevergallery.com.au Level 1, 131 City Walk, Canberra City, ACT 2601 02 62 62 8448 Wed to Sun 11am–5 pm. See our website for latest information.

Ongoing Australian Art

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Tasmania

JULY/AUGUST 2023

TASMANIA

Bett Gallery www.bettgallery.com.au

9 June–1 July Greed/ Rakus/ Geirig Tisna Sanjaya

Level 1, 65 Murray Street, Hobart, TAS 7000 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Willoh Weiland, Chant, Sandi Sissel ASC, Ursula Woods, 2023.

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. 2023 Selected Artists: Chloe Bonney, 18 March 2023 – 29 April 2023; Xiyue (CiCi) Zhang, 6 May 2023 – 10 June 2023; Sevé de Angelis, 17 June 2023 – 29 July 2023; Rodney Gardener, 4 November 2023 9 December 2023; Joseph Collings-Hall, 16 December 2023 – 20 January 2024.

15 July–19 August Gift Trilogy Willoh Weiland

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. Lynne Uptin, Banksia, 2023, watercolour on Fabriano watercolour paper, 73 x 102 cm. 7 July–29 July Kunanyi - a botanical journey Lynne Uptin

11 July–31 July New Works Ian Parry

Richard Wastell, Not far from here. Burnt manferns and firebombed forest. Styx Valley, 2005, oil and marble dust on linen DCC Permanent Collection 2005. 27 May–29 July Atmospheres, Ecologies and Attunement: Contemporary Landscape Practice from the Devonport Regional Gallery Permanent Collection Curated by Dr Troy Ruffels Raymond Arnold, Tim Burns, Lisa Garland, David Keeling, Jonathan Kimberley, Owen Lade, Bea Maddock, David Martin, Anne Morrison, Matthew Newton, Sue Pickering, Richard Wastell, Helen Wright and Philip Wolfhagen.

Ricky Maynard, Pauly, 1993/2023, silver gelatin paper, 40.5 x 51 cm. 4 August–26 August No More Than What You See Ricky Maynard

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm.

Leanne Halls, Cape Hauy Serenity, 2023, oil on linen, 30 x 30 cm. 15 August–31 August The Three Capes Leanne Halls

This exhibition brings together artists from the Devonport Regional Gallery Permanent Collection whose work explores contemporary landscape practice. It looks at our relationship with the environment as a way of negotiating emerging ideas of entanglement and interestedness. We live, after all, in an astounding world of relations,

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. 18 March–20 January 2024 Little Gallery Emerging Artist Program

Courtesy of the artist.

The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first

Fernando do Campo, exhibition documentation at CAT. Photograph: Rémi Chauvin, 2021. 223

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

Handmark

and how we represent this relationship says much about the lens through which we view the world. The exhibition will consider how artists engage with atmosphere, ecology and environment, encouraging dialogue about our place in the world, and the environmental challenges we face moving forward.

www.handmark.com.au

24 June–5 August To companion a companion Fernando do Campo

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 11am–3pm. See our website for latest information.

To companion a companion is an exhibition of new work by ArgentineanAustralian artist Fernando do Campo. Consisting of a growing series of paintings representing 365 days of sightings, a video and an online series of published texts, the exhibition presents a robust engagement with ways humans engage with other species where do Campo proposes the human as the companion species to birds. Co-presented by Contemporary Art Tasmania, UNSW Galleries and Perth Institute of Contemporary Art. 12 August–16 September ArtRage 2022 Selection

Jeewan Suwal, Nature, acrylic on canvas, 91 x 91 cm.

ArtRage is QVMAG’s annual exhibition showcasing the work of Tasmanian secondary students. The selected works are produced by year eleven and twelve students studying Art Production or Art Studio Practice as part of their Tasmanian Certificate of Education. The students’ work explores themes that have inspired them throughout the year and are an invitation to reflect on how it feels to be a young person living in the world today. There is a vast array of subjects, media and artistic styles on display. ArtRage is a celebration of the art makers of the future, and an acknowledgement of the schools and teaching community who have helped shape and guide them. The Queen Victoria Museum and Art Gallery recognises the enormous support and cooperation that ArtRage receives from the college art teachers of Tasmania. We acknowledge the work of these dedicated art educators along with the talented students attending schools and colleges across Tasmania.

Bruno Booth, Body Shots, 2022, 4K, nine channel, nine-minute video with audio. UHD panels, Raspberry Pis, coding, speakers, cabling, meranti, steel, rubber, fixings, shot bags and acrylic polymer paint. Collection of the artist. Photograph: Installation view at Heathcote Cultural Centre. series of portraiture and anti-portraiture. Through photography, film, installations, sculpture, textile, and performance, this exhibition explores the tensions of our networked personalities - our shadows, our masks, our shame. Curated by Caine Chennatt. Presented as part of Dark Mofo Festival. Exhibition development received assistance through the Contemporary Art Tasmania Exhibition Development Fund and was produced by the University of Tasmania – Library and Cultural Collections.

Penny Contemporary www.pennycontemporary.com.au

Eloise Daintree, Dodges Dirt, acrylic and oil on canvas, 2023, 83 x 103 cm. 30 June—17 July Emerging Artists, New Works Jeewan Suwal and Eloise Daintree

Plimsoll Gallery, University of Tasmania

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. We represent, local, national and international artists each with a distinctive approach to creating art, be they emerging or established. 7 July–28 July New Works Tim Coad

utas.edu.au/creative-arts-media/ events/plimsoll-gallery

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. Until 24 July Oceans of Air Tomás Saraceno

37 Hunter Street, Hobart 7000 [Map 17] +61 3 6226 4353 Tue to Sat 11am–4pm (during exhibitions), Closed Sun, Mon and public holidays. See our website for latest information. 8 June–5 August Interfacial Intimacies Bruno Booth, Amrita Hepi, Léuli Eshrāghi, Bhenji Ra, Aleks Danko, Cassie Sullivan, Georgia Morgan, Cigdem Aydemir, David Rosetzky, and Shea Kirk Interfacial Intimacies brings together artists who hold and express tenderly the multiple aspects of their selves through a

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Artist Nigel Sense.Image courtesy of Penny Contemporary and the artist. 4 August–25 August The Lost Years Nigel Sense

TASMANIA

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.

champions ethical wildlife photography, rewarding truthful representations of nature that display respect for animals and the environment. Alongside its conservation message, the competition exists to boost the profile of wildlife photography as an artistic medium and support the careers of young photography professionals. Free entry.

Permanent Queen Victoria Art Gallery, Inveresk : Northern Clay

Lucienne Rickard (b. 1981), Extinction Studies, 2023, graphite on paper.

An exhibition exploring the story of the rise of ceramics in northern Tasmania beginning with two former Launceston pottery companies: John Campbell Pottery and McHugh Brothers.

is commissioned by Detached Cultural Organisation and presented by TMAG.

Permanent Art Gallery at Royal Park (2 Wellington Street, Launceston) :

Steve Howells, Princes Square, 2022.

The First Tasmanians: our story

Urban Sketchers

3 June–27 August Art Gallery at Royal Park: Laura and Eddie (Evolution) Laura and Eddy are two award-winning motion graphic designers who are venturing into the world of fine art with their first publicly exhibited work, titled Evolution. Drawing inspiration from biology and the concept of change, their collaborative piece explores the transformational journey of organisms and the environment in which they exist. Through the use of vibrant colours and dynamic animations, Laura and Eddy create a visual representation of the natural world in a state of constant flux. The piece incorporates elements of motion graphics, 3D animation, and sound design to immerse the viewer in a multi-sensory experience that evokes a sense of wonder and curiosity about the mysteries of life. Free entry.

Image courtesy of Queen Victoria Museum & Art Gallery. 10 June—20 August Museum at Inveresk: Wildlife Photographer of the Year Recognising the world’s best nature photography every year since 1965. Wildlife Photographer of the Year is the Natural History Museum London’s annual competition and exhibition highlighting the unique and beautiful relationship between photography, science and art. Wildlife Photographer of the Year uses photography to celebrate the wonderful diversity of life, to inspire and inform and to create advocates for the planet. It

27 May–20 August Art Gallery at Royal Park: Explore the world one sketch at a time. The Launceston Urban Sketchers group is a thriving community made up of local sketch artists, connected to a global movement of Urban Sketchers. The global movement was started in 2007 by US artist Gabriel Campanario as a means to raise the artistic, storytelling and educational value of a place, while connecting travelling sketch artists across the world. Free entry.

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. See our website for latest information. 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 origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block. From 18 February 2022 Extinction Studies Tasmanian artist Lucienne Rickard continues her long-term durational performance Extinction Studies, which seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies

Effie Pryer, Purgatory, 2023, oil on myrtle panel, 40 x 60 cm, Commissioned with the support of the TMAG Foundation, 2021. 9 June—22 October Twist Charles Dickens (1812-1870) enchanted readers with irrepressible characters while exploring issues such as crime and punishment, the dire impact of poverty on women and children, and the grim conditions in public institutions such as orphanages, prisons and workhouses. He was as fascinated by the people and social interactions in the far-flung colonies as he was in those of the dirty streets of London. Many of his characters were transported or immigrated to Australia. Twist brings together artwork by exceptional Australian and Irish artists to engage with Dickensian themes – with a contemporary and quirky twist. The contemporary artists featured are Raymond Arnold and Rodney Croome; Christl Berg; Pat Brassington; Michelle Browne; Nicholas Folland; Keith Giles; Julie Gough; Fiona Hall; Ursula Halpin; Sandra Johnston; Sue Kneebone; Ricky Maynard; Mish Meijers and Tricky Walsh; Milan Milojevic; Brigita Ozolins; Effie Pryer; Yhonnie Scarce; Mary Scott; Tom Sloane; Heather B. Swann; Dominic Thorpe; and Paul Zika. Major presenting partners: TMAG and Dark Mofo. Major funding partner: Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Initiative.

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A–Z Exhibitions

South Australia

JULY/AUGUST 2023

S OUTH AUSTRALIA

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.

– Frida Kahlo and Diego Rivera – feature in this Australian exclusive exhibition, alongside works by key Mexican contemporaries. Tickets available online. 27 May—27 August Ramsay Art Prize Held every two years, the $100,000 acquisitive Ramsay Art Prize invites submissions from Australian artists under 40 working in any medium. Finalist works are selected by an eminent panel of judges and shown in a major exhibition at the Art Gallery of South Australia. The finalist exhibition also includes a People’s Choice Prize supported by sponsor LK.

Set in a 100-acre estate in the Adelaide foothills, with spectacular views stretching to the ocean, Carrick Hill is Australia’s most intact period mansion, lovingly preserved for all to enjoy today.

BMG Art www.bmgart.com.au

Kaspar Schmidt Mumm, ROCKAMORA (work in progress), technical design. Courtesy of the artist.

444 South Road, Marleston, SA 5033 08 8297 2440 or 0421 311 680 Wed to Fri 12pm–5pm, Sat 2pm–5pm.

Wladyslaw Dutkiewicz b. Stara Sol, Poland 1918; d. Adelaide, 1999, Calligraphy, c.1952, Adelaide, oil on canvas, 68 x 87 cm. Gift of the Dutkiewicz family, 2000.Art Gallery of South Australia © Estate of the artist.

10 June–12 August ROCKAMORA Kaspar Schmidt Mumm

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

Ludwik Dutkiewicz b. Stara Sol, Poland 1921; d. Adelaide 2008, Green Village, c.1953, Adelaide, oil on canvas, 64.5 x 78.7 cm. Elder Bequest Fund 1954. Art Gallery of South Australia © Art Gallery of South Australia. 2 August–15 October Adelaide Mid-Century Moderns: émigrés, mavericks and progressives Guest curator: Dr Margot Osborne. Trevor McNamara, Valencia, mixed media on board, 50 x 39 cm. 14 July–5 August Murray Prichard Abstract paintings. Trevor McNamara Abstract paintings. Phillip McGillivray-Tory Mixed material assemblage. 11 August–2 September Nona Burden Paintings. Karen Genoff Assemblages.

Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Diego on my Mind, 1943, oil on masonite, 76 x 61 cm; The Jacques and Natasha Gelman Collection of Mexican Modernism, © Banco de México Rivera Kahlo Museums Trust/ARS. Copyright Agency, 2022. 24 June—17 September Frida & Diego: Love & Revolution Iconic works by two of the most influential and loved artists of the twentieth century

Carrick Hill House Museum and Garden www.carrickhill.sa.gov.au 46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm.

Celebrating the vitality and innovation of the modern movement in Adelaide. This will be the first survey of Adelaide modernism during the 1950s and 1960s, extending from the influx of European émigré artists who arrived in Adelaide around 1950, through the heyday of mid-century modernism, to the arrival of Pop and post-painterly abstraction in the late sixties and early seventies. Artists represented are John Baily, Syd Ball, Charles Bannon, Robert Boynes, Geoff Brown, James Cant, Ian Chandler, Dora Chapman, Lynn Collins, David Dallwitz, John Dallwitz, Lawrence Daws, Ludwik Dutkiwicz, Wladyslaw Dutkiewicz, Barrie Goddard, Barbara Hanrahan, Jacqueline Hick, Franz Kempf, Stan Ostoja-Kotkowski, Charles Reddington, William Salmon, Udo Sellbach, Brian Seidel, Francis Roy Thompson and Geoff Wilson. The exhibition will also mark the launch of Dr Margot Osborne’s landmark new book, The Adelaide Art Scene: Becoming Contemporary 1939-2000.

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GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway See our website for latest information. Michael Cook, born 1968, Bidjara people, Livin’ the dream (BBQ), 2020, inkjet pigment print, 120 x 180 cm (sheet), edition 7/8, gift of the artist donated through the Australian Government’s Cultural Gift Program, Collection of Flinders University Museum of Art 5974. © the artist / courtesy Jan Murphy Gallery, Brisbane and This Is No Fantasy, Melbourne 2023.

Joseph Häxan, The Marsh, 2023, archival inkjet print, edition of 8. 7 June–2 July Mesmeric Pool Joseph Häxan

10 July—15 September New Acquisitions / New Perspectives Ali Gumillya Baker, Michael Cook, Djäti Garrawurra, Vanessa Inkamala, Noŋgirrŋa Marawili, Arone Raymond Meeks, Hayley Millar Baker, Wanharrawurr Munuggur 2, Marrnyula Munuŋgurr, r e a, Brenton Raberaba, Sandra Saunders, Siena Milkila Stubbs, Christian Thompson, Whiskey Tjukangku, James Tylor and Laura Wills, Dhukumul Wanambi, Elaine Woods and Venita Woods, Nyapanyapa Yunupingu

Melvin Josy, Bahre, 2023, American walnut, seagrass, 160 x 55 x 66 cm, photograph courtesy of the artist.

New Acquisitions / New Perspectives brings together selected artworks acquired by Flinders University Museum of Art (FUMA) 2018 – 2023.

www.murraybridgegallery.com.au

JamFactory www.jamfactory.com.au

JamFactory Seppeltsfield: 8 July–2 October Barossa Biedermeier

Murray Bridge Regional Gallery 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm.

Matthew Thorne, Derik Lynch dancing in drag on inma (Aputula, 2019), c-type print, 100 x 100 cm, edition of 10. 7 June–2 July Out the back of beyond: works from Marungka Tjalatjunu & The Sand That Ate The Sea Matthew Thorne

Flinders University Museum of Art

730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm. See our website for latest information. JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.

www.flinders.edu.au/museum-of-art

Keelie Baker, Drifting mind, mixed media. 1st Place 12–14 age category, Youth Art Prize 2022.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

24 June—20 August Youth Art Prize 2023 An annual exhibition that celebrates diverse artistic talents between the ages of 12 and 25 and aims to empower young people to express their views about collective and personal experiences. Since its humble beginnings over a decade ago, it now offers a total prize pool valued at over $4,500, including cash and vouchers that will support the recipients ongoing engagement with the arts.

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Honor Freeman, Absorb, 2021, porcelain, gold lustre. Photograph: Grant Hancock. 21 July–17 September GOLD: 50 Years 50 JamFactory Alumni

S OUTH AUSTRALIA

Nexus Arts

Brad Darkson, Deirdre Feeney, Niki Sperou, Catherine Truman

www.nexusarts.org.au

Riddoch Arts & Cultural Centre www.theriddoch.com.au

Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information.

1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

23rd Prospect Community Art Show. Photo John Nieddu. 21 July–19 August The 24th Prospect Community Art Show Various artists

praxis ARTSPACE

Hannah Coleman, Untitled (Mirror Wave), 2023, Digital collage. Image courtesy of the artist.

www.praxisartspace.com.au

Meagan Streader, Illimitable, 2022, neon, MDF backing, iron-core transformer.

68–72 Gibson Street, Bowden, SA 5007 [Map 18] 08 7231 1974 or 0411 649 231 Wed to Sat 11am–4pm.

24 June–3 September To Throw a Shadow Megan Streader

27 July—1 September Disco’s Child Hannah Coleman Reflections of yearning and refractions of belonging, a mirror ball of diaspora and cultural dissonance. An orchestral shattering of methodological beats per minute. Disco’s Child is an exploration into diaspora, tokenism and the celebrations/ frustrations of being a coloured South African person living in South Australia. Rooted in the longing for a stronger cultural identity, this exhibition will aim to delve into themes of cultural dysphoria and a yearning for belonging.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Fri 9am–5pm, Sat 10am–4pm. Sun Closed.

Rebecca hastings, Due Preparations I, 2023, oil on board, 119.5 x 119.5 cm, photograph: Roh Smith. 1 June–1 July By the time you read this we shall all be dead Rebecca Hastings

Niki Sperou, Guilt, Plastics Memento Mori Series, 2020, projected image on archival print.

David Hume, Late light Carrickalinga (detail), 2023, type C photograph, 66 x 30 cm.

16 June—15 July Art, Science and Technology : a Partnership for Uncertain Times

27 July–26 August Fleurieu, Perceptions of Place David Hume

Meagan Streader’s work pushes the limits of light within sculpture and installation. Streader manipulates, reinterprets and extends upon the boundaries of constructed spaces. Her multidimensional use of light reorientates the viewer’s relationship to the pre-existing architecture and scale of a given space. In this way, Streader’s work reveals the pervasive role of light in governing physical and social navigations of fabricated spaces. 8 July–27 August South East Art Society – Open Art Awards 2023 South East Art Society Inc. (SEAS) encourages the practice and promotion of visual arts throughout the Limestone Coast and surrounding regions. Showcasing local talent across all mediums, the Open Art Awards offer a top prize of $2,000, making this exhibition a hotly anticipated event on the Mount Gambier art calendar.

Tim Rosenthal, photograph. Image courtesy of the artist. 1 August–1 September The Window to SALA Kurt Ploenges, Tim Rosenthal, Catherine Warnest 229

Images — Amrita Hepi, Scripture for a smoke screen: Episode 1 – dolphin house, 2022, still from moving image.

Hepi

FRIDAY 7 JULY —

SUNDAY 13 AUGUST 2023

Amrita Hepi, Scripture for a smoke screen: Episode 1 – dolphin house Co-commissioned by Samstag Museum of Art and ACMI – presented at SASA Gallery.

unisa.edu.au/connect/samstag-museum

S OUTH AUSTRALIA Riddoch Arts & Cultural Centre continued... In celebration of SALA, our Commercial Street window display comes alive with work from local artists demonstrating their creative talents. See fantastical critters by 3d modeler Kurt Ploenges, illustrations and creations based on nature by Catherine Warnest, and the photographic genius of Tim Rosenthal.

Samstag Museum of Art

Sauerbier House Culture Exchange onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information.

24 June–29 July Between the River and I Gail Hocking A poetic exploration through a personal lens between the mingling relations of a River and its Fluid Personhood with Humans.

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. 7 July–13 August Scripture for a smoke screen: Episode 1 – dolphin house Amrita Hepi Part of an ongoing body of work by Amrita Hepi; a series that deals with the dilemma of authenticity and how language operates and obscures. Episode 1 – dolphin house is about the language of desire and takes its departure point from Dr John Lilly and Margaret Lovatt’s 1963 NASA-funded ‘dolphin house’ experiment. Presented by Samstag Museum at SASA Gallery .

Shirley Wu 吴建珍, Untitled (WIP), 2023, digital image. Image courtesy of the artist. Hallway Gallery & Wash House : 24 June–29 July Transition Shirley Wu 吴建珍 in collaboration with Yuen. Gail Hocking, Between the River and I, (video still), 2023, muslin and plaster. Image courtesy of the artist. Artist in Residence exhibitions: Lounge Gallery:

Embracing the in-between, Wu contem-plates the immigrant’s transitional phase through family oral narratives, childhood memories and performative actions.

Samstag Museum of Art → Amrita Hepi, Scripture for a smoke screen: Episode 1 - dolphin house, 2022. Courtesy of the artist. 231

ONE OF AUSTRALIA'S LARGEST RANGES OF INDIGENOUS ORIGINAL PAINTINGS AND PRINT REPRODUCTIONS. Offering premium quality artwork from a huge range of Australia's premier Indigenous artists.

1070 SOUTH ROAD, EDWARDSTOWN, SA, 5039.

artbyfarquhar.com.au

S OUTH AUSTRALIA Sauerbier House Culture Exchange continued... Lounge, Hallway and Washhouse: 5 August–16 September [GRAFTd] exhibition Jingwei Bu, Gus Clutterbuck, Sam Howie, Heidi Kenyon, Georgina Willoughby Curated by Sarah Northcott.

to the most comprehensive collection of Australian Aboriginal cultural material in the world, there is something for everyone at the Museum. The Museum is open daily 10am-5pm. General admission is free, although costs apply for some exhibitions and events. A $5 donation on arrival helps us to deliver world-class exhibitions and programs.

reverse-engineered a grandfather clock to build a time machine; in a retro arcade, airlocks and elevators connect a series of gaming machines to form a futuristic space port.

5 August–16 September Desire Lines A path when repeatedly taken over and over, eventually leaves a noticeable mark on the landscape, a physical record of the rhythms of moving from place to place. Desire Lines brings together artists making connections between locations, ideas, and their environments; and giving form to their desired ways of arriving at a destination.

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information. The South Australian Museum has five floors and endless wonders to discover. From the first signs of early complex life

Charlie Flannigan, Horseman Leaping from a Cliff, 1892, pencil on paper. 5 May—10 September A Little Bit of Justice Charlie Flannigan

4 March—23 July RELICS: A New World Rises An exciting new touring exhibition by artists/creators Alex Towler and Jackson Harvey, winners of Channel 9’s 2020 LEGO® Masters. This immersive exhibition features a collection of old and forgotten objects housing miniature worlds built of LEGO®. Within each relic, the LEGO® civilisation has adapted to the distinctive character of the artefact it inhabits; a marauding band of inventors have

A Little Bit of Justice features the drawings of Charlie Flannigan, a nineteenth-century Aboriginal stockman who was incarcerated at Fannie Bay Gaol while awaiting trial for murder. The first person to be hanged in the Northern Territory, Flannigan became the centre of intense debate when George Page, a white man also sentenced to death for murder, had his sentence commuted to life in prison. The drawings, which are held in the South Australian Museum’s Archives, were made by Flannigan while in solitary confinement and are unique observations of his personal history and culture. Flannigan was denied justice, but his story lives on through his drawings.

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A–Z Exhibitions

Western Australia

JULY/AUGUST 2023

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12pm–4pm, or by appointment. See our website for latest information.

The legacy of female abstract artists in Australia, such as Carol Rudyard and Miriam Stannage, has enthused many local artists, including the four featured in this exhibition.

The Art Gallery of Western Australia

28 July–5 August Art Collective Wa Benefactors

Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm.

In our much-anticipated annual fundraising event, we call on interested art collectors to become our Benefactors, offering a donation while taking home an artwork by one of Western Australia’s most celebrated artists. This year’s exhibiting artists include Brad Rimmer, Angela Stewart, Merrick Belyea, Joanna Lamb and Giles Hohnen and Olga Cironis, among others.

www.artgallery.wa.gov.au

Opens 12 August Salman Toor The first solo show of this globally significant artist in Australia, this exhibition of 48 works from 2020 to 2022 by the Lahore-born New Yorkbased artist Salman Toor, provides a rich understanding of an artist whose queered, expressive painterly realism speaks so powerfully and gently to the human experience. Bringing together Toor’s lush oil paintings and evocative drawings in charcoal, ink and gouache, the exhibition explores many of Toor’s key subjects, including memory, migration, masculinity, tradition and desire. Until 10 July Boodjar: Through the Works of Meeyakba Shane Pickett Featuring a small selection of the late Meeyakba Shane Pickett’s earlier works on paper, alongside a section of Dr Charmaine Papertalk-Green’s poetry that speaks to the works, Pickett’s connection to Country, as well as their friendship.

Susan Roux, Embed, 2023, 220 x 140 cm. Until 22 July Embed Susan Roux An expansive installation that reveals landscapes reshaped over time, not sentimentally but in an otherworldly way, as if to mislead the eye. The obsessive and repetitive working process includes stitching, puncturing, folding, marking, and wounding paper aiming to connect viewers with their mind, body and senses. Until 22 July Syndicate 5 + 1 Survey Linde Ivimey Linde Ivimey presents two bodies of work in Perth – a sculpture exhibition that surveys the last 15 years of practice, alongside a set of life-sized sculptures commissioned for The Syndicate, a group of Western Australian collectors. The works weave fibre, bone, feathers and other fanciful materials, using stitching, welding and taxidermy to form extraordinary works that explore imagination and play. 28 July–2 August Colour In Practice Regional Tour at Albany Town Hall Art Collective WA is pleased to present our 2023 regional exhibition Colour in Practice, featuring the work of Cathy Blanchflower, Jennifer Cochrane, Helen Smith, and Michele Theunissen. The exhibition will showcase the artists’ ongoing fascination with colour, form, minimalism, patterning, and formal structure.

Jeremy Kirwan-Ward, Little Majestic #4.23, acrylic on canvas, 137.5 x 112 cm. 12 August–9 September Certain Times Jeremy Kirwan-Ward This series of abstract paintings marks the first showing in Perth of the artist’s new work since his relocation to Sydney in 2019. After nearly two decades of images that referenced his littoral viewpoint, Certain Times emerges out of the light-industrial environment of his current studio space. The continued use of multi layering and a window-like motif endeavour to visually collapse space—the time between in and out, dark and light, now and then. 12 August–9 September Shadows, Sleepers and Self-Portraits Jennifer Cochrane Continuing the artist’s exploration with perspective, space and point of view, this exhibition employs railway sleepers as a material to create a diversity of forms. Bending steel over jarrah sleepers, their surface charred and black as a result of the heating process, resulting in a series of tall, free-standing wooden forms, alluding to a deconstructed shadow of a cube—layered in a subtle and yet beautiful blackened surface.

Until 30 July Farah Al Qasimi: Star Machine Star Machine is the first solo exhibition in Australia by photographer, video and performance artist Farah Al Qasimi. The exhibition departs from a recent work Star Machine, 2021, and takes a reflective gaze over the past five years of the artist’s practice, to unfold the experience of transcendence in contemporary imagebased culture. Until 13 August The West Australian Pulse WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, impact, and shape our world. The exhibition is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists. Until 10 September Against The Odds Prompted by the recent purchase of a significant early painting by the Melbourne-based artist Helen Maudsley, Against The Odds celebrates the work of women artists held in the State Art Collection. The exhibition focuses on art made in the 1950s in Australia by Maudsley’s contemporaries and features the work of thirty-two artists, working across all media. Until 17 September Spacingout Drawing from the State Art Collection, Spacingout considers aspects of the 235

ar t g ui d e .c o m . au Art Gallery of Western Australia continued...

Derek Tang, Rosetta stone, 1988, enamel, oil and decals (Letraset) on canvas, 178.2 x 299.7 cm. The State Art Collection, The Art Gallery of Western Australia. Purchased from the Moet and Chandon Art Acquisition Fund, 1988. affective dimension of contemporary life with particular interest to sensations of emotional and perceptual ambivalence. This exhibition lingers in moments of confusion and uncertainty; when our feelings and understandings of particular situations are not quite defined. Spacingout foregrounds what so often remains in the hazy background of life and proposes the potential for events to be other than what they are (for good or ill).

Artitja Fine Art Gallery

DOVA Collective

www.artitja.com.au

www.dovacollective.com.au

EARLYWORK, 330 South Terrace, South Fremantle, WA 6162 0418 900 954 Open by appointment outside exhibition dates.

Plaza Arcade, 650 Hay Street Mall, Perth, WA 6000 0419 614 004 Tue to Sat 10am–4pm. See website for latest information.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. Follow our socials to stay up to date. @bragwa

Lene Makwana, Construction 34, 55 x 75 cm, graphite, watercolour, marker and fine liner on paper.

Swag Taylor, untitled Landscape, 2022. 17 June—24 September Noongar Country For Our Elders Özgür Kar, GOOD NIGHT, 2021. Installation view, Liebaert Projects, Kortrijk. Courtesy of the artist.

17 June to 20 August Groundswell: recent movements within art and territory

Until 22 October Özgür Kar | GOOD NIGHT

David Wroth, Dusk, 92 x 74 cm, acrylic and mixed media on canvas.

Based in Amsterdam, Özgür Kar works across video, sound, performance, and installation. This exhibition presents the video work GOOD NIGHT, 2021, in which an almost 8-metre-long black and white skeleton character lays confined within the edges of television screens, singing a sorrowful, melancholic lullaby out towards an obscured city skyline.

8 July–5 August LINE OF SIGHT Sherylle Dovaston, Lene Makwana, David Wroth Line of Sight features works by WA artists Sherylle Dovaston, Lene Makwana, and David Wroth in a fascinating exploration of the imaginary line between an observer and a visual point.

Until 4 December Exquisite Bodies | Bruno Booth Exquisite Bodies is a participatory all-ages exhibition interrupting preconceived perceptions of disability and normativity. Interrogating and expanding on ideas of beauty, mobility, and ability Exquisite Bodies draws on the surrealist game Exquisite Corpse, as an open-ended celebration of difference, inviting audiences of all ages to interact with playable figurative sculptures and drawing games.

Col Jordan, OMEGA, 2018, acrylic on paper. 24 June—17 September The Greek Paintings Col Jordan

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Fri 10am–4pm, Sat 10am–2pm.

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Using very different approaches and media, the artists draw attention to the relationship between artist, viewer and the artworks themselves. This visual connection exposes meaning, reveals hidden narratives, and creates a personal dialogue to bring the creative process and the visual experience into the line of sight. These mechanisms also reference the connection to real or imagined horizons, and place both artist and viewer in a continuum of discovery within environmental or personal landscapes. This carefully curated exhibition gathers these works along a visual axis, providing a line of sight between one work and the next in the gallery context, and offering a unified yet distinctive experiential journey.

WESTERN AUSTRALIA

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

15 July—27 August Winter Salon Print Show Stephen Castledine, Andrew MacDonald, Elmari Steyn, Chris Pullin and members of the Print-makers Association of WA This group exhibition features a selection of prints by contemporary Western Australia artists working in print. The exhibition includes Stephen Castledine, Andrew MacDonald, Elmari Steyn and members of the Printmakers Association of Western Australia.

KolbuszSpace 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.

John Curtin Gallery www.jcg.curtin.edu.au Stephanie Yukenbarri, Winpurpurla, 2023, 91.4 x 61 cm, acrylic on linen. Courtesy of Warlayirti Artists. 6 May–23 July 2023 Revealed Exhibition: New and Emerging WA Aboriginal Artists

Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed Public holidays. Free admission. See website for latest information.

Waldemar Kolbusz, Infinity, 2023, oil on linen, 153 x 138 cm. 14 July—16 July Motel Waldemar Kolbusz Tanya Singer and Trent Jansen, Manta Pilti (Dry Sand Credenza), 2023, american walnut and brass. Photograph: Jessica Wyld. 6 May–23 July Kurunpa Kunpu | Strong Spirit 5 August—22 October 46th Fremantle Arts Centre Print Award

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm.

Stephen Castledine, Christmas Invaders, archival giclee print, 55 x 70 cm.

Once known child artist, The Golden Road, c1949, pastel and charcoal on paper, 28 x 38.5 cm. The Herbert Mayer Collection of Carrolup Artwork, Curtin University Art Collection.

I want my paintings to allude to a sort of perfection of lifestyle, but I want there to be recognition of a subtle tension; a mood, some static. I want you to be ok with nothing being perfect.

12 May—9 July Kalyagool Karni-Wangkiny [Telling Truth Always] A Decade of Carrolup This exhibition commemorates the 10-year anniversary of the return of The Herbert Mayer Collection of Carrolup Artwork from Colgate University New York, to Noongar Boodja in Western Australia. The exhibition traces the journey of these artworks from their creation by Noongar and other Aboriginal children of the Stolen Generations, travelling from Australia to the UK in 1950, then on to the US in 1956, and after their chance discovery in New York in 2004, their return to Australia in 2013. Kalyagool Karni-Wangkiny [Telling Truth Always] A Decade of Carrolup extends the unique story of the Carrolup Collection by including other Carrolup artworks from private and public collections such as the State Library of WA and the Berndt Museum of Anthropology at UWA. This exhibition is made possible by BHP, Lotterywest and Colgate University.

Georgia Bisley, Liberty Cap, (detail), 2023, wool on linen, 120 x 200 cm. 11 August—13 August Hyper Real Georgia Bisley In Hyper Real, Georgia Bisley explores our addiction to a beguiling yet often absurd online world, where the lines between reality and simulation have become increasingly blurred and artificial depictions are more satisfying than the reality they imitate. Using yarn and 237

ar t g ui d e .c o m . au KolbuszSpace continued... deconstructed linen, Bisley crafts an experience that is both visually jarring and comforting to the touch. Playful colours stand in stark contrast to imposing structures and patterns, infusing a sense of unease into the traditionally benign and domestic medium of textiles. Bisley has been a finalist in The Wangaratta Contemporary Textile Awards, and this is her first exhibition.

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 Tues to Sat, 12pm–5pm.

Khan and Rickeeta Walley, KANANGOOR/ Shimmer is a consideration of our relationship with our environment. You are invited to follow the wardong in flight as we travel across Country and recognise reverberations of comfort and of disquiet.

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.

Julie Davidson, Fallen, 2023, oil on linen, 122 x 122 cm. 14 September—1 October Subiaco: Seasons Julie Davidson “The exhibition is all about different ways of seeing, using still life as a vehicle to express different moods, different times and different seasons. My painting journey takes me on an investigation into light and the layering of connected ideas and imagery. For this show, I’ve also enjoyed incorporating some abstracted elements to create an ambiguous and ethereal backdrop as a counterpoint to the highly representational rendering of objects. “To see a world in a grain of sand, And heaven in a wildflower Hold infinity in the palm of your hand And eternity in an hour”. William Blake” Julie Davidson, 2023.

Joseph Williams Jungarrayi, Wangarri Warinyi VI–X, 2022, acrylic on acetate (found mining map), 122 x 82 cm. Installation view of Wirringkirri, in Black Sky, Lawrence Wilson Art Gallery, 2023, photograph by Rebecca Mansell.

Midland Junction Arts Centre www.midlandjunctionartscentre. com.au

Stewart MacFarlane, Best We Forget, 2023, oil on canvas, 137 x 113 cm.

276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See website for latest information.

4 August—20 August Subiaco: Australian Gothic Stewart Macfarlane

Katie Breckon, Two Homes, Mitre Peak with Kimberley Stains, 2018, pigment print on Hahnemuhle rag photographic paper, ed 2/10, 108 x 103 cm. UWA Art Collection. Copyright and courtesy of the artist. Until 19 August KANANGOOR/Shimmer In co-curating this exhibition, Amanda Bell, Badimia and Yued artist and curator, and Lee Kinsella, LWAG curator, offer visitors a journey through the Gallery space, guided by sound and light. Drawing upon resonate objects from several UWA collections, and enriched by new commissions from Amanda Bell, Corey 238

“There is definitely an edgy theme running through this new groups of paintings that reflects recent experiences and my responses to the surrounding geography I live in. It just comes out spontaneously, and thankfully so, as my painting has always been a release valve for life’s blows.” Stewart MacFarlane, 2023. 23 August—11 September Subiaco: Elixir Claire Beausein

Zyllah Day, Alienation, 2022, acrylic on perspex, wood, lights, felt dolls. Photograph: Andrew MacKinnon.

Employing symbolic mediums and techniques, this exhibition delves into the nature of transformation in the physical and spiritual realms, creating a contemplative body of work that conveys a sense of radiant transcendence.

The Drug Aware HyperVision exhibition, presented by the City of Swan Hyper Team, features the creative work of young individuals aged 15-25 from across WA,

22 July–20 August HyperVision: Space

WESTERN AUSTRALIA exploring the concept of ‘Space’ through traditional and experimental media. The exhibition offers a multidimensional journey, inviting visitors to discover the diverse interpretations of space in both physical and emotional realms.

MOORE CONTEMPORARY

and Elmari Steyn Artists Shelley Cowper, Haya Hagit Cohen, and Elmari Steyn explore the intricate ties between place, space, emotions, and spiritual connections through printmaking and mixed media. Their art evokes memories, longing, and belonging, capturing the essence of spiritual connections among people, communities, and locations.

porary arts practices. The public program explores materiality, circular artistic processes, and the immersive connection between artists and different mediums.

Perth Institute of Contemporary Arts (PICA)

www.moorecontemporary.com

www.pica.org.au

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm.

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See website for latest information.

Barbara Gell, Whistlepipe Pool (detail), 2021, oil on canvas, 76 x 121 cm. Image courtesy of the artist. Until 16 July Into the Gully Barbara Gell

Marion Borgelt, Strobe Series: No. 14, 2008, oil on canvas, 200 x 160 cm. 22 June–29 July Rhythm by Design Marion Borgelt, Jacobus Capone, Marita Fraser, Matthew Hunt, Joshua Webb, Caitlin Yardley, and John Young. There is a common touchstone relating to design in this selected exhibition that brings together works across, painting, photography, drawing and sculpture. Within each work there is a reference – sometime oblique and sometimes literal – to principles of design. Within the rich stylistic and technical variances there is discernible some adherence to geometry, to objects, to play, graphics or algorithms. Works of both significant and intimate scale will collectively create their own vibrant rhythm within the Gallery.

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. Until 16 July Genius Loci, Spirit of Place Shelley Cowper, Haya Hagit Cohen

17 May—23 July Hatched: National Graduate Show 2023 Jingxuan Chen, Katherine Douglas, Shani Engelbrecht, Matthew Freeman, Mitchel Davis, Adam Hsieh, Isaac Huggins, Anna May Kirk, Charles Levi, Ivy Minniecon, Nathan Nhan, Emily Norton, Shana O’Brien, Agatha Okon, Bryce Olsen, William O’Toole, Soile Paloheimo, Alexandra Peters, Khashayar Salmanzadeh, Marian Sandberg, Paean Sarkar, Chris Siu, Blair Walsh, Alexander Whitlam, Jayda Wilson, Nicole Zhang.

Barbara Gell captures feelings and impressions of being in the Perth hills’ Whistlepipe Gully, and a sense of place through her paintings and drawings. Geometric structure forms the scaffolding on which a variety of marks reintroduce the tangle of natural forms. Gell’s work is centred around the push and pull of chaos and order.

Wu Tsang, Duilian (detail), 2016, photo: courtesy the artist, Galerie Isabella Bortolozzi/Berlin. 4 August—22 October Duilian Wu Tsang

Khashayar Salmanzadeh, Self and nurture (detail), 2022, oil on canvas, 160 x 120cm. Photograph by Bo Wong. 5 August–24 September Hand in Hand Aileen Hoath, Ana del Sousa Rosa, Annie Zhuang, Bruce Olsen, Daniel Kristjansson, Donna Black, Dung-Chuan Wen, Emily Crawford, Erin Kilbane, Heather Bosch, Holly Nabbs, Khashayar Salman Zadeh, Persie Toindepi, and Scott Price Hand in Hand showcases recent visual art graduates from WA, focusing on the relationship between artists and mentors and how educators shape their skills and narratives, while also highlighting contem-

Sancintya Mohini Simpson, The Plantation (detail), 2022, image courtesy the artist and Milani Gallery, Meanjin/ Brisbane, photo: Carl Warner. 4 August—22 October ām / amma / mā maram Sancintya Mohini Simpson 4 August—22 October This Creature Sriwhana Spong 239

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

Stala Contemporary www.stalacontemporary.com.au 11 Southport St, West Leederville WA 6007 [Map 19] 0417 184 638 Wed to Sat 10am–4pm and by appointment. See our website for latest information.

Stala Contemporary is proud to present a dynamic group exhibition of invited upand-coming 2022 Tertiary Arts graduates – introducing them and a selection of their recent work to the arts landscape. We invite you to embark on an exciting journey with these fresh new faces, as they make the significant leap from art school alumni to contemporary (and collectable) practising artists.

Han Gunn, Tripping up, down Dream street (We found love was just a colour and one of us was colourblind), 2023, oil on board, 60 x 60 cm. 1 July—22 July New Moves 2 Leah Baker, Erin Ginty, Han Gunn, Scott Price, Rosella Robertson, Khashayar Salmanzadeh, Aaron Seymour, Sid Tapia

Johanna Valom is an oil painter and textile artist based in Perth, Western Australia. Inspired by tapestries inherited from her grandmother, Valom reflects on the paradoxical emotion of nostalgia and the fleeting nature of memory. She creates abstract landscapes which seek to explore the sublime, the joy, and the whimsy found in mundane everyday scenes. Picturesque cottages, dilapidated sheds and untamed bushland all serve equally as inspiration in her works. Her practice plays with the evocative ability of colour and luscious application of paint; using striking combinations in her focus on abstraction within landscapes. She paints from both direct observation and from memories - in this she continues to consider the importance of both the breaking and preservation of traditions, and the oscillating, tacit dialogue between past and present. In this new solo exhibition of her distinctively coloured textured paintings and textile works , Valom considers the passing of time, the remembering of traditions, and the treasuring of family heirlooms as a universal experience. In one way or another, people in all places, in all walks of life experience these things.

Johanna Valom, Time Is All We Have, 2023, oil on canvas, 160 x 140 cm. 5 August—26 August Heirloom Johanna Valom

David Giles Art Galleries Representing more than 50 WA artists including David Giles, Ingrid Holm, Penny Rulyancich, Jackie Peach, Angelina Naglazas, Amanda Dean, Ross Calnan, Susan Williams, Suzy Sparkel, Jane van der Westhuizen, Carey Marwick, Liz Cooper, Danielle Campbell and Linda Mackenzie. David Giles Art Gallery 49B High Street, Fremantle WA Open Tuesday to Sunday 11am-4pm

Studio 11 Art Gallery www.davidgilesartgallery.com 11 Captains Lane, 0416 079 204 Fremantle WA Open Thursday to Sunday 11am-4pm

Image: Jane van der Westhuizen, Repeating Patterns, 85 x100 cm, acrylic, $480.

davidgilesartgallery.com

A–Z Exhibitions

Northern Territory

JULY/AUGUST 2023

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

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm. See our website for latest information.

embrace and share with Australia the extraordinary art and culture of the Northern Territory, which is home to the world’s oldest living culture, and connected to the rich and diverse cultures of our Asia Pacific neighbours.

ed unwelcome foreign interest. So, in 1911, the Commonwealth took control. They invested in industries and infrastructure, bringing an influx of workers. It seemed the Territory might finally prosper.

With the support of CDU, and with our home and heart in the Northern Territory, we will fearlessly explore and question, and imaginatively present and document, identity and placemaking initiatives that support learning and appreciation of how the world is experienced and imagined through the art and eyes of artists who live in or have a connection with our unique place in Australia and the world. Please visit our Art Gallery and find exhibition room brochures from past internally-curated exhibitions.

NCCA – Northern Centre for Contemporary Art

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. Katthy Cavaliere, suspended moment, 2000, chromogenic colour print on silver based metallic paper, 56 x 55 cm. Courtesy the Estate of the artist.

From 29 April 40 Celebrating four decades of the National Aboriginal and Torres Strait Islander Art Awards

27 May—13 August Suspended Moment Frances Barrett, Sally Rees, Giselle Stanborough with Katthy Cavaliere

Since 1984, the Museum and Art Gallery of the Northern Territory (MAGNT) has presented annual art awards which celebrate Aboriginal and Torres Strait Islander art and artists.

Suspended Moment brings together new works by artists Frances Barrett, Sally Rees and Giselle Stanborough – the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship. Established in the name of Italian-born, Australian artist Katthy Cavaliere (1972–2012), the fellowship was a one-off opportunity that provided support to Australian women artists working at the nexus of performance and installation. Curated by Daniel Mudie Cunningham, Suspended Moment contextualises key works by Cavaliere alongside the fellowship artists who benefited from her enduring legacy. Suspended Moment is a touring exhibition from the Museums & Galleries of NSW (MGNSW).

Charles Darwin University Art Gallery cdu.edu.au/art-collection-gallery/cdu-art-gallery Casuarina campus, Building Orange, Ground floor, Chancellery NT 08 8946 6621 Wed to Fri 10am–4pm, Sat 10am–2pm. Through our exhibitions, public programs and permanent art collection, we celebrate, 242

www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 8am–2pm. Based in Darwin on Larrakia Country, the Northern Centre for Contemporary Art (NCCA) is an independent arts organisation that connects audiences with NT, national and international artists through contemporary art exhibitions and programs. NCCA is a forum for ideas and critical engagement with social, aesthetic and conceptual concerns relevant to Northern Australia and Asia.

Forty years since the National Aboriginal Art Award was established, it has flourished to become the Telstra National Aboriginal and Torres Strait Islander Art Awards, representing culture and creativity from across the country. 40 presents an incredible selection of artworks and stories from artists who have shared in the history of the Awards. Ongoing Cyclone Tracy Cyclone Tracy was a defining moment in Darwin’s history. Hear the devastating roar of the Category 4 Cyclone as it hits the town and learn about the day that changed the urban landscape and the lives of Darwin’s residents forever.

James Drinkwater, Pre-empting Tahiti (detail), 2015, oil on board, 163 x 125 cm. Until 22 July James Drinkwater: P A S S A G E

Ongoing Unruly Days: Territory life 1911 – 1921 The Northern Territory has always been an impossible land to master. From its monsoonal Top End to its arid Centre, it promises bountiful resources, but almost every attempt to exploit them has failed. It is too immense, too remote, its resources too inaccessible. By 1900, the Territory had been largely neglected by its South Australian administrators. Few Europeans ventured there. The first peoples, the Aboriginal population, were the majority, and Chinese people outnumbered white Australians. To Australia’s statesmen the Territory’s vast unpopulated reaches invit-

Iwantja Young Women’s Film Project, Kungka Kunpu (video still), 2019, single channel digital video with sound, 4 minutes, 6 seconds. 12 August–30 September Blak Power: 50 Years of First Nations Superheroes in Australian Art Iwantja Womens’ Collective, Dennis Golding, Jonathon Saunders, Ray Mudjandi and more.

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L A S T WO R D

“To create something hand-held and intimate is a way to grasp big ideas, speculating on this magnitude.” — L I S A S A M M U T, A R T I S T, P. 45

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2023 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

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