Art Guide Australia — July/August 2024 by Art Guide Australia

J U LY/AUGUST 2024 $9

C OV ER S T ORY Lesley Dumbrell knows the power of colour PLUS Untangling hair and personhood via art

PLUS Clare Milledge’s studio of myth and folklore

Inside this issue

A Note From the Editor

Tiarney Miekus PR EV IEW

STU DIO

Clare Milledge's Enchanting Space

Michelle Wang

Wurrandan Marawili: Giḻiŋur djuḻuḻ’yun – Hidden in the ripples

F E AT U R E

SALA Festival

Iris van Herpen: Liquid Dreams

Belinda Fox: and the little things

INTERV IEW

Louise Martin-Chew Sally Gearon

Briony Downes Tim Johnson

Is Care Endless?

Giselle Au-Nhien Nguyen Isabella Trimboli

Talking Painting with Wendy Sharpe

Sally Gearon

Andrew Stephens

F E AT U R E

Jane Guthleben: SEA FLOWER

Tiarney Miekus

Giselle Au-Nhien Nguyen

Lands of Light: Lloyd Rees and Tasmania

Louise Martin-Chew Darwin Festival

Barnaby Smith

The Land is Us: Stories, Place & Connection

Barnaby Smith

Collection Focus #3 // Stillness

Briony Downes

Gauguin’s World: Tōna Iho, Tōna Ao

Andrew Stephens F E AT U R E

The Root of the Matter

Neha Kale

Lillian O’Neil: Stars Through the Trees

Briony Downes INTERV IEW

Colour’s the Thing with Lesley Dumbrell

Kelly Gellatly

The Envy of the Art World

I L L U S T R AT I O N

Up That Hill

Caitlin Aloisio Shearer F E AT U R E

Echoes of Central Australia

Steve Dow

I N PIC TU R E S

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Detail: Julia Robinson, Beatrice, 2020; Gift of Helen Bowden, John and Jane Ayers, Colin and Robyn Cowan, James Darling AM, Lesley Forwood, Rick and Jan Frolich, Julian and Stephanie Grose, Stephen and Brigitte Lane with support from the Art Gallery of South Australia Contemporary Collectors through the Biennial Ambassadors Program 2020 Art Gallery of South Australia, Adelaide; photo: Sam Roberts

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Image — Kristian COULTHARD, Arkurra, South Australian Museum Collection. Photograph by Malcolm McKinnon.

Kudlila SAMSTAG MUSEUM OF ART

FRIDAY 7 JUNE — FRIDAY 20 SEPTEMBER 2024

Samstag Museum of Art Kudlila season exhibitions — Mulka Yata/The Knowledge of Place and FX Harsono: NAMA.

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A Note From the Editor

July/August 2024 Lesley Dumbrell is an icon of Australian painting with her meticulous use of colour and line, oscillating with movement despite seeming so structured. Her art pulsates across this issue’s cover, and in writer and curator Kelly Gellatly’s excellent long-form interview with Dumbrell, the pair talk about Dumbrell’s understanding of colour, while also reflecting on her early involvement in the Australian Women’s Art Movement in the 1970s. Dumbrell, now in her eighties, currently has a survey at the Art Gallery of New South Wales, and alongside being “enormously touched” by it, she also acknowledges that “I’m still alive and kicking, and get to see it.” Such an honour still isn’t something many women artists are bestowed, even today. These questions of gender, labour and the arts come to the fore in an exhibition at Heide Museum of Art, titled Hair Pieces. While it’s initially flooring just how many artists of calibre have used or centred hair in their artworks, writer Neha Kale explores how hair is entangled with personhood, freedom and control—particularly for women. As Kale writes, “It exposes the rituals women undertake in private to be taken seriously. The acts of maintenance—so often unseen and unwitnessed—that female bodies carry out.” In another poignant piece on womanhood, writer Briony Downes chronicles the story behind Lillian O’Neil’s art, where the assemblage-like experience of new motherhood—and how time and space feel acutely transformed—is mirrored formally in the artist’s visual assemblages. As O’Neil says, “Collage has an ability to combine fractured time periods, to coalesce disparate spaces and moments, and merge fragmented bodies with architectural spaces.” We also peek inside Clare Milledge’s studio, speak with Wendy Sharpe, reflect on the fashion designs of Iris van Herpen (who has dressed everyone from Björk to Beyonce), and celebrate the anniversaries of two pivotal institutions in Australian art: Arts Project Australia in Melbourne and Araluen Arts Centre in Central Australia. Tiarney Miekus Editor-in-chief, Art Guide Australia

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Caitlin Aloisio Shearer CONTRIBUTORS ISSUE #150

Steve Dow, Briony Downes, Sally Gearon, Kelly Gellatly, Neha Kale, Louise Martin-Chew, Tiarney Miekus. Giselle Au-Nhien Nguyen, Victoria Perin, Caitlin Aloisio Shearer, Barnaby Smith, Andrew Stephens, Hamish Ta-mé, Isabella Trimboli, Michelle Wang. SUB EDITOR

Paul Sutherland PRINT

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Cover artist: Lesley Dumbrell.

front a n d back cov er : Lesley Dumbrell, Foehn, 1975, Liquitex on canvas, 247.3 x 199.8 cm. national gallery of austr alia, purchased 1976 © lesley dumbrell. im age © nationa l ga llery of austr a li a .

Issue 150 Contributors

STEV E DOW is a Melbourne-born, Sydney-based

arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, the Sydney Morning Herald, The Age, Sunday Life, Limelight and VAULT.

BR ION Y DOW NES is an arts writer based in

Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University.

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.

K ELLY GELLATLY is an experienced arts

leader, advocate, curator and writer.

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

has been writing about art and culture for the last 10 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 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.

GISELLE AU-NHIEN NGU Y EN is a Vietnamese-

Australian writer and critic based in Naarm/Melbourne.

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

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

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

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

A NDR EW STEPHENS is an independent visual arts

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

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.

ISA BELLA TR IMBOLI is a critic, essayist and

editor living in Melbourne. Her writing on film, literature and art has appeared in publications such as Metrograph Journal, The Sydney Review of Books, The Saturday Paper, The Monthly, and The Guardian.

MICHELLE WA NG is an art consultant and writer

based on Gadigal land. She curates public and digital art projects at Art Pharmacy, and her writing on film, fashion and art can be found in The Saturday Paper, Harpers Bazaar, The Monthly and The Guardian.

Previews W R ITERS

Briony Downes, Sally Gearon, Louise Martin-Chew, Giselle Au-Nhien Nguyen, Barnaby Smith, Andrew Stephens.

Darwin/ Larrakia Country Giḻiŋur djuḻuḻ’yun – Hidden in the ripples Wurrandan Marawili Outstation Gallery, with Buku-Larrŋgay Mulka Centre 3—17 August

While Wurrandan Marawili only began painting in 2017, he has shared culture through music since 2009. His band Garraŋali (home of the crocodile) is known for their sound, songs in Yolŋu language, and wide cultural resonance. As Dave Wickens from Buku-Larrŋgay Mulka Centre, where Marawili paints from, says, “For Wurrandan and Yolŋu people, there is no differentiation between music and dance. He is a Yolŋu lawman who has responsibilities to lead ceremony and for whom culture is holistic. What we are seeing now is him reaching his full power as an artist.” Giḻilŋur djuḻuḻ’yun – Hidden in the ripples at Wurrandan Marawili, Yathikpa, 2024, Outstation is Marawili’s first solo art exhibition—a muchetched aluminium, 80 x 60 cm. awaited debut since one of his earliest paintings on bark was posted on Instagram and immediately acquired by the National Gallery of Victoria. Yet more recently, Marawili’s work has followed artist Gunybi Ganambarr’s ‘Found’ movement: Ganambarr encourages his peers to adopt found metal signs as the base for their art, applying their own markings, etched using power tools. Marawili is known for his innovative palette, fine patterns and inventive compositions, drawn from stories that relate to his clan estate. Etched diamond shapes in metal represent the saltwater estate of Yathikpa where Baru, the ancestral crocodile, entered the sea to escape fire. The lightning serpent, Mundukul, is another force within these waters. Giḻilŋur djuḻuḻ’yun – Hidden in the ripples displays Marawili’s approach to concealing through revealing, creating his own style. As he says, “I am doing it in another way—different from other Yolŋu. Some things are hiding, some others are showing. That way balanda [white person] can see that style and push me for that work and encourage me to keep going with that style . . . [and] Yolŋu can see the power in the Country. What is its identity? It’s dance, it’s song, it’s parliament.” — LOUISE M A RTIN- CHEW

Wurrandan Marawili, Mundukul/Burrut’tji Lightning Snake, 2023, etched aluminium, 60 x 120 cm.

Adelaide/Kaurna Country SALA Festival

Various Adelaide locations 1—31 August The annual South Australian Living Artists (SALA) Festival is a much-beloved, month-long celebration of contemporary art and artists across South Australia. “You can walk into nearly any building during the month of August and see art, from galleries and artist-run spaces to hairdressers and cafes—everyone is involved,” says Leigh Robb, curator of contemporary art at the Art Gallery of South Australia (AGSA). “There’s this wonderful sense of solidarity, it has a presence throughout the city, and the state. It’s always a great chance to connect with practices that you might not have otherwise seen.” Spanning scores of exhibitions and events, and hundreds of creatives, every year the festival chooses Julia Robinson, Ruddy Tuft, 2018, silk, a feature artist—and this year SALA is celebrating Julia thread, plating, brass, steel, mixed media, Robinson, who will exhibit at both AGSA and Adelaide approx. 80 x 90 x 60 cm. Central Gallery. “[AGSA] has been collecting Julia’s work for almost 20 years,” says Robb. “We’re going to be showing a number of her early works from our collection, as well as some recent ones.” Robinson’s 20-year practice has predominantly spanned sculptural and installation-based work. The forms have changed over the years—from sewn animals on stilts, to bulging, Hieronymus Bosch-esque gourds, to delicate smock dresses adorning rusting farm equipment—but there are thematic strings that run through it all, such as fertility, cyclical natures, seasonal changes, and folkhorror homages. The works shown at AGSA will be in conversation with each other, as well as key historical pieces from the gallery’s collection. “It allows us to punctuate the permanent collection with these works of Julia’s and sit them alongside the art that she references, such as John William Waterhouse or Barbara Hepworth. It’s great that we’re able to have these interventions into the collection, these time travelling conversations with artists that have either informed her practice or that she’s responding to.” — SA LLY GEA RON

Sydney/Eora and the little things Belinda Fox Arthouse Gallery 25 July—10 August

Belinda Fox, The storymaker II (hold me up), watercolour, ink, graphite, collage on board, 120 x 130 cm.

For Melbourne-based artist Belinda Fox, a home is not just the materials it’s made from; it’s deeply connected to the people who live there. To illustrate this, Fox invited artists from Australia and abroad—including Glenn Barkley, Juan Ford and Leila Jeffreys, among many others—to contribute an artwork she could respond to, requesting each reflect on what home means to them. “All of the artists are either long-term friends and collaborators, or artists I greatly admire and have had opportunities to work with,” Fox explains. “They are all people I regard as part of my sense of self and home.”

In addition to creating a collection of new paintings, Fox constructed the centrepiece of the exhibition—a 20-metre-long wall print based on a drawing of a giant orange wave. Fox says the dominating presence of the wave, “represents the worries and anxiety of the times” and “acknowledges home for many is not all smooth sailing”. A further collaboration between Fox and Dutch designer-maker, Wilfred Kalf, has resulted in a sculptural cabinet based on the choultry (a resting place for travellers often connected to a temple) and the travelling suitcase. “The cabinet is displayed under my painting of an old pear tree that stands outside Wilfred’s studio in the countryside of The Netherlands,” says Fox. “It’s like I am bringing a piece of where the cabinet was made into my studio, relocating it to its home here in Australia.” With the included artists working across photography, textile design and illustration, Fox has brought together an affecting and bittersweet exhibition unpicking the complexities of what constitutes home. “To invite these artists is to bring them into my world and show them how they factor into my sense of place. Not only does place involve my deep affiliation with nature, but also the people who become part of that journey, who inspire you to be a better artist and person.” — BR ION Y DOW NES

Melbourne/Naarm Tim Johnson

Tolarno Galleries 17 August—14 September Collaboration seems to come naturally to Tim Johnson, whose interest in exploring connections between spiritual disciplines and the material world brings with it an openness to many approaches. In his latest pieces, he has been working with a psychology professor he encountered at his group-studio in Newtown, and Tim Johnson and Paul Rhodes, Revelation, 2024, they have produced paintings that burst with stories acrylic on canvas, 103 x 142 cm. courtesy of the and allusions. artist and tolarno galleries. Johnson’s interest in working with others extends back to the 1980s when he collaborated with Papunya artists, who were enthusiastic about teaching and sharing their methods. In Johnson’s new works, images seem to be suspended in an otherworldly atmosphere. For their first painting together, Johnson and his collaborator decided to tackle the Book of Revelations (the final book of the New Testament), which Johnson says many artists have used as a foundation because of its rich imagery of angels, horsemen, beasts and other, more obscure references. “I like it as a piece of writing,” he says. While his collaborator is interested in the darker side of Revelations—owed to his explorations of the unconscious and human suffering during therapy sessions—Johnson prefers a more light-filled approach. Working on a painting, they take turns rather than operating side-by-side—and it has become evident that while Johnson enjoys slow research and a refined method of working up in layers, his co-worker loves to jump in and transport imagery straight on to the canvas. Johnson is relaxed about this—it is one of the pleasures of collaborating and encountering other ways of doing things. While there are many other works in the exhibition—including another collaboration with the psychologist on the Book of Genesis—Johnson’s tendency towards Buddhism and its focus on the joy of the present moment remains threaded throughout. — A NDR EW STEPHENS

Brisbane/Meanjin SEA FLOWER Jane Guthleben Edwina Corlette 15—31 August

Jane Guthleben’s paintings bring native flora to life: flowers and plants sit in vases, as Guthleben’s eye for colour and arrangements tell their histories. For her upcoming show in Brisbane, the Sydney-based artist is focusing on coastal plants and the sea around the region, tracing back to logs from Joseph Banks and James Cook’s voyage to Australia in 1770. “The reason for thinking about what they encountered on that voyage is to look at and consider what has been lost since Jane Guthleben, Midnight Blue Still Life with colonisation,” Guthleben explains. Wooden Table, 2023, oil on linen, 122 x 122 cm. The show includes what Guthleben calls waterscapes and floralscapes: “an amalgamation of flora, where the land version of the water is the sky”. Seaweed and coral feature among land-based plants to give a panoramic view of the diversity of the region’s plant life—and how it has changed in 250 years. Guthleben has recently turned her hand to pottery, and some ceramics will be included in the show alongside the paintings. “In the last couple of years, my more elaborate compositions have included a make-believe vase that relates to or adds another window to something that I wanted to say about the place that this plant material is from,” she explains. When she began to learn pottery, it was to “add that personal element and actually create the painting, instead of just imagining it”. With recent news about coral bleaching devastating the reefs in Queensland, the artist’s work is her form of protest. “I feel as an artist you get a tiny chance to say something, and what I would like to say in my painting is…something big, that will make somebody take a second look at what we can do, or how we can change.” — GISELLE AU-NHIEN NGU Y EN

Hobart/Nipaluna Lands of Light: Lloyd Rees and Tasmania

Tasmanian Museum and Art Gallery On now—27 October

While Lands of Light focuses on Lloyd Rees’s (1895-1988) late paintings inspired by the Tasmanian landscape, these are contextualised with works made near his Sydney home, his Brisbane birthplace, and his trips to Europe. As Tasmanian Museum and Art Gallery (TMAG) lead curator Peter Hughes says, “Lloyd Rees may be the best draughtsman that Australia has produced. Lloyd Rees, Afternoon (Blue Days on the Derwent), The exhibition is about the Tasmanian aspect of his 1983, oil on canvas on board. collection: r jensen. practice, but these later works need the introduction to his genius.” Rees began visiting Hobart consistently, twice a year, after his son Alan moved there in 1967, and this exhibition was developed through the ongoing association with his family. The Tasmanian paintings, created between 1967 and 1988, reflect a level of stimulation drawn from both a new landscape and the change in light (with Hobart’s lower humidity and latitude). Although Rees’s practice was never bound by the details of place, often opening to architectural structures and humanist interpretations.

Jane Guthleben, Dutch Still Life with Geebung and Epacris, 2023, oil on linen, 122 x 122 cm.

The exhibition culminates in the later paintings Rees made when his sight was impacted by macular degeneration. “This condition meant he had to change his style,” explains Hughes. “Rees was addicted to art making. He couldn’t and didn’t stop. These later works reflect a strategy to continue with the shortcomings of his age and eyesight. He adapted, using a broader brush, and more abstraction, focusing on colour, light and tonality.” The later works grew larger in scope: they became open, in their luminosity, to the spiritual. In paintings like The Great River (an impression of the Derwent), 1983-85, what dominates is the capture of light over the harbour. As Hughes writes in the exhibition catalogue, “The articulation of space through detail and careful composition, while not entirely absent, gives way to an expansive vision, suggesting the infinite.” Through Lands of Light, Rees’s shifting perspectives throughout his esteemed, long practice are articulated with new insights. — LOUISE M A RTIN- CHEW

Darwin/ Larrakia Country Darwin Festival

Various Darwin locations and galleries 8—25 August “Much of the work that’s made in the Territory is very inspired by place, culture, community and landscape,” says Darwin Festival director Kate Fell. She is speaking in relation to Kathryn Dwyer’s exhibition, Colour Conference, at the city’s Tactile Arts gallery—paintings defined by their colourful detail and exuberant depicDarwin Festival, 2023. photogr aph: clarlie bliss. tions of the Northern Territory environment. “[Her] paintings look at light, colour and the birdlife up here, and very much have a sense of nature and place.” Dwyer’s show is one among many gallery exhibitions part of this year’s festival, which, as ever, has a strong emphasis on the breadth of contemporary Indigenous art. “We work with all the galleries in Darwin, who curate their own exhibitions and become part of the festival,” says Fell, who notes that this year the focus is on pushing aesthetic form. “For example, Wurrandan Marawili at Outstation Gallery is using discarded road signs.” Further standout shows include Yindjibarndi artist Wendy Hubert’s exhibition at Tactile, Ngurra Goonmardi; Matt Sav’s multidisciplinary exploration of masculinity in Deep Heat at UNTiTLED gallery+studio; and Rita & Julie at Coconut Studios, a collaborative show from painters Rita Kemarr Beasley and Julie Pwerl Beasley, who depict Country through inventive use of pointillism and playfully expressive brushwork. A number of established events remain firmly in place. The Telstra National Aboriginal & Torres Strait Islander Art Awards (NATSIAAs) are at the heart of the festival, while the SALON des Refusés at Darwin Waterfront, now in its 12th year, is another key showcase for First Nations art. A further much-loved annual event is the Tiwi exhibition Ngini Ngawula Pikaryingini (Our Stories). Also central to the festival program is Untold, a series of “talks, events and First Nations-led conversations”, says Fell, that examine critical Indigenous issues and experiences, in both the Top End and beyond. — BA R NA BY SMITH

Shepparton/Yorta Yorta The Land is Us: Stories, Place & Connection Shepparton Art Museum On now—1 September

In dedicating itself to landscape in Australian art, The Land is Us: Stories, Place & Connection takes on a broad remit. But it’s precisely that broadness—alongside an expansive interpretation of what landscape art is—that The Land is Us: Stories, Place & Connection – this exhibition celebrates. Artworks from the NGV Collection, installation Featuring works from the National Gallery of view, Shepparton Art Museum, 2024. Victoria, the exhibition goes back as far as John Glover’s photogr aph: leon schoots. Mount Wellington with Orphan Asylum, Van Diemen’s Land, 1837, moving through the years to reach contemporary artists including Brook Andrew, Patricia Piccinini and Destiny Deacon. “In all our stories, memories, histories and places, the land is present,” says curator Belinda Briggs, ”physically, spiritually, economically informing and shaping our identities, and our social and cultural relationships.” While the exhibition acknowledges the influence of Impressionist painters like Arthur Streeton and Frederick McCubbin, they nevertheless represent a “Eurocentric viewpoint that promoted settlement while omitting and marginalising First Nations and non-European peoples,” says Shepparton Art Museum CEO Melinda Martin. Kamilaroi artist Reko Rennie, with Regalia, 2013, is one of several significant Indigenous artists who “challenge the conventions of the traditional Australian landscape, and turn our sight, minds and hearts to the land beneath our feet”. The Land is Us also embraces the landscape art of artists who’ve experienced migration. Among them is Iran-born photographer Hoda Afshar, as well as artists of Chinese origin such as John Young (Zerunge) and Ah Xian. “Their artworks serve as a means to reconnect with their birthplaces and reflect on their journeys to a new life, while paying homage to cultural traditions,” says Martin. Other themes include the climate crisis, with Piccinini’s The Rescuers, 2021; and political activism, with the late Yorta Yorta artist Lin Onus’s Fire 2, 1989. Martin describes Onus’s visionary work as a “cultural bridge”—an apt way of summarising the show itself. — BA R NA BY SMITH

Cowaramup Collection Focus #3 // Stillness

Holmes à Court Gallery at Vasse Felix On now—25 August

William Gould, Pheasant Still Life, c.1850

When we think of stillness in art, the still life genre often comes to mind. Paintings of floral bouquets in vases; a cornucopia of fruits. Seeking to reframe this idea of still life, curator Laetitia Wilson has researched the contents of the Janet Holmes à Court Collection and unearthed the work of 21 artists who push the boundaries of what still life can be. “I wanted to expand still life into the domestic space, to ideas of stillness within that space and to psychological responses to interior space,” Wilson explains. “It gets quite abstract at points.” Marking the third instalment of the Collection Focus exhibition series, Stillness spans emerging and established artists from across generations. William Gould’s Pheasant Still Life, c.1850—a traditional still life

painting of a freshly slain pile of birds—marks the oldest work in the exhibition. In a contemporary reflection on still life in the 2020s, Wilson singles out a painting by Perth-based artist, Jordan Andreotta. “It features lone human figures shrouded by sheets, going about everyday domestic activities—watering a plant, sitting on a chair,” she says. “These are a response to Covid-19 and how staying at home meant something quite different.” Originally acquired in 1987 and on display for the first time are a series of Conversation Piece paintings by David Watt. Created with charcoal, ink and acrylic, Watt’s work depicts everyday objects like coffee cups, lamps, and a shower curtain, all from a close-up perspective. For Wilson, this series “borrows from pop art to make a critique of consumer culture and communicates our obsessions with the conveniences of modern life”. Exploring how we process stillness within ourselves and within our immediate environment, Wilson offers an alternative viewpoint of the traditional still life artwork, while also revealing collection treasures: “Most of the works, in fact, have rarely or never been seen.” — BR ION Y DOW NES

Canberra/Ngambri Gauguin’s World: Tōna Iho, Tōna Ao

National Gallery of Australia 29 June—7 October

Paul Gauguin was largely unrecognised in his lifetime (1848-1903), during which he spent almost 20 of his later years living in Tahiti and the Marquesas Islands in French Polynesia. While the art made there by this gifted painter eventually became celebrated, in recent decades, as art historian Norma Broude explains, there has been a growing, complicated “image of Gauguin in the critical Paul Gauguin, Three Tahitians (Trois Tahitiens), 1899. media—as a predatory womaniser, agent of colonial national galleries of scotland, edinburgh, domination, and even sexual offender whose art should presented by sir alexander maitland in memory be ‘cancelled’.” Broude’s words feature in a catalogue of his wife rosalind 1960. essay for the National Gallery of Australia’s exhibition, Gauguin’s World: Tōna Iho, Tōna Ao, with the show raising such issues for examination, while also acknowledging Gauguin as hugely popular among museum-goers. Curated by former Louvre Museum and Musée d’Orsay director, Henri Loyrette, Gauguin’s World includes 140 of his works featuring some of his most recognised masterpieces, such as Femmes de Tahiti, 1891, Three Tahitians, 1899, and Portrait of the artist with ‘The yellow Christ’, 1890–91. Yet the show is couched within a Polynesian perspective, exhibiting works by contemporary Pacific-region artists, along with talks and public programs including, for example, Tahitian knowledge-holders. NGA director Dr Nick Mitzevich says it is an important opportunity for audiences to contemplate Gauguin’s life and art through the perspective of Australia’s Moana/Pacific neighbours, to elevate their voices and hear new perspectives. “While we celebrate Gauguin’s ties to the Pacific region, we need to address his legacy,” he explains. “Like other contemporary and historic artists, Gauguin’s life and legacy have come under increasing scrutiny. By today’s standards, Gauguin’s interactions in Polynesia at the end of the 19th century would not be acceptable.” As much as being about art, this show is also about reckoning with the ethics of art’s recent history. — A NDR EW STEPHENS r ight Paul Gauguin, Bonjour Monsieur Gauguin, 1889. hammer museum, los angeles, gift of the armand hammer foundation, the armand hammer collection.

The Root of the Matter In Hair Pieces at Heide Museum of Modern Art, hair symbolises the burden of gendered labour— while speaking to how bodies are subject to wider tensions between freedom and control.

The gesture feels so intimate, it’s as if we shouldn’t be watching. The woman in the leotard hunches over a bucket. She dips her fingers into a thick black liquid, before raking them over her scalp. She mops the ground with the substance, the swish of her hair marking the floor with lines and splodges and patterns. As she shuffles backwards on all fours, the audience exits the gallery. She commands the space and imbues her movements—which we read as servile and degrading—with power and authority in the process. Loving Care, a performance by the American artist Janine Antoni, took place in 1993 at London’s Anthony d’Offay Gallery. It was named for the brand of dye the artist’s mother used to cover the greys in her hair. The work, which winks at images of abstract expressionists in their studio, is on show as part of Hair Pieces, an exhibition that explores the cultural significance of hair at Heide Museum of Modern Art. It exposes the rituals women undertake in private to be taken seriously. The acts of maintenance—so often unseen and unwitnessed—that female bodies carry out. Hair has always reflected the workings of gender and power. In folklore, it’s a symbol of youth and beauty. Rapunzel was desired for her blondeness. Snow White had hair as “black as ebony”. In Ana Mendieta’s 1972 photographic series Untitled (Facial Transplant), which unfolds along a red wall at Heide, the legendary Cuban-American artist appears in profile. The moustache she wears is the result of a collaboration with her friend, the writer Morty Sklar. Mendieta neatly reveals the rules of femininity and masculinity as arbitrary by gluing strands of Sklar’s

W R ITER

Neha Kale

beard to her own upper lip. Like Antoni, she shows us how hair is never just hair but a synecdoche for the female body. To dye or tame or remove hair— or refuse to—is to subscribe to a society that places women on a spectrum. To be desirable, or deviant, or somewhere in between. In the 1990s, when I was a teenager, hair was abject. The sting of an epilator, the sensation of burning wax was an attempt to curb unruly bodies. To participate in a culture that granted basic respect in exchange for your palatability. This imperative, a July 2023 Vogue article tells me, is—happily—being challenged by Gen Z, who came of age in a world in which “male gaze” is as much theory as it is social media hashtag. But hair still feels political. It grows against our will. It falls without our knowledge. A strand— separated from a root, appearing where it shouldn’t— has the power to shock or repel or disgust. Hair, of course, has long been bound up in colonial hierarchy. To straighten your hair is to appear respectable, to announce a proximity to whiteness. In Pencil Test 2, a 2012 video work by Kemang Wa Lehulere, the South African artist recreates the ‘pencil test’—in which a pencil, slid into a person’s hair, sorted you into a category.

r ight Ana Mendieta, Untitled (Facial Hair Transplants), 1972, suite of seven colour photographs. © the estate of ana mendieta collection, llc courtesy galerie lelong & co. licensed by ars, ny 2023 and copyright agency, austr alia.

Hair Pieces, installation view, Heide Museum of Modern Art. photogr aph: christian capurro.

“It exposes the rituals women undertake in private to be taken seriously.”

— N EH A K A LE

Janine Antoni, Loving Care, 1992, performance with Loving Care hair dye, Natural Black, dimensions variable. photogr aphed by prudence cuming associates at anthony d’offay gallery, london, 1993. © janine antoni; courtesy of the artist and luhring augustine, new york.

To be ‘Black,’ ‘Indian’ or ‘Coloured’ was to determine your housing conditions, your access to opportunities. Untitled (Hong Kong Cage), 2019, one of the show’s most poignant works, sees the Palestinian artist Mona Hatoum place balls of her own hair in a bird cage she bought in a Hong Kong market. The nest-like forms—so small and fragile, clustered together in a corner—don’t just speak of the incarcerated female body. The sight of hair, detached from its roots, recreates, in the viewer, a visceral feeling of displacement. It doesn’t just recreate enclosure but enacts its psychic cost. In Hair Pieces, hair is most powerful not as symbol but as material. We can dye it, cut it or remove it, but it is proof of our embodiment. It is the residue of our physicality. It can’t be abstracted. Near Untitled (Hong Kong Cage) is Karla Dickens’s Warrior Woman, 2017, where hair sprouts from a metal chastity belt, a riposte to ethnographic displays that once attempted to categorise the bodies of First Nations women. Dickens, a queer Wiradjuri

artist, draws on the wilfulness of hair to speak a language of defiance. If Janine Antoni lays bare the burden of gendered labour—how hair can stand in for the pressures that women are subject to—then Dickens gleefully shakes them off. In front of S. J Norman’s beguiling Magna Mater, 2020, strands of hair are ensnarled in a series of plastic brushes, so ordinary and intimate. These allude to the hair samples that were once extracted by anthropologists, exhibited in museums. On screens, there are 10 First Nations people who Norman, who is Koorie and Wiradjuri and transmasculine, is in kinship with. Caregivers brush their hair tenderly and the motion is rhythmic, trance-like: hair less the site of control but of the freedom to exist, to feel pleasure, despite it.

Hair Pieces

Heide Museum of Modern Art (Melbourne/Naarm VIC) On now—6 October

The assemblage of new motherhood, of shifting time and experience, is mirrored in Lillian O’Neil’s poignant artistic assemblages.

STA R S TH ROUGH TH E TR EE S

W R ITER

Briony Downes

Lillian O’Neil, The winds hand, 2023, collaged archival pigment ink prints on cotton rag, 66 x 90 cm. courtesy of the artist and the commercial. photogr aph: john o’neil.

Lillian O’Neil, The place we dissolve, 2023, collaged archival pigment ink prints on cotton rag, 270 x 165 cm. courtesy of the artist and the commercial. photogr aph: john o’neil.

For generations, popular culture has presented motherhood as a time of sweet contentment and effortless joy. Yet in reality, the transition to becoming a mother can be wrought with physical and emotional upheaval, bringing about seismic shifts in the body, identity and sense of self. There is a label for this time in a woman’s life: matrescence. Encompassing pregnancy and birth, and recognising the gravity of this time. Matrescence was initially coined by medical anthropologist Dana Raphael in the 1970s. While the term has been in existence for over four decades, it was not until recently that Melbourne-based artist Lillian O’Neil began exploring it in her work. “I first came across Dana Raphael’s term matrescence on the wall text for Ying Ang’s photographic series, The Quickening,” she says. Exhibited at the Centre for Contemporary Photography in 2023, The Quickening contained grainy images captured on Ang’s baby monitors and photographic portraits of intimate moments postpartum. “At the time, I had a six-month-old and a two-year-old and it resonated with me,” O’Neil continues. “I related to Raphael’s idea

that matrescence is a rite of passage, a period in which huge shifts of identity occur.” In a body of work originally commissioned for the 18th Adelaide Biennial of Contemporary Art: Inner Sanctum, O’Neil has used collage to explore ideas of matrescence and the split self. “I didn’t experience having a baby as a comfortable shift of identity into motherhood but more of a fracturing or splitting of self. Finding people who have written or made art about their experience of early motherhood was validating and helped me find my own way in to making work about it.” Assembling her multi-layered images from visuals found in vintage books and magazines purchased from op shops and secondhand bookshops, O’Neil often chooses images depicting the female body in architecture, mythology, and historical accounts of childbirth. Most of her finished pieces are black-and-white and on a large scale, alluding to the sense of overwhelm that comes with the early days of motherhood. In The light that spills across the ground between shadows, several new, smaller works add to the idea of the split self with disembodied limbs

“I lay awake for months, with no more than an hour’s sleep at any one time, and I would watch the night through the window…” — L I LL I A N O’ N EI L

blending into the woven textures of clothing and wallpaper found within the domestic interior. For O’Neil, collage is an apt medium to illustrate her experiences of matrescence. “I often felt like I was merging with my domestic environment and that time was moving in strange ways,” she explains. “Collage has an ability to combine fractured time periods, to coalesce disparate spaces and moments, and merge fragmented bodies with architectural spaces.” To express the feelings of vulnerability and containment, many of O’Neil’s female protagonists are in varied states of laying down, sitting, or bending. In The place we dissolve, 2023, a woman is slouched in a chair within a domestic interior. Opposite is a window covered with horizontal blinds, reminiscent of a barrier between her and the outside world. She appears tethered to the interior, bound by the domestic sphere. Behind her is the partially obscured head of a bridled horse, a symbol of wildness contained. In the catalogue essay for Inner Sanctum, curator José Da Silva observes, “Fragments of rocks from caves and tunnels, which appear to cradle and enclose figures, reflect a sense of the women retracting into themselves.” Night is a time O’Neil references frequently in her work. Despite being in the constant presence of a new baby, when darkness falls, feelings of physical and emotional isolation can be heightened. “Being awake breastfeeding through the night made me very conscious of the light shifting,” O’Neil says. “I lay awake for months, with no more than an hour’s sleep at any one time, and I would watch the night through the window, the moon arch across the sky, the first light of day, the stars through the tree—it was very quiet and very solitary.”

Also alluding to the shifting of light and shadows is the title of O’Neil’s exhibition. It is lifted from a passage in Annie Ernaux’s book Les Années (The Years). The author combines autobiographical details with French history, and one can see the connection to O’Neil’s work as Ernaux writes, “The distance that separates past from present can be measured, perhaps, by the light that spills across the ground between shadows, slips over faces, outlines the folds of a dress—by the twilight clarity of a black-and-white photo, no matter what time it is taken.” Working with curator José Da Silva to develop her work for both Inner Sanctum and The light that spills across the ground between shadows, O’Neil says this ongoing support has been invaluable. “I had a coffee with José early on and I think he picked up I was going through something big,” she says. “I wasn’t even sure I was going to be able to make anything, and I’d just be staring at the studio wall blinking.” The result of this raw and profoundly emotional experience not only adds to O’Neil’s impressive oeuvre, but also sheds light on what can be a joyous, yet deeply challenging time in a woman’s life. As she puts it, “José installed the works and when I saw how he’d lit them, I felt that sweet spot of embarrassment, of having revealed something that maybe others might recognise in themselves.”

The light that spills across the ground between shadows Lillian O’Neil UNSW Galleries (Sydney/Eora NSW) 28 June—8 September

W R ITER

Kelly Gellatly

a bov e Portrait of Lesley Dumbrell, 2023 with her artwork, Solstice, 1974. photogr aph: jenni carter. © art gallery of new south wales. left Lesley Dumbrell, Foehn, 1975, Liquitex on canvas, 247.3 x 199.8 cm. national gallery of austr alia, purchased 1976 © lesley dumbrell.

Colour’s the Thing

with Lesley Dumbrell

“But it was also opening up the fact that as women, we should support each other…” – L E SL E Y DU M BR ELL

Since her first exhibition at Bonython Gallery in Sydney in 1969, Lesley Dumbrell has defined geometric, hard-edge abstract painting in Australia. She became prominent in the 1970s for her use of colour and line, and also her involvement in the Women’s Art Movement and co-founding the Women’s Art Register. Since 1990 she has lived and worked between Thailand and

Victoria, and is now being recognised with a career-defining survey at the Art Gallery of New South Wales, with a title that aptly captures the experience of her work: Thrum. Curator and writer Kelly Gellatly talks with Dumbrell about the Women’s Art Movement, slowness in creating and viewing, and how Dumbrell is reflecting on 60 years of painting.

K ELLY GELL AT LY

Despite the importance of structure, repetition and the grid in your practice, you’ve always stated that colour is most important to you. Why so? LE SLE Y DU M BR ELL

Because all the colours have their own meaning. I can’t really describe it, but if you listen to music, the different musical instruments—like the oboe against the piano, against the violin—colour is the same kind of thing. It creates the atmosphere around the actual structure— which for me is a whole lot of patterns and things, but for other people, it could be a portrait or a tree or a landscape—and colour, in a way, is the unsung meaning. KG

Lesley Dumbrell, Solstice, 1974, Liquitex on canvas, 173 x 296 cm. art gallery of new south wales, purchased with funds provided by the patrick white bequest 2019. © lesley dumbrell.

It seems extraordinary now, given its championing of the ‘new abstraction’, that you weren’t included in The Field exhibition at the National Gallery of Victoria in 1969 (and of course, of the 40 artists represented, it included only three women—Janet Dawson, Wendy Paramor and Normana Wight). How did this affect you at the time? LD

Well, you see, I haven’t actually said this to anyone, but this is the thing … At that time, I was married, and that marriage broke up, but while I was married, my maiden name, Dumbrell, disappeared and I was ‘Mrs So and So’, and then I came back to my maiden name. So, there was confusion about names and who I actually was. And I was really young and just starting out, and the first exhibition I had—now, these works are in very fine collections—but at the time, I sold nothing. It was in Sydney [at Bonython Gallery in 1969], and no one had ever heard of Lesley Dumbrell, given I was a Melbourne girl. And although I knew John Stringer [curator of The Field] and he could have put me in that show, he wouldn’t have seen those paintings. So, no one in Melbourne really knew what I was doing. It’s a Melbourne-Sydney thing. That’s why it happened. It wasn’t really John Stringer’s fault because he hadn’t seen any of that work. The other thing that always sticks in my mind, is I remember talking to the head of the art school at RMIT when I was a student. One day I said to him, “How come you’ve got so many willing female students, more females than males?” and I said, “Wouldn’t you prefer to have it a bit more balanced?” The question in my head was really about the fact that women artists didn’t seem to get very far, but the men did. Even in the course that I was doing, the blokes were definitely taken much more seriously than the women [Dumbrell studied at RMIT from 1959-1962]. And my lecturer’s answer was, “Oh no, we’re perfectly happy to have women. They’re very much part of the art world. They’re just as likely to get married, and sometimes they marry well, and they’re very good at buying art—you know, they’ll go out, and because they’ve experienced being in art school, they’ll know what to buy and they’ll be very beneficial to the community.” That’s how they saw us. And I thought, “Well, I wouldn’t assume mate. It’s not going to be like that for me.”

Lesley Dumbrell, Tramontana, 1984, Liquitex on canvas, 182.8 x 365.4 cm. national gallery of victoria, purchased through the art foundation of victoria with the assistance of the marjorie webster memorial, governor, 1984 © lesley dumbrell, image © national gallery of victoria, melbourne.

Your involvement in the Women’s Art Movement (WAM) in Melbourne saw you take American feminist art critic Lucy Lippard to galleries and to studios of women artists during her now infamous trip to Australia in the 1970s. This was a watershed moment for many women artists at the time. What did that mean for you and your practice? LD

Well for a start we decided we had to get women artists together and start talking. So that’s where the Women’s Art Register came in [co-established by Dumbrell in 1975]. Because for the men, when international people came there were plenty of doors that were immediately opened. Everyone knew all about the men—they didn’t know about the women. So, we had to have something to balance that up. But it was also opening up the fact that as women, we should support each other, and should go and visit each other’s studios. You know, it’s a community that we should have, which we really didn’t have until that started to happen. So that was a big change. And it meant a huge amount to all of us. It was very important. It was exciting for us because we felt like we were really getting somewhere, really getting somewhere. I think there are some other elements in all of that, particularly the fact that there were very good galleries, like in Sydney, Gallery A, and good women in Melbourne too. So, the women who were in the business of selling art in their galleries, they supported women, not because they were women, but because they were good artists. There wasn’t that barrier of “Oh, you’re either male or female.

I don’t do men, I just do women”, or whatever. Women came into that mix, and I can always remember—particularly at Gallery A – Ann [Lewis, an influential patron and passionate arts figure] supported women, just as much as she could. If she thought the art was good, she was there, and she had your back. And I think that they made a big difference. Christine Abrahams [arts figure and gallery manager] was a dear, dear, friend of mine and so was Ann Lewis. They were really my rocks, those two, and without them my career would be completely different. So, it is still about good women doing good things and really making a difference. KG

In Art Gallery of New South Wales’s director Michael Brand’s introduction to the catalogue of your exhibition, he states that your practice “is characterised by intuition and play”. I don’t think this is something that would necessarily occur to most people when they look at your perfectly calibrated and highly finished works. Can you talk about intuition and play in your practice? LD

After the first 10 years of doing all those pattern-y things, I spent quite a bit of time thinking about the fact that there’s something in our brains that is about pattern. If you think about it, the Scots are famous for their tartans, and there’s a hundred different combinations of lines and colours. And being here in Thailand there are a whole lot of symbolic repetitive shapes—which I don’t know the meaning of because I’m not religious, and it’s not my religion—but they’re there, and they run and flow through a lot of clothing the Thai people wear, and on the walls, and in

the decorations… Every nation has got colours that they feel they own, and they’ve also got patterns that have great meaning. So, it’s not that unusual that I was interested in patterns and kept following it. It was something that came more naturally to me than wanting to paint portraits or something. The other thing is that my father was an architect. And so, from an early age, I was dealing with rolled up papers and rulers and things. I think I got it because I was my father’s daughter. He had that kind of brain too, but he was building houses. They’re patterns also, in a way, but they’re structures that have another meaning. So, for me, it’s just how I think. I learnt to respect that I shouldn’t have to worry about it, that it’s fine. If you think that way, keep going. KG

Your career has been characterised by pauses in your work—when you had your son as a young artist, for example, or when you moved to Bangkok in 1990. For some artists, this may have been the beginning of the end, leading to a crisis of confidence after which they stopped making work. What do you think got you through these challenging periods? LD

I think I’m always up for an adventure. Certainly, moving to Bangkok, I thought, well, I don’t know anything about Asia, but it’s got to have something that I’ll find interesting or that I don’t know about— I just have an open mind to things. You have a whole lot of challenges—you’ve just got to make things work. Every artist goes through a time where it’s not coming together properly—we have our moments, definitely. But life’s like that, that’s just normal. Nothing’s perfect— you have to make the best of whatever you have. KG

Can you tell us about the process of finding titles for your paintings? It seems to me that you use your titles to expand upon the allusive quality of your work—a feeling or sensation that a painting might convey—and to provide a hint for the viewer. Is that your intention? LD

I found this book years ago, which was like a dictionary of colour. It had the colour—say, yellow, and what that was in Mexican, for example. And some of these colours—like blue or green, had these wonderful names that were almost musical, but obviously you wouldn’t know that it was actually the name for green in Mexican. So, I deliberately chose the Mexican name because it would be a kind of mystery name that would also sound quite beautiful. I felt, “Well, people will just have to do their research on these things.” But I never wanted to name paintings telling people what they should have to think about. I know what I think the meaning of [my work] is, but everyone who looks at it has got to find their own meaning for it. I like to play with words because really, the meaning of the work is in itself. I like the ambiguity and a bit of mystery in the name.

Your works are a long-time in the making and they deliberately slow the viewer down so that they can work on us. What do you hope audiences take away from them? LD

I think whatever they find in it, is for them. I’m not trying to preach anything. I’m just delighted that people get something out of it. It’s lovely to feel you’ve got an audience. People often ask me, “Well, how did you know what you wanted to do?” I sort of always knew what I wanted to be. But I didn’t know what that would mean. And having finished art school, I thought, “Well, I don’t know where to start here.” And it took a while, but, in a way, you’ve got to invent your own language, and no one can really help you. You’ve got to find it. You can obviously look at artists you admire and think “I’d like to think like that”, but it’s another whole world of not being able to explain in words because it’s visual. I was always this kind of funny visual person, I guess. I’m not musical—I’ve never played piano or anything—so I don’t have knowledge of that, but I think people don’t put the same demands on music. Somehow instinctively they’ll respond to some [type of] music better than others, and that’ll become their favourite. They don’t ask for an explanation of it. They either get it, and enjoy it, or they don’t like it. And I think visual art is the same thing. It’s not preaching to people, “Oh, you’re stupid and you don’t understand this.” It’s just like music. If you don’t like that or you don’t feel anything about it, then move onto something else. It shouldn’t be this snobby, “Oh”, kind of thing. I don’t think art is like that—it shouldn’t be. KG

What does it mean to you now, in your eighties, to have an exhibition and publication of this magnitude? LD

Quite honestly, I find it scary. But I’m enormously touched that this is what’s happened. The thing that I’m really, really looking forward to, and that astounds me, is that they’ve managed to collect together a whole lot of works that are going to sit in the same space. It’s like herding a group of people together, you know, to have some fun. I’m going to be fascinated to see how the thread of thinking goes through it because this is something that I could never have afforded to do, or even think of doing. It’s also the kind of thing that if someone did think of doing it, you’d probably be dead when they did it. So, fortunately, I’m still alive and kicking, and get to see it, and I’m going to be fascinated to see what I learn from it. It’s very exciting. It’s a great gift. Lesley Dumbrell: Thrum Art Gallery of New South Wales (Sydney/Eora NSW) 20 July—13 October

Studio

Clare Milledge Michelle Wang PHOTOGR A PH Y BY Hamish Ta-mé AS TOLD TO

“I’ve always grown up with that really strong sense of the natural world around me and the importance of that.” — CL A R E M I LL ED GE

Surrounded by a lush garden of coastal natives that she tends in her Avalon home and studio on Garigal land, just outside of Sydney, Clare Milledge’s deep curiosity about the landscapes we inhabit and our connection to them permeates her thinking and artistic practice. From medieval glossaries to mythology, lore and personal ancestral records, Milledge’s ever-engaged research process informs a varied body of work operating on layers of poetic logic. Lately, she’s been working with zoomorphic bronze clasps that fasten her distinct hinterglasmalerei, ‘behind glass’ paintings—which she’ll be showing at STATION Melbourne. Calling these clasps “close readers”, it’s a suggestion as to the nature of Milledge’s work and how to interpret it: a way to navigate the enchanted and mythical, an always unfolding quest in Milledge’s studio and art.

PLACE

CLA R E MILLEDGE: I started heading up the coast,

looking out of town so that I could find something where maybe there was a shed. And I kept driving further and further because I couldn’t find anywhere that felt quite right. Then I got up here to Garigal land in Avalon, and there were Angophora trees everywhere. I had spent a lot of time up here in my early twenties with various friends and ex-boyfriends and had knowledge of the area and had always really felt drawn to the space. I just think it’s such a purely beautiful landscape here. So, I found myself here and then we also got the dog. And I’ve ended up just staying. PROCESS

CLA R E MILLEDGE: I’ve been researching my ancestry

in Northern Ireland, but at the same time, I’m reading [Irish writer] Manchán Magan’s books about the landscape and other contemporary literature. I’m also looking at really old things like this medieval glossary of Irish words, Sanas Cormaic [first started in year 908]. I’m reading about how ingrained the language is in the landscape, but also a lot of the stories are to do with ecological balance. I think that is at the heart of why I’ve become so obsessed with it, because my parents are ecologists. I’ve always grown up with that really strong sense of the natural world around me and the importance of that. But then,

because I’m here as a colonist in this country, I don’t have that connection with this particular landscape. My ancestral connections in terms of language and all these other things were primarily between Ireland and Scotland. So, I started to become obsessed with what my ancestors were like: what were their stories? What environments would my ancestors have been connected with, and how would they have understood those plants and animals and rocks? PROJECTS

CLA R E MILLEDGE: The next show that I’ve got coming

up is a solo show at STATION in Melbourne, and it’s a collection of glass paintings with associated bronze sculptural clasps. I have a friend of mine, a jeweller called Warwick, working on them [the bronze clasps] with me. When I started making them bespoke, I really got into this idea that they were more than something that holds [the glass paintings]. They became part of the reading of the work, what I call “close readers” now. They’re this zoomorphic shape that holds the image and places it somewhere, and they often have references to the fieldwork that I was involved in at the time, or something that I was working with in the landscape, or something symbolic, like an amulet. I’m also looking at language and where particular words have come from. The title of the show is

bramble-hound, heron-wound: two stone wolves, so the first part is “bramble-hound”, who are a type of very low-grade poet. Generally, poets in Old Ireland are very important people, the highest form, the Ollamh was on par with the kings of the townlands. And then the second part is “heron-wound”, which is a type of sorcerer. The next part is “two stone wolves”. When I was researching Raghery Island, which is one of the places where my ancestors were living, there were place names given by the locals in a survey, like, “On this particular hill on Craigmacagan, there’s two boulders, known as two stone wolves.” If you’d bring the boat into the bay, you’d line up the two stone wolves to a certain angle so that you could get safe passage. Then I found that one of the people that gave the specific information about these place names and these rocks was John McKinley, who’s one of my ancestors. So the research that I’m doing is very particular: Who was giving information to the surveyors in 1853 about the name of that particular piece of land? And where did those names come from and who are those people? But then also much older stories, like how was the river formed? I’ve also done quite a bit of research into painting on the back of glass. You can take it back to Byzantine

times, but it was also quite popular in folk art in Germany. It’s painting onto the back, so whatever you paint first is what you see. It feels more contained when I’m working on a painting show, like this STATION exhibition. I decided to spend more time on the [glass] painting and not make anything else. For the Biennale of Sydney [in 2022], that was such an expansive project, so I like having this moment where I’m just making paintings. But it’s also weird because I feel like if I’m making objects and other things, sound and everything, it really envelops people. Whereas this way [with only the glass paintings and bronze clasps], it’s more like people go into each painting separately and then they pull out as a whole. In some ways, it’s a bit of a wormhole. But I also find that’s the way research informs my practice—it never ends. It just shifts. You know?

bramble-hound, heron-wound: two stone wolves Clare Milledge

STATION Melbourne (Melbourne/Naarm VIC) 19 July—24 August

Is Care Endless? Care is a word thrown around not just the art world, but many facets of life. Now, a new exhibition between Brisbane’s Institute of Modern Art and Griffith University Art Museum is questioning the complexities of the word and action. W R ITER

Giselle Au-Nhien Nguyen

Dani Marti, Notes for Bob, 2013, single channel video, sound, 21:40 min. courtesy the artist and dominik mersch gallery, sydney. 58

Cassie Thornton, The Hologram, 2022, single-channel video, sound, 4:24 min.

HOSSEI, THUNDERBLOOM, 2023, three-channel video, sound, 25:30 min.

The word ‘care’ has many connotations and transmutations: health, protection, welfare, family, love. There is care for the self, easily commodified in the age of the individual; and there is also community care, which has become more centralised over the last few years when the state of the world means we need one another more than ever. It is a complicated thing, too: what of the negative emotions associated with care, such as burden, sacrifice or obligation, or the structural issues that allow some to access it more easily than others? “There have been a lot of art projects that assert and promote care, but few that analyse and unpick it,” says Robert Leonard, director of Brisbane’s Institute of Modern Art (IMA). “Our thought was to use art to draw out a whole lot of complexities around the question.” Leonard has co-curated Duty of Care with Griffith University Art Museum (GUAM) director Angela Goddard and researcher Stephanie Berlangieri. Presented across both IMA and GUAM, the show dissects the concept from a number of perspectives and generations; Berlangieri’s doctoral research involves how millennials approach topics of

One such work is Hong Kong Intervention, a photographic series by Chinese artists Sun Yuan and Peng Yu in which they asked mostly female Filipino domestic workers in Hong Kong to plant toy grenades in their workplaces, and photograph each other’s backs. No words are uttered, or facial expressions visible, but strong emotions are sensed. “When we say we’re looking at those uncomfortable feelings associated with care, resentment might be a feeling that these domestic workers have,” Berlangieri says. Several video works probe the fraught power dynamics within various patient-caregiver relationships, and ask the viewer to consider the ethics of such interactions, particularly when vulnerable people are involved. One is Spanish-Australian artist Dani Marti’s Notes for Bob, which sees the artist operating as a kind of sex worker for a blind man, Bob, whose desire is for men to sing to him: “It’s haunted by risks of exploitation, and questions of limits of consent,” says Leonard. Another, IA Suzie, situates American artist Lauren Lee McCarthy—and therefore the viewer—as an artificial intelligence carer, spending a week operating the smart technology in the home of an elderly woman, Mary Ann. “That work looks at technology and whether it could be a solution to the aged care crisis, or if it’s a more dehumanising way of addressing the cuts to the welfare state,” says Berlangieri. But there is also hope for a new mode of care. A community-centric model is explored in Cassie Thornton’s The Hologram: a viral, peer-to-peer feminist health network which began as a speculative project before manifesting in the real world. In it, three people (the “triangle”) meet regularly, online or in person, and learn to take care of a hologram and its social, mental and physical needs. It blooms from there, as each person becomes a hologram for another triangle. “It decentres the idea of the expert being the source of knowledge,” says Berlangieri. “There’s a great bit in the Hologram book where you make a list of the people you care for, and another list of the people who care for you—it’s an interesting process to go through, because not all these relationships are or need to be reciprocal,” Leonard adds. These are only a few of the many works on display, in what Berlangieri describes as a “cacophony of perspectives” that all ask variations of the same central questions. As the concept of care continues to morph with our changing times, Leonard asks another question that suggests this is not a finite idea or conversation: “Is care endless?”

“There have been a lot of art projects that assert and promote care, but few that analyse and unpick it.” — ROBER T LE ON A R D

care through digital content and channels, such as TikTok, and the intersection with neoliberalism. “There is this rhetoric of care as a language that’s developed, and that is kind of being exploited to smooth over the complexities and the realities of what it is and involves,” Berlangieri says. “There are all these exhibitions that are circulating looking at care as a framework…but often these exhibitions don’t really amount to a lot of actual structural change—we wanted to look at these complexities of care that are ignored.” The nature of the exhibition—indeed, of any exhibition—is grounds for interrogation, too: after all, the word curator takes its etymology from the Latin curare—to take care of. With works ranging from Johann Joseph Zoffany’s 1769 painting Roman Charity to contemporary artists including Betty Muffler, HOSSEI, and David Shrigley, the range presented in the show is vast—and their juxtaposition with one another offers a kind of dialogue across time and culture. Much of the exhibition is focused specifically on the complex figure of the carer, offering insights and provocations on what that means.

Duty of Care

Institute of Modern Art / Griffith University Art Museum (Brisbane/Meanjin QLD) 29 June–22 September 61

Liquid Dreams With the likes of Björk and Beyonce wearing her creations, within Dutch fashion designer Iris van Herpen’s surreal garments, couture becomes a canvas for the phenomena of nature.

Björk believed the dress made her sing better. It was commissioned to wear for performances in support of Utopia—her breathy, love-struck record, full of birdsong and flute, where the Icelandic star imagines the apocalypse’s aftermath. Her vision isn’t one of destruction or doom but of generative and freeing mutation—where humans are merging with plant and bird life. The dress captured all of this, and then some. On Björk’s torso were cables, a kind of nervous system, gesturing outside of the body. At the cable’s ends were giant, satiny leaves, or perhaps bird feathers, that encircled her figure. On stage, the dress lit up and turned bioluminescent. “I think when I put the dress on,” Björk told the BBC later, “I kind of embody [Iris’s] splendidness.” The splendidness of Dutch fashion designer Iris van Herpen’s work comes down to its many collisions and contradictions. These fashion pieces, mostly dresses, are sculptural marvels that are never stiff— they remain malleable and moveable. She recreates fleeting phenomenons of nature—chrysalis, lava flowing, bubbling condensation—though through technological materials and methods. Her clothing is extraterrestrial and speculative but always hints at existing biological systems (to me, her gowns often resemble a sea urchin or human body split into two,

W R ITER

Isabella Trimboli

with all its muscles, tissue, and skeletal forms placed gloriously on display). Then there is the fact that her official title is ‘fashion designer’, though her work is more at home in art museums than in wealthy women’s closets. Anthony Howe, a kinetic sculptor, who worked with Herpen in 2019 to create a minidress spouting feathered wings, which spun as the model walked, said it best: “Calling Iris a designer is a nomenclature…She’s an artist who happens to make things that fit on the human form. Yes, it has everything to have to do with a model, a human form. But what she does is way beyond that. Way beyond.” In November last year, Paris’s Musée des Arts Décoratifs—the latest museum dedicated to the decorative arts in Europe—staged a solo exhibition of her work, Sculpting the Senses. At 39 years old, van Herpen was the youngest female designer in the museum’s 140 years to receive a solo show. Now, this exhibition has made its way to the Gallery of Modern Art (GOMA) in Brisbane. There will be a hundred of

r ig h t Iris van Herpen, Hydrozoa dress, from the Sensory Seas collection, 2020. Collection: Iris van Herpen. Photograph: David Uzochukwu. © David Uzochukwu.

Iris van Herpen, Synergia Series, 2021. Photograph: Carla van de Puttelaar. © Carla van de Puttelaar. 64

“On Björk’s torso were cables, a kind of nervous system, gesturing outside of the body.” — IS A BE L L A T R I M B OL I

van Herpen’s dresses (including the 2011 snake dress, another Björk favourite, where the body looks like it is being swallowed by thick, shiny coils of black), and glimpses at her strange, beguiling materials (silicon, organza, mylar, steel), but also objects and art related to her couture: fossils, 19th-century botanical illustrations, sound compositions and artworks constructed by bees. Van Herpen, with her oval face, slender frame and cascading auburn locks, looks very much like a portrait from the Northern Renaissance period. Her upbringing, in a way, resembles one too. She grew up in a rural Dutch village, right next to a river. Her hippy parents outlawed technology and television in the home, so van Herpen and her siblings took to nature. She spent her days outdoors and studying ballet. Her interest in clothes emerged when she discovered a trove of old outfits owned by one of her grandmothers, stashed away in the attic. Her childhood goes some way in explaining a great preoccupation of her work, that seems to arise again and again across her corpus: water. In her couture, she is often attempting to recreate water’s impermanent shape and omnipresent movement. Her 2020 Sensory Sea and Nautiloid dresses are bulbous, buoyant creations, that capture the murky, kaleidoscopic depths of the ocean. In 2011, she sent models down the runway in tight, robotic dresses surrounded by a suspended splash of fake H20.

The material used to craft this illusion was a propriety acrylic that did not discolour or grow opaque when heated. At GOMA, one will be able to see perhaps her greatest achievement with the material: 2013’s ‘Water dress’, where rivers of plastic cascade down the body, fanning out just above the knees, looking like waves crashing into an invisible shore. These watery creations reminded me of Tarjei Vesaas’s wonderful and unnerving Norweigan novel The Ice Palace, published in 1963. The book centres on the disappearance of an 11-year-old girl named Unn, who vanishes after wagging school to investigate a waterfall that in winter has transformed into a towering glacial castle, where trickles of water have turned into branches and walls have been formed by thick sheets of ice. What Vesaas writes, as Unn walks from ice room to ice room, completely entranced by the frozen structure, could very well describe the allure of van Herpen’s designs: “There were things here, too, that could not be described as either the one or the other—but they belonged to such a place and one had to accept everything as it came. She stared wide-eyed into a strange fairytale.” Iris van Herpen: Sculpting the Senses Gallery of Modern Art (Brisbane/Meanjin QLD) 29 June—7 October

Talking Painting with

Wendy Sharpe

W R ITER

Sally Gearon

Wendy Sharpe in her studio, 2024. photogr aph: john fotiadis.

With a three-decade practice, Wendy Sharpe has won the Archibald Prize, Sulman Prize and Portia Geach Memorial Award, and was the first woman appointed an official war artist by the Australian War Memorial. Her expressive paintings and expansive murals incorporate social criticism— from domestic violence to the rights of asylum seekers—and otherworldly dreamscapes, blending the real and imagined. Her latest exhibition at the Art Gallery of New South Wales, Wendy Sharpe: Spellbound, features new large-scale paintings, as well as drawings, ceramics, site-specific wall murals, and a recreation of her Sydney studio. Ahead of the show, and a new mural at Rockhampton Museum of Art, Sharpe talks about working abroad, why she’s not a portrait artist, and that iconic painting of Magda Szubanski.

SA LLY GE A RON

Spellbound is described as “a sumptuous aesthetic journey into the nature of creativity”. What is your creative process like? How does a work get made? W EN DY SH A R PE

Well, works always come from other work. The most common question I get asked is, “How long did it take?” First, it’s irrelevant, because I’m working on several things at the same time. But also, you never really know where that work started. You can find its ancestry in a painting from two years ago, a painting from 20 years ago, and in my case maybe even a painting from 30 years ago. It isn’t the same, but you can see that there are some ideas that you were looking at then that are still present in recent work. They have no real beginning or end. SG

You live and work between Sydney and Paris, and have travelled extensively throughout your career. How much does location inform your work? WS

left Wendy Sharpe, Art is a monster, 2024, oil and acrylic on linen, 190 x 130 cm. © wendy sharpe. photogr aph: john fotiadis.

I guess there’s two things. There’s the work that I make which comes from my own imagination. It’s internal, it just comes from me. With that sort of work, I could be anywhere. I’ve had residencies in Antarctica, China and Mexico. And recently I was in Ethiopia working with the Catherine Hamlin Fistula Foundation, a women’s health charity. So, when I’m doing those sorts of residencies, to me it would be illogical not to be making work about being there. With Paris, because I spend so much time there, I can be doing other work as well as work that is specifically about Paris. But I think that if you are going to spend a few months on a residency it often makes sense to make work about that place. There is something very exciting about being somewhere different and seeing things that you can’t see here, and stepping out of your normal life. It refreshes you.

“She might be in a commonplace situation, like a studio, wearing ordinary clothes, but she is communing with her own imagination.” — W EN DY SH A R PE

You’ve said before that you’re interested in juxtaposing the real with the imagined. How do these elements come together? Is it an intuitive process? WS

It’s an intuitive process, but it’s also what I mentioned earlier, about things sometimes having early ancestors. I can think of a painting, for example, that I did in the 90s. It’s a painting of me with imagined swirling figures. They are swirling around and I’m trying to see them before they swirl off so that I can draw them. What I was making work about during that time, which absolutely relates to this exhibition, was the artist as a magician, imagining thoughts and ideas that are intangible, but made visible and physical by the artist. She might be in a commonplace situation, like a studio, wearing ordinary clothes, but she is communing with her own imagination. SG

Does the process change if you’re painting a portrait or a mural? WS

Well, even though I’ve won the Archibald, and I’ve been in it many times, I’m not a portrait painter. The idea of painting commissioned portraits always gives me a chill. When I paint, I don’t always use models, I often come up with an idea and I’ll make it up entirely. If it is an actual portrait that is supposed to be a particular person, I will work out what I want to say about them. I will do studies first, sometimes small paintings, or just a couple of quick sketches. And then when I start the actual painting, it is never a straightforward journey of copying something. I don’t know exactly what it’s going to look like until I start. SG

The best portraits aren’t necessarily just straight representation, there needs to be something else going on. WS

I don’t always work from life, but I am interested in people, and I’m interested in stories. Can I tell you about when I painted Magda [Szubanski]? I really

admire Magda; I think she’s a wonderful person. While she’s primarily known as a comedian, she can also be very dark, intense, and brilliantly intelligent. She came around to the studio, and through talking to her I came up with an idea that I really liked. At first, I didn’t want to paint her as Sharon [the character Szubanski plays on Kath & Kim]. But Sharon has always had a sad side to her—so I put her in complete trauma. She’s standing there, and behind her is a terrifying disaster of burning buildings. I wanted it to be that when you looked at it, you were unsure if this terrible flaming disaster is real or imagined. But whatever it is, it’s real enough for the reflection of the red to touch the edge of her body. I was trying to talk about being a comedian, but also just being a human. Even when something awful is happening, you have to continue on. When I had that painting of Magda in the Archibald, some art gallery guide was taking people around and telling them that the flaming buildings were to do with the bushfires. And although that wasn’t what I had in mind—I was thinking of the Second World War—the bushfire story works because it’s about something terrible happening and having to keep carrying on. So, in a way, although that wasn’t what I had in mind, it’s still true. It’s the same with my paintings in Spellbound. People generally don’t like things being left up to their own imagination. They don’t trust it. But everyone has imagination, even people who say they don’t. And there are many possibilities as to what a work means, but it’s up to you to decide what it is to you. SG

Is there a particular work in Spellbound that means a lot to you? WS

I’ve got three very large paintings that I’ve just done for this show. They are strange, mysterious paintings of someone—it’s me, doesn’t necessarily look like me though. She is an artist, and she is surrounded by all her imagined worlds. I’m really pleased with those. The other that I’m pleased with is a self-portrait. I’m sitting on a stool, and I’ve got my hands over

Wendy Sharpe, Infinite possibilities, 2024, oil and acrylic on linen, 210 x 270 cm. © wendy sharpe. photogr aph: john fotiadis.

my eyes and at my feet is a green, wiggly, cartoony, strange monster. And the monster has lots of pink bosoms, which look like cupcakes with red cherries on top. It was inspired by a quote from an artist called Sandro Chia, which I used in my thesis that I did 30 years ago and still love: “Art is a monster. You don’t know where it comes from or indeed where it is exactly, but as an artist you have the responsibility of entering the labyrinth and bringing back its head.” And doesn’t that apply to every creative thing? You don’t know where it is exactly. You have a good idea what you’re going to paint, but you don’t know. But as soon as you start on the journey of working, it is like a labyrinth. And when you find your way through, you find what it is, and you bring back his head.

Are they real? Are they ghosts? Are they imagined? Are they ancestors? Are they figments of my imagination? They’re probably all those things. I’m hoping that it will encourage people to think about what images they might use if they were doing it. What [the figures] would be to them, whether it’s some ancestor or whether it’s some invented future, who knows. You might be walking down the road to the supermarket doing something quite banal, but in your head, there is this other world of daydreaming and imagination.

Wendy Sharpe: Spellbound

Art Gallery of New South Wales (Sydney/Eora NSW) On now—11 August

Wendy Sharpe: I Am All Those Who Are No More

What can you tell me about the mural you’re creating for Rockhampton Museum of Art (RMOA)? I won The Gold Award in 2022 [via RMOA], so they asked if I would paint something in the foyer. I’m going to paint an image—it’s of me, really. I’m just standing there, and I’m surrounded by floating figures.

Rockhampton Museum of Art (Rockhampton/Darumbal Country QLD) 15 July—9 February 2025

The Envy of the Art World

Arts Project Australia. photogr aph: k ate longley. 72

W R ITER Tiarney Miekus

Celebrating its 50th anniversary, Arts Project Australia continues to support and advocate for artists with an intellectual disability— while making the art world rethink its most basic assumptions.

left Cathy Staughton, Sport Dog Robot Wolf Wolf Football, 2022, acrylic on paper, 56 x 76 cm. r ig h t Adrian Lazzaro, Untitled, 2021, work on paper, 35 x 25 cm.

Looking at the 1970s black-and-white photograph of Myra Hilgendorf OAM and her daughter, Johanna Hilgendorf, it is poignant to imagine that it’s through this mother-daughter relationship that a transformation began, unthreading the conventions of Australian contemporary art to question what is considered art and who is an artist. Hilgendorf envisioned Arts Project Australia (APA) as a space for Johanna, and other artists with an intellectual disability, to not only create, but to have their work viewed and circulated with the dignity of any contemporary artist. Now celebrating its 50th year from its humble beginnings, the APA studio is a two-story warehouse in leafy Northcote in Melbourne, replete with high ceilings, soft natural light, and an almost overwhelming abundance of creative happenings—especially with over 150 artists practising each week. There’s Adrian Lazzaro outlining his energetic, wry drawings of wrestlers and zombies, teddy bears with the word “dead” on their chest, and images capturing the absurdity of Donald Trump. These jostle alongside the refined, minimalist pastels of Julian Martin, which delineate forms to their most abstract foundations, while still keeping a sense of figuration. It’s why the New York Times once declared his art a “must see”. In a quiet corner nearby, on an old leather armchair, Terry Williams is stitching his soft sculptures of alien life and everyday objects, like radios and bicycles—he had a sold-out show at New York’s White Columns gallery in 2015. Lisa Reid sits nearby meticulously creating her prints, paintings and sculptures, prompting Jerry Saltz to praise her as a “strong voice of art”, while Cathy Staughton captures our love affair with technology (and her love affair with Luna

Park), alongside scenes of care and friendship. In an open-plan space with zero pomposity, art adorns the walls and conversation is free flowing amid the quiet time of creating. Meanwhile the gallery, which used to be housed below the studio in Northcote, is now based in the Collingwood Yards Precinct, exhibiting multiple shows of APA artists each year, alongside inviting esteemed curators to produce shows, including David Sequeira, Kirsty Grant, Rebecca Coates and Charlotte Day, to name a few. APA artists exhibit everywhere from the National Gallery of Victoria to Artspace, commercial galleries to artist-run spaces. Yet it’s APA’s spirit that often captivates those who collaborate with the organisation and artists. Liz Nowell, who recently became director of APA (and previously held director positions at Adelaide Contemporary Experimental in Adelaide and the Institute of Modern Art in Brisbane), says the 50-year milestone is a moment to reflect on the centrality of APA in the arts sector, alongside the particular ways APA fosters genuine care and diversity. “There’s so much rhetoric around care, inclusion and community within the art world,” says Nowell, “and at Arts Project these are not terms to be dissected and analysed. They’re verbs. They’re actions that are embodied in the daily tasks of art making, the daily exchanges between artists, support workers, staff, and the arts community.” As someone who worked at Arts Project for a fleeting four years, I’ve seen this nexus of care, playfulness, aesthetic rigour and comradery firsthand. I’ve also observed areas of the larger art world shift between over-theorising the artwork by recuperating it into conventional art world schemas (which does

“...How we participate in contemporary art and speak to that world while remaining authentic and true to who we are.” — LI Z NOW E LL

and doesn’t work), alongside the inverse reaction of over-stating the role of sentimentally and sincerity in art making. It all posits the need for new aesthetic language to truly articulate the individual practices of APA artists. “What I’m curious about,” says Nowell, “is how we participate in contemporary art and speak to that world while remaining authentic and true to who we are. Making sure that we’re an inclusive organisation, from the way we speak about art to the kind of projects we’re involved in, to the way we support artists to develop their practices. There’s a tension there, but it’s not a bad tension. It’s very interesting.” In March APA celebrated its 50th anniversary with an open studio day, teeming with hundreds of artists, families, community supporters, local neighbours, curators and musicians. “There’s so many contemporary arts organisations and events that want to cultivate that natural sense of community,” says Nowell. “Sometimes they achieve it and sometimes they don’t. And Arts Project is one of the more successful examples of how you do that.” As for the rest of the year, curator and arts leader Kelly Gellatly is editing a book on 50 years of APA, there’re upcoming exhibitions in the Collingwood gallery, and November heralds one of APA’s largest exhibitions yet: Intimate Imaginaries at TarraWarra Museum of Art (TWMA). Curated by TWMA’s

Anthony Fitzpatrick, it will feature 13 APA artists, reflecting how each artist perceives the world, and the ensuing art from this understanding. While the ‘big shows’ are important in situating mainstream recognition of APA artists as artists foremost, when I think of APA I’m less excited to rattle off credentials than to convey the remarkable, singular ethos. I circle back to a recent conversation I had with artist Richard Lewer (which will appear in the 50th anniversary publication). Lewer visited the studio regularly during his collaboration with artist Eden Menta—and straight away he was hugged, offered a cup of tea, celebrated a birthday, and then got down to serious yet imaginative business of art making. It’s a stark difference to the lonely isolation of the traditional artist studio. As Nowell says, “It should be the envy of the contemporary art world.”

Bendable Realities

Arts Project Australia (Melbourne/Naarm VIC) 13 July—24 August

Intimate Imaginaries

TarraWarra Museum of Art (Healesville/Wurundjeri Country VIC) 30 November—10 March 2025

THAT

HILL

When does creative block transform into the timeless, untroubled space of creating? I L LUS T R AT ION A N D WOR D S B Y

Caitlin Aloisio Shearer

Jennifer Taylor, Lost landscapes, 2013, oil on board, 40 x 180 cm. ar aluen art collection.

Echoes of Central Australia An important, beloved site for Central Australian arts, Araluen Arts Centre is now celebrating its 40th anniversary with a reflective exhibition highlighting its vast collection.

W R ITER

Steve Dow

In 2013, when New Zealand-born artist Jennifer Taylor painted her mountainous oil triptych Lost landscapes in situ at Ross River, east of Mparntwe/Alice Springs, she had been immersed in that particular part of Arrernte people’s country for three years. Being non-Indigenous, Taylor, who has lived in Alice Springs since 1994, benefited from conversations with Aboriginal Elders who had been born and grown up there. “I was grappling with that sense of being in a place, as someone who doesn’t know the place,” she says, “and trying to come to see it properly through painting.” On the day Taylor painted the work en plein air, industrial earth movers were stirring up dust, the resulting filtered light incorporated by the artist on her canvas. Beneath that surface, however, Taylor was trying to grasp histories invisible to visitors: strong cultural ties and land rights Arrernte people held over the area. Lost landscapes will feature in a large exhibition, GROUND SWELL, celebrating Araluen Arts Centre’s 40th anniversary in Alice Springs, among some 200 works comprised equally of Indigenous and non-Indigenous artists. In painting her work, Taylor says she felt a “sense of loss and sadness” that colonisation had changed traditional lives “so radically”. The gallery and collecting institute, funded by the Northern Territory Government, champions Central Australian artists responding to Country, place and the “heartbeat of the region”, says curator Stephen Williamson. This focus remains unchanged since the

centre opened in 1984 on land once occupied by the old Alice Springs airport. Today Araluen boasts some 1,100 works in its collection, focused on collecting art in dialogue with the Central Australian region. The centre is not only a keeping place for stories and significant works, but presents performance and film in its 500-seat proscenium arch theatre. Local artists are celebrated with exhibitions and creative residencies within the wider cultural precinct. Across three of its four galleries, artworks in GROUND SWELL will be presented grouped in “currents”—five themes respectively named catalyst, immersion, collision, divergence and surprise—which Williamson says is a way of “breaking down constraints to focus on the whole collection”, rather than presenting Indigenous and non-Indigenous artists in separate spaces. Through juxtaposition of artworks, audiences can contrast and speculate on influences. For the curator, the exhibition’s starting point was two very different works: Clifford Possum Tjapaltjarri’s 1983 acrylic on linen work, Mulga seed Tjukurpa, “drawing on cultural knowledge handed down for millennia”. This is contrasted with UK-born John Wolseley’s 1980 mixed-media Map of 32 Days, articulating Wolseley’s interaction with the landscape over a month spent at Palm Creek in 1978. Both Tjapaltjarri and Wolseley’s works won the Alice Springs Art Foundation’s The Alice Prize, open to artists across Australia, established in 1970 as a way

Kathy Inkamala, Mount Gillen, West MacDonnell Ranges, 2018, watercolour on paper, 30 x 100 cm. ar aluen art collection.

The onus is on us to understand where we are, and do our best through relatedness and respect.” — J E N N I F E R TAY L OR

to bring contemporary art from around the country to more isolated regions, and which today is run as a biennial event. Part of Araluen’s ongoing significance is its collection of winning entries from this prize as well as those from the Central Australian Art Society’s Caltex Art Award. That award was established in 1968 and, a decade later, became the Northern Territory Art Award. Today, it is known as the Advocate Art Award, and is open to all artists from Central Australia. Yet Araluen’s most requested artist has always been one of Australia’s most celebrated artists, Arrernte watercolourist Albert Namatjira—and 18 of the famous Hermannsburg painter’s canvases will feature in GROUND SWELL, spread across the five thematic currents. Williamson notes Araluen’s first show in 1984 was the first ever retrospective of Namatjira’s work, 25 years after the artist’s death in 1959. The 56 works that were on display finally influenced institutions to start collecting Namatjira’s output, already long adored by the public. “Some institutions had been quite critical and thought it was too European-influenced,” says Williamson. “This exhibition really changed the way his work was viewed by critics and the like; there was a new appreciation for what he had done.”

In GROUND SWELL, Jennifer Taylor’s Lost landscapes will be grouped under the theme immersion, into which Namatjira’s circa 1944 work Mount Sonder with Corkwood Tree has been placed. Taylor also painted the Hermannsburg mission as part of an Araluen creatives-in-residence program, a year-long residency allowing her to forge connections with Indigenous communities. She feels deeply indebted to Araluen given its commitment to art both from and about Central Australia, and was “absolutely” inspired by Namatjira’s “mastery”. In 2018, Taylor titled her Araluen exhibition Dreams of Home, suggesting everyone living in Central Australia might collectively dream of home, while ultimately acknowledging Indigenous belonging to Country. “What are the differences and the overlaps in the ways we think about home?” she asks. “The onus is on us to understand where we are, and do our best through relatedness and respect.”

GROUND SWELL: Araluen at 40

Araluen Arts Centre (Alice Springs/Mparntwe NT) On now—11 August

I N PIC T U R E S

Africa Fashion: A Runway of Glamour and Revolution

From pink tasselled capes to catwalk footage, to how identity and politics are inextricably woven through the garments we wear, the title of the National Gallery of Victoria’s (NGV) latest exhibition says it all: Africa Fashion. With collections borrowed from the Victoria & Albert Museum (V&A) in London, the NGV is showing the largest exhibition of African fashion in Australia to date. Yes, it is about the clothes—but it begins with the African independence movement and the mid-20th century cultural renaissance, exploring how revolutionary ideas influence culture and fashion through designers like Alphadi and Näma Bennis. Africa Fashion also extends to current creators, with over 200 pieces from 20 countries and regions on the continent. Alongside exploring the effects of digitalisation and celebrity culture, the show threads together stylists and photographers working from Africa today, featuring everything from sketches to adornment to ready-towear garments, with exhibitors including Maxhosa, Loza Maléombho, Christie Brown and Rich Mnisi. View, in pictures, how every stitch tells a story.

Africa Fashion

National Gallery of Victoria (Melbourne/Naarm VIC) On now—6 October

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Imane Ayissi, Paris, France, Mbeuk Idourrou collection, Autumn/Winter 2019. photogr aph: fabrice malard. courtesy of imane ayissi.

a bov e Atong Atem, Adut and Bigoa, 2015, printed 2019, from the Studio series, 2015, digital type C print, ed. 2/10, 84.1 x 59.4 cm. national gallery of victoria, melbourne. purchased, victorian foundation for living austr alian artists, 2019. © atong atem, courtesy mars gallery, melbourne.

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r ig h t Phumzile Khanyile, Untitled, 2016, from the Plastic crowns series, 2016, inkjet print, ed. 6/8, 79.2 x 80.8 cm. national gallery of victoria. bowness family fund for photogr aphy, 2019.

“The African fashion scene is as diverse as the continent itself— there is a sense of abundance rather than lack, an unbounded creativity, and an exercising of agency…” — C H R IS T I N E CH E CI NSK A , SE N IOR C U R AT OR A F R IC A N A N D A F R IC A N DI A SP OR A : T E X T I LE S A N D FA SH ION AT T H E V& A

“Fashion has the unique ability to express so much about who we are as individuals, but also as communities.” — T ON Y E L LWO OD A M DI R E C T OR AT NGV

t op l e f t IAMISIGO, Kenya, Chasing Evil collection, Autumn/Winter 2020, photogr aph: maganga mwagogo. courtesy of iamisigo.

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t op r ig h t Thebe Magugu, Johannesburg, South Africa, Alchemy collection, Autumn/Winter 2021. photograph: tatenda chidora. styling and set: chloe andrea welgemoed. model: sio.

r ig h t Design by Chris Seydou. © nabil zorkot

artisan.org.au

oigallprojects.com

3 Aug – 24 Nov 2024 Curated by Vipoo Srivilasa

Free Entry Bunjil Place Gallery

Armie Sungvaribud, Asahi So, Casey Chen, Dai Li, EJ Son, Jayanto Tan, Mai Nguyen-Long, Monica Rani Rudhar, Nani Puspasari, Theodosius Ng, Yang Qiu, Yen Yen Lo, Yoko Ozawa, Zhu Ohmu

2 Patrick Northeast Drive Narre Warren VIC 3805

Opening Weekend Artist Market 3 Aug 10.00 am - 2.00 pm bunjilplace.com.au

WORKING TITLE STUDIO PRACTICE IN RMIT’S ART COLLECTION 30 MAY – 27 JULY 2024

CURATED BY LISA LINTON

Geoffrey Lowe, Interior, 1979. Image: Margund Sallowsky © Geoffrey Lowe

OPEN TUESDAY - SATURDAY. FREE ENTRY.

rmitgallery.com

Franck Gohier, The Phillip, 2006, Synthetic polymer paint, nails and buttons on wood. Ringer, 2004, Synthetic polymer paint, tuna can, nails and buttons on Stringybark. Cowgirl, 2004, Synthetic polymer paint, tuna can, nails and buttons on Ironwood. The Tattoo Man, 1997, Synthetic polymer paint and found objects on Milkwood. Artbank Collection.

artbank.gov.au

DUTY OF CARE

Image: Dani Marti Notes for Bob 2013.

Cem A., Kathy Barry, Benetton/ Oliviero Toscani, Jeamin Cha, Joshua Citarella, Martin Creed, Julian Dashper, Florian Habicht, Margaret Dawson, D Harding, The Hologram/ Cassie Thornton, HOSSEI, Mike Kelley, Leigh Ledare, Sally Mann, Teresa Margolles, Dani Marti, Lauren Lee McCarthy, Dane Mitchell, Chia Moan, Tracey Moffatt, Betty Muffler, Michael Parekōwhai, Sam Petersen, Tabita Rezaire, David Shrigley, Michael Stevenson, Sun Yuan and Peng Yu, and Artur Żmijewski

CURATED BY STEPHANIE BERLANGIERI, ANGELA GODDARD, AND ROBERT LEONARD

Presented by

In association with

PART ONE INSTITUTE OF MODERN ART, MEANJIN/BRISBANE 29 JUNE—22 SEPTEMBER 2024 PART TWO GRIFFITH UNIVERSITY ART MUSEUM, MEANJIN/BRISBANE 15 AUGUST—9 NOVEMBER 2024

ima.org.au

artsproject.org.au

BEN DENHAM, VICKY BROWNE, RACHEL PEACHEY & PAUL MOSIG, MAGNETIC TOPOGRAPHIES & FRIENDS, BRENDAN VAN HEK AND AMANDA WILLIAMS

IMAGE: AMANDA WILLIAMS, XEROCHRYSUM SUBUNDUL ATUM I (SK Y BLUE ), 2023, (DETAIL ), CHROMOGENIC PHOTOGRAPH, 130 X 120 CM (IMAGE ), 133 X 123 X 6 CM (FRAME ), EDITION 5 + 1AP, PHOTO: ROBIN HEARFIELD. COURTESY THE ARTIST AND THE COMMERCIAL , SYDNEY.

‘TOPOGRAPHIES, CURATED BY VICKY BROWNE. 8 AUGUST - 7 SEPTEMBER 2024.

SYDNEY COLLEGE OF THE ARTS, THE UNIVERSITY OF SYDNEY, SYDNEY.EDU.AU/SCA

sydney.edu.au/sca

Megan Cope:

Water is life 29 JUNE – 25 AUGUST Water is life presents a selection of recent works by Quandamooka artist Megan Cope that weave together Indigenous and Western histories to challenge our sense of time and ownership in a settler colonial state.

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

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

bayside.vic.gov.au/gallery

Megan Cope Yarabindja Budjurung II 2021 (detail) lithograph on paper 105 x 365 cm; 105 x 75 cm each Courtesy the artist and Milani Gallery, Meeanjin/Brisbane

canberraglassworks.com

leonardjoel.com.au

CIAF 2024

Cairns Indigenous Art Fair

25 - 28 July 2024

onespace.com.au @onespace_au Sonja Carmichael and Elisa Jane Carmichael, Our Gulayi, 2024, Hahnemuhle 300 gsm Weiss A la poupee soft ground etching, 50 x 33cm, 2AP + Edition of 20. Photo: Louis Lim.

onespace.com.au

Lea Szwaja, Our Future, digital photograph, OptiKA 2022.

2024 THEME:

Inspiration: What ignites your passion? Show what drives your creativity and imagination.

ENTRIES NOW OPEN! CHAMPIONING EXPRESSION THROUGH PHOTOGRAPHY Celebrating its 15th anniversary this year, OptiKA is a photography award inviting artists of all skill levels and ages to capture and interpret a theme through their lenses. A selection of photographs, curated by industry experts, will be showcased at the Kingston Arts Centre during the OptiKA 2024 exhibition.

For full details and to enter visit: kingstonarts.com.au/optika-2024

PRIZES: » Open Entry Award: $5,000 » Open Youth Award (under 16 years): $500 » Local Entry Award: $2,000 » Local Youth Award (under 16 years): $500 » People’s Choice Award: $1,000

ENTRIES CLOSE: 11.59pm, Sunday 15 September

kingstonarts.com.au/optika-2024

GO BEHIND THE SCENES TO SEE MELBOURNE’S HIDDEN TREASURES. EXPLORE OUR ART AND HERITAGE COLLECTION. Book a free guided tour today scan the QR code.

Visit the collection at Melbourne Town Hall 90-130 Swanston Street, Melbourne VIC 3000 Explore the collection online citycollection.melbourne.vic.gov.au citycollection.melbourne.vic.gov.au

hota.com.au

northsite.org.au

whatson.townsville.qld.gov.au

MUSEUMS VICTORIA

museumsvictoria.com.au

2 7 J U L - 3 N O V 2 0 24

rmoa.com.au

e a:NATIVE NATIVE r er a: Griffith University Griffith University Art Museum Art Museum 6 June – 3 August 2024 6 June – 3 August 2024 226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au 07 37357414

226 Grey Street South Bank Brisbane Q 4101 www.griffith.edu.au/art-museum artmuseum@griffith.edu.au Image: r e a Native (detail), 2013. Installation view of The Native Institute exhibition curated by Brook Andrew and Paul Howard, Blacktown Arts Centre, July 5 to September 21 2013. 07 37357414 Photo: Jennifer Leahy of Silversalt Photography. Image courtesy: Blacktown Arts Centre. CRICOS No. 00233E | TEQSA: PRV12076

Image: r e a Native (detail), 2013. Installation view of The Native Institute exhibition curated by Brook Andrew and Paul Howard, Blacktown Arts Centre, July 5 to September 21 2013. griffith.edu.au/art-museum Photo: Jennifer Leahy of Silversalt Photography. Image courtesy: Blacktown Arts Centre.

Geoffrey Bartlett (born Australia 1952) Cradle Mountain, 2011 Cypress pine, automotive paint, mixed media 220 x 50 x 120cm Courtesy the artist. © The artist Photograph by John Gollings

Geoffrey Bartlett:

Coalescence 15 July – 25 August 2024 Coalescence presents thirty years of sculpture and drawings by acclaimed Australian artist Geoffrey Bartlett, with a focus on his recent studio-based practice. GOVERNMENT PARTNERS

INDUSTRY PARTNERS Gippsland Art Gallery is proudly owned and operated by Wellington Shire Council with support from the Victorian Government through Creative Victoria.

gippslandartgallery.com

Gippsland Art Gallery Port of Sale 70 Foster Street Sale VIC 3850 Phone (03) 5142 3500 gippslandartgallery.com Open Monday–Friday 9am–5.30pm Weekends & Public Holidays 10am–4pm Free Entry

deakin.edu.au

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

Tim Winters The Divided Landscape 17 August - 3 November 2024 Tim Winters Pillaga Scrub...after the fires #9 (detail) 2024. Mixed media on canvas, 123 x 91 cm

orange.nsw.gov.au

Peter Boggs

beavergalleries.com.au

oceanicartsaustralia.com

Image credit: Miles Hall portrait by Colourbricks

Miles Hall LATENT/BLATANT 30 July - 17th August 2024

janmantonart.com 54 Vernon Terrace Teneriffe 4005

janmantonart.com

tmag.tas.gov.au

lintonandkay.com.au

Jorna Newberry & Invited Artists Naidoc Week 8 - 14 July Subiaco

Jorna Newberry, ’Ngintaka - Perentie, 2024 - Jnkm1522024’, Acrylic On Linen, 137 X 152

Bernard Ollis A Postcard From Paris 16 July - 5 August Subiaco

Bernard Ollis, ‘Pont Au Change With Lamp Post’, Oil On Canvas, 130 X 153 Cm

Miik Green Convergence 7 - 26 August Subiaco

Miik Green, ‘Xylem Series Avium25’ [Detail], Mixed Media On Aluminium, 185 X 185 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

Cottesloe 2/40 Marine Parade Cottesloe WA 6011 Telephone +61 8 9388 3300 info@lintonandkay.com.au

url

Sangeeta Sandrasegar: Yellow deep that drew your eyes 22 June to 6 October 2024

Sangeeta Sandrasegar has worked with master dyer, Heather Thomas, using botanical materials from the Creswick region to create a new tonal palette of yellows and native golds. Sangeeta will reflect the goldfields history as a magnet of migration, connection to landscape and land, and contemporary stories of employment. ArtHouse, RACV Goldfields Resort 1500 Midland Hwy, Creswick VIC 3363 03 5345 9600

Find out more at racv.com.au/art Sangeeta SANDRASEGAR; Process image for Yellow deep that drew your eyes, 2023. Image courtesy Sarah Hunnisett

racv.com.au/art

sheppartonartmuseum.com.au

13 Selwyn Street, Elsternwick

mhm.org.au

wHere hOpe shiNes brighteR thaN haTe

Artwork on display at the entrance of the ‘Hidden: Seven Children Saved’ exhibition, featuring child survivors of the Holocaust, watercolour (2022). Artist: Molly Crabapple. Photographer: Mel Desa.

mhm.org.au

LAUNCH / SATURDAY

HILARY JACKMAN Paintings 2024

JULY / 4:00-6:00 PM 20 JULY / 25 AUGUST

STOCKROOM

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

Lemons behind a jug (detail) Not from there (detail), 2024 2024 oil onlinen canvas, framed oil on cm 3561xx3561cm stockroom.space

COMING SOON BOOKSTORE

A–Z Exhibitions

Victoria

JULY/AUGUST 2024

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

ACAE Gallery

ARC ONE Gallery

www.acaearts.com.au

www.arcone.com.au

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

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

ACAE Gallery is a cultural venture presenting artworks and exhibitions by contemporary Australian and Asian artists.

Justene Williams, Moonwalking Mumma, 2024, closed cell foam, aluminium rod, fibreglass, spray putty, 220 x 80 x 250 cm. Photograph: Carl Warner. June–July I Am Your Receptor / You Are My Transmitter Justene Williams

Pat Brassington, Three times round the sun, 2024, pigment print, 75 x 175 cm. 19 June–20 July I wake to sleep, and take my waking slow Pat Brassington

Ararat Gallery TAMA www.araratgallerytama.com.au Aisha Hara, Echo, 2022, oil on canvas, 50 x 50 cm. 8 June–20 July Unfolded Lines Aisha Hara

82 Vincent Street, Ararat, VIC 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. Imants Tillers, Psychic (for Yves Klein), 1986, synthetic polymer paint on 132 canvas boards (no. 8582 – 8713), 279.4 x 457.2 cm.

Aisha Hara is the winner of the inaugural ACAE Gallery Prize, awarded to a graduating artist from RMIT School of Art. Following a subsequent 2023 artist residency at Metropolitan Fukujusou, Kyoto, Japan ポリタン福寿創, Hara presents recent paintings created in Japan and Australia.

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

24 July–24 August Winter group exhibition John Davis, Janet Laurence, Robert Owen, Imants Tillers. 28 August–28 September Catherine Woo Hannah Gartside, Waiting, 2023, polyester fabric (found sequin dresses and blouses c. 2010s), deadstock cotton fabric, thread, shoulder pads, millinery wire, stainless steel eyelets, 114 x 221 x 14 cm. Purchased with funds from the Robert Salzer Fund, 2023. 16 March–22 September Works from the TAMA Collection

Established in 1989, Alcaston Gallery is based in Melbourne with a national and international focus and exhibition schedule. The gallery represents contemporary artists from Australia and the Asia Pacific Region and is renowned for representing and exhibiting Aboriginal and Torres Strait Islander artists.

Anna Schwartz Gallery www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] Tue to Fri 12noon–5pm, Sat 1pm–5pm. See our website for latest information. 124

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

Tasmin Vivian-Williams and Tonielle Dempers, The Fox and the Lyrebird (detail), 2023, woven by Caroline Tully. Photo: Marie-Luise Skibbe. 22 June–6 October Propositions: Tapestry Design Prize for Architects 2023 13 July–27 October Heather + Kate Dorrough: Lineage

Jimmy John Thaiday, Just Beneath the Surface, 2023. digital video (still).

VICTORIA 27 July–20 September Just Beneath the Surface Artbank is pleased to present Just Beneath the Surface by Jimmy John Thaiday.

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

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

15 June—22 September Ebb and Flow: Contemporary Indonesian sculpture from the Konfir Kabo collection Until 7 July Bill Buckley: Ornaments to the new gods Kate Golding, Untitled (bubble), 2022, inkjet print.

Until 7 July A Lindsay menagerie 11 July—25 August Georgia Biggs: The benefits of not knowing

Joanna Wolthuizen, Wink.

Sassy Park, selection of works from I have confidence in sunshine. Photography: Karl Schwerdtfeger. © The artist. 20 July—20 October Sassy Park: I have confidence in sunshin Until 29 July Joan Ross: Let’s party like it’s 1815 / Art Screen Until 11 August Belinda Fox: The light crept in 24 August—24 November Clarice Beckett: Paintings from the National Collection 31 August—13 October Diokno Pasilan: Imprint

Kate Ballis , 2350, 2017, archival pigment ink on cotton rag, 103 x 153 cm. Image courtesy of the artist. Until 1 September Lost in Palm Springs Until 4 October Queer views: New perspectives on the Collection

12 July—24 August We Dream in Colour Immerse yourself in a kaleidoscope of hues with our latest exhibition, We Dream in Colour. From figurative to landscape, abstract to still life this exhibition is jam packed with the talents of Australian artists working with colour. This vibrant showcase celebrates the power of colour to inspire, evoke emotion, and captivate the imagination. Experience the magic firsthand by dropping into our Melbourne Gallery or explore the collection online now. Don’t miss this opportunity to add a splash of colour to your world!

as an artist, mother and caregiver, the exhibition encapsulates her experience of art and life entwined. The artworks form a tangible record of memory and the essence of caregiving, turning a contemplative lens on the dynamics of compassionate relationships. Embedding co-making practice, new artworks crafted by the public during the exhibition period, will join Kate’s existing works. Labours of Love delves into the nexus of art and care, bringing to light the societal significance of birth-giving, reproductive labour, and parenthood. The exhibition will spring to life in ArtSpace at Realm, inviting visitors into an evolving and immersive celebration of intergenerational creativity and shared experience.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, (opposite Ringwood Station) Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood, VIC 3134 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information. 29 July–15 September Labours of Love Kate Golding Labours of Love is an exhibition showcasing Kate Golding’s intergenerational co-making art practice. Born from Kate’s multiple roles

Esther Schouten, Changing Light, (diptych), 2023, oil on timber panel. 22 July–6 September Aurora Arborealus Esther Schouten Esther Schouten’s exhibition Aurora Arborealus is named after the goddess of dawn, Aurora, combined with the word ‘Arboreal’ (meaning ‘of trees’). The title is finished with a playful homage to the artist’s Dutch linguistic heritage, where names or words frequently end with “us”. The exhibition draws upon the feelings of awe inspired by the vistas of early dawn bush-walks. Schouten’s paintings study the soft, lucent quality of daybreak as mist veiled objects emerge as tentative shapes. Aurora Arborealus immerses the viewer in a tree-lined journey along the Birrarung 125

ar t g ui d e .c o m . au ArtSpace at Realm continued... (Yarra) River. The installation is a creative call for appreciation of our bushland and for environmental consciousness and conservation. 22 July–6 September Boundless Threads The Gifford Arts Project Embark on a transformative journey in Boundless Threads, an exhibition by the Gifford Arts Project at Uniting. Based in Croydon North, over the last 18 years Gifford Arts Project has thrived as a dynamic laboratory for creative selfdevelopment, where values of individual artistic growth and social inclusion are at the forefront of the group’s ethos. This exhibition showcases the diverse individual perspectives of project members expressed through drawings and paintings on paper and canvas. Gifford Arts Project invites viewers to celebrate the enduring spirit of human creativity through the boundless threads woven both through the works the exhibition and the challenges of life itself.

Arts Project Australia www.artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood, VIC 3066 [Map 3] 03 9482 4484 Wed to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information. Arts Project Australia is a creative social enterprise that supports artists with intellectual disabilities, promotes their work and advocates for their inclusion in contemporary art practice. For 50 years, we have been recognised and celebrated for the quality of the work produced by the artists in our studio which is exhibited in our gallery and around the world and represented in multiple public and private collections.

Terry Williams, Radio, 2023, material, stuffing, wool. Francis, Miles Howard Wilks, Julian Martin, Eden Menta, Bronwyn Hack, Nahn Nguyen and more. 13 July–24 August Bendable Realities As part of Arts Project Australia’s 50th celebrations, Bendable Realities invites past curators to select artwork by an external artist and an APA artist to present in conversation, demonstrating the power of connection and collaboration, and the organisation’s extraordinary contribution to a more inclusive landscape. Curated by Jo Salt in collaboration with Vincent Alessi, Glenn Barkley, Alex Baker, Charlotte Day, Goeff Newton and Patrice Sharkey. Featuring Terry Williams, Tiger Yaltangki, Georgia Szmerling, John Havilah, Julian Martin, Roger Walker, Adrian Lazzaro, Rebecca Scibilia, Jan Lucas, Bronwyn Hack, and Katherine Botten.

Roz Avent, Alphabet Soup, Earth Wind and Fire, 2024, oil on canvas, 122 x 122 cm. 8 August–25 August More Risky Business Roz Avent Opening event, Friday 9 August, 5pm–7pm.

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

Artpuff www.artpuff.com.au The Mill, 9 Walker Street, Castlemaine, VIC 3450 [Map 1] Thu to Sun 11am–5pm. Open public holidays. See our website for latest information. Nicholas Smith, Body II ,2023, burnished terracotta, beeswax; bed, 2023, foam, floristry ribbons. Courtesy the artist. Photograph: Anna Kučera. 29 June–1 September Future Remains: The 2024 Macfarlane Commissions

Miles Howard-Wilks, Untitled, 2023. Ceramic. 25 May—6 July Strange Planet Curated by Miles Howard-Wilks, Sandy Fernée and Sarah Lamanna. Strange Planet celebrates those scaly and fearsome animals in our world traditionally vilified and hidden. It’s a strange planet, but it shouldn’t be hidden, come into our parlour. Featuring Terry Williams, Ruth Howard. Michael Camakaris, Patrick 126

Helen Gilfillan, Barolo (detail), 2024, oil on board, 23 x 30 cm. 27 June–14 July Panorama Helen Gilfillan 27 June–14 July The Dressmaker’s Dummy Rhyll Plant

ACCA is delighted to present Future Remains: The 2024 Macfarlane Commissions, the fourth edition of a multi-year partnership that supports ambitious new projects by emerging to mid-career artists. This edition showcases seven artists from across Australia – Kim Ah Sam, Andy Butler, Teelah George, Alexandra Peters, Nicholas Smith, Joel Sherwood Spring and Salote Tawale – who variously reclaim, restage and reframe specific material, cultural or ideological inheritances in an effort not only to better understand the past but open up new possibilities for our current and future worlds.

VICTORIA

Australian Tapestry Workshop (ATW) www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Thu to Sat 10am–5pm. See our website for latest information.

Australian Galleries www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open daily 10am–6pm. See our website for latest information. 2 July—20 July Take me with you Dale Cox 2 July—20 July Footnotes for a chaotic garden Simon Perry

Alice Napurrurla Nelson, Concentric Unity, acrylic on canvas, 100 x 100 cm. Courtesy the artist and DB Consultancy. Julian Di Stefano, reflecting a desire and longing for hope and unity towards reconciliation. Proudly supported by Bayley Arts and Bayside City Council.

Lisa Reid, Untitled, 2024, cotton thread, embroidery, fabric. 30 May–19 July Soft Landings Fulli Andrinopoulos, Matthew Gove, Bronwyn Hack, Paul Hodges, Adrian Lazzaro, Anne Lynch, Joanne Nethercote, Chris O’Brien, Rosie O’Brien, Lisa Reid, Mark Smith, Terry Williams Celebrating the ongoing collaborative partnership between the Australian Tapestry Workshop and Arts Project Australia (APA).

Glen Morgan, Archie Roach R.I.P., 2022, acrylic on premium plywood, 92 x 74 cm. 2 July– 20 July Home and away Glenn Morgan 30 July—17 August John Coburn 30 July—17 August Graeme Peebles 30 July—17 August Group Exhibition 27 August—14 September Geoffrey Ricardo

Bayley Arts www.bayleyarts.com.au

Elders/Kula Deiva, 2024, detail. wool, indigo pigment, gum arabic. Tapestry woven by Saffron Gordon. 20 June–16 August Kaimuari – Woven Faith Abishek Ganesh J. Kaimurai is an Artist in Residence at the Australian Tapestry Workshop in 2024 and is the recipient of the Irene Davies International Residency Scholarship. Kaimurai is a textile artist based in Bangalore who paints with Indigo on khadi cloth.

1 Avoca Street, Highett, VIC 3190 03 9113 0610 Mon to Fri 11am–5pm, Closed public holidays. See our website for weekend hours. Free admission. Bayley Arts has grown from humble beginnings in a single art room and continues to be core to our programs which inspired the opening of our new state of the art facility in Bayside Melbourne. 6 July—19 July Concentric Unity: Jintaka- juku Presented by DB Fine Arts Consultancy, this is a collaborative project between Walpiri artist Alice Napurrurla Nelson and

Paula Lindley Embankment, 2024, acrylic on canvas, 76 x 60 cm. Courtesy of the artist. 22 August—8 September Transition/Transformation Paula Lindley Transition/Transformation aims to express and interpret permanence and impermanence in the landscape, extracting the essence of time and place. In a series of paintings and ceramics, Paula Lindley records changes apparent during repeat visits to estuaries, escarpments and riverbanks; some are transient capturing the variations of light and shade on the surface.

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. 127

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

Bond Street Gallery www.bondstreeteventcentre.com 10 Bond Street, Sale, Gippsland, VIC 3850 03 51828770 Director: Allison Yanez. By appointment only. See our website for latest information.

1 August–18 August What Lies Beneath Charlene Walker and Glenn Harrison 1 August–18 August Sanctuary Group exhibition

Brunswick Street Gallery www.brunswickstreetgallery.com.au Megan Cope, after the flood 1, 2024, acrylic and ink on military map, mounted on linen with Spotted Gum timber, 175 x 151 cm. Private collection. 29 June–25 August Megan Cope – Water is life Megan Cope – Water is life presents a selection of recent works by Quandamooka artist Megan Cope that weave together Indigenous and Western histories to challenge our sense of time and ownership in a settler colonial state.

Bendigo Art Gallery www.bendigoartgallery.com.au

322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–5pm. See our website for latest information. 13 July–28 July Pieces Of Us Toni Vallance 13 July–28 July Dedicated To The People Who Destroyed Me Lauren Cameron 13 July–28 July Nostalgia // Νοσταλγία Elena Piakis

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

Amelia Gaskell, Station Street, 2024, photographic print, 29.7 x 42 cm. 1 August–18 August What’s yours is mine Amelia Gaskell 1 August–18 August Conjuring.: ..~” Group Exhibition All above opening events, Friday 2 August, 6pm–8pm. 22 August–8 September Looking Out Amber Nuttall 22 August–8 September Soul Bronni Krieger 22 August–8 September Beneath The Nostalgic Sky Jessica Candradi 22 August–8 September Painted City Steven Hall

Alexander Beech, Coast I (Vacant), 2024, oil on board, 60 x 50 cm. 13 July–28 July Call of The Coast Alexander Beech

Rob McHaffie, Single Mums at the Res, 2024, oil on linen. Courtesy of the Artist. 10 August–9 February 2025 Rob McHaffie: We are family From super cool hipsters to art world afficionados, street artists, mums and dads, commuters, dog walkers and lackadaisical youth, McHaffie’s keen observations of his everyday surroundings reveal the idiosyncrasies and absurdities of contemporary Australian urban life with colour, whimsy and humour in equal measure. 128

13 July–28 July Arch, Boss and Capitol. ABC. David Davies 13 July–28 July Kaugal & Kauboi Kantri Jill Daniels All above opening events Saturday 13 July 6pm–8pm. 1 August–18 August I am home Millie Mitchell 1 August–18 August Connection Liz Fitzgerald

22 August–8 September Frontiers Katrina Barter 22 August–8 September Material Drift Brett Piva & Holly Leonardson All above opening events, Friday 23 August, 6pm–8pm.

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

VICTORIA back in England. Although intended as a contribution to science, the Florilegium was never published in Banks’ lifetime, and remarkably, it took until the 1980s when the engravings were printed for the first time in colour. A selection of these will be on display. 27 July—22 September Drawn from Nature: Botanical Illustration between Art and Science Rona Green, Lucky LeVon, 2022, hand coloured, linocut, 57 x 76 cm. 11 May–21 July Not Your Kitchen Lino| LINO 2024 Victorian Print Makers – Chris Lawry, David Frazer, Elizabeth Banfield, Gwen Scott (Mornington Peninsula), Jan Liesfield, Karen Neal, Kat Parker, Kylie Watson, Bronwyn Rees, Carolyn Vickers, Peter Ward, Rona Green. Burrinja Gallery presents a show case of contemporary print-making with a special focus on lino print applications. Featured are limited edition prints, artists books, scrolls and sculptures.

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

Contemporary botanical art by renown Victorian illustrators including Jenny Phillips, John Pastoriza-Pinol, Craig Lidgerwood, David Reynolds, Jessie Ford Rose, Mali Moir, Janet Matthews, Miffi Gilbert, Marta Iserman, Marta Salamon, Deb Chirnside, Simon Deere, Amanda Ahmed, Margo Heeley (TBC), and Celia Rosser (TBC), with a display of botanical embroidery by textile artist Lynne Stone.

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 Fri 11am–4pm, Sat 10am–4pm. Photograph: Jessica Tremp. 3 August–24 November Generation Clay – Reimagining Asian Heritage Curated by Vipoo Srivilasa.

Rew Hanks, Fish between the flags, 2023, hand coloured linocut, edition of 8 + 2AP, 75 x 106 cm.

Armie Sungvaribud, Asahi So, Casey Chen, Dai Li, EJ Son, Jayanto Tan, Mai Nguyen-Long, Monica Rani Rudhar, Nani Puspasari, Theodosius Ng, Yang Qiu, Yen Yen Lo, Yoko Ozawa, Zhu Ohmu.

11 May–21 July The Captain’s Catch| LINO 2024 Rew Hanks In a series of intriguing complex and detailed compositions renown Sydneybased printmaker and teacher Rew Hanks delivers a satirical take on colonial characters such as Captain James Cook, botanist Joseph Banks, explorer Major Thomas Mitchell, French emperor Napoleon and his wife Josephine. 13 July—25 August Shapes of Nature Trish Campbell

Siri Hayes, Lyric Theatre at Merri Creek, 2003, type C photograph, 90 x 110 cm. Darebin Art Collection. 22 June–7 September In a restless world like this is Anni Hagberg, Katie Paine, Katrin Koenning, Leonie Brialey, Siri Hayes. Curated by Chantelle Mitchell + Jaxon Waterhouse.

Strong structural shapes, a sense of story and a sense of drama contribute to interpretations in Trish’s conceptualised landscape painting. Awareness of our traditional lands informs her work as she explores the marks of intrusion and imposition on ancient lands. She is inspired by found patterns, lines, shapes and textures from surfaces in the natural and manmade environments.

An exhibition celebrating the vibrant versatility of clay, presented by a new generation of Asian-Australian contemporary artists. Together, these artists are reimagining traditional and ceramic forms in ways that resonate with our current moment.

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

27 July—22 September The Initiation of Australian Botany: Selections from Bank’s Florilegium The Florilegium is a record of plants collected by Joseph Banks and his team on Captain James Cook’s first voyage around the world. In an extraordinary effort over 700 copperplates were eventually produced for printing upon arrival

Grace Wood, Permanent palimpsest (detail), 2024. 22 June–7 September Permanent Palimpsest Grace Wood

Cate Consandine, RINGER (still), 2024, three channel video, sound. Courtesy of the artist and Sarah Scout Presents. 129

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

Melbourne, VIC 3000 [Map 2] Tue 11am–12pm & 1pm–2pm, Thu 2.30pm–3.30pm, Fri 2.30pm–3.30pm. Bookings essential.

10 May–13 October The same crowd never gathers twice Cate Consandine, Angela Goh, Riana Head-Toussaint, Laresa Kosloff, Yona Lee, Taryn Simon, and the Melbourne Conservatorium of Music. New group exhibition The same crowd never gathers twice tests the limits of the ‘arena’— the setting where people come together to witness and participate in public life. Works consider the social and structural architectures that bind these spaces, and by extension, the elastic relationship between performance and reality, audience and participant. Throughout the exhibition, the physical gallery is offered as a site for critical discussion and performance responses.

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

Charles Nodrum Gallery, 292 Church St, Richmond, 1984, at his second exhibition 20 Paintings. 20 July–10 August 40th Anniversary Exhibition: Gallery Artists Group Show 17 August–7 September Shane Jones

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

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

correspondences www.correspondences.work Wurundjeri Woi Wurrung Country 39 Sydney Road, Bulleke-bek (Brunswick), VIC 3056 [Map 5] Wed, Thu & Sat 10am–5pm, Fri 11am–8pm. Closed public holidays. See our website for latest information.

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

Photograph: Tobias Titz. 17 April–16 August Gotcha! Concrete prints from the McEwans celebrity pavement Curated by Robyn Annear. Who remembers the McEwans celebrity pavement? Between 1972 and 1994, scores of celebrities had their hand- and footprints immortalised in cement at the entrance of McEwans hardware store in Bourke Street. Gotcha! presents 40 of the surviving prints from the McEwans pavement, together with stories of the celebrities who made them and newspaper images capturing the mood of the times.

Asher Bilu, Circle (blue), 2021, acrylic, pigment & string on stainless steel, 114 cm diameter. 25 May–15 June Asher Bilu 22 June–13 July Works from the Plan Chest: Janet Dawson, Guy Stuart, and The Estate of Michael Shannon 130

City of Melbourne Art and Heritage Collection Store www.citycollection.melbourne.vic. gov.au Melbourne Town Hall (enter via Admin building), 90-130 Swanston Street,

Installation view, Harmonious Eccentricity exhibit (25 January–7 March 2024) at correspondences, featuring Elyss McCleary, A sound shimmers on your face through windows, 2024, oil on linen, 92 x 82 cm. © Elyss McCleary. Photograph: Emily Weaving. 4 July–18 July Retrospective / correspondences correspondences presents correspondences, a retrospective exhibition of literature, sound and visual works featured as part of the past two years of residency programming featuring alums Edwina Stevens, Ali McCann, Yoko Ozawa, Genevieve Fry,

VICTORIA Ruby Brown, Jessye Wdowin-McGregor, Ouyang Yu, Elyss McCleary, Emma Ovenden, Aarti Jadu, Inbal Nissim and Javad Kashani. Alongside the exhibition, a series of special events and activities are planned. For further information, visit our website.

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Tue to Fri 11am–5pm, Sat 11am–4pm.

Numbulwar Numburindi Arts – Joy Wilfred, Jocelyn Wilfred, Megan Wilfred and Virginia Wilfred. ‘Nanja’ literally translates to ‘nets’ in Nunggubuyu language. However these days ‘nanja’ mainly refers to introduced marine debris – discarded fishing nets, shade cloth, nautical rope and other castoff materials that plague ocean and river sources. The Wilfred sisters—Joy Wilfred, Jocelyn Wilfred, Megan Wilfred and Virginia Wilfred—replicate traditional dilly bags with found contemporary materials like nanja to tell a contemporary narrative about the environmental deterioration of their homelands, but also the responsibility that befalls custodians in making Country beautiful again. Brightly coloured acrylics replace ochre stripes for clan identification and individual expression. 10 August–21 September Luminosity Anastasia La Fey, Jenna Lee, Liam Fleming, Simone Tops

Eleanor Franks (Gubbi Gubbi/Kabi Kabi), A Self-Adornment Study, 2023. Image: Christian Capurro. 29 June–3 August Moombarra Curated by Kait James Amina Briggs, Ellie Franks, Keemon Williams, Matthew Harris, Peter WaplesCrowe, Tammy Gilson In the Wadawurrung language, ‘moombarra’ translates to ‘stick it up your arse’. This seemingly irreverent phrase encapsulates a profound commentary on the complexities of Indigenous identity, and the ongoing struggles against racism and tokenism. Moombarra delves into the depths of Blak humour, confronting issues of cultural appropriation, stereotyping and the pervasive impact of colonialism on Indigenous communities.

Virginia Wilfred, Yir. Photograph: Sean Fennessy. Image courtesy the artist and Numbulwar Numburindi Arts. 20 June–27 July Nanja

Luminosity presents the work of four artists engaging with light through material practice. This exhibition explores light as relational; perceived through its interactions with objects and space. Surface, texture and form are as much directors of light as they are subjects. Drawing from a specialist understanding of their craft and deep material knowledge, each artist creates works that anticipate the behaviour of light, manipulating its unique properties and spectral effects. Works play with transmittance, refraction and reflection, capturing light’s emotive and sensory possibilities.

These meticulously rendered paintings and drawings resonate with a personal symbolism and themes of identity, transformation and popular consumer culture.

Julie Poulsen, Bush sticks and rain puddles, synthetic polymer on calico, 137 x 121 cm. 3 August–29 September Treasures Julie Poulsen Paintings from Julie’s personal archive, showcase her investigation into four pivotal periods of her study. Spanning figurative observation, the landscape, personal interiors, and her explorations into street side signage and it’s typographic forms.

D’Lan Contemporary

Cusack & Cusack

www.dlancontemporary.com.au

www.cusackgallery.com

Wurundjeri Country 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tue to Fri 10am–5pm, Sat 11am–4pm.

31 Piper Street, Kyneton, VIC 3444 [Map 1] 0408 118 167 Fri to Sun 10am–3pm.

Adam Cusack, FREE* model, acrylic on canvas, 112 x 92 cm. 3 August–29 September Fixing the narrative Adam Cusack

Alec Mingelmanganu, circa 1905–1981, Woonambal, Wanjina, 1980, natural earth pigments and binders on linen, 118 x 90 cm. © Alec Mingelmanganu/Copyright Agency, 2024. 131

ar t g ui d e .c o m . au D’Lan Contemporary continued... 30 May–12 July SIGNIFICANT Spanning modern masterpieces from the 1960s through to contemporary works from the present day, this year’s annual exhibition, SIGNIFICANT, features numerous rare, museum quality pieces including Alec Mingelmanganu’sWanjina, circa 1980, one of the last large scale canvases by this important artist to remain in private hands. The exhibition also includes a rare, oval-shaped work, Emu, 1990, by Emily Kam Kngwarray; one of only a few early paintings which represent the artist’s transition from women’s ceremonial obligation and body painting to painting on board and linen. The contemporary section also features works by Gordon Bennett, John Mawurndjul, Makinti Napanangka, Ronnie Tjampitjinpa, Willy Tjungurrayi and Tommy Mitchell.

They developed friendships with artists, poets and other creatives in Kyiv, Irpin and Odessa which lead to the development of collaborative works, including the re-birth of the destroyed House of Art in Irpin and the large KISS OF DEATH mural. The exhibition Ukraine Guernica will be realised as an immersive and arresting experience for visitors highlighting Gittoes unflinching belief in the power of art to counteract war.

style using traditional and contemporary methods. The current exhibition, Young Mob Excelling, tells the stories of First Nations youth who are making their mark across a range of activities. Included in the exhibition are photos and profiles, along with memorabilia and original artworks.

East Gippsland Art Gallery www.eastgippslandartgallery.org.au

Djaa Djuwima – First Nations Gallery www.djaadjuwima.com.au Bendigo Visitor Centre 51–67 Pall Mall, Bendigo, VIC 3550 [Map 1] Open daily, 9am–5pm, except Christmas Day. See our website for latest information.

Deakin University Art Gallery

2 Nicholson Street, Bairnsdale, VIC 3875 [Map 1] 03 5153 1988 Tue to Fri 10am–4pm, Sat 10am– 2pm, closed Public Holidays. Free admission. 21 June–27 July South East NOW 2024 Frances Harrison, Alfie Hudson, Alice Ann Pepper, Ronald Edwards Pepper, Chris Mongta, Jennifer Mullett, Patricia Pittman, Alan Solomon, Ray Thomas.

www.deakin.edu.au/art-collection Building FA, 221 Burwood Highway, Burwood, VIC 3125 [Map 4] 03 9244 5344 Mon to Fri 10am–4pm during exhibitions. Closed public holidays. Free entry.

Bradley Brown, Power n Love, acrylic on canvas.

Rose Briggs, Yorta Yorta, Inner Growth, acrylic paint on wood, 42 x 29 cm.

George Gittoes, Wreck of Hope, 2023, oil on canvas, 185 x 250 cm. Image © and courtesy the artist. 3 July–16 August George Gittoes: Ukraine Guernica George Gittoes, Hellen Rose, Ave Libertatemaveamor Originally staged at Hazelhurst Arts Centre, the Deakin University Art Gallery is proud to present celebrated Australian artist George Gittoes’ newest exhibition Ukraine Guernica including collaborations with Hellen Rose and Ukrainian artist Ave Libertatemaveamor. Not long after Russian armed forces invaded Ukraine in February 2022, artist George Gittoes and his partner, musician and performance artist, Hellen Rose, left Australia for Kyiv. During two separate trips to Ukraine, George and Hellen spent time with residents as the cities were being bombed, uncovering their experiences, and documenting the devasted urban and rural landscapes through film, performance and painting. 132

Young Mob Excelling, Djaa Djuwima, 2024. Photograph: Bill Conroy. 9 May–30 August Young Mob Excelling Djaa Djuwima meaning ‘to show, share Country’ in Dja Dja Wurrung language is a dedicated and permanent First Nations Gallery at the Bendigo Visitor Centre on Pall Mall. For First Nations artists, this is a safe place for creative and cultural expression, to explore identity, heritage and connection. Djaa Djuwima provides a prominent platform to see Aboriginal and Torres Strait Islander cultures, customs and stories not seen anywhere else, with each creative bringing their own unique

21 June–27 July Warriors Bradley Brown Bradley Brown is a proud Gunaikurnai, Bidwal, Gunditjmara artist living and working in Bairnsdale on Gunaikurnai Country. He is a full-time father and artist. His passion is helping others, encouraging and teaching young people, especially Aboriginal kids, respecting his Aboriginal culture and raising his family in the right way. In 2023 Bradley won the East Gippsland Art Gallery Small Artwork prize out of a field of over 400 entrants, for his work, Clothed in Respect and Unity. “I have a strong passion for painting and telling my stories because it keeps me busy and is important culturally.” 2 August–7 September Industrial Explorations Fusion Fibre Arts Network Fusion Fibre Arts members explore many themes within the title of this exhibition, some of which may not be initially obvious to the viewer. This talented group of local textile artists have incorporated thread, paper, clay, metal and many more unusual materials in their interpretations. Opening event, Friday 2 August, 5.30pm. All welcome. 2 August–7 September Oneironaut Areka Brown

VICTORIA Warm Hues + Winter Lights New paintings, sculptures, and weavings by First Nations artists from 5 regions. A unique art parade presentation of 40+ works opens the exhibition on Saturday 13 July - see our website for details.

Fiona and Sidney Myer Gallery www.finearts-music.unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12pm–5pm. Free admission.

18 June–13 July Arboreal Michael Pearce 2 July–13 July Brand New NH Architecture 16 July–27 July Emerging Artist Award 2024 30 July–10 August Colour Existéncia Joanne Gamvros Heartscape Melinda Ly

Areka Brown, Yabbies and Eels, linocut print. Areka Brown is a Printmaker from Ballarat, Victoria. Inspired by the Surrealist Movement and the theories of Sigmund Freud and Carl Jung, Areka’s artworks explore the subconscious mind and often draw inspiration from dreams.

St Albans Secondary College VCE Art and Technology Students, Group work completed at Spacecraft Studios (detail), 2024, silk screen print on canvas, 160 x 160 cm. 13 August–24 August Showcase: St Albans Secondary College VCE Art and Technology Students

Oneironaut is a term used to describe a person who can travel within a dream on a conscious basis and is derived from the Greek words for ‘dream’ (oneiros) and ‘sailor’ (nautes). These artworks represent an incomplete self portrait of the artist’s subconscious mind. Opening event, Friday 2 August, 5.30pm. All welcome.

Everywhen Art www.everywhenart.com.au Whistlewood, 642 Tucks Road, Shoreham, VIC 3916 [Map 1] 0359 310 318 See our website for winter opening hours.

Masato Takasaka, ALMOST ALMOST EVERYTHING ALL AT ONCE, TWICE, THREE TIMES (IN FOUR PARTS...) RETURNAL RETURN REDUX*works from the permanent collection and selected loans from the EVERYTHING ALWAYS ALREADY-MADE STUDIO MASATOTECTURES MUSEUM OF FOUND REFRACTIONS (1979-2022), installation view, Conners Conners Gallery, Melbourne, dimensions variable. Photograph: Christian Capurro. 28 June–10 August Masato Takasaka Masato Takasaka is a Japanese Australian artist and academic based in Melbourne. Working with a diverse array of found objects and materials, his installations form boisterous spaces where art and design interact together to create multiple, nuanced, levels of chaos and control—not entirely unlike Masato himself.

fortyfivedownstairs www.fortyfivedownstairs.com Michelle Lewis, Michelle’s Tjala (Honey Art Dreaming), 2024, acrylic on linen, 183 x 152 cm. Courtesy the artist and Ernabella Arts. 13 July—25 August WINTER SALON 2024

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.

Michele Burder, Park Walk, oil on panel, 51 x 51 cm. 13 August–24 August At the still point Michele Burder 27 August–7 September Just a Sheila Josie Lowerson 27 August–7 September Wilding Lea Rose

Flinders Lane Gallery www.flg.com.au Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Sat 11am–5pm. Closing 3pm on the final Saturday of exhibition. 133

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

Fox Galleries

25 June–13 July Lifeforms Peter Syndicas

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

25 June–13 July Pijirrdi Warlalja: Strong Families Warlukurlangu Artists including Julie Nangala Robertson, alongside new works by Athena Nangala Granites, Christine Nakamarra-Curtis, Clarise Nampijinpa Poulson, Flora Nakamarra Brown, Julie Nangala Robertson, Leston Japaljarri Spencer, Letisha Napanangka Marshall, Louise Napangardi Watson and Theo Faye Nangala Hudson. Celebrating NAIDOC WEEK. 16 July–3 August FLG Annual Emerging Artist Award: Exploration 24 Featuring Eliza Adam, Holly Block, Dan Elborne, Christopher Kerley, Bronwyn Kidd, Jo Mellor, Lesley Murray, Nicole O’Loughlin, Sid Pattni, J9 Stanton, Kate Stehr. 6 August–24 August Printmaking and Drawing Richard Blackwell

Chelsea Gustafsson, Souvenir, 2024, oil on board, 30 x 22.5 cm. 27 August–21 September Souvenirs Chelsea Gustafsson

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.

Ginger Riley Munduwalawala, Untitled, synthetic polymer paint on canvas board, 61 x 76 cm. 1 July–31 July The Adam Williams Indigenous Art Collection A group exhibition of 20 works featuring artists such as Emily Kame Kngwarreye, Ginger Riley Munduwalawala, Clifford Possum Tjapaltjarri, and more.

Steffie Yee 余淑婷. Image courtesy of the artist. 12 June–15 September Chinese Restaurant Playground Steffie Yee 余淑婷

Jo Darvall, You Yangs 1, 2024, oil on canvas, 65 x 142 cm. 1 August–31 August You Yangs Jo Darvall

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9784 1060 Tue to Fri 10am–5pm, Sat 10am–2pm. Please check website for current information on access and exhibition dates prior to your visit. Cube 37–Cube Gallery : Bridget Hillebrand, Shift, 2024, linocut, thread on engineering felt, 150 x 57 x 30 cm.

15 August–12 September Art Of Nature FAC Open Exhibition 2024

27 August–21 September The Weight of Water Bridget Hillebrand

An open group exhibition that explores the wonder of the natural world and our human connection to nature. A range of visual mediums that aim to inspire others to care and protect the environment around us. Opening event, Thursday 15 August, 6pm.

Winner of the 2023 FLG Emerging Artist Award.

Sophie Cassar. Photograph: Amy May Stuart. 12 June–15 September Sutures Sophie Cassar

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FAC–Atrium Gallery :

VICTORIA 27 June–12 October Perched Vanessa White Perched is a melding of the joyous spectrum of Abstract Expressionism, the decorative formalism of Pop-Art, and the wit and humour of a knowing artist working with the imagery of the conundrum of the exotic-ordinary, in this case, rare breeds of common pet birds, the budgerigar.

as a means to further understand his own diasporic history and identity as an Australian-Colombian. An installation of paintings exploring practices of institutional collecting and impact of colonisation, Searle undertakes a process of reclamation of his own identity as part of the colonial diaspora, and of the works themselves. Proudly supported by Frankston City Council’s Artist Project Grant program.

Geelong Gallery www.geelonggallery.org.au 55 Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith. Open daily 10am–5pm. Geelong Gallery was established in 1896 and is one of Australia’s leading art galleries, with a magnificent collection of Australian and European painting, sculpture, printmaking and decorative arts dating from the 18th century to today.

Damien Shen, He Man (detail), acrylic on canvas. FAC – Curved Wall: 27 June–24 August Entombed in Joy Damien Shen Damien Shen is a South Australian man of Ngarrindjeri and Chinese bloodlines. His artistic practice is embedded in histories, revisiting the people, places and stories that shape the world he occupies. Represented by MARS Gallery, Melbourne.

Dianne Fogwell, Prescience (detail) 202122, linocut, woodcut, burn drawings, pigmented ink on Hanji paper; unique state (56 panels), soundtrack by Reuben Lewis. Geelong Gallery, Purchased with the generous support of the Colin Holden Charitable Trust and the Alan and MaryLouise Archibald Foundation, 2023, © the artis. Photograph: Andrew Curtis. immersive experience of the bush. A Geelong Gallery exhibition. Free entry. 10 August–27 October MAKE Award—Biennial Prize for Innovation in Australian Craft and Design (Australian Design Centre) Geelong Gallery and Australian Design Centre present this major new national award celebrating innovation in contemporary craft and design. Works were submitted by Australian designer makers demonstrating innovation in technique or material use, and the 30 pre-selected finalists form this exciting exhibition. An initiative of the Australian Design Centre. Free entry.

Gallery Elysium www.galleryelysium.com.au

Margaret Preston, Fuchsia and balsam, 1928, hand-coloured woodcut. Geelong Gallery, Purchased 1982, © Margaret Preston/Copyright Agency. 18 May—28 July Cutting Through Time—Cressida Campbell, Margaret Preston, and the Japanese Print

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.

This exceptionally beautiful Geelong Gallery-curated exhibition will examine the influence of Japanese woodblock prints (ukiyo-e) on the famed contemporary Australian painter and printmaker Cressida Campbell and on the groundbreaking modernist painter and printmaker Margaret Preston.

Joshua Searle, (installation detail). Cube 37–Glass Cube, view exhibitions from the street, dawn to midnight: 13 June–10 August Museo del Oro Robado (Museum of Stolen Gold) Joshua Searle Searle examines and unpacks PreColumbian artefacts held in museum collections encountered through texts,

A Geelong Gallery ticketed exhibition. Adult $20, Gallery Member $12.50, Concession $15, Senior (Tuesdays only) $15, Child $9, Flexible entry tickets (Single day) $30. 23 March–28 July Dianne Fogwell—Prescience Dianne Fogwell’s multi-panelled installation, Prescience, presents a panoramic view of the Australian landscape, highlighting both its beauty and its precarity due to climate change. Through fifty-six exquisitely detailed hand-printed panels, Fogwell creates an

Jerome Whitcroft, Totem #1, (detail), oil and acrylic on canvas, 117.5 x 102.5 cm. 6 July—28 July AS We See It Olga Finkel, Fiona Halse, Jerome Whitcroft

135

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

VICTORIA Gallery Elysium continued...

25 July—17 August Make Believe Waldemar Kolbusz

Alexandra Peters, Blowback at Asbestos, Melbourne, 2024. Everlast, silkscreen on filing cabinet, gas canister, arguileh hose, glass jars, lamb liver, lamb kidney, vinegar & seed oil & Untitled, filing cabinet, gas canister & unidentified documents, dimensions variable. Photograph: Aden Miller.

Mike Nicholls, My Conscience, oil on paper, 48 x 36 cm. 3 August—1 September Recent Works Mike Nicholls An exhibition of sculptures and paintings.

Gallerysmith www.gallerysmith.com.au 40 Porter Street, Prahran, VIC, 3181 03 9008 4592 Tue to Sat 11am–5pm. See our website for latest information. Gallerysmith is dedicated to assisting you to find artworks that align with your interests, your aesthetic preferences and your collecting goals. Our team is as passionate about guiding first-time buyers at the start their art journey, as they are when working with seasoned art collectors and curators. We also assist interior designers, stylists and architects to make considered choices for their projects.

Lori Pensini, Wild ‘n’ West Desert Mouse, oil on linen, 100 x 100 cm. 22 August—14 September Wild ‘n’ West Lori Pensini

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

Cosey Fanni Tutti, Incognito, (detail), 1979-2021, c-type print. Courtesy of the artist and cabinet, London. 15 June—4 August Gertrude Contemporary: Octopus 24: Ricochet Curated by Patrice Sharkey. Exhibiting artists: Destiny Deacon, Cosey Fanni Tutti, Chelsea Farquhar, Dominic Guerrera, Truc Trong and William Yang.

Waldemar Kolbusz, Days, 2024, oil on linen, 183 x 122 cm.

17 August—13 October Gertrude Contemporary: And This Time the Well is Alive Curated by Amelia Winata. Exhibiting artists: Alexandra Peters (AUS), Alicia Frankovich (NZ/AUS), Burchill and McCamley (AUS), Darcy Wedd (AUS),

Erin Hallyburton (AUS), Iris Touliatou (GR), Joseph Beuys (GER). 21 June—20 July Gertrude Glasshouse: Lisa Waup 26 July—24 August Gertrude Glasshouse: Ezz Monem

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

Kasia Fabijanska, Two Trees, 2016, etching, aquatint and pigment on paper, 59.1 x 44.4 cm (platemark); 68.7 x 54.2 cm (sheet). Collection Gippsland Art Gallery. Purchased, 2017. © The artist. 8 June–25 August Fragile Earth 2: Breathe 15 June–25 August Geoffrey Bartlett: Coalescence 15 June–25 August Mandy Gunn: Inter-Woven―Collected, Cut, Created 15 June–25 August Layers of Blak 137

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Hamilton Gallery has been the heart of visual arts in the Southern Grampians for over 60 years. Our internationally significant collection was seeded by a generous bequest of 981 objects, now numbering over 9000 with unique strengths in Decorative Arts, European, Australian and Asian Art.

drawings and digital works to address this dimension of the ongoing turmoil in historic Palestine.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Fri 10am–4pm, Sat & Sun 10am–5pm. See our website for latest information. 20 February—14 July Heide Modern: A Space Between

Ivan Durrant, View from Bunyip Pub, 2023, synthetic polymer paint on composition board. Collection of the artist. Mandy Gunn, Architexture: Ways of Seeing, 2022, cardboard with braille construction, 150 x 100 x 3 cm. Private collection. Courtesy the artist. © The artist. 15 June–25 August Rachel Steinmann 15 June–25 August Assist Gippsland: Our Identities 8 June–17 November The Art of Annemieke Mein

25 May–29 September Marmalade Skies Through Opal Eyes Ivan Durrant

Haydens www.haydens.gallery 1/10-12 Moreland Road, Brunswick East, VIC 3057 [Map 3] Fri & Sat 12noon–5pm. See our website for latest information.

Heide Modern: A Space Between reflects on ideas of memory and domesticity, and the intersection of private and public life in the context of a former residence that is now a much-loved museum. Integrating Heide founders John and Sunday Reeds’ original furniture with artworks from their personal collection, as well as the museum’s wider holdings, the exhibition traverses Heide’s modernist beginnings through to its continued vision to champion contemporary art today. Curated by Chloe Jones & Laura Lantieri.

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. 4 July–28 July Annual Members Exhibition Glen Eira Artists Society 1 August–1 September Artists In Focus: Work from the Council’s Art Collection 4 July–28 July The Upcycling Era Presented by the Rotary Club of Caulfield 1 August–1 September Flashback – Caulfield High School, 1970-1974

Hamilton Gallery www.hamiltongallery.org 107 Brown Street, Hamilton, VIC 3330 [Map 1] 03 5573 0460 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. See our website for latest information.

Leslie Eastman, The Noble Rock, al Aqsa., 2024, photocollage, 30 x 20.5 cm. 16 August—14 September The Cave The Flood Leslie Eastman The cave and rock beneath the Dome of the Rock, at Al Aqsa, al Quds / Jerusalem have immense metaphysical and geopolitical significance. The Cave The Flood will explore the complex history and meanings of this charged geological and spiritual pivot point. Leslie Eastman will develop an installation and accompanying texts,

Ana Mendieta, Untitled (Facial Hair Transplants), 1972, suite of seven colour photographs. © The Estate of Ana Mendieta Collection, LLC Courtesy Galerie Lelong & Co. Licensed by ARS, NY 2023 and Copyright Agency, Australia. 4 May—6 October Hair Pieces Hair Pieces explores the evocative and complex significance of hair in art, history and contemporary culture. Encompassing ideas about gender, mythology, status and power, the body, psychology, feminism and notions of beauty, this exhibition investigates why hair is such a resonant and compelling site of meaning. Curated by Melissa Keys. 139

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The Hive Gallery www.thehiveoceangrove.com.au 1/41 Smithton Grove, Ocean Grove, VIC 3226 [Map 1] 0417 116 216 Fri to Sun, 10am–4pm. See our website for latest information.

A connection, between paintings and ceramics inspired by each other and the natural environment.

Incinerator Gallery

Horsham Regional Art Gallery

180 Holmes Road, Aberfeldie, VIC 3040 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm.

www.horshamtownhall.com.au

www.incineratorgallery.com.au

80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm. See our website for latest information.

Moorina Bonini, bawu (body), 2023, video still. 6 July—8 September These Arms Hold Gabi Briggs, Indiana Hunt, Moorina Bonini, and Tarryn Love. Curated by Maya Hodge. Presented in support with Blak Dot Gallery. Amrita Hepi with Honey Long and Prue Stent, Omphalus (still), 2021, video: 3 minutes 30 seconds. Courtesy the artists and ARC ONE Gallery. Sophia Legoe, hand built multi-glazed sculptural vessels using pinch & coil technique, various sizes. 5 July–28 July Suffuse Jane Millington and Sophia Legoe A new exhibition that combines the flair of both paint and ceramics to provide an interlude that is both exquisitely beautiful and heady with a love of their coastal surrounds. Bathed in light, Jane Millington’s finely detailed and wonderfully executed paintings play softly with the highly skilled glazing, strength of form, yet delicacy of Sophia Legoe’s unique ceramics. Both artists gain inspiration from the natural environment and changing light of day, and have collaborated to create a stunning, tranquil exhibition that will suffuse you in its beauty. Opening 6 July, 2pm-4pm. All welcome.

1 June–20 October Conflated A NETS Victoria Touring Exhibition. Curated By Zoë Bastin and Claire Watson. Zoë Bastin, Andy Butler, David Cross, Bronwyn Hack, Amrita Hepi with Honey Long and Prue Stent, Christopher Langton, Eugenia Lim, James Nguyen and Steven Rhall. When we inhale and exhale, our bodies transform through the process of inflation and deflation. Drawing on the inflatable form as both material and metaphor, Conflated brings disparate artists together to explore bodies, environments and cultures through contemporary art.

This exhibition shines a light on how Aboriginal women have always been resistance fighters, from the Frontier Wars to now, whose histories have been erased through colonial violence. The exhibition will traverse contemporary and traditional ways of representing and embodying women’s weaponry and resistance from the south-east of so-called Australia. Through workshops and conversations, artists Gabi Briggs, Indianna Hunt, Moorina Bonini, and Tarryn Love will come together to honour their sovereignty, strength and bloodlines as Aboriginal women through a collaborative installation. These Arms Hold emphasises that Aboriginal women have always fought for their Country, waterways, kin, children, and themselves.

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.

Abbra Kotlarcyzk, Sensuous grid seek antithesis, 2022, hand-perforated earth-impregnated and squeeze papers, tailor’s and children’s chalk, Copic markers, acrylic polymer, Melaleuca (paperbark) and Pittosporum, steri-prune paint, starch paste, shock cord and rope. 6 July—8 September anti-aria for aterAbbra Kotlarczyk

Jane Millington, Imbue, 101 x 101 cm, framed, oils on linen blend.

Dr Richard Savery, I, DJ.

August Penumbra Jill Shalless and Dani Salvo

17 May–11 August I, DJ Dr Richard Savery

This exhibition is the final instalment in a three-part series of exhibition reading rooms by artist Abbra Kotlarczyk that are centred around genealogy, familial history, material and elemental kinships, and queer modes of reading and resistance. anti-aria for ater- draws from, while also representing an operatic break with the paternal line of its previous two iterations. 141

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Jewish Museum of Australia

Incinerator Gallery continued... The exhibition centres feminist and autobiographical psychogeographies of fire as they intersect with the history and architecture of the gallery’s incinerator, known colloquially as ‘The Destructor’. The exhibition title draws on the etymology of the root word ‘ater’ meaning fire (blackened by) and ‘aria’ meaning air (a melody for a single voice).

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.

6 July—8 September EPAR OPAR Anindita Banerjee, Mita Chowdhury, Neel Banerjee, Nira Rahman, Rakini Devi, Sharmin huq Sangeeta, Shinjita Roy, and Tasmina Khan Majles. Curated by Anindita Banerjee. This exhibition brings together 8 Bengali artists based in Australia who explore the enduring impact of British colonialism on Bengali identity. The colonial partition created between Bangladesh and West Bengal divided the region along cultural and religious lines. The artists are motivated to untangle colonial legacies to collectively reimagine these boundaries through a nuanced perspective on identity within the diaspora.

Ivanhoe Library & Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe, VIC 3079 [Map 4] 03 9490 4222 See our website for latest information.

Peta Clancy, from the birrarung/ dirrabeen (detail), 2024. 31 May–21 July Conduit Peta Clancy and Jo Scicluna An exhibition bringing together artworks by Peta Clancy and Jo Scicluna, which considers how we navigate complex histories of this land on which we live. In this space, we invite conversations to take place between the two artists, the land, First Nation Elders, and the community. Peta Clancy is a proud Yorta Yorta artist and senior lecturer at Monash University’s Art Design & Architecture. Jo Scicluna is first-generation Australian artist, and educator across fine art and design. Please check the website for public program accompanying this exhibition. 3 August–25 August My Two Homes Junko Azukawa

Junko Azukawa, Ever glow, 2024. Immerse yourself in My Two Homes - an exhibition bridging the soulful depths of traditional Japanese ink art with the vibrant spirit of Australian nature. Junko invites you on a journey between two cultures as she uses a traditional art medium and techniques from her birth country of Japan to embody the essence of wildlife and plants from her current home of Australia. Each piece in this collection, including an ink animation, reflects the symbiotic relationship between her Japanese roots and her 19-years of life in Australia. 22 June–28 July Barrbunin Beek Gathering Place Community Art Exhibition Barrbunin Beek means ‘happy place’ in Woiwurrung language. It’s a gathering place in Heidelberg West for Aboriginal and Torres Strait Islander people to connect with Elders and community, practice and celebrate culture, and build community wellbeing. This exhibition showcases the range of art made by artists from the Barrbunin Beek community, with many pieces available for sale. This exhibition will be a great opportunity to support local artists and collect some locally-made Aboriginal Art. 2 August–1 September Outside the Box Challenging assumptions and celebrating all abilities. An exhibition featuring artworks by First Nations artists with disability. The exhibition will be complemented by a mini film festival, screening films made with and by people with disability, curated by artist Jodie OhmZutt. Opening night, Friday 2 August, 6.30pm–8pm. Please check the website closer to the date for the film program. Bookings required: www.banyule.vic.gov. au/outsidethebox 2 August–25 August From the Wild – The Art of Bonsai Artist in Residence – Kevin Ritchie Every plant has wild origins. The focus of this residency will be the process of interpreting and developing these wild origins, working with the characteristics of each tree and combining with pottery and other arts to create inspiring Bonsai artworks.

Andrew Rogers, I Danced 2, 2019, Hangzhou, China. 10 May—1 September Andrew Rogers: Where We Are Andrew Rogers: Where We Are at the Jewish Museum of Australia explores humanity’s individual and collective relationships with the natural world and the cosmos. Displaying a collection of Rogers’ sculptures and jewellery as well as photographs of his extraordinary global land art, this exhibition invites visitors to consider how we connect with each other and the natural world and built environments. Where We Are encourages us to reflect and find joy and beauty both within and outside the Museum walls.

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 11am–4pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12pm–5pm. See our website for latest information. 3 July–3 August Collection of the Land // Time & Tempo Nathaniel Stewart 143

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VICTORIA Kingston Arts continued...

Nathaniel Stewart, Collection of the Land // Time & Tempo (still) 2024. A collaboration between the sun, moon and place the land gives us. Focusing on the deep heartbeat rhythm of this country that we experience every day, subtly displayed through our direct and absent thoughts. Creatively imploring how place fluctuates mood, idea and perspective, outwardly observing internally. The feeling of present while haggling swift/ slow semi-unregulated thoughts and memories, past, future and present, ambiently modulated through the difference in geological place based in this country. An alternative, digital projection by artist Nathaniel Stewart / oldmatee788 that explores the collaboration between the sun, moon and place. The installation is projected onto The Bridge, a third story walk bridge at Kingston City Hall that’s visible by thousands of commuters travelling along Nepean Highway.

Hannah Nowlan, A Quarry For Slate Springs. © Lander—Se, Red Hill. Australian artist Hannah Nowlan exhibits contemporary art on a rural canvas. SLATE by Hannah Nowlan is the inaugural exhibition of Lander—Se, Red Hill’s first artist-run initiative. Drawing on narratives shared by neighbours and evidence unearthed by the land itself, Nowlan saturates the gallery with a serene atmosphere. Continuing her exploration of selfhood, mythology, and connection to the landscape, Nowlan gently reveals the historical tapestry of the land and its surroundings. The exhibition features site-specific paintings that are fluid in nature with delicate strokes conveying a sense of transience and vulnerability.

Jenny Watson, White Horse with Telescope, 2012, synthetic polymer paint on rabbit skin glue primed cotton 200 x 130 cm. Latrobe Regional Gallery Collection. Courtesy the artist and Anna Schwartz Gallery, Melbourne. Kurnai College, to the Latrobe Regional Gallery permanent collection.

Winter Program - Creative Workshops, visit our website to book.

9 August–30 August Youth Art Expo 2024 | Big Dreams Kingston Youth Services and Kingston Arts invite you to the Youth Art Expo 2024, celebrating the theme of “BIG DREAMS.” If you’re a young artist, aged 12-25, this is your chance to showcase your creativity and win fantastic prizes. This free event encourages you to explore what “BIG DREAMS” means to you. Let your imagination fly. You can submit artwork in any medium — painting, drawing, sculpture, digital art, or anything else that brings your vision to life. Expression of interest are now open. Limited spots available. To secure your spot and register to receive the information pack, contact youth.services @kingston.vic.gov.au or 1300 369 436.

Lander—Se www.landerse.au 585 Dunns Creek Road, Red Hill, VIC 3937 [Map 4] Open by appointment. See our website for latest information. SLATE Activating a Mornington Peninsula site,

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. 12 July—27 October Horse Girl Energy Abdul-Rahman Abdullah, Josefin Arnell, Matilda Davis, Rose English, Amos Gebhardt, Anna Louise Richardson, Jacqui Stockdale, Jenny Watson. Horse Girl Energy is a curious survey exhibition of horses and horse culture today, with a nod to its history. Marking several new acquisitions for the Latrobe Regional Gallery collection, this large scale exhibition also features an Equine Shrine, a community-led installation made up of loaned artworks and other objects celebrating the horse and horse culture in Latrobe City and Gippsland. Proudly supported by Horseland Traralgon.

Clinton Hayden, dalungal, 2023, handworked archival print on Hahnemühle German Etching, 22 x 28 cm. Courtesy the artist. 8 June—15 September mudyigalang-gu ngurambang-gu Clinton Hayden Clinton Hayden is a queer contemporary artist whose work intersects technology, identity, and cultural heritage. As a proud Wiradjuri man with roots in Orange, NSW, and European ancestry, he offers a distinctive perspective in contemporary art. His current work investigates the critical imaginaries of AI, notably its transformative potential to examine colonial histories, queer culture, and First Nations stories.

8 June—15 September Maryvale Art Foundation Collection

8 June—15 September Straight Torque, twin series Amrita Hepi

This exhibition marks and celebrates the formal donation of artworks on long term loan from Maryvale Art Foundation, now

Artist and choreographer Amrita Hepi acknowledges the black and brown female body as an intricate vessel for, and of, 145

3 August 14 September 2024

SASHA HUBER, Sun (detail), 2022. Leaf gold on metal staples, linen, wood. (Leaf gold ethically sourced in Tankavaara, Lapland – initiated by Kultaus Snellman)

CREPUSCULUM Sasha Huber and Petri Saarikko Curated by Cūrā8 project8.gallery

Level 2, 417 Collins Street Melbourne VIC 3000 +61 3 9380 8888 project8.gallery

VICTORIA Latrobe Regional Gallery continued... historical knowledge. Hepi’s work coalesces fact and fiction, memoir and ethnography, the local and the singular. Hepi’s work elicits a spectrum of effects, ranging from frustration and failure, to delight and the absurdity of our collective reality.

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

Lennox St. Gallery www.lennoxst.gallery

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. See our website for latest information.

322-324 Lennox Street, Richmond, VIC 3121 [Map 6] 03 9429 2452 Tue to Fri 11am–6pm, Sat 11am–5pm. See our website for latest information.

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

Lennox St. Gallery is committed to exhibiting contemporary Australian and International art by established, mid-career, and emerging artists. 12 June–6 July Treasures of Indigenous Art From a Private Collection Various artists

Vittoria Di Stefano, Pears on a Willow (detail), 2024. Image courtesy of Linden New Art. 31 May–25 August Juncture Art Prize Shivanjani Lal and Vittoria Di Stefano

Llewellyn Skye.

Zhou Xiaoping (1960), Spirits, 2017, ink, oil and synthetic polymer on rice paper laid on canvas, 100 x 68 cm.

10 July–27 July Idle Hours Llewellyn Skye

Michelle Hamer, Untitled No. 22 - I’m A Believer, 2024, hand-stitching, mixed yarn on perforated plastic, 53 x 33.5 cm. Image courtesy of the artist. Louise Feneley, The Un-nameable Day III. 31 July–17 August The Curious Nature of Aether Louise Feneley 21 August–7 September New sculptural works Raymond Young

Roy de Maistre (1894–1968), Still Life with Bottle and Fruit, oil on canvas, 97 x 71 cm.

21 August–7 September TODOS LOS ANIMALES (ALL THE ANIMALS) Carlos Barrios

31 May–25 August I’m A Believer Michelle Hamer A darkly humorous series of prints that confronts the dismissive language surrounding chronic health issues while exploring gendered language, access, and erasure. Original letters, ethically contributed by patients from around the world (including medical professionals), have been redacted, retaining official formatting and scanned decay to expose delegitimising wording that casts doubt or disbelief on symptoms.

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SCULPTURE CASTING | INSTALLATION | WORKSHOPS | CONSERVATION

8 Spring Street Fitzroy VIC 3065

meridiansculpture.com info@meridiansculpture.com

meridiansculpture.com

(03) 9417 6218 @meridiansculpture

VICTORIA

Lyon Housemuseum www.lyonhousemuseum.com.au 217-219 Cotham Road, Kew, VIC 3101 03 9817 2300 Galleries: Wed to Sun 12pm–4pm. Housemuseum: Pre-booked guided tours. See our website for latest information.

McClelland Gallery + Sculpture Park

30 March–21 July Visionary: Recent Donations to the McClelland Collection

www.mcclelland.org.au

Continuing in the spirit in which McClelland Sculpture Park and Gallery was gifted to the community in 1971, McClelland’s renowned collection of Australian and international sculpture has been shaped in large part by the vision of a large circle of generous donors. Visionary: Recent Donations to the McClelland Collection showcases a range of extraordinary works which have come into the collection over recent years. Artists include John Nixon, Rick Amor, Anne-Marie May, Sanne Mestrom, Scott Redford, Peter Corlett, Julius Kane, Vincas Jomantas, Kerrie Poliness, and Lauren Berkowitz and Erwin Fabian.

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

MAGMA Galleries www.magmagalleries.com

Shaun Gladwell, Approach to Mundi Mundi, 2007. Lyon Collection. The Lyon Housemuseum is a contemporary art museum presenting works from the Lyon Collection of Australian contemporary art. Spanning over three decades, the Collection includes paintings, sculpture, large scale installations, photography and video works by many of Australia’s most celebrated contemporary artists. The museum comprises two interconnected buildings - the original Housemuseum, the former home and private museum of patrons Corbett and Yueji Lyon, and the Housemuseum Galleries. A regular series of public programs, including artists talks, workshops and interactive forums are presented across the two museum venues.

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

Anne-Marie May, born Melbourne 1965, lives and works Melbourne, Drawing 373 (flexing and unfolding), 2020, thermally formed acrylic, individually shaped from sheet side, 180 x 120 cm. McClelland Collection, Donated through the Australian Government’s Cultural Gifts Program. Photograph: Christian Capurro.

John Gollings, Kay St Housing with Kangaroos, 1983. Lyon Collection.

www.manningham.vic.gov.au/ gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Wed to Sat 11am–4pm. See our website for latest information.

kose karu kin (detail). Photograph: Dan Elborne. Image courtesy of Grace Dlabik.

1 May–30 April 2025 Works From The Lyon Collection This exhibition, presented in the Housemuseum Galleries, features selected works from the Lyon Collection including works by artists John Gollings, Shaun Gladwell, Patricia Piccinini, Howard Arkley, and a newly acquired painting by Stephen Bram.

Manningham Art Gallery

26 June–10 August kose karu kin Grace Dlabik

Lauren Berkowitz, born Melbourne 1965, lives and works Melbourne, White residue, 2010, cricket ball offcuts, thread, 350 x 200 cm (approx.). McClelland Collection, Donated through the Australian Government’s Cultural Gifts Program by Igor Zambelli. Photograph: Mark Ashkanasy.

kose karu kin is a special project led by Manningham resident, Grace Dlabik. Connecting indigenous women and non-binary folk through clay making using memory, embodiment, nurture, nourishment, and connection. kose karu kin invites you to view the cyclical nature of the materials used in this project, from raw clay, and traditional practices, to shared experiences within community.

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Mary Cherry

Ongoing Everybody Had a Name

www.marycherry.com.au

Everybody had a name – nobody had a grave: This is what Holocaust survivor Tuvia Lipson would tell visitors when sharing his story of survival. The experiences shared in our Everybody Had a Name exhibition form a collective history of the Holocaust, from a uniquely Melbourne perspective. It honours the survivors who migrated here. Those who built a strong community from the ashes of the Holocaust – determined to inspire and educate future generations.

42 Glasshouse Road, Collingwood, VIC 3066 [Map 3] Thu to Sat 12pm–5pm & by appointment. See our website for latest information. Mary Cherry is a contemporary art space in Collingwood, presenting a dynamic program of solo and group curated exhibitions of emerging and established artists.

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open daily 10am–4pm. See our website for latest information. 11 May–4 August Between the Details: Video Art from the ACMI Collection An ACMI touring exhibition

Image courtesy of the artist. 26 July–24 August Storm Gold – Try to/not swallow all your demons/demands in one gulp (next line) Mary Cherry is pleased to present a solo exhibition by Storm Gold. The title for this exhibition Try to/not swallow all your demons/demands in one gulp (next line) is derived from a dictated note on his phone from 2018. Using this momentary thought as starting point Gold reinvigorates the meaning into material form. This series is a collage of ideas, combining painting and sculpture techniques.

Melbourne Holocaust Museum www.mhm.org.au 13 Selwyn Street, Elsternwick, VIC 3185 [Map 4] 03 9528 1985 Tue to Thu 2pm–7pm, Sun 10am–6pm. See our website for latest information.

Fragments of memories: A reimagining of the Czestochowa Old Synagogue ceiling, 2022.

An exhibition celebrating ACMI’s vibrant collecting and commissioning program. Showcasing up to six moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program. Working in video offers artists the opportunity to use editing as their primary technique; mixing and matching elements from other films or their own work to tell new stories. By remixing or rearranging footage they build different rhythms and moods, create hilarious juxtapositions or shed new light on cultural cliches and presumed histories. 20 June–1 September Brush of Life Glenys Ratcliffe - GART Sunraysia based artist, Glenys Ratcliffe’s (GART) passion for art came about after a life changing accident put her on a path to explore the world of painting. Glenys’ solo exhibition at Mildura Arts Centre will showcase her passion for painting as a way to express her emotions through colour and imagination.

Jennifer Gadsden, Interior: Domestic Bliss - The Comfort of Baking, 2023, acrylic on canvas.

Michael Rowe, Yellow Plate, 2023, acrylic on canvas. 20 June–1 September Interior: Reflections on a Pandemic Jennifer Gadsden and Michael Rowe Mildura-based artist, Jennifer Gadsden and Michael Rowe, a Melbourne-based artist, have both created a series of colourful and heartfelt artworks reflecting on the pandemic. Jennifer has created a body of work over the last few years for this exhibition, continuing her Connections series of ceramic tile artworks and paintings, which focus on human connection and social interaction. Michael’s series of still life paintings express his love of colour, shape and movement, and the intensity of the colour gives a sense of unease we have experienced during these more uncertain times and the isolation it has forced upon so many people.

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington, VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. 18 May–18 August Marion Harper – Restless Encounters MPRG exhibition. 22 June–18 August Both Body & Not MPRG exhibition Curated by Leah Ferguson.

Lisa Walker, She Wore This One, 2023, thread, fabric. Courtesy of the artist. 151

Image credit: Olana Janfa, Boat, Acrylic on Wood, 2023 (Detail).

HOME 24 Olana Janfa: Too Much Drama

2 July - 6 September

Now showing at Walker Street Gallery and Settlers Square

Combining bold images and political statements with lightness, dry humour, vivid colours and tones, the exhibition brings together old and new works by Ethiopian-Norwegian artist Olana Janfa. Olana Janfa: Too Much Drama is the 2024 iteration of HOME, City of Greater Dandenong’s longstanding program of exhibitions featuring artists with a refugee and asylum seeker background. greaterdandenong.vic.gov.au/HOME

8571 5320

arts@cgd.vic.gov.au

greaterdandenong.vic.gov.au/home

VICTORIA sections that explore the pharaoh’s roles and duties, including as the high priest officiating in temples, the head of the country’s administration, the leader of the army and the head of the royal family. The pharaohs were responsible for protecting Egypt against its enemies and ensuring universal order; they ruled the Two Lands – Upper and Lower Egypt – from the 1st Dynasty (c. 3000 BCE) until the Roman conquest in 30 BCE.

Morninton Peninsula Regional Gallery continued...

Brendan Huntley, Untitled (butterfly) #41 2020/2021, white raku, glaze, slip and plinth (front). Courtesy of the artist and Tolarno Galleries. 22 June–18 August News From Nowhere – Lisa Walker and Brendan Huntley MPRG Exhibition Curated by Dunja Rmandić.

Museum of Australian Photography (MAPh) www.maph.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat and Sun 10am–4pm.

Andrew Tetzlaff, Observations of a Falling Light, 2021-. Courtesy of the artist. Photograph: Michael Quinan. 8 June–25 August Built Photography Built Photography brings together 16 artists exploring photography as a physical construction. It proposes a conversation between photography’s material, its surface and form, and especially its objectness, against which the flatness of the photographic plane is interrogated. Curated by artists Izabela Pluta and Kiron Robinson. 8 June–25 August Hollow

Izabela Pluta, Shadowing matrix (detail) 2024. Courtesy of the artist and Gallery Sally Dan Cuthbert (Sydney). Izabela Pluta and Kiron Robinson explore their own and public photographic archives, which are then decontextualised and recontextualised within the exhibition Hollow. Curated by MAPh Senior Curator Angela Connor.

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.

Installation view of the 2024 Melbourne Winter Masterpieces® Pharaoh, on display from 14 June–6 October, 2024 at NGV International, Melbourne. Photograph: Sean Fennessy.

Imane Ayissi, Paris, France, Mbeuk Idourrou collection, Autumn/Winter 2019. Photograph: Fabrice Malard. Courtesy of Imane Ayissi. 31 May—6 October Africa Fashion A landmark exhibition, Africa Fashion celebrates the creativity, ingenuity, and global impact of contemporary African fashions from the mid-twentieth century to the present day. Featuring over 200 works – spanning fashion, textiles, adornment, photography, music and film – the exhibition illuminates a thriving fashion scene as dynamic and varied as the continent itself.

National Gallery of Victoria—The Ian Potter Centre NGV Australia

14 June–6 October Pharaoh

www.ngv.vic.gov.au

The NGV has partnered with the British Museum to present Pharaoh, a landmark exhibition that celebrates three thousand years of ancient Egyptian art and culture. Through more than 500 objects, including monumental sculpture, architecture, temple statuary, exquisite jewellery, papyri, coffins and a rich array of funerary objects, the exhibition unpacks the phenomenon of pharaoh, those all-powerful kings claiming a divine origin.

Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm. See our website for latest information.

The exhibition comprises seven thematic

14 March–14 July Top Arts Ongoing Wurrdha Marra

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KAUGAL & KAUBOI KANTRI JILL DANIELS 13–28 JULY 2024

OPENING EVENT: SAT 13 JULY 6–8PM Brunswick Street Gallery Level 1 & 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC 3065 Australia brunswickstreetgallery.com.au brunswickstreetgallery.com.au

NGV – The Ian Potter Centre continued...

North Gallery

22 March–4 August My Country – Country Road First Nations Commissions

www.northgallery.com.au

The Country Road + NGV First Nations Commissions is a national, biennial mentorship and exhibition program that pairs emerging Australian First Nations artists and designers with one of eight esteemed industry mentors. Working collaboratively, the mentors each support and guide an emerging artist to create their most ambitious work to date.

Level 1 55/57, Gertrude Street, Fitzroy, VIC 3065 [Map 3] 0438 055 253 Tue to Sat 10am–5pm.

One Star Gallery www.instagram.com/onestarlounge 301-303 Victoria Street, West Melbourne, 3003 [Map 4] 0432 357 537 Thu to Fri, 3pm–7pm, Sat 1pm–7pm, Sun 1pm–5pm. 4 July–21 July Doorways George Gittoes

VICTORIA Paul Compton, Land de Jager, Chris Ingham, Hannah Caprice, Kim Hyun Ju, Damon Kowarsky, Ying Huang In this exhibition, artists explore depictions of wildlife and landscapes through the lenses of dreams and the unconscious. Whimsy, intellect, social consciousness, spiritualism, myth… the grotesque, and cuddliness collectively span the spectrum of inspirations and emotions. We see reconfigurations of the familiar into the unfamiliar. Creatures that embody a fusion of the natural world and human industry. Landscapes reflect the uncanny, sometimes elusive imagery of dreams, myth, and fantasy. Artists share a deep interest in interpreting dreams as conduits for unspoken feelings and desires. They craft stories which investigate our sense of belonging and where boundaries between reality and imagination blur, inviting contemplation and connection.

Opening Saturday 6 July, 2pm–5pm. Nina Sanadze, Apotheosis, 2021. Photograph: Grant Hancock. 12 April–4 August Nina Sanadze

25 July–11 August Two Views Jason Jones and Rob Hall Opening Saturday 27 July, 2pm–5pm. 24 August–25 August Project: Soul On The Wire Stephen Williams and Dave Sinclair 29 August–15 September Counterpoint Stephen Mackenzie Opening Saturday 31 August, 3pm–5pm.

PG Gallery Installation view of Grace Crowley & Ralph Balson on display at The Ian Potter Centre: NGV Australia, from 23May to 22 September 2024. Photograph: Tom Ross. 23 May–22 September Grace Crowley and Ralph Balson Instrumental in the development of abstract art in Australia, Grace Crowley and Ralph Balson were extraordinary artists whose collaborative practice resulted in two of the most compelling bodies of work in Australian art history. Crowley studied in Paris between 1926 and 1929 with Cubist artists André Lhote and Albert Gleizes, and her style was greatly influenced by their Cubist teaching. Upon her return to Sydney, Crowley played a pivotal role in the dissemination of modernist principles. English-born Balson, a trained plumber and house painter, moved to Australia when he was twenty-three.

www.pggallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 11am–5pm. See our website for latest information. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our Brunswick Street gallery space and stock room or shop online.

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

Lana de Jager, Fox, photopolymer etchings, chine-collé & à la poupée, 55 x 54 cm. 16 July–27 July Dream Sanctuary

Helen Kocis Edwards, Head in the Clouds 1 & 2, monoprint using native leaves and stencils from discarded plastic on Somerset paper, 76 x 114 cm. 6 August–17 August Kindred Helen Kocis Edwards Helen Kocis Edwards explores human/ nature relationships through imagery of imagined worlds reminiscent of story books and fairy tales to create a sense of the familiar. The work seeks to disrupt the human/nature binary by interweaving and connecting figures, man made and natural elements. Kindred poses the notion that this interconnectedness has reciprocal and beneficialeffects; physically, emotionally and environmentally. An experimental, organic print process of monoprinting using native leaf species and cut out stencils from discarded plastic is used to integrate humans, flora, fauna and manufactured elements within abstract narratives. The printing process layers the impressions of each item, creating a dialogue between the parts. Play with scale, placement, texture, form and colour allows the pieces to shift and proceed while their characteristics and relationships emerge and evolve. The effect movement within nature has on the senses is considered by implying a bodily absorption and internal response. The work is deliberately joyous to celebrate what currently exists and provide hope for the future through recognition and care. Kindred explores the complex and symbiotic connections of living creatures and plants within physical and emotional landscapes.

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GARIWERD GRAMPIANS FROM THE MOUNTAINS TO THE PLAINS ART AND PHOTOGRAPHY BY JENNI MITCHELL AND MERVYN HANNAN

Mt Gar, Difficult Range Jenni Mitchell

Canola Fields, Mervyn Hannan

n this rare book where ART meets SCIENCE, the glory of Gariwerd/ The Grampians is shared in multiple forms for a discerning public audience. With additional text: Ƿ Geology insights by Roland Maas and Andrew Prior Ƿ Flora insights by Diane Luhrs and Rod Bird

“Gariwerd Grampians From the Mountains to the Plains” is a great achievement of all who have contributed to its realisation. It will be a fine addition to many homes and libraries and a treasured gift for many. (From the Foreword by Allan Myers AC., KC. 2024)

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streamlinepublishing.com.au

ELTHAM BOOKSHOP 10 Arthur Street, Eltham 3095 ph: 9439 8700 books@elthambookshop.com.au

VICTORIA

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

Walter Hopps installing Kurt Schwitters’ exhibition, Pasadena Art Museum, 1962. Courtesy: The Norton Simon Museum Archives.

Madison Bycroft, video still from Waterlogue - Four on the Floor, 2024. Supported by Creative Australia, La Becque, Mécènes du sud. 8 June—19 July WORLDING Brook Andrew, Batia Suter, Madison Bycroft, Patrick Pound, Kieren Seymour, Julie Davies, Daniel Crooks, Si Yi Shen, Tarryn Love, and the estates of Stano Filko, Alex Rizkalla, and Katthy Cavaliere through the AGNSW Artist Archives. WORLDING reflects on how artists design, build and organise their personal world. Under the curation of Platform Arts’ Dr Amber Smith, the ‘worlding’ practices proposed reflect how artists re/imagine the world, with consideration to alternate realities, memory fields, truth-telling, and material-semiotic worlds. The mediums span video and digital media as well as object-based and archival practices, foregrounding First Nations and Diasporic perspectives, which together examine how everyday objects and technologies infiltrate artistic practice. Premiering is Waterlogue - Four on the Floor (2024), a four-channel video work by Madison Bycroft, and also featured is la casa (2002) by Katthy Cavaliere (19722012), courtesy of the AGNSW National Artist Archive and the Estate of Katthy Cavaliere. WORLDING includes free public programming such a curatorial floor talk, world-building panel discussion, and film screenings in partnership with The Centre For Reworlding. Visit platformarts. org.au to register for upcoming events. 10 August—20 September After Walter Hopps After its successful first iteration in 2022, open-call exhibition After Walter Hopps returns to Platform Arts. From the end of July, any artist will have the opportunity to install their work in Gallery One on a firstcome, first-served basis. The overall aim is to fill the gallery from floor to ceiling, wall to wall, in a curatorial exercise that

portfolio by Sydney Printmakers Susan Baran, Gary Shinfield, Wendy Stokes, Roz Kean, Danielle Creenaune, Carolyn McKenzie Craig, Salvatore Gerardi, Sharon Zwi, Jacqui Driver, Lea Kannar Lichtenberger, Angela Hayson, Max Gosling, Tina Barahanos, Esther Neate, Denise Scholz Wulfung, Seraphina Martin, Karen Ball, Anthea Boesenberg, Thea Weiss, Seong Cho, Andrew Totman, Rew Hanks, Carmen Ky, Anne Smith, Janet Parker Smith, George Lo Grasso, Olwen Evans Wilson, Rafael Butron, Anne Starling, Evan Pank,Angus Fisher, Graham Marchant, Anna Russell, Neilton Clarke, Ruth Burgess, Mark Rowden, Mirra Whale, Laura Stark, Therese Kenyon, Jenny Robinson.

takes shape spontaneously, cumulatively, and expansively. This exhibition model is inspired by Walter Hopps’ 36 Hours project held at MOTA (Museum of Temporary Art), Washington, USA in 1978. A renowned non-conformist, maverick curator, and transcender of boundaries, Walter Hopps’ seminal project was an invitation for any artist without any chance of rejection or censorship.

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

Left: Ruth Johnstone, from the series Forest walking, 2024, paper on wood and leaves, size variable. Right: Lesley Duxbury, untitled, 2024, Box Brownie photograph on paper, 40 x 30 cm. 13 August—30 August Re-embracing the Eucalypt An exhibition by Lesley Duxbury and Ruth Johnstone.

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

Diana Orinda, Burns The White Shadow – Iris 3, 2024, Loris Button, Van Eyck’s Turban #1, 2024, Jackie Gorring, Taffy, 2024, Anne Langdon, High Five with Moons, 2024, Dianne Longley, Oft Forgotten Essence of Being, (detail), 2024. 18 June–5 July STUCK: Performing Collage Diana Orinda Burns, Loris Button, Jackie Gorring, Anne Langdon, Dianne Longley Five printmakers employ collage as an inventive way to play with their differing subject matter, techniques, materials and imagery. 16 July–2 August Visible but intangible - a print exchange

Sasha Huber, Sun (detail), 2022, leaf gold on metal, staples, linen, wood, 90 cm. (Leaf gold ethically sourced in Tankavaara, Lapland – initiated by Kultaus Snellman). 157

ar t g ui d e .c o m . au Project8 Gallery continued... 3 August–14 September Crepusculum Sasha Huber and Petri Saarikko Curated by Cūrā8. Crepusculum seeks to encapsulate a realm that is neither wholly light nor dark but rather occupies a continuum of reality that is intermingled and multiplicitious in nature. The exhibition reminds us of the inherent artificiality of clear-cut divisions of time and to instead see the interplay of light and dark as a profoundly complementary union. Here, our task is not to dispel darkness with blinding light but to appreciate the nuanced subtleties and gradations that twilight can reveal.

QDOS Fine Arts

Sangeeta Sandrasegar; process image for Yellow deep that drew your eyes, 2023. Image courtesy Sarah Hunnisett. region to create a new tonal palette of yellows and native golds. Sangeeta reflects the goldfields history as a magnet of migration, connection to landscape and land, and contemporary stories of employment.

www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. Winter recess, closed July and August.

Graeme Wilkie, Constructive Interference, 2022, bronze, ed of 3, 1 20 x 135 x 52 cm. Established in 1989. Closed for our WINTER RECESS: July and August. For updates and our virtual exhibition program please subscribe to the newsletter at www.qdosarts.com.

RACV Goldfields Resort www.racv.com.au/art 1500 Midland Hwy, Creswick, VIC 3363 [Map 1] 03 5345 9600 Daily 10am–5pm. See our website for latest information. 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. 22 June to 6 October Yellow deep that drew your eyes Sangeeta Sandrasegar Sangeeta Sandrasegar has worked with master dyer Heather Thomas using botanical materials from the Creswick 158

Tomoko Fuse, Orochi. Photograph by Tsuyoshi Hongo. Image courtesy of the artist. 12 July—11 August Future Folds: contemporary investigations in origami This exhibition brings together world-leading researchers and practitioners whose work showcase innovative uses of the medium across the fields of engineering, mathematics, design, fashion and art. Curated by Sukanya Deshmukh and Malte Wagenfeld.

RMIT Gallery www.rmitgallery.com 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 12pm–4pm. Free admission.

Matthew Dettmer, Tremarne House (After Litherland), 2023, oil on masonite, 36 x 36 cm. Courtesy of the artist. 22 June—6 October Around Town Matthew Dettmer Take a tour, ‘around town’ with artist Matthew Dettmer, featuring paintings and digital drawings of Creswick and surrounds. Created specifically for the rooms at RACV Goldfields Resort, explore the story behind these commissioned artworks.

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 12pm–4pm. Free admission. See our website for latest information.

Geoffrey Lowe, Interior, 1979. Image: Margund. Sallowsky © Geoffrey Lowe. 30 May—27 July Working Title: Studio Practice in the RMIT Art Collection Featuring Brook Andrew, Peta Clancy, Greg Daly, Lynda Draper, Marco Fusinato, Sally Gabori, Dale Hickey, Geoffrey Lowe, John Olsen, Clare Rae, Steven Rendall, Vipoo Srivalasa and more. Working Title explores the RMIT Art Collection and unearths a rich history of studio practice at RMIT, revealing notable academics alumni, methods and collaborations. Curated by Lisa Linton. 30 May—27 July The Concentric Influences of Sol LeWitt. Part 1: Irene Barberis, Fransje Killaars, Janet Passehl, Wilma Tabacco The Concentric Influences of Sol LeWitt is an investigation into the practices of four artists who share a unique connection to LeWitt, who has shaped their practices in concentric, obvious, and sometimes

VICTORIA

Ryan McGinley: YEARBOOK (detail). Installation view, Shepparton Art Museum, 2024 Photo: Ryan McGinley.

Image: © Irene Barberis understated ways. Curated by Irene Barberis.

1 March—14 July Ryan McGinley: YEARBOOK

23 August—16 November This Hideous Replica Joshua Citarella, Debris Facility, Heath Franco & Matthew Griffin, Liang Luscombe, Mochu, Diego Ramírez, Masato Takasaka, Anna Vasof and more. Lifting its title from a 1980 song by The Fall about a reclusive dog breeder whose ‘hideous replica’ haunts industrial Manchester, this experimental project— a concoction of artworks, performances, screenings, workshops, a ‘replica school’ and other uncanny encounters—adopts monstrous replication as a tactic, condition and curatorial framework for exploring algorithmic culture, simultaneously alienating, seductive and out-of- control. Curated by Joel Stern and Sean Dockray.

RMIT First Site Gallery www.rmit.edu.au/about/culture/ first-site-gallery

30 March—1 September The Land is Us: Stories, Place & Connection. Artworks from the NGV Collection. Now open Face in the Frame 16 March—10 November Mud, Water & Fire

Seiko Hoashi, Zen flow 1. 6 July—21 July Prologue: Exploration in Abstraction and Japanese Calligraphy Opening event: Saturday 6 July, 1pm–4pm.

18 May—17 February 2025 Kenny Pittock: Can You Peel The Love Tonight

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. 28 May—21 July Between the Fog Jade Cargill, Sophie Malvestuto, Yvonne Rambeau, Odin Strbac Low 28 May—21 July On My Way Home Ka Yan SO (Kelly) 28 May—21 July Where is My Friend’s Home Ji Li

Ross Creek Gallery www.rubypilven.com/ross-creek gallery 183 Post Office Road, Smythes Creek, 3351 VIC [Map 4] 0430 886 428 Fri, Sat & Sun 11am–4pm during exhibitions, Sat & Sun 11am–4pm outside of exhibitions. See our website for latest information.

Kenny Pittock: Can You Peel The Love Tonight, installation view, Shepparton Art Museum, 2024. Photo: Leon Schoots.

Stockroom Kyneton www.stockroom.space

Artwork by Sue Quinlan Brain 3 August—18 August You’re only here once Sue Quinlan Brain

98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Mon & Thu to Sat 10.30am–5pm, Sun 11am–4pm. Closed Tue & Wed.

Opening event: Saturday 3 August, 1pm–4pm.

Shepparton Art Museum www.sheppartonartmuseum. com.au 530 Wyndham Street, Shepparton, VIC 3630 [Map 15] 03 4804 5000 Open 6 days. Closed Tuesdays. 16 December 2023—21 July (human) in nature 11 May—11 August SAM Fresh 2024

Guillaume Dillée, Aconitine (toxic serie), 2023, enamel, ink, acrylic on canvas, 120 x 120 cm. 8 June–14 July Dystopia (Selected Works) Guillaume Dillée 159

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

art for the enjoyment of all visitors from Australia and abroad.

8 June–14 July Homage David Doyle

Su san Cohn, HubHead, 2002–2003. Photograph: Greg Harris. Collection Anna Schwartz. Courtesy of the artist and Anna Schwartz Gallery. © Susan Cohn with Greg Harris.

Hilary Jackman, Lemons Behind a jug, 2024, oil on linen, 35 x 35 cm. 20 July–25 August Paintings 2024 Hilary Jackman

Alexandra Standen, Gold Salts, 2024, hand-built terracotta, majolica glaze, 24 karat gold lustre. Photograph: Simon Hewson.

20 July–25 August Dwellings Kristina Tsoulis-Reay

15 June–13 July Shiny Objects Alexandra Standen

20 July–25 August Here, there and here again Cura Wei, Goosullae Kim, Janice Wu, Pauline Meade, Thannie Phan (Gôm Maker)

Sullivan+Strumpf Naarm/Melbourne www.sullivanstrumpf.com Haji Oh, Nautical Map, 2017, plainwoven, warp-faced pick-up patterns, four-selvaged cloth, linen, lead, variable dimensions. Photograph: Shinya Kigure.

107–109 Rupert Street, Collingwood, VIC 3066 03 7046 6489 Tue to Sat 10am–5pm, or by appointment.

18 July–17 August Grand-Mother Island Project: Chapter 1 Nautical Map Haji Oh

4 July–27 July Polly Borland 1 August–24 August Sanné Mestrom 29 August–12 October Syd Ball

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information. TarraWarra Museum of Art captures the vision of its founders, philanthropists, the late Marc Besen AC and Eva Besen AO, passionate collectors of Australian art from the 1950s. Not only did they gift the building that houses the Museum, but also a significant proportion of their collection of modern and contemporary Australian 160

Town Hall Gallery Eugenia Raskopoulos, the skin hurts, from the series the shadow of language, 2021, pigment prints on photo rag metallic paper, 185 x 75 cm each. Courtesy of the artist and MAIS WRIGHT. © Eugenia Raskopoulos. 3 August–10 November (SC)OOT(ER)ING around – Su san Cohn and Eugenia Raskopoulos Curated by Victoria Lynn .

THIS IS NO FANTASY www.thisisnofantasy.com 108-110 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7172 Tue to Fri 11am–5pm, Sat 12noon–5pm. See our website for latest information.

www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Saturday 12pm–4pm, Closed Sundays and public holidays. 8 May–28 July The Long Way–Kevin Chin A major exhibition at Town Hall Gallery taking viewers on a journey into borderless new territories. A new series of ethereal paintings is contextualised by a curated selection of highlights from Chin’s 15-year artistic practice. Piecing together cues from across continents, Chin challenges traditional conventions of composition to create dreamscapes that are simultaneously familiar and foreign. Combining his mastery of technical precision with a

VICTORIA

Town Hall Gallery → Kevin Chin, Out Back, 2024, oil on Italian linen, 138 x 199 cm. Image courtesy of the artist, Martin Browne Contemporary, Sydney, and THIS IS NO FANTASY, Melbourne. distinctive colour palette and elements of magic realism, Chin’s paintings are transcendental.

26 June–10 August Explore Boroondara A photography exhibition featuring the winners of the 2024 Boroondara Photograph Competition.

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

17 August—14 September Tim Johnson

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 03 8598 9657 Tue to Fri 11am–5pm, Sat 12pm–4pm. See our website for latest information.

8 June—6 July Andrew Browne 13 July—10 August Christopher Langton

Charmaine Macdonald, High Street - VI, 2022, dry-point print on paper, 39 x 26 cm. Image courtesy of the artist.

Maree Clarke, Canoe, 2024, glass. Photograph: Simon Anderson Photography.

19 June–28 July In the Neighbourhood An ode to Boroondara’s places and spaces. Featuring artists Yee Ann Chiu, Aimee Li, and Charmaine Macdonald, this community exhibition interprets the local beauty around us through painting, watercolour and print media.

Tim Johnson and Paul Rhodes, Revelation, 2024, acrylic on canvas, 103 x 142 cm. Courtesy of the artists and Tolarno Galleries.

26 June–27 July In the flicker of light Maree Clarke

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Walker Street Gallery and Arts Centre

Wangaratta Art Gallery presents a diverse program of national, state and regionally significant exhibitions, events, workshops and artist-led projects. Across three exhibition spaces, the program showcases the work of regional artists alongside work by national and internationally renowned artists and national touring exhibitions from across Australia.

www.greaterdandenong.vic.gov. au/arts Corner of Walker and Robinson Streets, Dandenong, VIC3175 8571 5320 Tue to Fri 12pm–4pm. See our website for latest information.

Rä di Martino, Afterall (A Space Mambo), 2019, still from moving image. text, sculpture and installation, each artist employs material and narrative experiments to reckon with the impossible challenge of representing a singular way of representing the world or existing within it, and the absurdity in trying. Featuring new work alongside existing projects, the exhibition brings together artists based locally, nationally and internationally; Archie Barry (Vic), Teresa Busuttil (SA), Nicholas Currie (Vic), Rosie Isaac (Vic), Basim Magdy (Egypt/ Switzerland) and Rä di Martino (Italy), and Sammaneh Pourshafighi (Vic). Curated by West Space Director Joanna Kitto.

Anna Louise Richardson, Good egg, 2023, charcoal on cement fibreboard, 50 x 37 x 3 cm. Photograph: Bo Wong.

Olana Janfa, Too Much Drama, 2024. Image courtesy of the artist. 2 July—6 September HOME 24 – Olana Janfa: Too Much Drama Too Much Drama is a site-responsive project by Ethiopian / Norwegian, Naarm based artist Olana Janfa. Combining bold images and political statements with lightness, dry humour and vivid colours and tones, the exhibition brings together old and new works by Olana, displayed across Walker Street Gallery and Arts Centre and Settlers Square. Olana Janfa: Too Much Drama is the 2024 iteration of HOME, City of Greater Dandenong’s longstanding program of exhibitions featuring artists with a refugee and asylum seeker background.

West Space www.westspace.org.au Collingwood Yards, 102/30 Perry Street, Collingwood, VIC 3066 [Map 3] Wed to Fri 11am–6pm, Sat 12pm–4pm. West Space is the leading independent contemporary arts organisation in Naarm/Melbourne’s inner-north. West Space supports the next generation of artists in Australia, and builds communities around art and ideas. 29 June–31 August Stranger than fiction Stranger than fiction brings together artists engaged in troubling the boundaries between reality and fiction. Across moving image, performance, 162

West Space, 2024.

29 June–11 August The Good Anna Louise Richardson

29 June–14 September To Forever Ebb and Flow: Queer Time/ Migrant Time West Space presents two new projects in the West Space Window as part of To Forever Ebb and Flow: Queer Time/ Migrant Time. Curated by Aziz Sohail, this expansive exhibition across MADA Galleries and West Space takes as its departure point the distinct propositions of migrant time and queer time and brings them into conversation. Aziz says “reflecting on the late Ranajit Guha’s meditation on the migrant condition as not just about belonging/ disbelonging but also ‘temporal maladjustment’, along with Jack Halberstam’s ‘alternative temporalities’, which situates queer time as outside of the heteronormative ‘markers of life experience namely birth, marriage, reproduction and death’, To Forever Ebb and Flow: Queer Time/Migrant Time will explore the propositions of migrant time and queer time and bring them in conversation with each other.”

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

Fran O’Neill, Crossing, 2014, oil on canvas, 183 x 183 cm. Wangaratta Art Gallery Collection. Acquired with the assistance of The Robert Salzer Foundation. 17 August–10 November Crossing Fran O’Neill 29 June–4 August Fearless Flossie Peitsch 10 August–15 September Art as Sanctuary Artmania 31 May–28 August Gallery Bloom Helen Heywood 31 May–28 August Being present Victoria Cooper and Doug Spowart

VICTORIA

Whitehorse Artspace

20 July–31 August Australian Printmaking Now

www.creativewhitehorse.vic.gov. au/venues/artspace

Australia has a rich tradition of printmaking and an active community of practitioners that work in the field. Featuring contemporary examples from the Whitehorse Art Collection’s extensive print holdings alongside recent works by leading and emerging Australian artists, this snapshot of current print practice looks at exciting developments and new approaches that embrace printmaking in the expanded field.

Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm.

Yarra Ranges Regional Museum www.yarraranges.vic.gov.au/ Experience/Yarra-Ranges-Regional-Museum 35-37 Castella Street, Lilydale, VIC 3140 [Map 1] 03 9294 6511 Wed to Sun 10am–4pm. 5 June–8 September Stories of Giants Emma Jennings

Marrnyula Munuŋgurr, In the early days - Lino, 2023. Image courtesy Buku-Larrnggay Mulka Centre. Copyright of the artist.

Olinda-based artist Emma Jennings’ Stories of Giants honours the humble yet extraordinary people who supported the Dandenong Ranges community in the wake of an unprecedented storm event on 9 June 2021. Three years after the disaster, Jennings’ portraits and ongoing creative recovery work embrace art and

Emma Jennings, Bill Robinson, mixed media. © the artist. creativity to process the experience and support her community to move from survival to meaning-making, healing and recovery.

Commissions Open Instagram: nxp.artist Email: nxp.artist.business@gmail.com nxp.artist.business@gmail.com

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A–Z Exhibitions

New South Wales

JULY/AUGUST 2024

NEW S OUTH WALES

314 Abercrombie Gallery

Art Gallery of New South Wales – Naala Nura, South building

www.314abercrombie.gallery

www.artgallery.nsw.gov.au

314 Abercrombie Street, Darlington, NSW 2008 [Map 14] 0404 146 738 Sat to Tues 10am–6pm or by appointment. See our website for latest information.

Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm, Wed until late. See our website for latest information.

This small, inviting, bright gallery nestled snugly in Darlington beside the Redfern area is the up-and-coming art precinct of Sydney. We have Carrigeworks, the White Rabbit and many smaller galleries nearby. Kathleen Malpamba, Nganmarra (woven screen), 2022, Balgurr (Kurrajong Brachychiton Populneus) and natural dyes. 27 June–11 August First Nations artists from the Artbank Collection. Artbank is pleased to celebrate the launch of the 2024 National Indigenous Art Fair with an exhibition of First Nations artists from the Artbank Collection.

Art Gallery of New South Wales – Naala Badu, North Building Stefan Kater, Don’t fence Me In. 11 June–27 August Understanding Abstract Art Stefan Kater

Annandale Galleries

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.

www.annandalegalleries.com.au 110 Trafalgar Street, Annandale, Sydney, NSW 2038 [Map 7] 02 9552 1699 Wed to Sat 11am–4pm.

The first state art museum survey of one of Australia’s most significant and respected abstract painters. Spanning more than five decades of Lesley Dumbrell’s practice, this exhibition presents a selection of paintings and works on paper as well as recent forays into sculpture that demonstrate Dumbrell’s unique abstract language, which probes the nuances of colour, rhythm and visual perception. 25 May–11 August Spellbound Wendy Sharpe A glimpse into the creative journey of a much-admired, award-winning Australian artist. Wendy Sharpe: Spellbound is a sumptuous aesthetic journey into the nature of creativity.

www.willoughby.nsw.gov.au/arts 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Sun 11am–5pm. Extended hours Fri & Sat 5pm–8pm. See our website for latest information.

Artbank Sydney www.artbank.gov.au

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

20 July–13 October Thrum Lesley Dumbrell

Art Space on The Concourse

Through varying styles and contexts the aim of Annandale Galleries is to show the best of Australian and international contemporary art. Recent exhibitions have included a range of artists recognised and revered the world over.

222 Young Street, Waterloo, NSW 2017 [Map 9] 02 9697 6000 Tue to Thu 12pm–4pm or by appointment.

Lesley Dumbrell, Solstice, 1974. Art Gallery of New South Wales, purchased with funds provided by the Patrick White Bequest 2019. © Lesley Dumbrell.

Alphonse Mucha, Reverie, 1898. © Mucha Trust 2024. 15 June–22 September Spirit of Art Nouveau Alphonse Mucha One of art’s great stylistic innovators, Alphonse Mucha (1860–1939) created some of most instantly recognisable and best-loved works in modern European art.

Re-Right Collective, Nawi, (detail), 2024, ceramic installation. Image courtesy the artists. 165

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Australian Galleries

13 June—14 July X-Change

www.australiangalleries.com.au

X-Change is a new exhibition by the Re-Right Collective (Carmen GlynnBraun and Dennis Golding). Bringing their knowledge and experiences in public art and community events, they highlight the ways in which stories are approached through conversation. The exhibition features new works exploring themes of de-colonisation, domesticity, and survival through art and community. The artists bring heldheld objects that are drawn from childhood memory and lived experiences to create a sanctuary in the colonial landscape. Both Carmen and Dennis exchange stories through these objects to highlight community strength, familial histories and self-determination.

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

Immerse in a world of chance encounters through a concordant coffee shop and teahouse setting. Steeped in the language of social interaction as relational aesthetics, visitors are invited to become a part of the artwork while performative actions are underway.

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

Janet Luxton, Three Geese, 2023, oil on linen, 125 x 160 cm. 18 June—6 July ‘Magic’ Paintings & Etchings Janet Luxton 18 June—6 July Something old, Something new… Pam Tippett Helene Cochaud, Matthew, 2024, photograph digital print. 17 July—28 July Somebody #CouldItBeSepsis A photographic exhibition by Helene Cochaud, sharing personal stories from sepsis survivours. SOMEBODY #coulditbesepsis? is a powerful and important documentary photographic exhibition shedding light on 12 sepsis survivors. It provides a personal and intimate look at the sepsis survivor experience in the hope to raise awareness, so that the community can begin to understand the gravity and profound impact it has on individuals and their families.

13 August—31 August Cows: Two paintings, a selection of drawings, lithographs & an etching 1979 – 2018 William Robinson

Bankstown Arts Centre www.cbcity.nsw.gov.au/arts-centre 5 Olympic Parade, Bankstown, NSW 22 [Map 11] 02 9707 5400 Tue to Sat 10am–4pm. See our website for latest information.

31 July—11 August Rooted in Nature An exhibition of landscape paintings by Elena Levkovskaya and Tetiana Koldunenko. The exhibition celebrates the enduring bond between humans and the natural world, illustrating how, like trees, we possess the remarkable ability to regenerate and protect, stay grounded, connect with one’s roots, and keep growing. 14 August—25 August Lost Terrains An exhibition of textile and lighting related work celebrating the dramatic yet fragile Icelandic landscape. The creative rationale behind this project came from an arts residency in Iceland in 2022, when Dr Ruth McDermott travelled to the volcano (the black) and glacier (the white) areas. Using her expertise as a light artist and she will use light sources and textured textile (worked with heat and pressure to create the necessary patterns) to create a series of large scale screens and three dimensional works suspended works reflecting her experience of these landforms. 166

Wirribee Leanna Carr, 2024, director of photography: Henry Denyer-Simmons. Red cedar clerk’s desk from the Museum Collection of Bathurst District Historical Society. Commissioned by Bathurst Regional Art Gallery. Courtesy the artist and Bathurst Traditional Owners Central West Aboriginal Corporation. 6 July–8 September Dhuluny: the war that never ended Curated by Jonathan Jones (Wiradyuri, Kamilaroi) with Wirribee Aunty Leanna Carr. Bathurst Regional Art Gallery (BRAG) presents major exhibition Dhuluny: the war that never ended, curated by Wiradyuri/Kamilaroi artist Jonathan Jones and Wiradyuri Traditional Owners Central West Aboriginal Corporation.

Pamela Leung, Behind The Scene (video still). Courtesy of the artist. 27 July–7 September Coffee & SerendipiTea Pamela Leung, Yumi Umiumare Curated by Rachael Kiang.

The exhibition is part of The Dhuluny Project – a series of events commemorating the 200-year anniversary of the declaration of Martial Law on 14 August 1824 in the Bathurst region and the ensuing frontier violence. ‘Dhuluny’ means the direct or gospel truth, and the commemoration offers visitors the opportunity to share and understand the true history of our country and celebrate the resilience of the Wiradyuri Nation. Dhuluny: the war that never ended will feature works

NEW S OUTH WALES by established and emerging Wiradyuri artists responding to Martial Law, truthtelling about the Frontier Wars, and the ongoing national significance of the local events of this place.

Located in the heart of Katoomba the Blue Mountains Cultural Centre encompasses the Blue Mountains City Art Gallery, Katoomba Library and Into the Blue, an interactive exhibition that explores the history and natural landscape of the area.

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

21 May–24 August Makers Space with HOSSEI Discover the vibrant and colourful world of HOSSEI! Exploring costume, soft sculpture and sound, HOSSEI invites you to traverse the universe in a newly-commissioned outer space inspired world.

www.bhartgallery.com.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sun 10am–4pm. 3 May–28 July Lines of Lode

Julie Rrap, Drawn Out, 2022, video, 12 mins, dimensions variable. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Arc One Gallery, Melbourne. Jacquie Manning. Design: Alex Tanazefti.

Broken Hill City Art Gallery

25 May—28 July Dobell Drawing Prize #23 The Dobell Drawing Prize is Australia’s leading prize for drawing, an unparalleled celebration of technique, innovation and expanded drawing practice. Presented by the National Art School in partnership with the Sir William Dobell Art Foundation, this biennial exhibition explores the enduring importance of drawing within contemporary art practice. This National Art School touring exhibition showcases a selection of 47 finalists’ works from the 2023 Prize, revealing the vitality of current Australian drawing.

A contemporary jewellery and sculpture exhibition featuring Aimee Bradley, Christine Collins, and Jenny Johnstone, who draw inspiration from the landscape, community, and history of Broken Hill. Bradley’s intricate jewellery, framed in steel, reflects the town’s industrial heritage, while Collins uses mining materials to create works echoing the geological Line of Lode. Johnstone captures the stark beauty of the surrounding arid landscapes through extensive fieldwork.

29 June—11 August Fire Within Embracing this year’s NAIDOC theme, ‘Keep the Fire Burning! Blak, Loud and Proud’, Fire Within is a celebration of resilience, strength and solidarity. An ACRC NAIDOC exhibition.

Jess Bradford, Cauldron, 2023. Photographer Jessica Maurer. 9 July—21 September See You in Hell by Jess Bradford and Louise Zhang This exhibition is a collection of playful and subversive works by artists Louise Zhang and Jess Bradford exploring Chinese concepts of the afterlife. Journey through the exhibition space encountering various hellscapes and mythologies. See You in Hell was originally commissioned and exhibited by Wagga Wagga Art Gallery.

Blue Mountains City Art Gallery 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.

Rani Brown, Peat Moss, 2024, video still, courtesy the artist. 3 August—6 October Disruptor: for all that matters Featuring fifteen artists who pursue diverse practices, each motivated to create art that responds to environmental concerns by examining ecologically significant Blue Mountains biospheres. Curated by Justin Morrissey and Freedom Wilson. A Blue Mountains City Council Planetary Health exhibition. 17 August—13 October Jennifer Brady: Space to think, feel, learn, grow Space to think, feel, learn, grow is Jennifer Brady’s exploration of shared mental health experience through site-specific installation. Blue Mountains Cultural Centre Altitude exhibition.

Adrianne Semmens, Holding I–III, 2023, recycled cotton yarn, wire, rust, charcoal, eucalyptus, quandong and bottlebrush dyes. 3 May–28 July ngaratya (together, us group, all in it together) A vibrant exhibition featuring six Barkandji/Barkindji artists—Nici Cumpston, Zena Cumpston, David Doyle, Kent Morris, Adrianne Semmens, and Raymond Zada—exploring their homelands and ancestral connections through over 50 newly commissioned works. Co-curated by Nici and Zena Cumpston, the exhibition showcases contemporary First Nations art across diverse mediums including sculpture, prints, moving image, photography, writing, and design. 29 May–28 July Residue + Response – 5th Tamworth Textile Triennial A distinguished national exhibition 167

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compelling photographs. McGrady is a highly respected Gomeroi / Gamilaraay Murri Yinnah Elder and one of Australia’s leading photographers. Inspired by her deep spiritual connection to Country, she has celebrated blak beauty, strength, resilience and excellence for more than five decades. At the heart of her artistic practice is a commitment to recognising the contributions of individuals to change society and their gifts to the future for generations to come.

featuring 25 artworks by talented textile artists from across Australia. Curated by Dr. Carol McGregor, this triennial explores the intricate connections between our histories and futures, delving into themes of memory, identity, and transformation.

6 July–13 October From the collection – Jagath Dheerasekara and Salvatore Zofrea

Arthur Boyd, Pulpit Rock and Willow Tree, 1984, oil on canvas. Public Art Collection, Arts Centre Melbourne. Photograph: Mark Ashkanasy.

Verity Nunan, an ‘Akubra’ story, mulga and red gum charcoal (collected and burnt in Wilcannia, Barkindji Country) and oil paint on canvas. Winner of the Pro Hart Outback Art Prize, 2022. 9 August–27 October Pro Hart Outback Art Prize A prestigious competition that culminates in an exhibition showcasing the finalists’ works, reflecting the spirit and diversity of the Australian Outback through various media. The prize honours the legacy of Pro Hart and his significant contribution to the arts, synonymous with Broken Hill’s history and artistic reputation. With a total prize pool of $23,000, the exhibition opens on 9 August 2024 at the Broken Hill City Art Gallery, offering an opportunity to view and celebrate the exceptional works of the finalists.

paintings for the new Arts Centre Melbourne. This exhibition sees the return of these works to Bundanon for the first time since their creation. Wilder Times also brings together over 60 works by seminal Australian artists from the same time Boyd created this momentous body of work. The exhibition provides a window into a period of cultural dynamism in Australia, when ideas of landscape, land ownership and environmental protection were actively interrogated.

Campbelltown Arts Centre (C-A-C) www.c-a-c.com.au 1 Art Gallery Rd, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Daily 10am–4pm.

Bringing together two important artworks from the Campbelltown City Council collection; Not so white: regained territories (2017) a film installation by Jagath Dheerasekara and Apassionata (1994-99), a series of woodblock prints by Salvatore Zofrea. Dheerasekara and Zofrea, celebrated artists who live and work in the Greater Western Sydney region, are influenced by personal memories and experiences of migration. Each artist’s life story informs their powerful artistic practice evidenced in these distinguished works.

Casula Powerhouse Arts Centre www.casulapowerhouse.com 1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Tue to Fri 10am–5pm, Sat 10am–9pm, Sun 10am–4pm. 1 May—7 July The 68th Blake Art Prize 27 April—21 July Fafangu: To Awaken Adriana Māhanga Lear 16 March–29 September Te Rūma Moenga / The Mattress Room (Memory Foam) Tyrone Te Waa

Bundanon www.bundanon.com.au 170 Riversdale Road, Illaroo, NSW 2540 [Map 12] 02 4422 2100 Wed to Sun, 10am–5pm. 6 July—13 October WILDER TIMES: Arthur Boyd and the mid-1980s landscape David Aspden, Arthur Boyd, Mac Betts, Vivienne Binns, Brian Blanchflower, Mike Brown, Arthur & Corinne Cantrill, Judy Cassab, Bob Clutterbuck, Liz Coats, Bonita Ely, Gerrit Fokkema, Helen Grace, Robert Jacks, Tim Johnson, Robert Macpherson, Susan Norrie, John Peart, Toni Robertson, Howard Taylor, Rover Joolama Thomas, Imants Tillers, Timmy Payangu Tjapangati, Richard Woldendorp, and Women of Utopia. In 1984 Arthur Boyd was commissioned to create a series of Shoalhaven landscape 168

Barbara McGrady (with John JansonMoore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley. 6 July–13 October Barbara McGrady – Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching) Campbelltown Arts Centre presents Barbara McGrady: Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), a major solo exhibition of Barbara McGrady’s

Image courtesy of the gallery. 27 April–27 October THE VIEW FROM HERE Artworks from the Liverpool City Council Art Collection. Location: Yellamundie Art Gallery, 52 Scott Street, Level B2 at Yellamundie, Liverpool Library and Gallery, Liverpool.

NEW S OUTH WALES

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

1 May–14 July Calleen Art Award - Call For Entries Closing Soon $30,000 Acquisitive painting prize. Entries close Sunday 14 July, 2024 at 11.59pm (AEST). Enter online at the Cowra Regional Art Gallery website or contact the gallery. Exhibition will run from 29 September–17 November.

Fairfield City Museum & Gallery

17 July–27 July Rogue Sculptors Group Exhibition Rogue Sculptors was incorporated in 2007, comprising a number of Central Western NSW artists whose primary creative focus is sculpture.

Karlie Simring. 31 July–10 August Solo Exhibition Karlie Simring Karlie’s journey began in the fashion and textile industry. Now an emerging artist, Karlie creates intuitively, exploring and observing her surroundings. Honing traditional techniques with thread, bringing the viewer into her inner world. “These stitched cloths are a response to my local environment. Noticing beauty in the everyday, shape and tone are reduced, creating a new world to play in.” 14 August–24 August TEN Group Exhibition

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.

Smiling Soldier. Photo Edward Cranstone Reproduction. Australian War Memorial. 7 July—11 August Capturing the Homefront An exhibition that pulls back the curtain and shines a light on life at home in WWII as captured by famous American photo journalist Dorothea Lange, and Australian photographers Samuel Hood, William Cranstone, Hedley Keith Cullen and Jim Fitzpatrick. Reproduced from national and international collections, their images reveal the remarkable parallels between Australia and the USA during the Pacific war including in industry, family life, the role of women and Japanese internment. Presented in association with the Cowra Breakout Association. A touring exhibition from the Australian Maritime Museum.

In August, The Corner Store Gallery will mark its 10th anniversary with a group exhibition showcasing the works of its most cherished artists from the past decade. This event will highlight a diverse array of artworks from artists who have significantly contributed to the gallery’s success over the years. Visitors can expect to see a rich tapestry of styles and mediums, reflecting the gallery’s vibrant history and the artistic evolution of its community.

Khaled Sabsabi, Knowing Beyond, 2024. Photograph: Anna Kucera. Courtesy of the artist and Milani Gallery. 22 June–12 October Knowing Beyond Knowing Beyond is a new installation by celebrated artist, Khaled Sabsabi. The work expands on his ongoing process and practice investigating spirituality in the everyday. Combining multiple mediums, Knowing Beyond welcomes audiences into a personal domain of mysticism, numerology sciences, associated symbolism and wisdom. Knowing Beyond was created during a studio residency at FCMG, and was first exhibited in the 18th Adelaide Biennial of Australian Art, 2024.

Fellia Melas Gallery www.fmelasgallery.com.au 2 Moncur Street, Woollahra, NSW 2025 [Map 10] 02 9363 5616 Tue to Sat 10am–5pm.

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

18 August—22 September ARTEXPRESS 2023 Featuring a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts in 2023, ARTEXPRESS provides an insight into students’ creativity and the issues important to them.

Anna Le, Histrionically Me, (panel 1 of 3), drawing. Santa Sabina College, NSW.

Works by: M. Winch, B. Whiteley, M. Woodward, McLean Edwards, E. McLeod, J. Gleeson, S. Dunlop, D. Boyd, R. Dickerson, R. Crooke, G. Gittoes, W. Coleman, J. Coburn, S. Nolan, J. Olsen, C. Canning, C. Campbell, V. Rubin, P. Griffith, T. Irving, S. Paxton, S. West, M. Perceval, J. Bezzina, J Kelly, D Friend, J Brack and many others. 169

8 June – 15 September Annual Myall Creek Memorial Exhibition In remembrance of the events of the Myall Creek Massacre, Ceramic Break Sculpture Park presents a smorgasbord of aboriginal art with 17 artists ranging from 10 years old to community elders. Featuring works by Audrey Fogg, Gai Southwell, Hailah PetersLimerick, Jodie Herden, Karla McGrady, Kisani Upward, Krystle Lamb, Tylana Lamb, Madeleine Richey, Raelene Richey, Maxine Ison, Ronella Dolly Jerome, Tania Hartigan, Tess Reading, Tina Burns, Waabii Chapman-Burgess and Wayne Hippi. The exhibition includes, weaving, painting, hand-made paper, mixed media, jewellery and photography. Each work has its own story. Ceramic Break Sculpture Park is the brainchild of award-winning bronze sculptor, Kerry Cannon. It features 3 large galleries, several sculpture studded bush walks, a gift shop, a gazebo and a dinosaur!

www.cbreaksculpturepark.com.au Email: kerry@cbreaksculpturepark.com.au 02 6729 4147 ‘Bondi’ 2535 Allan Cunningham Road, Warialda, NSW 2402. Thurs-Sun 10-5pm and by appointment.

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Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Tue to Fri 10am–6pm, Sat 11am–5pm, Mon by appointment, closed Sun & pub hols.

The 1960s-80s was an exciting time for Australian embroidery as it came out of the home and into the public arena. The Embroiderers’ Guild NSW is celebrating the groundbreaking creativity of the period with its major event Moving the Needle – The Australian Embroidery Revolution. The centrepiece is an exhibition of extraordinary embroidery and textile art, drawn from the Guild’s Collection as well as private lenders throughout Australia. There is also a programme of workshops and events. Visit our website for more details.

The Vonwiller Award 2024. Lane Cove + Creative Studios that is dedicated to celebrating the artistic talent of children and young artists aged 5-17. Named in honour of Eve Vonwiller, a revered member of our community, teacher, and advocate for children’s art education, the award aims to recognise and nurture creativity among the youth, as well as provide opportunities for the development of their talents.

Amelie L, Pick Up Zone Only, 2024, plaster and acrylic paint on canvas, 50 x 59.5 cm. 1 August—10 August SACS IBDP Visual Arts Exhibition St Andrew’s Cathedral School

Einar Johansen, A Head in the Clouds, 2023, watercolour, pencil, ink, fibre on mount board, 132 x 54 cm. 15 August—26 August Apotos Together Einar Johansen

Gallery76 www.embroiderersguildnsw.org. au/Gallery76 76 Queen Street, Concord West, NSW 2138 [Map 7] 02 9743 2501 Mon to Fri 9am–4pm, Sat to Sun 10am–2pm. Free admission.

13 August—17 August Express Yourself 2024 Lane Cove Public School

Emma Peters. 2 August–27 August Shared Threads UNSW School of Art and Design and Embroiderers’ Guild NSW. See the latest ideas to emerge from Sydney’s pioneering textiles studio at the UNSW School of Art and Design. Over the past year, five of the university’s researchers have collaborated with the Embroiderers’ Guild NSW to explore innovation in everyday textiles. This exhibition showcases creative work from the project including bedlinen revitalisation, culturally ethical patterns for fashion and embroidering on fabric naturally dyed with local plants.

Gallery Lane Cove + Creative Studios www.gallerylanecove.com.au

Mirka Mora, Summer Time Crickets. Courtesy of William Mora Galleries, copyright the Estate of Mirka Mora. 1 June–29 July Moving the Needle – The Australian Embroidery Revolution Embroiderers’ Guild NSW

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. 30 July—10 August The Vonwiller Award 2024 The Vonwiller Award for Children & Young Artists (formerly known as The Eve Vonwiller Youth Art Awards) is a prestigious biannual award presented by Gallery

Lane Cove Public School’s annual art exhibition with paintings and sculptures from children in Kindergarten to Year 6. A brilliant exhibition that allows young artists to display their work in a professional gallery for the school and public to view. Step into the gallery while Express Yourself is on and be inspired by Lane Cove’s youngest up and coming creatives.

Khaled Sabsabi, Wonderland, (still), 2014. Image courtesy of the artist. 21 August—14 September Divided “In a world divided by tribe, religion, and ideology, art can be the shawl that covers our differences.” - attrib. to Yo-Yo Ma. Divided presents works that speak to the current and unfortunately ongoing polarisation of discourse that has moved beyond the political sphere and is rapidly permeating all aspects of public life. Since the early 2010’s, observers have noted that the noise emanating from both sides of the extreme political spectrum are overshadowing moderate and diverse voices. Divided aims to create a space for reflection and dialogue, using art as a medium to bridge divides and fostering understanding. Works in the exhibition highlight the artists’ concerns and commentary around tribalism, censorship, genocide, patriarchy and political conflict. Artists include: Khaled Sabsabi, Khadim Ali, eX de Medici, Pamela Leung, Eleonora Pasti, Xu Wang. 171

The End & The Beginning

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daniel weber 2023 danielweberpaintings.com

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

have worked together to create a collection of ceramic vessels and paintings. Although they both work in a figurative manner their subjects come from different sources. Johanna is influenced by nature whereas Judy’s work comes from her observation of people.

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.

surrounded by textiles throughout life from birth, and fabric objects featuring in our most sacred and sentimental rituals, textiles are often viewed as being easily produced and replaced.

Bev Hogg, In Plain Sight, 2024, wall works, clay and slip, approx 20-25 cm h. Photograph: Brenton McCeachie. 28 June—27 July Vanishing Bev Hogg The endangered list keeps growing where are those gang gangs, glossy blacks and migratory parrots now? Ceramics and sculptures by Bev Hogg.

Image courtesy of the gallery. 5 July–10 August Collection in focus

Toni Warburton, Littoral Zone Grotto, 2023, terracotta painted with ceramic pigments and glazes, fired with green electricity, 12 x 12 x 5 cm. Photograph: Karl Schwerdtfeger. 2 August—31 August Small Pleasures An ode to the intimate ceramic object that can be held in the hand and taken to the heart. Curated by Sassy Park and featuring work by Aaron Scythe, Alex Standen, Ben King, Bronwyn Kemp, Casey Chen, Cath Fogarty, Charlotte Le Brocque, Christine Thacker, Daniel Pace, David Ray, Ebony Russell, Georgia Harvey, Holly Phillipson, Isabella Edwards, Jenny Orchard, Kat Shapiro Wood, Mackenzie Rowe, Marianna Ebersoll, Minhi Park, Nani Puspasari, Patsy Hely, Rachel Farag, Ruth Howard, Sandy Lockwood, Simon Rosentool, Stephen Bird, Steve Sheridan, Toni Warburton, Vicki Grima. 2 August—24 August Recent Works (in the Project Space) Johanna Hildebrandt and Judy Boyd Lane Johanna Hildebrandt and Judy Boyd Lane

Hannah Cooper, Warping the weft 2 (after glass), 2023, fishing line, metallicised nylon thread. Courtesy of the artist.

Collection in focus celebrates over 40 years of Goulburn Regional Art Gallery’s permanent collection. This vibrant exhibition showcases the strength and diversity of the collection in an energetic display featuring groundbreaking artists, local heroes and iconic masters. Collection in focus features over 100 works of art which, when placed side by side, reveal shared thematic concerns and material approaches and illuminate new connections and lineages. The works on display span paintings, prints, sculptures, textiles, photographs and audio-visual works that tell insightful stories about the region, the Gallery and artists over time. Since the Gallery’s conception in 1982, it has been dedicated to supporting living artists, presenting timely and resonant works of art and mounting exhibitions of exemplary contemporary artists. Featuring works made between 1900 and now, Collection in focus honours the Gallery’s history, highlights the present focus and looks towards an ambitious and bright future.

Much of Cooper’s practice is centred around the ongoing sharing of technique and process, and the incredible slowness, precision, and value in hand weaving. Production of ordinary domestic textiles has influenced the artist’s weaving, which plays with, and resists, the formal language of geometric abstraction and the structural and creative constraints of weaving. While the over-under grid is the basis of all weaving, Hannah Cooper’s work distorts and amplifies this very simple structure: to stay firmly on the grid or move off it. Referencing the contribution of artists who have previously straddled the line between fine art and craft, Cooper enjoys working in that ambiguous middle ground. By bringing textiles, and specifically woven cloth, into contemporary focus, viewers are encouraged to appreciate the intricate detail and time manifest through material that is inherent in the process of textiles.

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

5 July–10 August Warping the weft Hannah Cooper Hannah Cooper uses traditional clothmaking techniques to produce domestic textiles, a medium ubiquitous in daily human life. People in western society are generally distanced from the process of textile manufacturing. Despite being

Archibald Prize 2023 finalist, Laura Jones, Claudia (the GOAT), (detail). © the artist. 173

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OPENING RECEPTION

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Brian Reid To Look Directly Into Being Exhibition 25 July – 5 August 2024

Opening Event: 27 July 5pm - 7pm

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Gallery NWC 188 Katoomba St, Katoomba Ph: 0402 470 231 info@nationwidecuratingcom

NEW S OUTH WALES 6 July–11 August Dress Code: Behind the Seams The Makers Studio Central Coast

Glasshouse Port Macquarie continued... 6 July–18 August Archibald Prize 2023

Exhibition opening, 5 July, 6pm.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts Zachariah Fenn, ROUTED/DETOUR (detail), 2023, enamel on altered street sign, 150 x 120 x 90 cm. 26 June–3 August Local Artists – Two 2-week exhibitions from local artists

Kaylene Whiskey, Kaylene TV (1), 2020, single-channel video (detail), 1 min. Courtesy the artist, Iwantja Arts, Indulkana, APY Lands, SA and Artspace, Sydney. 24 August–2 November 52 ACTIONS Featuring works from 52 Australian artists.

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

Ku-ring-gai artists Eva Barry, Annarie Hildebrand and Alan Tracey will exhibit from 26 June to 13 July. Hornsby artists Zachariah Fenn, Hadijah Munting, Sally Ryan and Julianne Smallwood will exhibit from 18 July to 3 August. 8 August–22 August Young Curators from Abbotsleigh and Hornsby Girls High School Young Curators, facilitated by 3:33 Art Projects, present works by Oliver Watts.

Gosford Regional Gallery www.gosfordregionalgallery.com 36 Webb Street, East Gosford, NSW 2250 [Map 12] 02 4304 7550 Open daily 9.30am–4pm. Free admission.

Karla Dickens, installation view, 2023. Courtesy of the artist, STATION Gallery and Campbelltown Arts Centre. 22 June–11 August Embracing Shadows Karla Dickens

Annarie Hildebrand, Paper Daisies, porcelain, gold lustre, terra sigillata, screen print transfer, clear glaze, 22 x 14 x 12.5 cm.

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

Dacchi Dang, West Wall, 2024, digital pigment print on inkjet non-woven paper, fireproof 80 matt J97, 127 x 150 cm. 7 March–15 June The Microdot Dacchi Dang Granville Centre Art Gallery presents its inaugural solo exhibition, Dacchi Dang’s The Microdot. Cumberland based artist Dacchi Dang’s photography-based art practice spans more than three decades. He explores the possibilities of visual language, our memories, and the complex emotional realities of our life experiences. His work creates and reinvents new perspectives through layered physical and psychological landscapes via the full breadth of photographic practice.

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

Julian Meagher, Triple Rainbow over Green Ray Kialla, 2023, oil on linen. Cheryl McCoy, Murrawan Yannawa (I Belong to Country) (detail). Image courtesy of the artist.

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Tracing Country MANNING REGIONAL ART GALLERY 12 MACQUARIE STREET, TAREE

18 July - 14 September 2024

www.manningregionalartgallery.com.au image: Patrick Oloodoodi Purritjunu Tjungurrayi 2007 synthetic polymer paint on Belgian linen 176

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Hawkesbury Regional Gallery www.hawkesbury.nsw.gov.au/gallery Deerubbin Centre (top floor), 300 George Street, Windsor, NSW 2756 [Map 11] 02 4560 4441 Mon to Fri 10am–4pm, Sat & Sun 10am–3pm. Closed Tuesdays and public holidays.

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.

Maedeup, Korean traditional decorative knot, with its origins deeply rooted in ancient Korean traditions, holds a timeless allure, blending artistic finesse with symbolic significance. Through a captivating display of meticulously crafted maedeup pieces, this exhibition celebrates the artistry, skill, and cultural significance of knot-making in Korean history. From the delicate beauty of traditional hanbok accessories to adornments for ceremonial purposes, each knot tells a story passed down through generations.

The Lock-Up www.thelockup.org.au

Ken Done, Lavender reef, 2024, oil and acrylic on linen, 182 x 244 cm. 20 June–14 August Ken Done: New Work

Seong Cho, Brilliant Friend II, 2022, woodblock, Unique State, 120 x 122 cm. Photograph: Irena Conomos. Until 18 August Origin: The Place Where Something Begins Sydney Printmakers Origin: The Place Where Something Begins explores the diverse interpretations of the term, ‘origin’. Each of the Sydney Printmakers in the exhibition has extended their print practice to reflect the zeitgeist of the print medium.

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

COLLECT, 2023, opening night. Documentation: Wanagi Zable-Andrews. 12 July—8 September COLLECT Annual fundraiser group show representing 90+ Hunter-based artists

Accompany the exhibition are several public programs for all ages and creative abilities, including A Lino Print Making Workshop with artist, Cheryle Yin-Lo, plus fun drop in activities in our maker space where you can immerse yourself in the world of printmaking.

13 September—24 November Khaled Sabsabi

Lavendar Bay Society www.royalart.com.au

Incinerator Art Space

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

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

6 July—3 August 2024 Art Ballot Fundraiser

The Japan Foundation Gallery

Art lovers, collector and friends of the RAS eagerly await this exhibition each year – an exciting day – be part of it and take home a fine Australian painting.

www.sydney.jpf.go.jp Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055

90 Hunter Street, Newcastle, NSW 2300 [Map 12] 02 4925 2265 Wed to Sat 10am–4pm, Sun 10am–2pm. See our website for latest information.

Pendant with Jade Butterfly Ornament, 1999, Collection of National Folk Museum of Korea. 26 July–27 September Maedeup, Korean knot

Viewing Times: Monday to Friday 10am to 4pm Saturday and Sunday 11am to 4pm. First viewing Saturday 6th July 2024 and last viewing Saturday 3rd August. For information regarding the Ballot please speak to the co-coordinator, Christine Feher on 9955-5752 or email to: lavender@royalart.com.au.

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Macquarie University Art Gallery www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 7] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance.

Ian Fairweather (1891–1974), Yggdrasil, 1962, synthetic polymer paint and gouache on paper on masonite, 84.5 x 110 cm. Macquarie University Art Collection. Purchased Mrs Diana Biernoff, 1982. Photograph: Effy Alexakis, Photowrite. 7 June–5 August Australian Abstraction in Context from the Macquarie University Art Collection and beyond. Curated by Rhonda Davis and Kon Gouriotis. Australian Abstraction in Context reflects upon the legacies of this international art movement with its varietal imports, indices and counterparts. These expressions cast a different spin on the current generation of Australian artists adhering to abstraction. Their diverse practices challenge the aesthetic orthodoxies of abstraction, shape as content, in revealing new ways of thinking and talking about Australian abstraction.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop, Tue to Sun 9am– 4pm. Café, 8am–2pm. Free entry, donations always welcomed. 13 April—23 June 2025 Pregnant Woman Ron Mueck Pregnant Woman is on loan from the National Gallery of Australia through the Sharing the National Collection program. Over the year the work will engage with our own collection and exhibitions designed and curated to allow for different conversations and ideas to emerge related to family (in all its diverse forms), motherhood, birth and the marvel of humanity. 15 June—22 September Hold Brittany Fern and Megan McGee

Vessels have a long and varied history; they are both decorative and practical and are often signifiers of time and place. In this exhibition, Newcastle based artists Brittany Ferns (paintings) and Megan McGee (ceramics) embrace the notion that the vessel has a presence, and its presence exists to accommodate the presence of something else.

Michelle Gearin, Prism (detail), 2022, 49 individual paintings, oil and watercolour paintings on Italian cotton paper mounted on archival foam, 32 cm diameter each. Purchased by Maitland Regional Art Gallery, 2022. 22 June—6 October Old Stories New Magic Michelle Gearin, Linde Ivimey, Naomi Kantjurinyi, Adam Lee, Sarker Protick, Julia Robinson Old Stories New Magic brings together artists who draw from the deep and ancient well of the real and the mythic. It that embraces old stories and explores our longing and fascination with other worlds and beings, the dreamy subconscious and the long-lasting presence of the ancient. 22 June—27 October Memory Collective (Part One) – Felicity, Mavis, Tara, Tory and Vicki Catherine Kingsmill Catherine Kingsmill’s exhibition brings together a family of sculptures that reflect five significant people who have contributed to the social fabric of Maitland. Taking the form of clothing in silhouette, Catherine uses found and collected material in her work to reference First Nations culture, local post-colonial industry, the hospitality trade, environmentalism, civic education, and feminism. 29 June—27 October Lineage Sophie Cape, Kevin Connor, Elisabeth Cummings, Steven Lopes, Euan Macleod, Ann Thomson, Shonah Trescott, Guy Warren Lineage celebrates the dynamic interplay of tradition and innovation through eight diverse but related artistic practices. The exhibition invites us on a journey through the captivating conversations of these very distinct creative voices, each individually contributing to a shared narrative of artistic heritage. As we traverse the generational spectrum, Lineage offers a glimpse into

the influences, transformations, and enduring themes that help shape the ongoing evolution of art. 6 July—13 October POWER – The Future is Here Dennis Golding POWER – The Future is Here is the result of a collaboration between artist Dennis Golding and Aboriginal and Torres Strait Islander students from Alexandria Park Community School, and curated by Kyra Kum-Sing. The superhero capes were created during a workshop in 2020, led by Golding who was an artist in residence at the school through Solid Ground. Students from kindergarten to year 12 designed their capes with iconography informed by their lived experiences and cultural identity. As superheroes, Golding and his young collaborators are empowered and reminded of the strength of their culture in forming their identity and connection to Country. Individually and together, the capes critique social, political and cultural representations of contemporary First Nations experience. 6 July—29 September Garden of Parallel Paths Daniel Crooks Daniel Crooks is a careful observer of the everyday, and his videos are an exploration of time as a material. In A Garden of Parallel Paths Crooks merges spacial dimensions, creating an interconnected ‘otherworld’ of Melbourne’s laneways, with time slowed emphasising the rhythm of pedestrian life passing through.

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

Edie Holmes Akemarr (Kemarre) (born c.1950), Alyawarre language group, Ilwemp Arnerr Ghost Gums and Waterhole, 2004, acrylic on linen, 92 x 182 cm. Photograph: Andrew Curtis. © Edie Holmes Akemarr (Kemarre) & Aboriginal Artists Agency Ltd. 14 June–28 July Three Echoes: Western Desert Art Artworks in this exhibition reflect the significant artistic developments and moments in time that contributed to the meteoric rise of the Western Desert Art movement. They hold special meaning for First Nations peoples, communicating important stories of tjukurrpa (Dreaming) and Country. 179

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NEW S OUTH WALES Manly Art Gallery continued... Three Echoes is an initiative of Museums & Galleries Queensland developed in partnership with Karin Schack and Andrew Arnott, and curated by Djon Mundine OAM FAHA.

Jessie Beard, Flowers from a fairytale, 2024, mixed media on canvas.

Katy B Plummer, We Believe You Babcia, 2024. Production still: Kuba Dorabialski. 14 June–28 July Katy B. Plummer – We believe you Babcia

coloured, abstract lens is what comes naturally for father and daughter artists Dave Collins and Jessie Beard. Sharing a love of art has evolved and strengthened their relationship over the years, inspiring and challenging one another to grow in their artistic practice.

A multimedia art installation about storytelling, Polish grandmothers, intergenerational relationships, and the often-untraced lineage of familial creativity. The work is based on a thrilling ghost story, told to the artist’s children by their grandmother Iwona about the time she encountered a strange apparition: a group of ghostly actors, dressed in historical costumes, silently occupying a flooded stage.

Leon Russell Black, Bush Holiday Dreaming, 2019, natural earth pigments on canvas, 181 x 121 cm. 18 July–10 August Leon Russell Black

2 August–25 August Environmental Art & Design Prize New works by artists and designers across Australia focused on the climate emergency, environmental regeneration, and the circular economy. 2024 Judges are leading creative practitioners and thinkers; industrial designer Trent Jansen, and visual artist Khaled Sabsabi and fashion designer Genevieve Smart. Presented across three Northern Beaches’ arts venues: Manly Art Gallery & Museum, Curl Curl Creative Space and Mona Vale Creative Space Gallery.

Manning Regional Art Gallery www.manningregionalartgallery. com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–4pm. 23 May–13 July A LONG SUMMER – Rod Spicer steeped by shivering shadows all summer long it falls by mountain stream where poets dream – in shimmer in shadow its ghostly echo into your bones it crawls A collection of old and new works reflecting a bush and coastal summer. 23 May–13 July Natural Instincts Dave Collins and Jessie Beard Perceiving the world through a brightly

Patrick Oloodoodi, Tjungurrayi, 2007, synthetic polymer paint on Belgian linen, 122 x 92 cm. Image courtesy of Cooee Art Leven Gallery. 19 July—14 September Tracing Country Our First Nations peoples have a deep connection to the land, which is central to their cultural identity and artistic expression. This exhibition, in partnership with Cooee Art Leven Gallery, showcases the diverse artistic styles, techniques, and cultural motifs that distinguish various regions. From the vibrant colours of the Central Desert to the intricate designs of the Kimberley and the coastal influences of Arnhem Land, Tracing Country offers a journey through the landscapes and narratives that have shaped Aboriginal art for thousands of years.

Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sat 10.30am–6pm. See our website for latest information. 20 June–13 July Evelyn Malgil 18 July–10 August Guan Wei

Michael Muir, seasons of emotions, 2024, oil on linen, 122 x 107 cm. 15 August–7 September Michael Muir 15 August–7 September Nicola Gower Wallis

Mosman Art Gallery www.mosmanartgallery.org.au 1 Art Gallery Way, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open Thu to Sun 10am–4pm, Wed open until 8pm. Closed public holidays. See our website for latest information 18 May–28 July Night Blossom Catherine McGuiness Night Blossom by Catherine McGuiness from Studio A is filled with vibrant and colourful works that glow like jewels in the 181

KEN DONE

1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Detail: Lavender reef, 2024, oil and acrylic on linen, 183 x 244cm

kendone.com

NEW S OUTH WALES Mosman Art Gallery continued...

Catherine McGuiness, Night Blossom, 2024, installation view, Mosman Art Gallery, image courtesy the artist and Studio A, Sydney and © the artist. Photograph: Jacquie Manning. night. You’ll find a collection of large-scale paintings, works on paper and a dinner table that perpetually awaits guests’ arrival.

Damian Showyin, Suede Blue, 2024, installation view, Mosman Art Gallery, image courtesy the artist and Studio A, Sydney and © the artist. Photograph: Jacquie Manning. 18 May–28 July Suede Blue Damian Showyin Explore the dynamic labyrinth of Studio A artist Damian Showyin’s exhibition Suede Blue. Filling the entire top floor of Mosman Art Gallery, Damian’s exhibition combines painting and sculpture, building an environment that encourages wonder, curiosity and playfulness.

where artworks can exist as portals to an ever-expanding world of unexpected sites and unanticipated tangents. A place of divergent wormholes traveling through the joy, pain, and weirdness of space and time. This exhibition brings a number of new acquisitions to the Museum collection into conversation with works that represent the collection’s longstanding strengths. Ali Tahayori, Impossible Desire (detail), 2023, National Photography Prize 2024, Murray Art Museum Albury.Photograph: Jeremy Weihrauch. 23 March—1 September National Photography Prize 2024 The National Photography Prize 2024 finalists include leading Australian artists and collectives Alex Walker & Daniel O’Toole, Ali McCann, Ali Tahayori, Ellen Dahl, Ioulia Panoutsopoulos, Izabela Pluta, Kai Wasikowski, Nathan Beard, Olga Svyatova, Rebecca McCauley & Aaron Claringbold, Sammy Hawker and Skye Wagner.

21 June–21 November Grounded Glennys Briggs, Glenda Nicholl, Treahna Hamm Grounded focuses on cultural practices that have been passed down through generations of family members to the artists – Glennys Briggs, Glenda Nicholls, and Treahna Hamm. For each of the artists the works and the heritage they invoke demonstrate the knowledge, kinship, connection, comfort, and care that their ancestors experienced within family and nation prior to 1788.

Selected by an expert panel comprising Bala Starr, Director, La Trobe Art Institute, Bendigo, Tiyan Baker, 2022 National Photography Prize Winner, and Nanette Orly, Curator, Murray Art Museum Albury, the finalists’ works traverse numerous themes and concepts including the environment and its degradation, family histories and connection to place, as well as spanning diverse photographic practices from large-scale installations, collages and assemblages, archival and chemical, to more intimate moments.

Museum of Contemporary Art Australia

Established in 1983, the biennial acquisitive Prize offers a unique opportunity to consider the vital role of photography in contemporary art in Australia. For the first time in 2024, MAMA will stage NPP Junior as part of the National Photography Prize.

28 June–16 February 2025 Julie Rrap – Past Continuous

18 May–28 August Tar Kirtika Kain

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

Acclaimed multidisciplinary artist Julie Rrap has examined representations of the body in art and popular culture for over four decades, often using her own body as the subject. Julie Rrap – Past Continuous is a solo exhibition featuring the Australian artist’s ground breaking feminist installation Disclosures – A Photographic Construct (1982) in dialogue with new and recent works. Free admission.

Kains exhibition Tar features new experimental works reflecting on material memory. Kain uses Tar as a material to explore histories. 18 May–28 August Mosman Embroiderers’ Guild 10 August–6 October 2024 Mosman Art Prize

Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.

Karen Black, After the rain comes the sun, 2022, & Messy tangle, 2022, oil on canvas. Murray Art Museum Albury collection. Photograph: Jeremy Weihrauch. 23 February–6 October Thresholds Beth Peters, Cornelia Parker, Gordon Bennett, Harold Cazneaux, Ingeborg Tyssen, Ioulia Panoutsopoulos, John Frank Williams, Juan Davila, Justine Varga, Karen Black, Kate Smith, Laurie Wilson, Max Dupain, Matthew Griffin, Olive Cotton, Pegg Clarke, Rob McLeish, Roger Scott, Tracey Moffatt, Trent Parke, TV Moore. Thresholds looks to a process of collecting and of working with collections,

Hiroshi Sugimoto, Polar Bear, 1976, gelatin silver print, image courtesy and © Hiroshi Sugimoto. 2 August–27 October Hiroshi Sugimoto – Time Machine Renowned for creating some of the most recognisable images of our time, Hiroshi Sugimoto’s major survey opens at the MCA after critically acclaimed presentations at the Hayward Gallery, London and UCCA Center for Contemporary Art, Beijing. 183

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sixteen artists visited the site. They explored, collected, and created new artwork to mark this historic event. LiddellWORKS is the resulting exhibition, spread across two galleries Muswellbrook Regional Arts Centre and Singleton Arts + Cultural Centre.

Featuring key works from all Sugimoto’s major photographic series, Time Machine highlights Sugimoto’s philosophical yet playful inquiry into our understanding of time and memory, and photography’s ability to both document and invent over five decades of practice.

The LiddellWORKS program was conceived by Arts Upper Hunter and developed in partnership with AGL, Muswellbrook Regional Arts Centre and Singleton Arts + Cultural Centre, with funding from the Department of Regional NSW and AGL. Arts Upper Hunter receives core funding from Create NSW and the following local government bodies in the Upper Hunter Region - Dungog Shire Council, Muswellbrook Shire Council, Singleton Council, and Upper Hunter Shire Council. Also showing at the Singleton Arts and Cultural Centre from 8 June to 11 August, 2024.

Organised by the Hayward Gallery, London in association with the MCA and supported by the NSW Government through its tourism and major events agency Destination NSW. Ticketed admission. 24 May–11 August MCA Collection – Artists in Focus A new display of the changing presentation of works from the MCA Collection. Artists in Focus offers the opportunity to appreciate shared and varied concerns, materials and approaches to contemporary art in Australia from across generations and cultures. Paintings, sculptures, installations and video works by Collection artists Brook Andrew, Joan Brassil, Maree Clarke, Kevin Gilbert, Fiona Hall, Jumaadi, James Nguyen, Leyla Stevens and Esme Timbery along with a selection of 68 bark paintings from the Arnott’s Biscuits Collection that showcases the work of Aboriginal artists from the communities of Groote Eylandt, Yirrkala, Galiwin’ku, Milingimbi, Maningrida, Ramingining, Gunbalanya, Wadeye and the Tiwi Islands. Free admission.

Museum of Sydney www.mhnsw.au/visit-us/ museum-of-sydney Corner Phillip and Bridge Streets, Sydney, NSW 2000 [Map 8] 02 9251 5988 Open daily 10am–5pm. See our website for latest information.

Coomaditchie artists and community members, The first three decades (decade three), 2022. Coomaditchie United Aboriginal Corporation. Photo © Bernie Fischer. Artwork © the artists. 30 March–25 August Coomaditchie: The Art of Place 16 March–25 August Ngaya (I am) Peter Waples-Crowe

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

Christine Pike, Open Cut #1, 2012, charcoal, ink, pastel and gesso on paper, 107 x 79 cm, Muswellbrook Shire Art Collection, Finalist, Muswellbrook Art Prize 2013. Purchased by Muswellbrook Shire Council. 6 June–12 October Power Play: from the Collections Power Play brings together works from the collections that have a connection (abstract or otherwise), or are partly influenced and inspired, by Liddell Power Station and surrounds.

Rachel Milne, Open Floor, 2023, oil on canvas, 45 x 40 cm.

Dennis Golding, (Kamilaroi/Gamilaraay), photographic self portrait from Cast in cast out (detail), 2020. Museum of Sydney Collection, Museums of History NSW. © Dennis Golding. 20 May–17 November Cast in cast out Dennis Golding

6 June–3 August LiddellWORKS Tim Black, Mark Brown, Suellyn Connolly, PennyDunstan, Anna Rankmore, Andrew French-Northam, Todd Fuller, Huw Jones, Fiona Lee, Will Maguire, Rachel Milne, Rebecca Rath, KirryToose, Fran Wachtel, LisaWiseman, Kara Wood. In the two months ahead of the Liddell Power Station closure in April 2023,

Power Play is a nod to the passing of an industrial icon that provided thousands of jobs for generations of people. It is a salute to the folk who worked in the industry and those who throughout the years have captured a time, a moment, an image related to, or an aspect of Liddell Power Station – to those who were part of a bigger picture of juxtaposed landscapes and objects, country and industry, related services, employees, and of course some characters who lives were inextricably connected to Liddell in one way or another. 6 June–12 October Powering Our Future: Muswellbrook Preschool Marking the closure of the Liddell Power Station after over 50 years of powering 185

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NEW S OUTH WALES Muswellbrook Regional continued... the Upper Hunter Region and beyond, the children from Muswellbrook Preschool celebrate the possibilities that lie ahead for each of them. The artworks created in Powering our Future capture the aspirations of future scientists, artists, teachers, and philosophers – an invitation to imagine their future, and a call to nurture their dreams. 2 April–3 August Yalawapanpi: Michelle Earl Darkinjung/Wonnarua artist, Michelle Earl rescues many preloved items from the side of the road during her travels. She never passes up the opportunity for upcycling. First it was vintage metal and other items that inspired her creativity, and now timber stools. Michelle has always loved the look of vintage pieces in quiet corners throughout her home – they add the warmth and welcoming presence of a bygone era, their patina and marks adding emotion and essence.

Suzanne Archer, Beachcombing South Coast, 2023, oil on canvas, 198 x 204 cm. 15 August—31 August Winds of change and sands of time Suzanne Archer

Gria Shead, Before the night shift, 2022, oil on linen. Courtesy the artist. Courtesy the artist and AK Bellinger Gallery.

National Art School NAS Gallery www.nas.edu.au

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

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

4 July—20 July The fruits of spring and the bats of night Chris Horder

Ruth Hutchinson, Shot (1-6), 2018, gold plated bronze Installation view. © Ruth Hutchinson. Photograph: Christo Crocker.

25 July—10 August Yoshio Honjo 25 July—10 August While reading Wisedom Katherine Hattam

12 April–21 July Freeze Fawn Jessica Nothdurft

14 June—3 August undo the day Karen Black, Nathan Hawkes, Irene Hanenbergh, Ruth Hutchinson, Nabilah Nordin, Mel O’Callaghan, Tom Polo, Ronan Pirozzi, Jodie Whalen and Coen Young. Guest Curator: Gina Mobayed.

Jessica Nothdurft works in a variety of media, including oil, ink and metal, to produce evocative documentations of her life experiences. Her faux-naive style explores the existence of struggle below the surface and the many facets of shame. A partnership with Side Gallery.

New England Regional Art Museum

12 July–20 October Marks are Memories Selected indigenous works from the Moule Collection.

www.neram.com.au

Yoshio Honjo, Hell courtesan - Jigokudayu, 2024, handmade Komohadamashi paper, Sumi ink, Suihi-enogu (water dried pigment), 182 x 121 cm.

Jessica Nothdurft, Glitter nail, 2024, oil paint and synthetic polymer paint on timber panel. Courtesy the artist and Side Gallery.

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

12 July–1 September Revealed: Hidden gems from the UNE Art Collection Various Artists

12 April–21 July Interior Visions Various Artists

This exhibition marks the 70th anniversary of Australia’s oldest regional university and celebrates seven decades of collecting art. Revealed moves beyond the standard academic portraits to reveal significant artworks that are seldom seen. A partnership with the University of New England.

Interior Visions is a group exhibition featuring artists exploring the intimacy of public and private spaces.

12 July–11 August Lounge Room Collector #7 Various artists 187

Works Worksby: by:M. M.Winch, Winch, B. B. Whiteley, Whiteley,M. M.Woodward, Woodward, McLean McLeanEdwards, Edwards,E. E.McLeod, McLeod, J.J. Gleeson, Gleeson,S. S.Dunlop, Dunlop,D. D.Boyd, Boyd, R. R. Dickerson, Dickerson,R. R.Crooke, Crooke, G. Gittoes, W. Coleman, G. Gittoes, W. Coleman, J.J. Coburn, Coburn,S. S.Nolan, Nolan,J.J.Olsen, Olsen, C. Canning, C. Campbell, C. Canning, C. Campbell, V. V. Rubin, Rubin,P.P.Griffith, Griffith,T.T.Irving, Irving, S. Paxton, S. West, M. Perceval, S. Paxton, S. West, M. Perceval, J.J. Bezzina, Bezzina,JJKelly, Kelly,DDFriend, Friend, JJ Brack and many others. Brack and many others. Madeleine MadeleineWinch, Winch,Mysteries Mysteriesofofthe theHeart, Heart, oil oilon oncanvas, canvas,60 60xx60 60cm. cm.

22 Moncur Moncur Street, Street, Woollahra WoollahraNSW, NSW,2025. 2025. Tuesday to Saturday 10am – 5pm, Tuesday to Saturday 10am – 5pm,Sunday Sunday––Monday Mondayby byappointment appointmentonly. only. (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au (02) 9363 5616 www.fmelasgallery.com.au e: art@fmelasgallery.com.au fmelasgallery.com.au

Nganampa Ngura Inmatjara Our Country , Our Song

Big, beautiful paintings from the APY Lands & Coober Pedy 30 Jun – 13 Oct Wagga Wagga Art Gallery Cnr Baylis & Morrow St, Wagga Wagga NSW (02) 6926 9660 www.waggaartgallery.com.au Image: Seven Sisters (detail) Nyunmiti Burton. 2022

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NEW S OUTH WALES New England Regional continued... Armidale is the home of several extraordinary private art collections. The seventh in the Lounge Room Collector series invites founders of Beautiful Bizarre Magazine to show a curated selection of their private collection publicly at NERAM and to discuss why they collect, how they got started and what art they are passionate about.

Ngununggula www.ngununggula.com Southern Highlands Regional Gallery, Retford Park, 1 Art Gallery Lane, Bowral, NSW 2576 [Map 12] 02 4861 5348 Mon to Sun, 10am–4pm.

Maddy Hodgetts, Kirralaampuwan, 2024, acrylic on canvas. communities and the connection through generations despite all the challenges and adversity faced. Keeping the fire burning is about unity, pride, preservation and our artists commitment to acknowledging and sharing cultural heritage in our modern world. As we celebrate this theme, explore the artwork, the artists and stories we hope the audience can join to celebrate the continuation of the oldest living culture in the world.

Sophia Lee Georgas, Awe, 2023, acrylic on linen, 86 x 111 cm. 15 June–11 August Exalt Sophia Lee Georgas Presented by NAS | The Seed. 14 June–25 August Crying Kuba Dorabialski 17 August—3 November The Divided Landscape Tim Winters

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

Image courtesy Ashley Mackevicius. 13 July—1 September Together Again Clara Adolphs

Outback Arts Gallery www.outbackarts.com.au 26 Castlereagh Street, Coonamble, NSW 2829 [Map 12] 02 6822 2484 Mon to Fri 9am–4pm. 1 July–30 August Keep the fire burning – Black, Loud and Proud Burra Mchughes, George Williams, Sooty Welsh, Maddy Hodgetts, Brian Smith In line with this years NAIDOC theme, our Curator and Executive Director has pulled together an exhibition to celebrate and reflect the them Keep the Fire Burning: Blak Loud and Proud. The exhibition amplifies the enduring strength and vitality of our artists, our

Georgia Ditchfield, The Last Reach, 2023, Archie Prize winner. 9 September–25 October Outback Archies Art Prize A long-standing project delivered by Outback Arts, established in 2011. This annual art prize showcases the talented artists in regional New South Wales and brings them together to inspire one another and their community as well as providing emerging artists with a platform to boost their profile. Outback Arts works in partnership with regional and metropolitan sponsors to present this exhibition and support emerging and established artists.

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

Laure Mary, The Stages of Life, 2024, oil on linen, 162 x 130 cm. 6 June—21 July Echoed Vistas Amélie Bertrand, Deborah Brown, Dana James, Laure Mary, Thérèse Mulgrew and Martine Poppe 1 August—25 August Cesc Abad 189

CALL FOR ENTRIES $30,000 Acquisitive Painting Prize (in any style or subject)

ENTRIES CLOSE 14 JULY 2024 Enter online: calleenartaward.com.au or contact the Cowra Regional Art Gallery for an entry form

CALLEEN ART AWARD EXHIBITION 29 September–17 November Cowra Regional Art Gallery 77 Darling Street, Cowra Hours: Tuesday–Saturday 1Oam–4pm, Sunday 10am–2pm (Mondays closed) T: (O2) 634O 219O E: cowraartgallery@cowra.nsw.gov.au

2020

cowraartgallery.com.au

20 years

The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council

NEW S OUTH WALES PIERMARQ continued...

Diana Baker Smith, This Place Where They Dwell, 2024. Photograph: Lucy Parakhina.

Maree Azzopardi, Spotted Vessel, 2024, earthenware and slip, 27 cm. The FIVE exhibition brings together 5 women artists working in diverse genres, from en plein landscapes to abstraction in painting, plus a vibrant collection of ceramic vessels and forms.

Henrik Godsk, In Bloom, 2024, oil on canvas, 150 x 110 cm. 29 August—29 September New Horizons Henrik Godsk

Penrith Regional Gallery www.penrithregionalgallery.com.au 86 River Road, Emu Plains, NSW, 2750 02 4735 1100 Mon to Sun 10am–4pm. See our website for latest information. 11 May–21 July Penrith Youth Art Prize – Colour Stories Penrith Youth Art Prize returns in 2024 to foster and celebrate the creative talent of young artists in our community. The theme for the 2024 prize is Colour Stories, drawing inspiration from artist Margo Lewers and her lifelong fascination with colour. This year young artists are asked to tell their own story through colour, and to consider how colour can create mood, evoke emotions, or conjure memories. Penrith Youth Art Prize is supported by TLE Electrical. The youth category prize of $500 is generously supported by the Friends of the Gallery. 11 May–4 August This Place Where They Dwell Diana Baker Smith A major new commission by contemporary artist, Diana Baker Smith. Through performance, installation and film, Baker Smith considers the idea of the home and the archive interchangeably, as repositories for the traces of our lived experiences. This project has been commissioned by Penrith Regional Gallery, Home of The Lewers Bequest, and has been assisted by UNSW Art & Design and the Australian Government through Creative Australia, its principal arts investment and advisory body.

Gianne Lois Magcalayo, Penrith Selective High School, Schrodinger’s Litterbox, 2023, documented forms. Image courtesy of the artist. 11 May–4 August Art Express 2024 2023 HSC Visual Arts students from across NSW ARTEXPRESS is an annual showcase of artworks from the previous year’s Higher School Certificate, celebrating the high standards reached by New South Wales Visual Arts students. Penrith Regional Gallery presents a unique selection of ARTEXPRESS work by 36 students from New South Wales, including several works from schools from our local area. ARTEXPRESS 2024 is a partnership between the NSW Department of Education, and the NSW Education Standards Authority (NESA), presented at participating galleries.

Rex-Livingston Art + Objects www.rex-livingston.com 182-184 Katoomba Street, Katoomba, NSW 2780 [Map 11] 02 4782 9988 Thu to Sun 11am–5pm, Mon by appointment, closed Tue & Wed. See our website for latest information. 21 June–14 July The FIVE Jo Langley, Catherine Garrod, Peta Dzubiel, Maree Azzopardi, Jane Barrow

McLean Edwards, Cricketer, 1996, oil on canvas, 101.3 x 75.7 cm, private collection Sydney. 20 July–30 August Winter 2024 A selection of collectible, secondary market artworks and new works by Jude Rose, Judi Moss and Kjell Everingham.

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. 12 July–10 August The Burning Tracey Moffatt 16 August–14 September The Aboriginal Robot Mia Boe 16 August–14 September Julie Rrap 191

2024 Art Ballot Fundraiser This is the major fundraiser for the Society and raises much needed funds to keep the doors of the gallery and art school open

Pamela Fairburn FRAS

Catherine Harry FRAS

How does it work? Our fabulous Artists of the Society donate the paintings for this major fundraiser. The exhibition is hung and catalogued. Tickets are sold at $400 each. Ticket holders come to the gallery during the viewing times and list their favourite paintings or view online. Every person purchasing a ticket will choose a painting. ** There are always more paintings on walls than tickets sold so that everyone has a choice of paintings. Viewing Times: Monday to Friday 10am to 4pm Saturday and Sunday 11am to 4pm First viewing Saturday 6th July 2024 and last viewing Saturday 3rd August

Karen Atkins

Earl Hingston

Susan Sheridan

NO VIEWING SUNDAY 4th AUGUST DOORS OPEN AT 11.30AM FOR SEATING ONLY DRAW WILL COMMENCE AT 12 NOON SHARP

Ann Cape FRAS

Heid Hereth

Art lovers, collector and friends of the RAS eagerly await this exhibition each year – an exciting day – be part of it and take home a fine Australian painting. This year’s Royal Art Society Ballot Exhibition Draw is set for Sunday 4th August, 2024 so get in early and purchase your tickets. Limited number of tickets available. The event will be live screened on the day. Absentee lists are available for those not in attendance.

Marilyn P Hay FRAS

Freda Surgenor FRAS

Thomas Parslow FRAS

For any information at all regarding the Ballot please speak to the co-coordinator, Christine Feher on 9955-5752 or email to lavender@royalart.com.au A ballot ticket is an ideal present for a birthday, engagement, wedding or for that special person who has everything. Gallery and RAS Art School 25-27 Walker Street North Sydney NSW 2060 Phone: 9955 5752 Email: lavender@royalart.com.au www.royalart.com.au Gallery Rooms Available for Functions

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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 Arts Centre has no exhibition program during August, our Winter break.

Take an intimate look at a selection of past winners and awardees of the Queanbeyan-Palerang Annual Art Awards. A variety of media is represented in this collection with an eclectic range of subject matter on show. 6 April–27 July A Stitch in Time – Quilt Exhibition A Stitch in Time brings together a selection of Quilts and Textile Art from the collections of Queanbeyan-Palerang Council and the Braidwood Quilters. On show are quilts from the ‘Quilts 2000’ project which brought together over 600 quilts from Australia wide to raise over $500,000 at auction for the Sydney 2000 Paralympics. Also featured are quilted panels created to commemorate the opening of the QBN Bicentennial Hall, and quilts made for the Centenary of Federation.

S.H. Ervin Gallery www.shervingallery.com.au

David Smith, Birds eye view, 2024, metal sculpture.

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.

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.

SCA Gallery www.sydney.edu.au/sca Old Teachers’ College, The University of Sydney, Manning Road, NSW 2006 [Map 7] 02 8627 8965 Mon to Fri 11am–5pm, Sat 12pm–4pm. See our website for latest information.

1 June–27 July Endangered David Smith crafts his eclectic range of sculptures in his Queanbeyan studio, from reclaimed steel and other materials. His current works capture the essense of native Australian animals that, due to urban encroachment and introduced pests, are threatened, vulnerable, or endangered. Imbued with humor and playful elements, the sculptures draw attention to the serious issue of human impact on the environment, as seen through the eyes of some of our most iconic animals. These works serve as a reminder that we need to do more to protect our fragile world - for ourselves and the other species with whom we share it. A percentage of gallery sales from this exhibition will be donated to Wildcare Queanbeyan.

Amanda Williams, Xerochrysum subundulatum I (sky blue), 2023, chromogenic photograph, 130 x 120 cm (image), 133 x 123 x 6 cm (frame), edition 5 + 1AP. Photograph: Robin Hearfield. Courtesy the artist and The Commercial, Sydney. 8 August—7 September Topographies Ben Denham, Vicky Browne, Rachel Peachey & Paul Mosig, Magnetic Topographies & Friends, Brendan Van Hek and Amanda Williams. Curated by Vicky Browne in the title Opening event: Wednesday 7 August, 6pm–8pm.

Shoalhaven Regional Gallery, Nowra Lewis Miller, Portrait of Graeme Drendel II, oil on Belgian linen, 172 x 182. Represented by Australian Galleries, Sydney & Melbourne and Philip Bacon Galleries, Brisbane. Catherine McCormack, Community, 2022, acrylic on canvas. 6 April–27 July Highlights of the QPRC Art Collection

8 June–25 August Salon des Refusés – The ‘alternative’ Archibald and Wynne Prize selection The Salon des Refusés was initiated by the

www.shoalhavenregionalgallery. com.au 12 Berry Street, Nowra, NSW 2541 [Map 12] 02 4429 5444 Tue to Fri 10am–4pm, Sat 10am–2pm. Free entry. 193

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Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Visit our website for opening times and exhibition program.

Celia Gullett, Aphrodite, 2022, installation view, 214 x 184 cm, oil on linen. Image courtesy the artist and Sophie Gannon Gallery. 13 July—18 September Shaping Colour Celia Gullett

Brian Reid, painting on paper. 25 July–5 August To Look Directly into Being Brian Reid Gallery NWC 188 Katoomba Street, Katoomba, NSW. Paintings, graphics, sculpture, photography by Brian Reid. Opening event 27 July, 5pm–7pm.

Sullivan+Strumpf Gadigal/Sydney www.sullivanstrumpf.com

Amy Dynan, Diviner of hidden forces, pastel on paper, 201 x 75 cm. Photograph: Hi Res. 19 June–10 August New Arrivals

Heather Burness, Dipole 2, 2023, multiplate colour intaglio print edition of 2, 83 x 70 cm. Image courtesy the artist. 29 June—11 September A Time of Concentration Heather Burness

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. 18 July–10 August Group Exhibition

SteelReid Studio www.steelreidstudio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 Viewings by appointment. Sibylla Robertson, A Rigid Companion, 2022, terracotta, ash and glaze, 23h x 31w x 8d. Photograph: Alfonso Chavez-Lujan. 21 August–28 September Notes on Reciprocity Chrystal Rimmer, Laura de Carteret, Sibylla”Billie” Robertson, Tango Conway, Hugh Crowley.

Kanchana Gupta, Open and Close #02, 2023, oil paint skin, burnt and stripped off Korean machine-made lace, 58 x 48 cm (framed).

South East Centre for Contemporary Art

15 August–7 September Kanchana Gupta

www.secca.com.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2201 Mon to Fri 10am–5pm. Sat 10am–2pm. Closed Sun and public holidays. See our website for latest information.

Brian Reid, digital print. 195

11 May – 7 July 2024

The Blake Prize is a biennial exhibition that highlights local and international contemporary artists who explore ideas of spirituality and religion through contemporary artworks.

Installation photographs by Silversalt photography. Top left: Shireen Taweel ‘Shoe bathers,’ 2022. Winner 68th Blake Prize.

1 Powerhouse Road, Casula NSW 2170 (enter via Shepherd Street, Liverpool) Tel 02 8711 7173 • reception@casulapowerhouse.com casulapowerhouse.com

casulapowerhouse.com

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Straitjacket

meaning is not only reflected but also constantly cultivated, and negotiated— an ever-evolving ecosystem rather than an ossified microcosm.

www.straitjacket.com.au 222 Denison Street, Broadmeadow, NSW 2292 [Map 11] 0434 886 450 22 June–14 July Treechanger Hugh Ramage Prima Stories Jill Orr

Jessica Loughlin, halites, 2021, kilnformed and handground glass, 470 x 2500 x 40 mm (installed). Photographer: Grant Hancock.

Seascapes Hide Kobayashi

Reverse Archaeologies, Hogan & Bourke, 2023. Tin Sheds view from City Road.

20 July–11 August Hermetic Dean Beletich

1 August—20 September Reverse Archaeologies

Jessica Loughlin with receptor of light ix, 2018, kilnformed and handground glass, 446 x 645 x 62 mm. Photographer: Rachel Harris. 29 June—25 August JamFactory Icon Jessica Loughlin: of light Jessica Loughlin Peter Lankas, Morning harmony, 2024, oil on board, 46 x 61 cm. 20 July–11 August Turn return Peter Lankas

Jessica Loughlin is one of Australia’s most internationally acclaimed glass artists and is renowned for her highly innovative technical approach to kilnformed glass. A studio glass artist for over twenty-five years, Loughlin creates ethereal kilnformed glass artworks that explore her fascination with the beauty of emptiness and her extensive research into light and space.

Tin Sheds Gallery www.sydney.edu.au/tin-sheds 148 City Road, Darlington, Sydney, NSW 2008 [Map 14] 02 9351 3115 Tue to Fri 10am–4pm.

Signalling a natural extension of a long tradition of mutual spatial and material influence between art and architecture, an exhibition of new works by practitioners between these disciplines investigate the history and teleology of casting forms, architectural fragmentation and site-specific sculptures. The act of casting site specific material, historic plaques, monuments, and architectural surfaces in clay, plaster, silicon, glass, metal, bronze & brick carries significant social and cultural meaning. By replicating structures in tangible materials, we preserve their memory and history for future generations. Here in reverse, a narrative is concealed, transferred into a coded surface or becomes a sculptural object. The process of casting itself represents a form of homage and reverence to the original structure or object, paying tribute to its cultural and historical memory. Artists: Orson Heidrich, Jesse Hogan, Kate Newby, Byron Bourke Technical, Academic & Curatorial Support By: Guillermo Fernández-Abascal, Prof. Jane Gavan, Stephanie Berlangieri, Dr. Michael Mossman. Publication Design: Public Office, Paul Mylecharane. Sponsorship: The Brick Pit, Keane Ceramics.

Helena Newcombe, Dragon’s Den, 2024, mixed media on cotton, 50 x 50 cm. 17 August–8 September Other worldly Helena Newcombe 17 August–8 September Twisted Cliche Jo O’Toole and Warwick O’Toole

Tamworth Regional Gallery www.tamworthregionalgallery. com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm.

Gabriella Hirst, Battlefield, 2014–2024. Image courtesy of the artist. 6 June–19 July Garden at the End of Time Gabriella Hirst, Garry Trinh, Jamie North, Katie Paterson, Katie West, Majid Mirmohamadi, Olindo Polo, Tom Melick, Simryn Gill, Anna Polo, Tom Polo, Sean Allen Fisher and Thea Anamara Perkins. Curated by Anna May Kirk & Tai Mitsuji. These artist works explore the garden as a politically and culturally charged site. Within the walls of the gallery, the garden becomes construed as a place where

Replica Bidenbum Chair - HVAC, created by Stephen Clement & Michelle Dunas of Complete Thought Studio, 2023 1 August—20 September Replica Autoprogettazione 50 Years ago Enzo Mari presented instructions for a series of furniture pieces to be assembled by the user, allowing them to more critically view the increasingly ubiquitous mass produced objects around them. In our current era 197

1 June – 25 August 2024 Margaret Preston Flapper, 1925 purchased with the assistance of the Cooma-Monaro Snowy River Fund 1988, © Margaret Rose Preston Estate/Copyright Agency

Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring Outreach Program.

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

Open Wed – Sun | 2 Mistral Rd, South Murwillumbah NSW | gallery.tweed.nsw.gov.au |

gallery.tweed.nsw.gov.au

tweedregionalgallery

NEW S OUTH WALES Tin Sheds Gallery continued... of rampant low quality mass production, connection with craft & clarity of authorship has been lost across a range of fields, exemplified by replica furniture. Similarly the encumbering of architectural processes through pressure from heightened external factors often forces practice into the realm of standardised systems, with complexities concealed behind a surface veneer, opaque to the end user. Replica Autoprogettazione sees these systems brought into the light - to be seen, felt and understood. Curated by Stephen Clement and Michelle Dunas.

Tweed Regional Gallery & Margaret Olley Art Centre www.gallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–4pm. 5 July–17 November Domestica Deirdre Bean A solo exhibition by Deirdre Bean in which she has responded to three artist residencies: Hill End, Tweed Regional Gallery & Margaret Olley Art Centre and the private home of Dr Timothy Liauw, Springwater. 1 June–25 August Know my Name: Australian Women Artists A National Gallery Touring Exhibition. Looking to moments in which women created new forms of art and cultural commentary, the exhibition suggests new histories by highlighting creative and intellectual relationships between artists through time. Know My Name: Australian Women Artists is a National Gallery Touring Exhibition supported by the Australian Government through Visions of Australia and the National Collecting Institutions Touring and Outreach Program.

Gallery collection, this exhibition brings together superb examples of Margaret Olley’s still life paintings alongside artworks by contemporary Australian painters and photographers who have responded to Olley’s art, life and legacy.

The University Gallery www.newcastle.edu.au/universitygallery

Anna Carey, Crystal Mystery, 2022, giclee print, edition of 6, 89 x 104 cm. Image courtesy the artist. © The artist. 31 May–1 September Madam Mystery – Anna Carey Regional artist Anna Carey presents a photographic series, started during the pandemic, that focuses on fictional psychic shops. Each photograph contains a constructed miniature model, creating an imaginary space where reality meets fantasy. The works explore notions of escapism and how we make sense of an unknown future. Carey invites viewers to escape into these invisible worlds, creating connections after unprecedent times.

19 April–13 October Precipice – The Edges of Things Kat Shapiro Wood Northern Rivers artist Kat Shapiro Wood traverses multiple disciplines in her practice with an intense exploration of materiality and its inherent qualities.

1 November–26 October 2025 Sharing the National Collection: Monet, Olley and Morandi

Drawn entirely from the Tweed Regional

Located on our Callaghan campus, the University Gallery is renowned for ideas driven contemporary exhibitions from art practitioners and researchers – locally, nationally, internationally and from our own University community. For over 25 years it has been a site for cross-disciplinary collaboration and knowledge exchange that champions creative thinking and engagement. It is a place for contemporary artists to develop and profile their practice, presenting compelling exhibitions that inspire.

An exhibition of new landscape paintings and contemporary artefacts by Yiman, Ghungalu, Gooreng Gooreng artist, long-time Northern Rivers resident, and former Indigenous Park Ranger, Anthony J. Walker.

Selected from the Tweed Regional Gallery collection. A Tweed Regional Gallery initiative.

10 May–11 August Margaret Olley – From the collection

The University Gallery & Senta Taft Hendry Museum, University of Newcastle, University Drive, Callaghan, NSW 2308 02 4921 5255 See our website for latest information.

31 May–1 September Saltwater Currents – First Nations Seascapes and Contemporary Artefacts from Saltwater Country Anthony J. Walker

2 March–26 January 2025 A Delicate Terrain

Margaret Olley (1923 – 2011), The Dressing Table, 1982, oil on board, 76 x 101 cm. Pending – Gift of the Tweed Regional Gallery Foundation Ltd. Tweed Regional Gallery collection. © Margaret Olley Art Trust.

four works from the National Gallery of Australia’s collection will be proudly displayed at Tweed Regional Gallery until 2029. These works of art are on long-term loan from the National Gallery of Australia with support from the Australian Government as part of Sharing the National Collection.

Claude Monet’s painting, Meules, milieu du jour (Haystacks, midday), 1890 is one of five works from the National Gallery of Australia’s collection that has been shared with the Gallery and is currently on display until 26 October 2025. Joining the Monet are three works by iconic Australian artist Margaret Olley, along with a painting by one of Olley’s favourite artists, Giorgio Morandi. The additional

Former Open Foundation Students Photographs by: Kristen Zahra, Billy Callaghan and Benny Collison. Various 2023–2024. 10 June—28 September 50 Years 50 Stories 50 Years 50 Stories features photographs and stories from students celebrating the 50th anniversary of Open Foundation a pathways program into university study. Highlighting its profound impact, this exhibition tells stories of lives changed through education. The common thread across these 50 student stories and those of so many of our other pathways students is the importance of access to higher education for all.

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Wilder Times

Arthur Boyd and the mid-1980s landscape 06 JULY – 13 OCTOBER 2024 DAVID ASPDEN ARTHUR BOYD MAC BETTS VIVIENNE BINNS BRIAN BLANCHFLOWER MIKE BROWN ARTHUR & CORINNE CANTRILL JUDY CASSAB BOB CLUTTERBUCK LIZ COATS BONITA ELY GERRIT FOKKEMA HELEN GRACE ROBERT JACKS TIM JOHNSON ROBERT MACPHERSON SUSAN NORRIE JOHN PEART TONI ROBERTSON HOWARD TAYLOR ROVER JOOLAMA THOMAS IMANTS TILLERS TIMMY PAYUNGU TJAPANGATI RICHARD WOLDENDORP THE WOMEN OF UTOPIA

bundanon.com.au Arthur Boyd, Pulpit Rock and Willow Tree, 1984, oil on canvas. Public Art Collection, Arts Centre Melbourne. Photo: Mark Ashkanasy.

bundanon.com.au

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UNSW Galleries → Lillian O’Neil, Between Shadows, 2023. Courtesy of the artist and The Commercial, Sydney.

UNSW Galleries www.unsw.to/galleries

New photographic collages that consider ideas about the self and a multiplicity of selves experienced during matrescence.

Shattering the Glass Ceiling showcases the work of over 20 women artists from the National Art Glass Collection including, Kate Baker, Clare Belfrage, Jessica Loughlin, Judi Elliott, Kathy Elliott and Nancy Yu. It celebrates their exceptional practice, advanced technique and contribution to Australian and international studio glass over the past two decades.

Corner Oxford Street & Greens Rd, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat & Sun 12pm–5pm. Closed public holidays. See our website for latest information. UNSW Galleries brings together the work of leading Australian and international practitioners, curators, and writers working in the fields of contemporary art and design. It is a space for the presentation and interpretation of contemporary visual and material culture, and a site for gathering and conversation. The program stresses the importance of learning through exhibition-making, using integrated projects and events across the year to engage audiences in conversation with commentators from a range of disciplines. 28 June–8 September L’ombre de ton ombre Paul Knight The first major exhibition of Paul Knight in Australia, presenting new and recent photographic, sculptural and machinelearning works. 28 June–8 September The light that spills across the ground between shadows Lillian O’Neil

17 February—7 July Shattering the Glass Ceiling – Women Artists in the National Art Glass Collection

Lisa Sammut, a circular logic (detail), 2023. Courtesy of the artist. Photograph: Brooke McEachen. 28 June–24 November How the earth will approach you Lisa Sammut Recent works incorporating objects, light, and moving image that explore the ways cosmic forms mirror our social worlds.

Wagga Wagga Art Gallery

Lyndall Phelps, Science of Common Life: Experiment 7, 2024. glass beads, crystal chandelier beads, nylon thread, glass gas jars.

www.waggaartgallery.com.au

23 March—1 September Lyndall Phelps: Science of Common Life

Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am– 2pm, closed Mondays. Free.

In this exhibition the National Art Glass Gallery will become a unique laboratory, a place of surprising experimentation and transformation. Lyndall Phelps will create a site-specific installation that merges her research into the National Art Glass 201

MICHAEL STANIAK

06 JULY – 03 AUGUST 2024 STATION I SYDNEY

— GADIGAL / SYDNEY 91 CAMPBELL STREET SURRY HILLS NEW SOUTH WALES 2010 AUSTRALIA P: +61 2 9055 4688 NAARM / MELBOURNE 9 ELLIS STREET SOUTH YARRA VICTORIA 3141 AUSTRALIA P: +61 3 9826 2470 — POST@STATIONGALLERY.COM STATIONGALLERY.COM Image: Michael Staniak, HDF_643, 2023.

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NEW S OUTH WALES Wagga Wagga Art Gallery continued...

Wentworth Galleries

Collection and glass from the scientific world, with the many ways women incorporate glass into craft activities, now and in the past.

www.wentworthgalleries.com.au 61–101 Phillip Street, Sydney, NSW 2000 [Map 8] 02 9222 1042 1 Martin Place, Sydney, NSW 2000 [Map 8] 02 9223 1700 Open daily 10am–6pm. 1 August—7 August Ken Knight

As an artist deeply inspired by the ocean, Wolfenden’s work aims to evoke a sense of nostalgia and admiration for the sea. His journey with surf art began during his formative years, particularly in year 12, when a painting Mother Of Curl was showcased in Art Express. This experience ignited a passion within Wolfenden to continue exploring and capturing the beauty of surfing and the ocean. His latest collection strives to convey the elegance and dynamism of surfing through vibrant and expressive compositions. Each painting is a reflection of experiences and memories by the sea, aiming to take viewers on a visual journey through the waves. Opening event, Friday 2 August 6pm–8pm. 23 August—7 September Mahalia Leckner & Jack Reading

Kay Finn, Untitled, 2023. Umoona Arts. 1 July—13 October Nganampa Ngura Inmatjara: Our Country, Our Song

Sarrita King, Ancestors, 2024, acrylic on Belgian Linen, 90 x 180 cm. 15 August—21 August Sarrita King

Big, beautiful recent works from APY Lands and Coober Pedy. Curated by Wagga Wagga Art Gallery and presented in conjunction with APY Art Centre Collective.

White Rabbit Contemporary Chinese Art Collection

Watt Space Gallery

www.whiterabbitcollection.org

www.newcastle.edu.au/ wattspacegallery 20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.

Jack will be showcasing a photographic documentation series capturing every suburb in the Newcastle LGA during the COVID-19 lockdowns. The series captures iconic, nostalgic, and obscure architectural elements in Newcastle. While Mahalia will be bringing together a mixed-media exhibition highlighting iconic, nostalgic, and obscure Newcastle elements. Opening event, Friday 23 August 6pm–8pm.

Phil Stallard, Hat Head Reflection Haiku, 2024, acrylic, oil and charcoal on canvas, 123 x 123 cm.

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

22 August—28 August Sydney to Babylon Phil Stallard

Wester Gallery www.wester.gallery 16 Wood Street, Mulubinba, Newcastle West, NSW 2302 [Map 12] 0422 634 471 Nicole Chaffey, Dilly Vessel, 2022, glazed earthenware, 16 x 14 x 4 cm. 29 May—31 August Useful Objects Useful Objects examines First Nations ancestral connections using a rare collection of artefacts from the Laut Collection held by the Wollotuka Institute. These rare and ancient items from across Australia are exhibited alongside contemporary First Nation’s artists who have reinterpreted the methods, mediums and uses to ascribe new meanings. Curated by First Nations Cadet Jessica Tobin and Intern Renae Lamb.

Lu Pingyuan 陆平原, Shadow of the Shadow, 2021, foam, resin, modelling clay, paint, dimensions variable, approximately 306 x 2000 x 300 cm. Image courtesy of the artist and MadeIn Gallery. 26 June—10 November Laozi’s Furnace Group Exhibition

Matthew Wolfenden. 2 August—17 August Surf City Matthew Wolfenden

The artists in Laozi’s Furnace inherit the legacies of early alchemists by delving into material exploration. Can a tank be stitched from leather? Can shadows be crafted from clay? Can animals take on human forms? Bringing alchemy into the 21st-century, our artists reveal the ways of turning mind into matter, and matter back into mind. 203

YOSHIO HONJO 25 JUL – 10 AUG

Image: Hell courtesan - Jigokudayu (det), 2024, Handmade Komohadamashi paper, Sumi ink, Suihi-enogu (water dried pigment) 182 x 121cm

nandahobbs.com

12 – 14 Meagher Street

info@nandahobbs.com

Chippendale \ NSW \ 2008

nandahobbs.com

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Wollongong Art Gallery www.wollongongartgallery.com

foretelling our society’s fragmentation, but the tactile and imaginative process of weaving offers clues for survival.

Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm.

Until 25 August what is held, is here Michele Elliot Materiality and process are at the heart of Michele Elliot’s practice and made visible through her devotion to its labour, to the work of art and the accumulation of gestures over time. Bark, blossom, branch, copper, cotton, gold, lemongrass, linen, onion, silk, silver, smoke, wood and walnut are brought into conversation through making and the language of textiles.

Rosemary Laing, groundspeed (Red Piazza) #3, 2001, C Type photograph. Purchased with funds from the Edith Kouto Bequest.

Works traversing both traditional and contemporary perspectives of landscape art, including works which present First Nations stories of place, climate change and environmental impacts, the effects of colonisation, settlement and the many approaches artists take to capture different fragments, reflections and narratives within landscapes. The exhibition investigates these notions with works from the First Nations, Colonial, Early Australian, Contemporary and Asian collections.

Yarrila Arts and Museum www.yarrilaartsandmuseum. com.au

Permanent Museum Exhibition Yaamanga Around here Explores the history and identity of the Coffs Coast through themes of the harbour, headlands and hinterland. Gumbaynggirr culture is the central focus with the specially commissioned Daalga Nginundi Wajaarr (Sing Your Country), created by ZAKPAGE. Deep dive into local stories that are surprising, thoughtprovoking, playful and inspiring.

Until 1 September An Archaeology of Woven Tapestry Diana Wood Conroy An Archaeology of Woven Tapestry brings together woven tapestries, drawings and paintings drawn from public and private collections from fifty years of Diana Wood Conroy’s life as an artist. Travelling widely in Europe, she is now deeply embedded in the country of the Illawarra. Combining a passion for the earth, threads and colours of the Australian land in grids of pattern, her loving study of ancient archaeology in Cyprus and Greece informs her imagery. The past is a dark mirror to the present,

Aidan Jarvis’ vibrant and energetic works evoke the rebellious spirit of the lowbrow movement, which draws inspiration from underground poster art, punk music, Tiki culture, Japanese mythology and hot rod street culture.

Until 3 November Shifting Ground: Landscape from the Collection

Yarrila Place, 27 Gordon Street, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4700 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed on Mondays and all NSW public holidays.

Diana Wood Conroy, Whorl with a fragment of tapestry, 2018, tempera with Australian ochres and gouache on board with woven tapestry of wool silk and linen. Detail. 60 x 80 cm.

Deadpan humour and unflinching honesty are hallmarks of Ellie Ryan and Raffi Butler’s work. Using diverse mediums from painting and ceramics to sculpture and robotics, the artists explore and question how we experience everyday life, consumer culture and environmental concerns. 25 May–21 July The Lowbrow Art of Aidan Jarvis

Until 18 August With Every Fibre of our Being: Textiles from the Collection Works from the collection which examine diverse relationships with fabric and fibre. The materiality of each work is embedded with personal, cultural, and conceptual reflections, as the artists engage with notions of memory, gender, material production and waste, heritage and the human condition. Our many histories, narratives, and ways of being are inextricably woven into the fabric of our very being, conveyed in this exhibition through the intricate beauty of threaded, stitched, dyed, printed and woven mark making.

Raffi Butler and Ellie Ryan

Anglea Tay, Red Mangrove Grey Mangrove, 2022, moving image. Image courtesy of the artist. 8 June–14 July Red Mangrove Grey Mangrove Angela Tay As a student of Chinese visual and martial arts, Angela brings a unique perspective to her work, offering a mesmerizing choreography that references calligraphic lines. Her intricate and graceful movements, combined with visuals of mangrove forests, create a mesmerising and thought-provoking experience. 8 June–28 July Saltwater Freshwater Arts 2023 The biennial Saltwater Freshwater Arts award and touring exhibition is a celebration of Aboriginal and Torres Strait Islander arts and culture from the Mid North Coast, showcasing contemporary art and cultural artefacts from the Worimi, Biripi, Dunghutti and Gumbaynggirr Nations that make up the Saltwater Freshwater region. 8 June–11 August ARTEXPRESS 2024 Showcases outstanding artworks created by NSW HSC Visual Arts students in 2023 across diverse forms including drawing, painting, photomedia, printmaking, textiles, sculpture and ceramics. 16 July–18 August Between the Horizon and Here Kirsty Lee In Kirsty Lee’s moving image and installation, Between the Horizon and Here, the artist explores how place, and the concept of home exists in our personal and collective memories.

Portrait of Raffi Butler. Photograph: Liam Butler. 25 May–21 July Gratified

27 July–8 September DISCO Alun Rhys Jones Alun Rhys Jones’ DISCO explores ingrained stereotypes that perceive

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Queensland

JULY/AUGUST 2024

QUEENSLAND

Caloundra Regional Gallery

Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat & Sun 10am–3pm. Free admission. Artspace Mackay enthusiastically re-opens its doors to the public 10am Saturday 10 August following an extended closure for renovations.

Tony Albert, Brothers series, 2013, reproduction on di-bond. Collection of The University of Queensland. Gift of Tony Albert through the Australian Government’s Cultural Gift program, 2014. Reproduced courtesy of the artist and Sullivan + Strumpf, Sydney. Photo: Sharon Baker. 10 August—6 October ProppaNOW: OCCURRENT AFFAIR Established in 2003, proppaNOW is one of Australia’s leading cultural collectives, exploring the politics of Aboriginal art and culture, and provoking, subverting, and re-thinking what it means to be a ‘contemporary Aboriginal artist’. Conceived as a collaborative activist gesture, OCCURRENT AFFAIR will address current socio-political, economic, and environmental issues, while celebrating the strength, resilience and continuity of Aboriginal culture. An exhibition from The University of Queensland Art Museum touring with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is assisted by the Australian Government’s Visions of Australia program.

Brisbane Powerhouse www.brisbanepowerhouse.org Yagara Country, 119 Lamington Street, New Farm, QLD 4005 [Map 15] Open daily 9am—late. 6 July—4 August World Press Photo Exhibition Delve into the world of impactful visual storytelling at Brisbane Powerhouse during the World Press Photo Exhibition. Immerse yourself in the results from the prestigious annual photo contest, revealing the most compelling photojournalism and documentary photography from

www.gallery.sunshinecoast.qld.gov.au

Adriana Loureiro Fernandez, Red Skies Green Waters, for the New York Times. across the globe. Selected from over 61,000 entries from 130 countries, the exhibit presents a diverse tapestry of perspectives, encouraging dialogue. Step beyond the headlines to contemplate critical issues shaping our world today, with a selection of the best images capturing the resilience, compassion, and urgency of our shared human experience. This free exhibition is only visiting Brisbane for a short period of time, catch this opportunity to admire the courage and integrity of press and photographers worldwide. Brisbane Powerhouse is a Brisbane City Council owned venue.

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.

22 Omrah Avenue, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm.

Contemporary Songlines. 21 June–18 August Contemporary Songlines - Dhakkan/ Mundagudda (Rainbow Serpent) and Maroochy (Black Swan) Project This year-long collaborative First Nations student/youth and women’s exhibition showcases our First Nations regional artists’ collective stories and culture. Project creator, lead and cultural arts project curator, Aunty Jude Hammond (Gunggari/Kamilaroi), with support of Jaiva Davis (Gubbi Gubbi) First Nations cultural arts trainee for Project and Integrated Family and Youth Services (ifys), has worked with four schools across the region, Burnside, Caloundra, Maroochydore and Noosa District and ifys Youth as well as First Nations Women’s Art Group, to created their individual ceramic/metal Songline sculptures; sharing their connections to place, people and ancestors.

Chantal Fraser, Fantômas Gold, 2023, welding helmet, adhesive, acrylic rhinestones, metallic glass shards. Image courtesy of the artist. Photograph: Louis Lim. 12 June–31 August Chantal Fraser: The Ascended Since the early 2000s, Sāmoan-Australian artist Chantal Fraser’s feminist anticolonial art practice has challenged Euro–American art histories that have been spread across the globe. Exploring ritual, adornment and gestures of exchange, her works make use of a vast array of artistic, musical and spiritual sources, from global pop culture to folk and customary practices. Chantal Fraser: The Ascended was developed by Griffith University Art Museum and supported by Arts Queensland, Creative Australia, and NorthSite Contemporary Arts.

Judith Nangala Crispin Jenni, in spirit form, watches the first UFOs appear over the West MacDonnell Ranges, 2022, lumachrome glass print, cliché-verre, chemigram, acrylic, 140 x 97 cm. 24 August–13 October Sunshine Coast National Art Prize 2024 Entering its 18th year and reflecting the full breadth of the Prize with an new name, Sunshine Coast National Art Prize 2024 is our region’s flagship art award, honouring outstanding contemporary 2D and new media arts practice in Australia. The acquisitive art prize is part of Council’s strategic collecting strategy, to build a 207

ar t g ui d e .c o m . au Caloundra Regional continued... significant cultural asset for the region, which can be enjoyed by current and future generations. From entries received across the country, the 40 finalist artworks will offer a profound and unapologetic interpretation of our world today, with a diverse portrayal of subjects in a range of styles, from traditional oils and acrylics to new media and digital compositions, that together, confront, celebrate, enlighten and engage.

Court House Gallery, Cairns www.cairns.qld.gov.au/courthousegallery 38 Abbott Street, Cairns, QLD, 4870 [Map 14] 07 4032 6620 Tue to Sat, 10am–4pm. Free admission. See our website for latest information. 25 May–13 July Charcoal – Yarrabah Arts & Cultural Precinct Artists and contributors: Philomena Yeatman, Michelle Yeatman, Christopher Harris, Elverina Johnson, Simone Arnol, Garth Murgha, Salome Yeatman, Gunggandji-Mandingalbay Yidinji Rangers, Gurriny Yealamucka Women’s Group, and Buri Guman Irribamu Dance Group (One Fire from Yarrabah).

Rhi Johnson, Abandoned #17. 1 July—30 August Extended: small prints

The G Contemporary www.thegcontemporary.com 6/32 Hastings Street, Noosa Heads, QLD 4567 0400 716 526 Sun to Thu 10am–5:30pm, Fri & Sat 10am–6pm. See our website for latest information. Art appreciation has become a conduit of conversation as well as enhancing the spaces in which we find ourselves in. The motivation to introduce an eclectic collection by dedicated artists to global citizens comes from a strong belief that art can provide pleasure and culture in so many ways. Please enjoy the art available and reach out to connect with The G Contemporary.

21 August–5 October Voices of Our Past Galbu Geth (Dante Brim, Wypaan Ambrum, Harriet Mills, and Lilly Suli-Brock).

Gareth Edwards, Rocky Cove, oil on canvas, 90 x 100 cm. Image courtesy of the artist. 7 August–21 August The Atmospherics of Light Gareth Edwards RWA A stunning exhibition of evocative abstract landscapes, bringing St.Ives, UK to Noosa, Australia. Gareth will introduce his work in person as part of his inaugural visit to Australia. Opening event, Saturday 10 August, 5pm–7pm. RSVP Essential.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Open daily 10am–4pm. See our website for latest information.

Launch Friday 23 August, 6pm .

Abdul Abdullah, Kingdom of Kindness (installation view), 2024. Image courtesy of HOTA.

Gallery 48

9 March–21 July Kingdom of Kindness: Abdul Abdullah

www.gallery48thestrandtownsville.com 2/48 The Strand, North Ward, Townsville, QLD 4810 [Map 14] 07 47244898 & 0408 287 203 Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information. 1 July—30 August Postcards from the North and South Artists from Press North, Townsville; Fire Station Print Studio, Armidale Vic.; The Printing Girls, South Africa; The Art Room Johannesburg; AVA Gallery, Cape Town. 208

Rhonda Cao, Wait a Wile, bronze, 57 x 30 x 28 cm, edition 5 of 6. Image courtesy of the artist.

Artist Abdul Abdullah invites you to visit his Kingdom of Kindness. Explore connections and emotions in friendly, fun and playful ways in HOTA’s Children’s Gallery.

13 July D’Elegance Art Collective

30 March–4 August Italian Renaissance Alive | Grande Experiences

An innovative collection of selected artworks curated by the gallery directors. Indulge in art by local, interstate, and international artists within the contemporary space on Hastings Street whilst enjoying a complimentary glass of bubbles. Champagne reception, Saturday 13 July, 3pm–6pm.

25 May–18 August everyone is dead, except for me, again Jason Phu

Witness iconic works like the Sistine Chapel, Mona Lisa, and Birth of Venus in a stunning digital multisensory gallery, accompanied by a powerful operatic musical score.

QUEENSLAND art competition in the region, allowing local, Queensland and interstate artists to come together to share their work.

Institute of Modern Art www.ima.org.au

Jason Phu, everyone is dead, except for me. everything is futile, and i am tired. i wait in my little house, for the winter to take me, 2022, mixed media installation. Courtesy of the artist and STATION, Melbourne. Originally commissioned by the Australian Centre for Contemporary Art (ACCA), Melbourne as part of the Macfarlane Commissions, this extraordinary example of Phu’s practice forms the centrepiece of this premiere exhibition.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, QLD 4655 07 4197 4206 Tue to Fri 10am–4pm, Sat & Sun 10am–2pm. Closed Monday & public holidays.

Ground Floor, Judith Wright Arts Centre, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Tue to Sun, 10am–5pm. Thu, 10am–8pm. Free admission. See our website for latest information. The Institute of Modern Art (IMA) is one of the Asia-Pacific’s most important, visible, and relevant forums for contemporary visual art. The IMA champions contemporary art, artists, and ideas, connecting local voices to global dialogues via inclusive, sustainable, and innovative institutional practice. Entry to the IMA is always free, offering transformative experiences that amplify voices, ignite curiosity, and inspire change through contemporary art.

Hervey Bay Art Society proudly showcases their 40th Annual Competitive Art Exhibition (ACAE) at Hervey Bay Regional Gallery. Six sections will be on display at the gallery, showcasing a broad range of subjects and mediums including, landscapes and seascapes, abstract artworks, flora and fauna, figurative works and portraits, miniatures, and an open category. Since 1984, the Annual Competitive Art Exhibition has been the largest community

54 Vernon Terrace, Teneriffe, QLD 4005 [Map 15] 0419 657 768 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information. Jan Manton Gallery is a leading art gallery located in the wool store precinct of Teneriffe. The gallery’s exhibition program encourages collectors to connect through artist talks, exhibition openings and panel discussions.

Arryn Snowball, Road to the Mountains, 120 x 90 cm, tempera on canvas, 2024. Image courtesy of the artist and Jan Manton Gallery.

30 July–17 August LATENT BLANT Miles Hall

29 June–22 September Duty of Care Kathy Barry, Benetton/Oliviero Toscani, Joshua Citarella, Martin Creed, Julian Dashper, Florian Habicht, Hossei, Mike Kelley, Leigh Ledare, Teresa Margolles, Dani Marti, Dane Mitchell, Betty Muffler, Michael Parekōwhai, Tabita Rezaire, Michael Stevenson, Cassie Thornton/ The Hologram, and Artur Żmijewski

27 July–8 September Hervey Bay Art Society: 40th Anniversary of ACAE

www.janmantonart.com

9 July–27 July Octopus Moon Arryn Snowball

Dani Marti, Notes for Bob, 2013, single-channel video, sound, 21:40 min. Courtesy the artist and Dominik Mersch Gallery, Sydney.

Paul Neale, Cockatoo Eating Berries, 2023, pastel.

Jan Manton Gallery

Care may seem to be a self-evidentlygood idea—who would want to argue against it?—but it is a complex and elastic notion. It also implies opposite, ‘uncaring’ positions: meat eaters and gas guzzlers, capitalists and conservatives. Is care a new culture-wars frontline, a new usand-them? Duty of Care addresses care every which way, drawing on works that passionately argue for care and works that critique or test our assumptions about it. Combining different generational and cultural perspectives, it explores care as obligation; care and race, gender, and class; institutional and professional care; artists as healers; and extreme care. A partnership between the IMA and Griffith University Art Museum, Duty of Care is an exhibition presented in two parts with an international line up of artists.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 25 June–13 July Marcel Proust Mini DV David Griggs

Tjungkara Ken, Seven sisters (636-23), 2023, acrylic on linen, 153 x 197 cm. 16 July–3 August Iluwanti Ken, Sylvia Ken & Tjungkara Ken 6 August–24 August New Paintings Adam Pyett 209

Robyn Bauer, Evening Light From Red Hill, acrylic on canvas, 91 x 46 cm.

ROBYN BAUER STUDIO

54 Latrobe Terrace, Paddington, QLD 4064 Gallery open Saturdays only 9.30am to 4.30pm or by appointment 0404 016 573 Insta. @robynbauerstudio2 @sarah.matsuda www.robynbauerstudio.com www.sarahmatsuda.com sarahmatsuda.com

We represent a diverse range of artists and celebrate the creative work they bring to the art world. We offer various services for the artist and the art collector, including artist representation, exhibition opportunities, art consultancy, sourcing and placement.

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

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featherandlawry.com.au

QUEENSLAND

Logan Art Gallery

Metro Arts

www.loganarts.com.au/artgallery

www.metroarts.com.au

Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tue to Sat 10am—5pm. Sun 10am– 2pm from 20 July to 8 September. 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 opening times and special events in conjunction with exhibitions.

7 June–13 July Caring for Country Troy Skeen

Housed within the iconic Brisbane City Hall on Turrabul, Yaggera and Yuggarrapul Country, MoB celebrates the creatives and history-makers who deepen our understanding of place. We reflect Brisbane’s people, its passions and communities. Now located in a purposebuilt gallery, Museum of Brisbane is on the top floor of the revitalised City Hall, offering views of two of the building’s heritage features, the Clock Tower and copper dome.

Deirdre Feeney, The Hidden Image Life of Lenses. Photograph: Sam Roberts. 8 June–29 June The Hidden Image Life of Lenses Deirdre Feeney

Gretel Bull, Mon Amure, Mi Amure, 2022, glazed midfire ceramic. Courtesy of Hermannsburg Potters. Photograph: Sara Maiorino.

The installed work creates a dreamscape scenario where we witness the lenses’ dreams, an interaction that enables the charge of the lens be transferred from its material form into the perceptual realm of the viewer. This exhibition is presented in partnership with ISEA2024.

7 June–13 July Clay on Country An Artbank NT Touring Exhibition 7 June–13 July Uncle Reg Knox Memorial Exhibition 7 June–13 July World environment day posters 20 July–8 September A view from the edge Paula Irene Payne

CONTAINER, The Violence of a Civilization Without Secrets. Image courtesy of the gallery. 6 July–3 August Container x Metro Arts Various Artists The exhibition brings together two artists who share Indigenous heritage and a unique artistic approach. Adam Khalil, a mid-career USA First Nations artist (a member of the Ojibway tribe) is paired with Keemon Williams, an emerging local Indigenous artist. Presented in partnership with Container.

Museum of Brisbane Brett Whiteley, Self portrait in the studio, 1976, Art Gallery of New South Wales, purchased 1977. ©️ Wendy Whiteley/ Copyright Agency. 20 July–8 September Brett Whiteley: Inside the Studio An Art Gallery of New South Wales and Brett Whiteley Studio touring exhibition.

www.museumofbrisbane.com.au Level 3, City Hall, Brisbane, QLD 4000 [Map 18] 07 3339 0800 Mon to Sun 10am–5pm. Free admission. See our website for latest information.

Alfred Henrie Elliott, Enoggera Reservoir, 1898, photograph. City of Brisbane Collection, Museum of Brisbane. 17 August–13 July 2025 New Light – Photography Now + Then Marian Drew, Jo-Anne Driessens, Joachim Froese, Tammy Law, Carl Warner, Nina White and Keemon Williams. A mesmerising display of photography spanning 1890 to 2024. With the power to freeze and preserve time, photography has captured imaginations for centuries. This August, step into New Light – Photography Now + Then, an exhibition where past and present converge in a mesmerising display of photography spanning 1890 to 2024. Immerse yourself in the remarkable tale of amateur Brisbane photographer Alfred Henrie Elliott (1870-1954), whose extraordinary images lay dormant for decades until they were discovered in 1983, stored in cedar cigar boxes beneath a home in Red Hill. Initially thought to comprise 300 glass-plate negatives and a trusty tailboard camera, the collection’s narrative took an unexpected turn in 2014 with the discovery of an additional cigar box brimming with over 400 film negatives and 92 prints. Drawing on this treasure trove of an archive, seven contemporary Brisbane photographers will debut exciting new commissions responding to different parts of the Elliott Collection. By layering their own perspectives, knowledge and experiences onto the collection, the artists will encourage new ways of looking at our past, our present and this place. Join us in celebrating the ever-inspiring interpretive capacity of photography this August.

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NorthSite Contemporary Arts

Outback Regional Gallery, Winton

www.northsite.org.au

www.matildacentre.com.au

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–4pm. See our website for latest information.

Waltzing Matilda Centre, 50 Elderslie Street, Winton, QLD 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information. The first museum in the world dedicated to a song, the new Waltzing Matilda Centre boasts state of the art interpretation, telling the story of Waltzing Matilda.

6 July–13 July 2024 Queen of Gems Jewellery and Design Awards Queensland Boulder Opal Association Inc.

Onespace Gallery www.onespace.com.au 25A Bouquet Street, South Brisbane QLD 4101 07 3846 0642 Tue to Fri 10am–5pm, Sat 12pm–4pm or by appointment.

Vernon Ah Kee, way to be (production still), 2024. Courtesy the artist and Milani Gallery, Brisbane. 14 June–10 August way to be Vernon Ah Kee 14 June–10 August Meriba Tonar / Ngoelmudh / Our Way James Ahmat Sr, Lara Fujii, Harry Nona, Nola Ward-Page, Alick Passi, Maryann Sabasio, curated by Aven Noah Jr and Leitha Assan.

Sonja Carmichael and Elisa Jane Carmichael, Ungaire growing in swamp lands, Hahnemuhle 300 gsm Weiss A la poupee soft ground etching, 50 x 50 cm, 2AP + Edition of 20.Photograph: Louis Lim. Courtesy of the artist and Onespace.

14 June–10 August Lamar Kop / Spiritual Centre Andrew Passi Sr

25 July–28 July Cairns Indigenous Art Fair Heidi Margocsy, Brave New World, 2022. 19 July–11 October 2023 National Photographic Portrait Prize A National Portrait Gallery Touring Exhibition Waltzing Matilda Centre Winton is pleased to present National Photographic Portrait Prize 2023, a touring exhibition from the National Portrait Gallery. 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.

Onespace is pleased to announce its involvement in the Cairns Indigenous Art Fair this year, programmed from the 25th to the 28th of July. This year’s theme, Country Speaking, highlights the permanence of Country and provides the opportunity for Country to be heard. Onespace artists, Darren Blackman,

Sheryl Burchill at NorthSite Art Studios, 2023. Photograph: Cristina Bevilacqua/ The Photo Corner. 14 June–10 August SpotFire II Brian Robinson, Glen Mackie, Kassandra Savage, Robert Tommy Pau, Ruth Saveka, Sheryl J Burchill, Zane Saunders, Taheega Savage 25 July–28 July Offsite – Cairns Indigenous Art Fair 2024 Women’s Business Ivy Minniecon and Karen Gibson. The Opal Miner, Winton, Boulder Opal Specimen. 212

Elisa Jane Carmichael, Fallen – Pulan 1, 2023, cyanotype on cotton. Photograph: Louis Lim. Courtesy of the artist and Onespace.

QUEENSLAND Sonja Carmichael, Elisa Jane Carmichael, Tamika Grant-Iramu, Brian Robinson and Teho Ropeyarn will be exhibiting several major prints at this year’s booth. 2 August–31 August Riverine Onespace is moving its gallery and offices to an exciting new location at 25A Bouquet Street, South Brisbane. This new expanded exhibition space provides a brand-new home to one of Queensland’s vibrant commercial art galleries. This new space is at Kurilpa, just around the river bend from the State’s peak cultural organisations - QAGOMA, State Library of Queensland, Queensland Museum, and the Queensland Performing Arts Centre. And we’re just across the road from Queensland Theatre.

have also allowed many emerging artists to engage with portraiture and share their expressions of themselves and those close to them.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tue to Sat 10am–5pm.

The opening exhibition will feature several of Onespace’s artists in the Main Gallery who have thematically responded to this place, next to Maiwar, the Brisbane River, together with the work of artist Col McElwaine in the Lounge Gallery.

Claire Ritchie, Incandescent, 2023, acrylic on canvas. Photograph: Katy Bedford. Image courtesy of the artist.

Perc Tucker Regional Gallery

to being her own best mate. Through her art she reflects on personal experiences to champion and strengthen her relationship with herself.

www.townsville.qld.gov.au Ground Floor, Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm.

Fred Williams, Iron Ore Landscape II, 1981, oil on canvas, 96 x 106.5 cm. 2 July—27 July Fred Williams 30 July—24 August Ralph Wilson

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.

You are invited to go on a walk through Claire’s thoughtful flower garden. As you gently stroll through the gallery you will learn the different ways Claire champions her wellbeing and connects to her inner self through creativity and colour. Take some time for quiet contemplation, wrap yourself up in art and learn how to be your own best mate. Exhibition developed by City of Moreton Bay.

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 Mon to Fri 9am–5pm, Sat 9am–3pm, Sun 9am–1pm.

Image courtesy of the gallery. Michael Lindeman, I…, 2020, watercolour and acrylic on canvas, 196 x 138 cm. Winner of the acquisitive Percival Portrait Painting Prize 2022. City of Townsville Art Collection. Accession number: 2022.0137.000. 22 June–1 September The Percivals Having begun in 2007, The Percivals is an open competition for artists. While showcasing the outstanding and innovative work currently being produced by Australian artists, the competitions

22 June–3 August Moreton Bay Art Prize The Moreton Bay Art Prize is an annual exhibition and prize that supports and celebrates Moreton Bay’s diverse local artists. Winners of the prize will share a prize pool totalling $10,000. 10 August–19 October Pick me Claire Ritchie Pick me is an exhibition by Claire Ritchie that celebrates our relationship with ourselves. In 2024 Claire has committed

Judy Watson, experimental beds 3, 2012, 3-plate etching with chine colle, 81 x 67.3 cm framed. Photograph: Carl Warner. 213

ar t g ui d e .c o m . au Pinnacles Gallery continued... 12 July–15 September Seven + Seven: Printmaking Across Unknown Terrain Seven + Seven: Printmaking Across Unknown Terrain explores visual dialogues and contemporary ideas among 14 artists from Canada and Australia. The resulting exhibition invites audiences to regard not only the vast distances across both these country’s geographical and psychological landscapes, but to also consider how relative perspectives in these two hemispheres examine similar themes of colonialism, extreme weather, consequences of the impact humans have on nature (and ourselves). Through hybrid applications of printmaking and the international diversity the exhibition explores, we might find two different cultures have more in common than we think.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm. Queensland Art Gallery | Gallery of Modern Art (QAGOMA) is the state’s premier institution for the visual arts, based in two neighbouring gallery buildings on Kurilpa Point in Brisbane, Australia. Across both galleries we present ever-changing exhibitions of contemporary and historical Australian and international art, accompanied by dynamic programs and events, and hold a globally significant collection of contemporary art from Australia, Asia and the Pacific.

Judy Watson, Waanyi people, Australia b.1959, moreton bay rivers, australian temperature chart, fresh mussels, net, spectrogram, 2022, indigo dye, graphite, synthetic polymer paint, waxed linen thread and pastel on cotton, 247 x 488 cm. Proposed for the Queensland Art Gallery | Gallery of Modern Art Collection. © Judy Watson/ Copyright Agency. 23 March–11 August mudunama kundana wandaraba jarribirri: Judy Watson QAG | Free. 26 August 2023—25 August sis: Pacific Art 1980-2023 GOMA | Free.

QUT Galleries and Museums www.artmuseum.qut.edu.au wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tue to Fri 10am–4pm, Sun 10am– 2pm. Closed Mondays, Saturdays and public holidays.

William Robinson, Twin Falls, 2000, colour lithograph. QUT Art Collection. Gift of the artist under the Cultural Gifts Program, 2002. 5 September–8 September William Robinson: The Painter and the Printmaker William Robinson is revered as one of the nation’s great contemporary painters, recognised for his multiperspective depictions of the Australian landscape. While he is most readily identifiable by his monumental paintings, his print works are scarcely understood or fully acknowledged for their aesthetic value and contribution to the artist’s remarkable creative vision. This exhibition provides rare insight into Robinson’s mastery as a colourist and markmaker by showcasing four decades of printmaking, in particular his lithographs and etchings, alongside major paintings.

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.

Anna May Kirk, Year without a sun (installation view) 2023, video, sound, glass. Image courtesy of the artist. 23 June–13 October As Above, So Below

Iris van Herpen (designer), Netherlands b.1984, Carla van de Puttelaar (photographer), Netherlands b.1967, Synergia Series, 2021. Photograph: Carla van de Puttelaar. © Carla van de Puttelaar. 29 June–7 October Iris van Herpen: Sculpting the Senses GOMA | Ticketed. 214

The term ‘as above, so below’ is commonly used to describe the idea that the microcosm mirrors the macrocosm and vice versa. In our current state of climate crisis, whereby seemingly minute changes in temperature and sea levels threaten catastrophic changes to the broader ecosystem, ‘as above, so below’ becomes a warning. This exhibition brings together new and recent works by Australian and international artists who engage with our environment by investigating hidden ecosystems, plant communication, endangered species, air quality, ecoacoustics, posthumanism, plant/human relationships, and more. Presented as part of ISEA.

Kellie O’Dempsey, Wish, 2023. Installation view of Wish you were here at Bundaberg Regional Art Gallery. Image courtesy of the artist. 4 May–13 July Wish you were here Kellie O’Dempsey Wish you were here began as a response

QUEENSLAND to the stop-start movement of COVID-19 by artist Kellie O’Dempsey. The exhibition transforms the monotony of pandemic life into a mesmerising carnival of ghostly shapes, and otherworldly creatures. Using video, light installation and augmented reality, O’Dempsey invites you into an immersive space that celebrates the joy of the everyday. The exhibition includes sound by Mick Dick and AR Animation by Helena Papageorgiou. Kellie is represented by Jan Manton Gallery.

Cassie Sullivan, Country is Calling, 2021, giclée print on cotton rag, aluminium mount. Image courtesy of the artist. 18 May–27 July Interfacial Intimacies Bruno Booth, Amrita Hepi, Léuli Eshrāghi, Bhenji Ra, Aleks Danko, Cassie Sullivan, Georgia Morgan, Cigdem Aydemir, David Rosetzky, Shea Kirk. Interfacial Intimacies brings together artists who hold and express tenderly the multiple aspects of their selves through a 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, developed by the Plimsoll Gallery and toured by Contemporary Art Tasmania. The Plimsoll Gallery is supported by the University of Tasmania. Contemporary Art Tasmania is supported by the Australian Government through Creative Australia, its principal arts funding body, by the Visual Arts and Craft Strategy and is assisted through Arts Tasmania by the Minister for the Arts. This project has been assisted by the Australian Government’s Visions of Australia program and by the Contemporary Art Tasmania Exhibition Development Fund.

calendar favourite. The exhibition brings together the best works by society members from the past year. Prizes are awarded across many categories including landscape, still life, portraiture, abstract, and contemporary. Enjoy demonstrations by exhibiting artists each Saturday and cast your vote for the People’s Choice Award. Exhibition developed by Redcliffe Art Society. 3 August–16 November New Exuberance: contemporary Australian textile design New Exuberance: contemporary Australian textile design is a major touring exhibition project reflecting on current directions in textile practice through art, design and fashion. Curated by Meryl Ryan in consultation with the JamFactory team, the exhibition presents the work of more than thirty diverse multidisciplinary creatives and includes ten commissioned furniture pieces produced by designers associated with JamFactory. New Exuberance: contemporary Australian textile design is a JamFactory touring exhibition supported by the Visions of Australia touring program, an Australian Government program aiming to improve access to cultural material for all Australians.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield streets, Cleveland, QLD 4163 07 3829 8899 [Map 16] Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information. 16 June—30 July Liminal ‫برزخ‬ Sha Sarwari

Julie Purcell, E.B.W.T.Y., 2023, oil. Image courtesy of the artist. 20 July–17 August Redcliffe Art Society Exhibition of Excellence 2024 In its 67th year, Redcliffe Art Society’s annual Exhibition of Excellence is a

Sha Sarwari’s work responds to both the experience and representation of refugees in Australia. Language is a crucial force here and is the raw material for the creation of works that use newspaper clippings, postcards, and charcoal renderings of Nastiliq calligraphy to express Sarwari’s journey as a refugee from Afghanistan: a life between two worlds. This is a ‘liminal’ existence, where one is simultaneously on both sides of a threshold, where the transitional becomes continual. The title of the exhibition pairs ‘liminal’ with the Farsi term, “‫”برزخ‬, or Barzakh, which similarly refers to the experience of being in limbo. The exhibition, Liminal ‫برزخ‬,

Sha Sarwari, Untitled, 2023, from the series of Archaeology of Memory, charcoal on board, 40 x 50 cm. Photograph by Louis Lim. extends the meeting of languages, and these concepts to understand refugee experience as one between pasts and futures, alienation and acceptance, remembrance and forgetting. 16 June—30 July Off the Pages, Between the Lines Pamela See Pamela See uses papercutting to engage with natural histories, historical events and cultural symbols. Gatherings of these delicate forms create spaces of wonder and enlightening narratives. Off the Pages, Between the Lines applies this practice to the history of the Redlands and, specifically, to recognising the contribution of Chinese immigrants to the area and its agricultural past. The exhibition includes papercuts depicting Chinese workers, agricultural produce and local flora and fauna. The intricate, time-consuming process of creating these paper forms imbues them with symbolic significance, that emphasises both the fragility of this environment and the labour that has transformed it. Papercutting, in See’s hands, becomes a method of recording stories, connecting the past and present. 11 August—1 October Carbon_Dating Delissa Walker Ngadijina, Jason Murphy, Pipier Weller, Merinda Davies, Hilary Coulter, Liz Capelin, Melissa Stannard, Kilagi Nielsen, Mia Hacker, Sasha Parlett, Donna Davis, Andrea Higgins, Danielle Constance, Luke Lickfold and Keith Armstrong. Thought-provoking group exhibition reflects upon the processes and the art, science and culture of human-native grass relationship. Showcasing artworkbased experiments from each of the artist/carers. The 2024-5 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, Assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully, and Embodied Media.

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

Rockhampton Museum of Art www.rmoa.com.au

embracing new materials, techniques, and technologies, expanding the possibilities of printmaking, creating an innovative artistic dialogue with the collection and their peers.

220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Free entry. 27 July—3 November Luke Roberts: Beyond the Great Divide

Sean Davey, Dancers of the Deaf Indigenous Dance Group at the Laura Quinkan Dance Festival, 2021. John Oxley Library, State Library of Queensland. Image 33312-0003-0007.

Queensland, artist Luke Roberts has been at the fore of performance, photography, painting, and installation for over five decades. His work pushes the boundaries of art, addressing his complex Catholic upbringing, sexuality, identity, gender, and Queerness. Beyond the Great Divide is an expansive exhibition that brings Roberts back to the region. Curated by Nicholas Tsoutas. 6 July—8 September The Gold Award 2024 Rockhampton Museum of Art is proud to present this acquisitive painting prize again in 2024. This invitational award showcases the finest in contemporary Australian painting practice, with the most outstanding work to be acquired into Rockhampton Museum of Art’s nationally significant collection.

25 May–16 March 2025 Deaf in dance – Feeling the beat Deaf Indigenous Dance Group, Sean Davey

Tanks Arts Centre, Cairns www.tanksartscentre.com Stephen Bird (b. 1964), Pair of Pugilists 2012, glazed earthenware, 2 pieces: left 66 x 26 x 19 cm; right 73 x 30 x 20 cm. Image courtesy of the artist.

24 February—25 August Industrial Sabotage Stephen Bird

Wendy Sharpe in front of Ghosts 2020, Mosman Regional Gallery. Image courtesy of the artist.

Stephen Bird is a UK-born painter and ceramicist whose artworks take aim at the class divide of British pottery. While the world-famous ceramics factories of England (think Royal Doulton, Spoke and Wedgewood) are synonymous with fine collectibles, Bird looks to the pre-Industrial Revolution records of workers creating one-off pieces of experimentation and self-expression at the end of their workday.

15 July—9 February 2025 Wendy Sharpe: I Am All Those Who The Gold Award 2022 winner Wendy Sharpe returns to Rockhampton in July 2024 for a very special artwork. As winner of the Archibald Prize and Sulman Prize, Sharpe is one of Australia’s most awarded painters. She is also a muralist; her most recent mural was commissioned by the Jewish Museum in Sydney; a deeply personal work that sadly, due to pandemic closures, was never on public view. Rockhampton Museum of Art has invited Sharpe to create a new mural on site here in Central Queensland. Visit between 8 – 12 July to see the artist in action in the Atrium Gallery.

State Library of Queensland www.slq.qld.gov.au

46 Collins Avenue, Edge Hill, Cairns, QLD, 4870 [Map 14] 07 4032 6600 Mon to Fri 9am–4.30pm, Sat & Sun 10am–2pm. Free admission.

Missing With Myself, mixed media on canvas by Ashlyn Sheil, St Andrew’s Catholic College, 2023. 24 August–29 September ENERGY 2024 Launch Friday 13 September, 6pm.

Cultural Centre, Stanley Place, South Brisbane, QLD 4101 07 3840 7666 Mon to Fri 9am–5pm, Sat and Sun 10am–5pm. See our website for latest information.

24 February—25 August COLLECTION FOCUS Capricornia Printmakers Over one inspiring year, local artist collective Capricornia Printmakers embarked on a transformative journey of selecting and responding to artworks from the Rockhampton Museum of Art Collection including Eduardo Paolozzi, Max Lovell, and Lesbia Thorpe. This served as both mentor and muse, prompting each printmaker to create their unique blend of tradition whilst pushing boundaries by 216

Carole Wilson, Second Gathering, (detail), hand cut and stitched maps on paper, cotton thread, 2022. Renae Saxby, Bangardidjan, 2022. National Photographic Portrait Prize 2023 Highly Commended. 11 May–7 July National Photographic Portrait Prize

31 July–18 August Latitude 16.9013° south Carole Wilson, Joanne Sisson, and Jane Guthleben. Residency and exhibition. Meet the artists Thursday 1 August, 10am.

QUEENSLAND

Toowoomba Regional Art Gallery

21 June–21 July Artificial: 2024 Umbrella Members’ Exhibition Umbrella’s annual Members’ Exhibition is back with the thought-provoking theme of ‘Artificial’. 87 of Umbrella’s artist members have been inspired by artificial materials, artificial intelligence, and less literal interpretations of the theme – the artificial division of people, our declining natural environment, and the inevitable change of employment due to everevolving technology.

www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Wed to Sun 10.30am–3.30pm, Closed Mon, Tue & Public Hols. Free admission. 6 April–21 July I, Object I, Object considers the many complex relationships Indigenous Australian artists continue to have with objects – from the histories informing their creation to the social and cultural consequences of their collection. The exhibition demonstrates the great pride and inspiration of inherited cultural practices and historical Indigenous objects, and reveals the difficulties posed by their collection and estrangement.

Henri Van Noordenburg, Netherlands/ Australia, b. 1967, Composition C, 2021 - 2023, ink on Hahnemühle paper, hand carved, 150 x 100 cm. © Henri Van Noordenburg. 27 July–13 October Time of the Signs Henri van Noordenburg Time of the Signs is carved into being by Meanjin/ Brisbane artist Henri van Noordenburg with ritualistic fervour while listening almost solely to pop-minimalist arrangements of Max Richter’s Exiles album. His works on paper reveal fragile layers that mirror our own vulnerability.

Alison Bennett, vegetal / digital (Waratah), 2021, still of photogrammetry pointcloud. © Alison Bennett. 3 August–20 October POSTWORLD POSTWORLD features artists and collectives who create parallel universes in their creative practice. Audiences will be invited into playful, sublime, poetic, and cautionary explorations of contemporary works and installations by nationally significant artists including those based in North Queensland. POSTWORLD is a touring initiative co-curated by Kate O’Hara and Daniel Qualischefski, developed by Umbrella Studio Contemporary Arts (Umbrella), commissioned by NAFA and toured by Museums & Galleries Queensland (M&G QLD). This project has been assisted by the Australian Government’s Visions of Australia program and by the Queensland Government through Arts Queensland. Umbrella and M&G QLD are supported by the Queensland Government through Arts Queensland. Both organisations are also supported by the Tim Fairfax Family Foundation and receive funding from Creative Australia through the Australian Cultural Fund.

L to R: Baylee Griffin, Micro Isopogon cuneatus, 2024, wheel thrown wild clay and stoneware mix with satin black glaze, 19.5 x 7.5 x 7.5 cm; Baylee Griffin, Recoiling, 2024, wheel thrown recycled stoneware with rust wash and black glaze, 40.5 x 14 x 14 cm. Photograph: Amanda Galea.

Umbrella Studio Contemporary Arts

27 July–9 August How to Become Flora Baylee Griffin

www.umbrella.org.au

Gurambilbarra-based artist Baylee Griffin presents their first large-scale ceramic installation and body of work in How to Become Flora. The exhibition invites viewers to appreciate Australian flora while also considering its environmental precarity in the production of ceramic work.

408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tue to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

University of the Sunshine Coast Art Gallery www.usc.edu.au/art-gallery UniSC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs, QLD 4556 [Map 13] 07 5459 4645 Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for latest information.

Maria de los Angeles Pena, Australian Brush-Turkey, (detail), 2024, oil on board, 30 x 25 cm. Photograph courtesy of the artist.

The University of the Sunshine Coast Art Gallery is a space where art, ideas and community come together. Located at UniSC Sunshine Coast, the Art Gallery was redeveloped in 2020 establishing itself as the leading regional university art gallery in Australia. 25 May–3 August Strange Weather 217

$30,000 MAJOR PRIZE

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22 Jul – 16 Sep 2024

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Finalist Exhibition: 22 - 30 Nov 2024 - Metro Arts, Brisbane

Enter now at: churchieemergingart.com.au

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art supplies for artists at every stage of experience Arthouse Northside est. 1997 Tel: 07 3869 2444 Shop 2-3/140 Braun Street | Deagon | 4017 | QLD arthousenorthside.com

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QUEENSLAND University of the Sunshine Coast continued...

UQ Art Museum

the works move away from singular of authorship and instead actively co-create.

www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays. See our website for latest information. Torin Francis Gyre, installation view at Metro Arts, Brisbane, 2019. Photograph: Louis Lim. Strange Weather brings together artworks that broadly consider how our contemporary understanding of the environment is mediated by technology. Here strange weather is a metaphor for ecological, geopolitical, technological and economic fragmentation. The artists in this exhibition use photography, moving images, sound, data, mapping and weather monitoring technologies, among others, to explore aspects of atmospheric strangeness that shape understanding and experience. Artists include Grayson Cooke, Torin Francis, Libby Harward, Chris Henschke, Ross Manning, Rebecca Najdowski, Rebecca Ross, Nikki Sheth, Philip Samartzis, Sean Williams and Martin Walch. Presented for ISEA2024, the International Symposium on Electronic Art which brings together scholars, artists, and scientists from around the world to explore the intersection of art, science, and technology.

16 July—14 December Hoda Afshar: A Curve is a Broken Line The first major solo exhibition by one of Australia’s most innovative and unflinching photomedia artists. Through her photographs and moving image works, Iranianborn, Melbourne-based Hoda Afshar examines the politics of image-making. Deeply researched yet emotionally sensitive, her work can be seen as a form of activism as much as an artistic inquiry. Hoda Afshar: A Curve is a Broken Line is an Art Gallery of New South Wales touring exhibition. 16 July—14 December Vibrant Matter Simone Slee, Susan Jacobs and Ross Manning. Bringing together works from the UQ Collection and beyond, this exhibition is attentive to the agency of materials and to the vibrancy of matter. The artists included in Vibrant Matter have co-produced their work with material components of drawing, sculpture, and sound art. Welcoming the active participation of these more-than-human materials and beings,

Simone Slee, Rocks holding up #4, 2019, red scoria rock and glass. Collection of The University of Queensland, purchased 2019. Courtesy of the artist and Sarah Scout Presents, Naarm/Melbourne. Photo: Christo Crocker. 16 July—14 December Dusk of Nations Cigdem Aydemir, Brook Andrew, Fiona Foley, Jack Green, Kathleen France Inkamala, Vanessa Inkamala, Rosemary Laing, Archie Moore, Sally M. Nangala Mulda, Raquel Ormella, Gloria Napurrurla Pannka, Kenny Pittock, Luke Roberts, Arthur Streeton, Keemon Williams. Dusk of Nations features selected works by leading Australian-based artists drawn primarily from the UQ Collection. Spanning painting, photography, sculptural objects and moving image, artists explore ideas of national identity and nationhood, and how these concepts are defended and maintained, resisted and subverted.

UQ Art Museum → Hoda Afshar, Untitled #88, from the series Speak the wind 2015-22, pigment photographic print, 80 x 100 cm. © Hoda Afshar, image courtesy the artist.. 219

A–Z Exhibitions

Australian Capital Territory

JULY/AUGUST 2024

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.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.

A private gallery by award winning artist Margaret Hadfield. The ‘Shed’ is a resourceful arts business with quality art materials, art school, gallery,and a music venue space. Margaret’s works are on display with local and ‘Shed Artists’ as well. Margaret paints in most mediums and the gallery features her works on military history, Antarctica and Australian landscapes. Study pieces can be acquired for a bargain.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au

Sandra Hendy, Visit to Paris, watercolour on paper, framed size 101 x 91 cm. 20 July–4 August Favourite Places & Spaces Sandra Hendy AWI This exhibition by watercolour artist Sandra Hendy is aptly named Favourite Places & Spaces. “Variety is the spice of life,” could be attributed to this collection considering the diversity of subjects and styles displayed. Each of these paintings are contemporary in nature, stylish and sophisticated in approach, and creative and imaginary in execution and by taking a subject and approaching each one in an individual style makes for an interesting variety when grouped together. Eye catching cloisonné paint, paper collage, watercolour and pen work are signature markings of Sandra’s paintings, transforming them from one of general interest to greater scrutiny.

1 Rosevear Place, (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12pm–5pm, closed public holidays. Gallery closed until 8 July. See our website for latest information. ANCA Gallery is a not-for-profit artistrun initiative. The Gallery presents a professional program of art exhibitions and events, supporting critical approaches to contemporary arts practice.

Jay Kochel, Untitled (WIP), 2024, edition 1/1, engraving on enamel and aluminium composite panel, 120 x 120 x 1.6 cm. Lineaments. Engaging with portraiture as a subject, Scroope and Kochel find commonality between their differing practices. 28 August–15 September This is Not a Solo Show (v2) Peter Sharp and Michelle Cawthorn How do artist couples engage, collaborate, and even ignore each other’s art practices? The exhibition by art couple, Sharp and Cawthorn, includes drawing, painting and a collaborative sculpture. This is the second iteration of an exhibition first shown at Verge Gallery, Sydney University, in 2016.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm. See our website for latest information. Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.

Artists Shed www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tue to Sat 9am–5pm, Sun 10am–4pm. See our website for latest information.

Eva van Gorsel, Imperceptible, 2024, digital print, 33 x 33 cm. 17 July–4 August Emotional Landscapes 1 Eva van Gorsel, Jenny Adams, Julie Delves, Delene White Emotional Landscapes 1 are both physical and metaphysical explorations through a fusion of print, painting, and sculpture. This immersive exhibition, brought to you by four well-known Canberra artists, offers a compelling experience. It comments on the complex relationship between humans and the environment while celebrating the wonder of nature. 7 August–25 August Lineaments Stephanie Scroope and Jay Kochel

Margaret Hadfield, Reflective cornerWimbie Beach, oil.

Meeting somewhere between abstract geometry and representational portraiture, artists Stephanie Scroope and Jay Kochel work independently but relationally to produce the exhibition,

Peter Boggs, Park view II, oil on canvas, 25.5 x 30.5 cm. 15 August–31 August The memory of place Peter Boggs Paintings. 15 August–31 August Benjamin Edols and Kathy Elliott Studio glass.

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Resonance Resonance Hannah Quinlivan July 18 - August 11

www.graingergallery.com.au Bldg 3.3, 1 Dairy Rd, Fyshwick ACT art@graingergallery.com.au @graingergallery

Hannah Quinlivan July 18 - August 11

Bldg 3.3, 1 Dairy Rd, Fyshwick ACT @graingergallery

graingergallery.com.au

AUSTRALIAN CAPITAL TERRITORY

Belco Arts www.belcoarts.com.au 118 Emu Bank, Belconnen, ACT 2617 02 6173 3300 Tue to Sun, 10am–4pm. See our website for latest information. 24 May–7 July Light and Substance Robyn Campbell & Kirstin Guenther 24 May–7 July Gold to Blue Sarah Earle

12 July–25 August Respecting Country William Walker 12 July–25 August Yurwang Bullarn Strong Women’s Group

Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston, ACT 2604 [Map 16] 02 6260 7005

& Aimee Frodsham in partnership with Mimili Maku Arts. 1 August–22 September Pink Moon Cobi Cockburn Cobi Cockburn’s artistic journey has been a continuous interrogation of the interplay between light and the intrinsic properties of glass. Her latest experimental works explore the intersection of the physical and emotional, articulated through the metaphor of a single pink rose—a symbol resonant with the themes of family, love, and loss. These pieces penetrate the subconscious, summoning historical, physical, and personal memories. The use of line, light, and colour generates a subtle yet profound hum throughout the gallery, prompting viewers to explore a sense of belonging and connection to something greater than themselves.

Craft + Design Canberra www.craftanddesigncanberra.org Level 1, North Building, 180 London Circuit, Canberra, ACT 2601[Map 16] 02 6262 9333 Wed to Sat 12noon–4pm. .

Isobel Rayson, All These Years. 24 May–7 July Almost Always Isobel Rayson & Nick Stranks

Robert Fielding, Kulilaya, 2024. Photograph: Brenton McGeachie.

24 May–7 July YazElations: Upcycling Industrial Waste Yasmin Idriss

11 May–21 July Nyaru Robert Fielding Robert Fielding is a contemporary artist of Pakistani, Afghan, Western Arrernte and Yankunytjatjara descent who lives in Mimili Community on the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Robert combines strong cultural roots with contemporary views on the tensions between community life and global concerns. Following a Glassworks supported residency in 2023, Robert’s exhibition of work challenges the perception of Central Desert artwork. Co-curated by Erin Vink (Ngiyampaa).

Elizabeth Ficken, Awaken. Photograph: Andrew Sikorski.

Rebecca Selleck.

24 May–7 July Awaken Elizabeth Ficken

19 July–24 August Self portrait in the Anthropocene Rebecca Selleck

12 July–25 August Bloodlines Jessika Spencer 12 July–25 August Reclamation: Stories of Thrivival Wallabindi 12 July–25 August Murrook Krystal Hurst

Cobi Cockburn, Pink Moon, 2024. Courtesy of the artist.

Combining curved stainless-steel furniture with intricate bronze work, blown glass, living plants and bodily upholsteries, this installation of contemporary design continues Selleck’s creation of dissonant spaces that explore our increasing destruction of natural environments and the inherent hypocrisies of being human. 223

ar t g ui d e .c o m . au Craft + Design continued... Rebecca Selleck has received multiple awards, including the prestigious Peter and Lena Karmel Anniversary Prize for best graduating student at the ANU School of Art, and the 2023 Lake Light Sculpture Major Prize. She has exhibited across Australia and internationally. She was a finalist in the inaugural 2017 Ramsay Art Prize at the Art Gallery of South Australia and in 2018 the Arte Laguna Prize in Venice, Italy; the Macquarie Art Prize; the Ravenswood Art Prize (Highly Commended); and the Churchie Art Prize. She participated in the 2022 Adelaide Biennial at the Art Gallery of South Australia and recently toured nationally in the Experimenta: Lifeforms - International Triennial of Media Art. Her work is held in public collections at the Art Gallery of South Australia, Art Gallery of NSW, Museum of Australian Democracy, Parkes ACT, Western Plains Cultural Centre, Dubbo NSW, Bendigo Art Gallery, VIC, and Shepparton Art Museum, VIC. She is currently working towards a permanent public artwork at the Namadgi Visitors Centre through a partnership between Craft + Design Canberra and ACT Parks and Conservation.

19 July–24 August Chasing Clouds Jonathon Zalakos

18 July–11 August Resonance Hannah Quinlivan

Jonathon Zalakos employs motifs of cloud-like abstraction, utilising silver inlay on steel to create representational relief work as externalised models of the unconscious in a modern context. Building on his goldsmithing practice, Jonathon presents a sample of works created as the result of receiving the 2022 Craft + Design Canberra CAPO Award. The award enabled the artist to purchase hammer forming equipment which he used to explore high relief chasing and repousse - metalworking techniques that involve carefully beating both sides of metal sheet in a bowl of pitch.

This exhibition interrogates the intricate connection between place and the structure of feeling. These spatial drawings invite an exploration of the complex interplay where material, social, sensory, and emotional elements converge to create the ambiance of time and place.

Jonathon Zalakos is a contemporary jewellery and object maker based in Canberra, on Ngunnawal and Ngambri land. Since graduating from the Australian National University in 2022 Jonathon Zalakos has been the recipient of numerous awards and grants, including the ANU School of Art & Design Graduate Excellence Award, the M16 Exhibition and Residency Award, and the Robert Foster Memorial Grant. His work has been exhibited in various group and solo exhibitions. In addition to his art practice, Jonathon has experience as a research assistant and sessional lecturer at the Australian National University School of Art and Design, and currently works at the National Gallery of Australia.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12pm–5pm. See our website for latest information. 14 June–7 July Women Who Rendered Blind Sepideh Farzam 14 June–7 July Life in the System Melanie Olde 14 June–7 July On Show - Sustainability Canberra Art Workshop

Grainger Gallery www.graingergallery.com.au Bldg 3.3, 1 Dairy Road, Fyshwick ACT 0404 769 843 Wed to Sun 11am–5pm. See our website for latest information.

Liliya Stephenson, Diner Still Life, 2024. Image courtesy of the artist. 25 July—4 August Step into the Limelight ACT schools

Ximena Briceño. 19 July–24 August Five Dresses for Wari Goddess Ximena Briceño Five Dresses for a Wari Goddess explores colour, materiality and iconography in fashion through an Andean lens. In the context of Andean iconography, camelids (alpacas, llamas and vicuñas) have been represented in textiles, metal works, and ceramics as a form of decoration and patterns since the Pre-Columbian period in Peru. Artist Ximena Briceño has created five dresses crafted from titanium, aluminum and cardboard using camelids as a main form of decoration, showcasing TransPacific craft and skill.Ximena Briceño’s core career interests lie in the history of art and its nexus with trade, including the fine arts and crafts, jewellery and precious metal work developed in different cultures. 224

Opening Wednesday 24 July, 6pm–8pm

Hannah Quinlivan, Resonance, detail.

9 August—1 September Testamur 6 Canberra Art Workshop Opening Thursday 8 August, 6pm–8pm.

Hannah Quinlivan, Nocturne, detail, 2024, acrylic and aluminium, dimensions variable .

Image courtesy of David Helmers.

AUSTRALIAN CAPITAL TERRITORY 9 August—1 September Fairy Land David Helmers Opening Thursday 8 August, 6pm–8pm. 9 August—1 September The Cave. A River. An Island Ross Andrews Opening Thursday 8 August, 6pm–8pm.

National Gallery of Australia www.nga.gov.au

weaving, the exhibition brings together prints by both artists from the National Gallery’s Kenneth E. Tyler Collection along with paintings and archival materials. Art Talk, Friday 30 August, 12pm. Feeling The Square – David Sequeira On Josef Albers. Join Dr David Sequeira (Associate Professor, University of Melbourne) for an Art Talk focused on the life, art and writings of German-American artist and teacher, Josef Albers. Focussing on Albers’ Homage to the Square paintings and prints, the Art Talk will highlight Albers’ visionary and influential understandings of the value and resonance of colour.

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information.

From the early 1970s Japanese-American artist Masami Teraoka adopted the traditional visual vocabulary of 17th–19th century Japanese ukiyo-e woodblock prints to comment on the world around him.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

9 December 2023–28 July Jordan Wolfson – Body Sculpture Jordan Wolfson’s Body Sculpture is a robotic work of art, combining sculpture and performance to generate emotional and physical responses in the viewer. The work can be viewed at set performance session times. It is a free and ticketed art experience. Sessions are on Thu, Fri, Sat and Sun.

Paul Gauguin, Three Tahitians, 1899, National Galleries of Scotland, Edinburgh, presented by Sir Alexander Maitland in memory of his wife Rosalind, 1960.

2 March–21 July Vincent Namatjira – Australia In Colour

29 June–7 October Gauguin’s World – Tōna Iho, Tōna Ao

The first survey exhibition of acclaimed Western Aranda artist Vincent Namatjira charts the artist’s career, revealing the power of his painting and the potency of his words. Renowned for producing paintings laden with dry wit, Namatjira has established himself in the past decade as a celebrated portraitist and a satirical chronicler of Australian identity. His paintings offer a wry look at the politics of history, power and leadership from a contemporary Aboriginal perspective.

A rare opportunity to experience the enduring art of French Post-Impressionist Paul Gauguin. Featuring some of his most recognised masterpieces, many of which were created in the Pacific region, the exhibition offers new perspectives on Gauguin’s life and work, his artistic influences and networks, as well as his historical impact and contemporary legacies. Curator Talk, Friday 26 July, 12pm. Join Lucina Ward, Senior Curator, International Art, for a closer look at the art and life of Paul Gauguin.

Naomi Hobson, FRAGILITY, 2024. 22 June—13 October National Photographic Portrait Prize 2024 Celebrate established and emerging artistic talent at the National Photographic Portrait Prize 2024. The works by the selected finalists provide a powerful visual record of the year, reflecting a particular time in Australian culture, both socially and artistically.

29 June–7 October Savāge K’lub: Te Paepae Aora’i – Where The Gods Cannot Be Fooled A multi-disciplinary vehicle to explore ideas of hospitality, culture and identity. SaVĀge K’lub come together to celebrate all forms of art and culture, collaborating to acti.VĀ.te people and things. First conceived by artist and scholar Rosanna Raymond in 2010, the SaVĀge K’lub is named in reference to an historical gentleman’s club first established in London in the nineteenth century.

Josef Albers, Gemini G.E.L., White line square III, 1966, National Gallery of Australia, Kamberri/Canberra, purchased 1973. © The Josef and Anni Albers Foundation. ARS/Copyright Agency. 8 June–22 September Anni & Josef Albers Lifelong artistic adventurers Anni & Josef Albers were leading pioneers of twentieth-century Modernism. Guided by Josef’s theory of colour and Anni’s formal exploration of pattern making and

14 September–24 August 2025 Ever Present – First Peoples Art Of Australia Exhibition Following a national and international tour, Ever Present: First Peoples Art of Australia returns to Kamberri/Canberra for its final showing at the National Gallery. A survey of historical and contemporary works of art by Aboriginal and Torres Strait Islander artists from across Australia, this exhibition draws from the national collection and Wesfarmers Collection of Australian Art.

Bahman Kermany, Habitat of Monstera II (self-portrait with yellow paisley jacket), 2023. 22 June—13 October Darling Portrait Prize 2024 The Darling Portrait Prize is a biennial national prize for Australian portrait painting honouring the legacy of Mr L Gordon Darling AC CMG. It offers a platform for artists to explore the evolving notion of Australian identity while celebrating emerging and established portrait painters.

21 September–2 March 2025 Masami Teraoka And Japanese Ukiyo-E Prints Collection 225

A–Z Exhibitions

Tasmania

JULY/AUGUST 2024

TASMANIA

Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, TAS 7000 [Map 17] 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

Booth, Nicole O’Loughlin, Emma Bugg, Isabella Foster, Caine Chennatt, Harrison Bowe, Keith Deverell and more to be announced. Exhibitions, talks and performances. Constellations is an artist-led development program.

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.

Michaye Boulter, Distance and Journey, 2023-24, oil on linen, 153 x 183 cm. 5 July—27 July Atmospheres Michaye Boulter

16 March—20 January 2025 Little Gallery Emerging Artist Program

2 August—24 August Waymarking / Painting / Undertow Neil Haddon 2 August—24 August Bone Country David Stephenson

Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sat, noon–5pm. See our website for latest information. 7 June–6 July Constellations 2024 Pipeline, Reptrillion Culture Club, Colin Langridge, Alicia King, Philip Sulidae, Abi Whitton, Chloe Catto, Alfie Barker, Lee

to which people’s lives have followed. In Northern Tasmania, these agricultural seasons continue to be present in everyday life, providing livelihoods and sustenance for many locals. The agricultural landscape is a part of our cultural identity, and the harvest is visible and present to everyone. Featuring images from the Robinson Collection and loaned and Permanent Collection works by artists including Molly Turner, Susan Simonini, Patrick Grieve, Chloe Bonney, Stephanie Tabram and more. Curated by Ellina Evans. 27 July—14 September ArtRage 2023

Installation of Carbon and other colours, exhibition by Joseph Collings-Hall, 2023. Little Gallery Emerging Artist Program.

Neil Haddon, On Mills Plains (for David Hansen), 2024, oil, acrylic, and lacquer on aluminium panel, 140 x 130 cm.

Owen Lade, untitled, c1970, oil on canvas, 50.7 x 76.6 cm. DCC Permanent Collection, 2008.017.

The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. The Program is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision was to create as a centre for community arts and activities that promoted the work of emerging and established Tasmanian artists alongside national and international artists. 2024 Selected artists: Corinna Howell, 15 June–20 July; Candice Broderick, 2 November–7 December; Laura Purcell, 14 December–27 January 2025. 18 May—13 July All in. Community Art Exhibition The Devonport Regional Gallery invites you to our first-ever open community exhibition, All in. The exhibition features over 60 artworks by creative locals of North West Tasmania, representing all ages and all abilities. It’s a celebration of diversity, imagination, and the wonderful talent that exists within our region. 19 June—27 July Harvest An exhibition exploring food production and harvest on the North West Coast Tasmania. The story of harvest is told through the historic Robinson Collection of photographic negatives, local growers, contemporary Tasmanian artists, and community. Harvest times have punctuated the agricultural calendar through generations, creating an essential rhythm

Each year, the Queen Victoria Museum and Art Gallery (QVMAG) delivers ArtRage; a curated showcase of eclectic and diverse works by students in years 11 and 12 from across our island. Now in its 29th year, ArtRage continues to provide an important platform for students studying art as part of their Tasmanian Certificate of Education (TCE), while supporting and celebrating the creativity and talent of budding artists state-wide. ArtRage has developed a statewide reputation for fostering the artistic growth of students and enabling a multitude of perspectives, stories, and experiences to be shared with communities across Tasmania. 3 August—21 September Women’s Art Prize Tasmania 2024 Celebrating the talent and diversity of women artists practicing throughout this state, the Women’s Art Prize Tasmania is the state’s only female art competition which provides an important platform to showcase their work. It aims to inspire, facilitate and celebrate the development of professional and emerging women artists in Tasmania. The 2024 prize includes the following categories: $10,000 lutruwita Prize - presented by Rio Tinto Bell Bay Aluminium, $10,000 Women’s Art Prize Tasmania - presented by RANT Arts, $5,000 Early Career Artist Prize - presented by Tailored Services for the Arts and $2,000 People’s Choice Award - presented jointly by Madeline Gordon Gallery and Project Gallery 90.

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. 227

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Madeline Gordon Gallery www.madelinegordongallery.com.au

1977 Holden Torana (LX) SLR 5000 A9X Sedan (a hotted-up Torana). Private collection, Hobart. Image courtesy Museum of Old and New Art. Photograph: Jesse Hunniford.

57 George Street, Launceston, TAS 7250 0488 958 724 Wed to Fri 11am–5pm, Sat 10am–1pm. Other times by appointment. See our website for latest information.

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.

Plimsoll Gallery, University of Tasmania

www.handmark.com.au

Michael Weitnauer, Echoes of Nature Series 1313, synthetic polymer on canvas, 61 x 76 cm. July Echoes of Nature Michael Weitnauer 12 July—27 July Coming Home Nanda\Hobbs Residency at Madeline Gordon Gallery

5 July–22 July Me and my ‘beautiful ugly’ white Junko Go

www.pennycontemporary.com.au

9 August—2 September Brock Q Piper

Handmark

Junko go, in the beginning it was all white…, 2024, acrylic, oil pastel on canvas, 123 x 123 cm.

Penny Contemporary

14 June–8 July Solstice Tilley Wood

15 June–21 April 2025 Namedropping

77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm, Sun 11am—4pm. See our website for latest information.

August Lasting Impressions Andrew Antoniou

In July, Nanda\Hobbs will be in residence at Madeline Gordon Gallery. Straight from the Nanda\Hobbs stable, including five of this year’s Archibald Prize finalists, the carefully curated exhibition will be selected from some of Australia’s most exciting contemporary artists. Nanda\Hobbs has a strong focus on technical rigour, with major works recognised in private and public collections, including the National Gallery of Australia, the National Gallery of Victoria, and the Art Gallery NSW. James Drinkwater, recently shown at the prestigious Armoury show in New York, will also be included. Coming Home will be one of the best opportunities for Tasmanian locals to witness the cutting-edge presence of Australia’s leading artists, right on their very doorstep. August Photography curated by Scott Cunningham Group Show

www.utas.edu.au/creative-arts-media/events/plimsoll-gallery 37 Hunter Street, Hobart, TAS 7000 [Map 17] 03 6226 4353 Mon to Sat 11am–4pm, closed Sun and public holidays. See our website for latest information.

Luke John Campbell performing an excerpt from THE BOND at TEDxHobart 2024. Photograph: Photograph Tasmania. 24 July–10 August THE BOND – An Experimental Installation Second Echo Ensemble lead creatives, Luke John Campbell, Matthew Fargher, Alex Moss, Warren Mason. Opening event, Wednesday 24 July, 6pm. Performances, Wednesday 24 July, 5pm & 7pm, and Saturday 10 August, 1pm & 3pm. Artist Talk, Saturday 10 August, 2pm. Tickets available at secondechoensemble.org.

Katina Gavalis, Weeping Medusa, 2024, collagraph and relief print, 70 x 100 cm.

Queen Victoria Museum& Art Gallery

26 July–12 August Celebrating National Tree Day Handmark artists. 16 August–2 September Vivid Selected artists. 228

www.qvmag.tas.gov.au Andrew Antoniou, The Gathering, etching 3/10, 29 x 48 cm.

Museum: 2 Invermay Road, Launceston, TAS 7248

TASMANIA

Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm. Free admission. The Queen Victoria Museum and Art Gallery (QVMAG) is the cultural hub of Launceston and the leading destination for art, history and natural sciences in Northern Tasmania.

© Amit Eshel, Wildlife Photographer of the Year. Art Gallery at Royal Park: 22 June–8 September Wildlife Photographer of the Year 59 Owned and run by the Natural History Museum in London, England, Wildlife Photographer of the Year celebrates the very best nature photography and photojournalism, using the unique emotive power of photography to inspire wonder and create advocates for the natural world. Seen by millions of people all over the world, the images spark reaction and encourage us all to think differently about our impact on the natural world. The exhibition’s stunning images allow visitors to experience nature in vivid details and get up close to some of the world’s most extraordinary species, the lives they live and the challenges they face.

diversity, this exhibition encourages us to contemplate the ever-changing cultural landscape and our sense of belonging within it. Museum at Inveresk : 25 May–25 August Action! Film and War Since the First World War, Australians have been filmed in every conflict zone they have found themselves in – usually with fellow Australians behind the camera. This familiar and at times iconic footage has been projected in our cinemas, screened on our televisions and uploaded online. However, how and why it was filmed – and by whom – is less well known. The experiences of the men and women behind the lens – as shown through the equipment they used, the records they kept and the stories they tell – reveal determination, resilience, ingenuity and courage in the face of danger. These are stories that illuminate the action, revealing what lies beyond the screen. An Australian War Memorial touring exhibition.

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 admission.

Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.

Lloyd Rees, Afternoon (Blue Days on the Derwent), 1983, oil on canvas on board. Collection: R Jensen.

Tricky Walsh and Mish Meijers, A New Kind of Union (installation view), 2021. Image courtesy of QVMAG. Permanent Exhibition Gallery 9 + 10: The reinterpretation of the QVMAG’s collection at Royal Park reflects our histories, identities and stories in a fresh and contemporary context. Welcoming back familiar favourites, Australian icons and hidden gems from the QVMAG stores, as well as major commissions by leading Australian contemporary artists, this exhibition explores the many facets of our communities and our origins in Northern Tasmania. Focusing on local Aboriginal cultures, colonial history and modern

public galleries and a number of private collections, the exhibition explores the influence of Tasmania, and in particular the Tasmanian light, on Rees’s work.

7 March–27 October Lands of Light – Lloyd Rees and Tasmania This exhibition celebrates the work of Lloyd Rees (1895-1988), particularly his works painted in Tasmania between 1967 and 1988. Rees was one of the pre-eminent Australian landscape artists of the twentieth century and a highly accomplished painter, draughtsman and printmaker. His vision was highly individual and idiosyncratic, and little influenced by the artistic trends that waxed and waned throughout a long career. Rees sought to build on the legacy of European landscape painting, taking inspiration from artists such as Corot and Turner while also drawing on a much younger Australian tradition. Drawing on the extensive collection of the Rees family, the collections of several major

Installation view, Unshackled. Photograph: Rosie Hastie. 13 March–28 July Unshackled Unshackled tells a new story of convict Australia drawn from recent discoveries within the UNESCO listed convict records. It highlights the shared but different experiences of the dispossessed poor, the political radicals and First Nations resistors across Australia who were forced into the convict system. Convict transportation was one of the world’s largest forced migrations of unfree workers and this exhibition debunks the commonly held misconception of convicts as passive, traumatised victims. From the uprisings at Castle Hill, Norfolk Island and Bathurst to the strikes and rebellions on road gangs and in the female factories to the thousands who absconded from custody, convicts railed against their colonial masters at every turn both individually and collectively. The Unshackled exhibition is based on Conviction Politics – a major Australian Research Council project lead by Monash University and Roar Film. The exhibition has been financially supported by The Mineworkers Trust and Maurice Blackburn Lawyers with foundational investment from the NSW Teachers Federation, Trade Union Education Foundation of the ACTU, Libraries Tasmania and Australian Manufacturing Workers Union and significant inkind support from Roar Film, Monash University and the Tasmanian Museum and Art Gallery. 18 July–3 November Home: Here and Now Home: Here and Now explores Chinese migration to Tasmania from the 1800s to now. Through oral histories the exhibition engages with the concept of ‘belonging’ to more than one place and highlights Chinese Tasmanian’s contemporary experiences. Home: Here and Now will also feature content from the Guan Di Temple, which is housed at the Queen Victoria Museum and Art Gallery, and will celebrate and explore the TasmaniaFujian sister state relationship.

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A–Z Exhibitions

South Australia

JULY/AUGUST 2024

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.

Harris. Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings. Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method of working. Surrender & Catch showcases Art Gallery of South Australia’s significant collection of Harris’ work, including the important gift of works by James Mollison AO and Vincent Langford. Augmented by works from the TarraWarra Museum of Art collection and loans from public and private collections, it charts a journey from The Stations (1989), Harris’ first major series exploring the death of his friends to AIDS, to his return to the subject in 2021.

ingenious automata, animatronics and devices of all kinds! Wendy Dixon-Whiley (NEW), Melissa Duncan, Lorelei Medcalf, James Price (NEW), TANK (NEW), Mark Warren, James Willebrant and Ross Wilsmore.

Cristina Metelli, Wetland, oil on polycotton, 97 x 97 cm. 2 August–1 September Walking In Nature Cristina Metelli

The studio of Lee Salomone, 2024. Photograph: Peter Fong. 1 June–10 August Fragments; a widening vision Lee Salomone

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

after Hans Holbein the younger, born Ausburg, Germany 1497, died London 1543, King Henry VIII, c 1540s, London, oil on wood panel, 65.0 x 57.5 cm, 89.5 x 81.5 x 9.0 cm (frame). A.M. and A. R. Ragless Bequest Funds 1965, Art Gallery of South Australia, Adelaide.

South Australian abstract-landscape painter, Cristina Metelli returns with her second solo exhibition with the gallery after a very successful first exhibition! From the stillness of a rainy day in the bush to a hilltop vista, this exhibition draws on. Cristina’s personal experience of walking in nature. Each painting is an abstracted expression of emotion in response to what is seen and felt, depicted through colour and the expressive application of paint. Please join us for the opening on Friday 2 August, 6pm–8pm.

20 July–13 April Reimagining the Renaissance Drawing from AGSA’s collection of painting, sculpture, works on paper and decorative arts, alongside loans from public and private collections, this exhibition explores Northern and English Renaissance art together with that of the celebrated Italian masters.

Art Images Gallery www.artimagesgallery.com.au 32 The Parade, Norwood, SA 5067 08 8363 0806 Mon to Fri 9am–5pm, Sat 10am–5pm, Sun 2pm–5pm. See our website for latest information. Brent Harris, Listener, 2018, oil on linen, 152.0 x 110.0 cm. Collection of Patricia Mason and Paul Walker, Melbourne, © Brent Harris. 6 July–20 October Brent Harris – Surrender & Catch This exhibition explores the work of contemporary Australian artist Brent

28 June–28 July Imaginarium Group Exhibition This exhibition invites you into a world of wonder and whimsy, featuring artworks that are all things POP, Surrealist and possibly a bit bizarre! Artists include David Archer (NEW) - South Australia’s maker of

Christopher Meadows, Flamingo Oasis, oil on board, 63 x 63 cm. 2 August–1 September Suburban Arcadia Christopher Meadows We are excited to present Christopher Meadows’ first solo exhibition with the gallery. Known for his nostalgic suburban landscapes, Meadow’s explores the interaction between natural and constructed elements, intertwined with objects that evoke a sense of recognition and memory. These works aim to convey a somewhat stylised interpretation of domestic splendour that goes beyond out conventional notion of suburban living. Please join us for the opening on Friday 2 August, 6pm–8pm. 231

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Flinders University Museum of Art → Mandy Martin, Australian Independence, 1974, screenprint, ink on paper, 55.9 x 76 cm. Collection of Flinders University Museum of Art. © the Estate of the artist.

Carrick Hill House Museum & Garden

Flinders University Museum of Art

www.carrickhill.sa.gov.au

www.flinders.edu.au/museum-of-art

46 Carrick Hill Drive, Springfield, SA 5062 08 7424 7900 Wed to Sun 10am–4.30pm. See our website for latest information. Carrick Hill is fortunate to be one of the few period homes in Australia to survive with its original contents almost completely intact and its grounds undiminished.

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thu until 7pm. Closed weekends and public holidays. See our website for latest information.

6 May–5 July If you don’t fight … you lose: Politics, Posters and PAM A FUMA exhibition featuring Robert Boynes, Jim Cane, Pamela Harris, Andrew Hill, Ann Newmarch, Mandy Martin, Christine McCarthy, Peter Mumford, Progressive Printers Alliance. Curated by Catherine Speck and Judith Adams. 22 July–13 September The Guildhouse Collections Project: The Disquiet A FUMA exhibition presented in partnership with Guildhouse. Featuring Bin Bai, Stephanie Doddridge, Sue Kneebone, Olga Sankey and Truc Truong. Curated by Suzanne Close.

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.

Bridget Currie. Photograph: Tony Kearney. 20 September–10 November Bridget Currie – each one a world 232

The gallery’s focus is to promote the best local and national contemporary artists, complemented with regular invitations to artists from other countries, maintaining a strong focus on conceptual and challenging disciplines in a variety of mediums.

S OUTH AUSTRALIA

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm.

Sophie Hann, Portrait with Goat and Cockatoos (detail), oil on wood, 45 cm. 23 August–21 September Wild Knowing Sophie Hann Julie Blyfield, Corallium objects #4–5, 2024, sterling silver, metal stand, largest: 60 x 235 x 160 mm. Photograph: Grant Hancock. 19 July—15 September JAMFACTORY ICON 2024 Chasing a Passion Julie Blyfield

JamFactory at Seppeltsfield

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays.

www.jamfactory.com.au 730 Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm.

Trevor Nickolls (1949-2012), Ellen Trevorrow, Damien Shen (with Major ‘Moogy’ Sumner and Richard Lyons), Kevin Kropinyeri, Nellie Rankine. In celebration and recognition of Reconciliation Week, this selection of works by Ngarrindjeri artists have been drawn from Murray Bridge Regional Gallery Art Collection.

Riddoch Arts & Cultural Centre

18 May—29 September Lush: South Australian Botanicals Ayesha Aggarwal, Clare Belfrage, Julia Fernandes, Emma Franklin, Zoe Grigoris, Dominic Guerrera, Alex Hirst, Olivia Kathigitis, Sonya Rankine, and Emma Young.

www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

Newmarch Gallery

15 June—28 July The Feminine Art of Shooting Beth Kay

www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 Mon to Fri 9am–5pm, Sat 10am–4pm. Sun closed.

Damien Shen, On the fabric of the Ngarrindjeri Body – Volume II, 2014, in collaboration with Major (Moogy) Sumner and Richard Lyons, series of 12, Edition of 5 + 2 AP’s, giclee print on 310gsm german etching paper, each 59.4 x 42 cm.

Kunmanara (Nellie) Stewart (about 1935–2012), Pitjantjatjara language group, Tjungu Palya Artists, Minyma Kutjara, 2009, acrylic on canvas, 135 x 98 cm.

Beth Kay makes her mark on the male-dominated sport of bullseye shooting in Australia. Kay began making

25 May–28 July Red Heart of Australia

Photograph: John Nieddu. 19 July–17 August The 25th Prospect Community Art Show Various artists

Red is the colour of Australia’s centre, and the colour that unites these desert artworks. Family, spirituality and Country are expressed by the artists through the vibrancy of red, the colour of the earth beneath their feet. A travelling exhibition developed by the National Museum of Australia with the support from the National Collecting Institutions Touring and Outreach Program. 25 May–28 July Ngarrindjeri Art Collection

Natalya Hughes, Fabric design (detail) from The Interior, 2022. 233

ar t g ui d e .c o m . au surrounds – with influence from stones and patterns around Sauerbier House and the waterway.

Riddoch Arts continued... drawings and paintings using the target design as her launching motif.

10 August—21 September Surface Meng Zhang

15 June—28 July The Interior Natalya Hughes

Every element appearing on the surface competes to be ‘visible,’ making visibility the new standard. My work hopes to give voice to those that are invisible. SALA

One of Australia’s most exciting midcareer artists, known for her explorations of decorative and ornamental traditions and their associations with the feminine, the human form, and excess. This exhibition is presented by the Institute of Modern Art (IMA) and toured by Museums & Galleries Queensland.

10 August—21 September Won’t somebody get me off of this reef… J2ske/ Josh Trenwith These works explore the relationship between the Mid Coast / Route 31 and its historical importance to surf, skate and music culture in South Australia. SALA Lauren Downton, Submerge, 2024, porcelain and wire, 55 x 25 x 27 cm. Image courtesy of the artist. 29 June—3 August Subtidal Assemblages Lauren Downton Inspired by biologists’ research using bacterial strains to restore and regrow reefs, Subtidal Assemblages responds to the Port Noarlunga Reef with a ceramic installation mimicking the underwater environment. Supported by Helpmann Academy.

Memory Line Jennifer Eadie and Adrianne Semmens An on-going body of work that bears witness to a waadlawarnka [fallen tree] whose age pre-dates the invasion of Kaurna country. SALA

Samstag Museum of Art www.unisa.edu.au/connect/ samstag-museum/ University of South Australia, 55 North Terrace, Adelaide, SA 5000 08 8302 0870 Tue to Sat 10am–5pm.

Clarice Beckett, Sandringham Beach, c 1933, National Gallery of Australia, Kamberri/Canberra, purchased 1971. 15 June—28 July Clarice Beckett: Paintings from the National Collection An intimate, rarely seen collection by one of the most original artists of early twentieth century Australia. A National Gallery Touring Exhibition supported by The Australian Government through Visions of Australia. 10 August—29 September Island Welcome A group exhibition exploring contemporary jewellery as a gesture of welcome. Curated by Belinda Newick. The regional South Australian tour of Island Welcome is presented by Country Arts SA.

JR Walker, Eagle Spirit, Vathiwarta, 2021, archival oil on polyester, 260 x 345.5 cm. Collection of the Artist. Courtesy Utopia Art, Sydney.

10 August—20 October South East Art Society Open Art Awards 2024 Running for more than 50 years, the SEAS Open Art Awards in 2024 will feature work in a variety of media, with categories such as photography, painting, works on paper, textiles and digital/video.

Sauerbier House Culture Exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. 234

Adele Sliuzas in collaboration with Hussain Alismail, Helichrysm, 2021, digital photography. Image courtesy of the artists. 29 June—3 August Catchment Adele Sliuzas Catchment traces landscapes, watershed and blood lines through hand spun and woven cloth. The exhibition connects Lithuanian textile art and personal connection to the Onkaparinga water catchment area. SALA 29 June—3 August Relational Responses Debbie Pryor & Christine Cholewa With a focus on carving and collecting materials, these new works explore the textures and tones of the residency

7 June—20 September Kudlila Season Samstag presents two exhibitions — one featuring artist responses to the landscape and ecology of the Ikara-Flinders Ranges, the other by Indonesian contemporary artist FX Harsono — foregrounding systems of knowledge, Indigenous ways of being, and place. Mulka Yata/The Knowledge of Place Featuring Kristian Coulthard, Clem Coulthard, Ted Coulthard and Winnie Ryan (Adnyamathanha) with Sasha Grbich, Antony Hamilton, Kyoko Hashimoto and Guy Keulemans, John R Walker and sculpture and music performance by Dylan and Christopher Crismani (Wiradjuri/European). FX Harsono: NAMA FX Harsono (Indonesia)

A–Z Exhibitions

Western Australia

JULY/AUGUST 2024

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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. 29 June–3 August Growing Pains Olga Cironis Olga Cironis’ new sculptural installation grapples with our shared sorrow in the face of incomprehensible loss. Through an orchestra of violins enveloped in grey institutional blankets, she explores the depths of personal and collective wounds, symbolising the silencing of grief and the stark imperative to protect what is invisible to the eye. The poignant work reflects on the interplay between destruction and preservation, sorrow and resilience, urging a re-examination of our past and a call to action for the future.

photography, Wilkinson adds new works almost two decades later that meditate on complex themes of femininity, the absurd, desire, and ongoing debates around photography and art in an ever-expanding visual culture. Showing at Albany Town Hall. 10 August–14 September Calligraphic Skies Paul Uhlmann This exhibition contemplates transient, often imperceptible processes that unfold all around us but are often overlooked as we rush through our hectic lives. The quest is to create images of beauty and impermanence, compiling a catalogue of invisible forms and contemporary vanitas – of dissolving clouds, smoke and decaying flowers.

From 1 July TIME • RONE Step into a moment suspended in time, and get lost in an immersive art experience like no other. A multi-sensory installation excavating meaning from the everyday, TIME • RONE projects onto a grand scale the lifelong search for beauty in decay. Following a sell-out season in Melbourne, TIME • RONE opens its doors in AGWA’s Centenary Galleries this winter with expanded staging and a new room, exclusive to Perth. Experience the historic Centenary Galleries like never before, as you walk, breathe and live among remnants of mid-century Australia. From the mind of the ingenious and awarded multi-disciplinary artist Rone, the exhibition blends soundscape, mural and installation to ask questions about what we leave behind, and honours the otherwise forgotten. Like all things, TIME • RONE is impermanent. But for a season, it invites you to exist in the same moment.

29 June–3 August Searching for Memories, Searching for Kindness Anne Neil In this deeply personal exhibition, Anne Neil showcases a series of intricate sculptures, inspired by a period of introspection where she found solace in the shifting patterns of tree branches seen from her window. Drawing on her background in jewellery making and her reverence for handcrafted techniques, Neil’s delicate sculptures transform abstract shapes and fragmented memories into durable, tangible forms, symbolising the intersection of thought and matter.

Clare McFarlane. 10 August–14 September Dark Farm Clare McFarlane After inheriting the farm she grew up on after her father’s death Clare McFarlane’s work started to examine our relationship with the rural farming environment. She continues to explore the ongoing impact of western farming and the accelerating changing climate on the land through this new series of works which meditate on an underlying menace within the Australian landscape.

The Art Gallery of Western Australia www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. Free admission.

17 July–3 September Tough Pleasures Toni Wilkinson

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Until 8 September Look, look. Anna Park Rising star of contemporary art comes to AGWA in an Australian-first exhibition. Look, look. Anna Park debuts with more than 15 never-before-seen charcoal and ink works on paper that feverishly capture the spirit of contemporary life, created specifically for AGWA. Until 6 October The West Australian Pulse WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in. It is an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists. Until 1 February 2025 FORECAST Forecast is an all-ages interactive exhibition by Dianne Jones, Eva Fernandez and Jo Pollitt in collaboration with AGWA, inviting audiences to engage in artist-led meditative practices that deepen connection with changing environments, supporting feeling, response, and action in living with increasingly unstable futures.

Toni Wilkinson.

In this regional exhibition, Toni Wilkinson presents two extended suites of images that feature women and food from her book and exhibition Tough Pleasures. Revisiting the 2003 series that launched her early career in contemporary art

Anna Park. What Could Have Been 2024. charcoal, ink, paint, foam, paper mounted on panel, 172.7 x 228.6 x 10.8 cm. © Anna Park, Courtesy of the artist and BLUM, Los Angeles/New York/Tokyo. Photo: Genevieve Hanson.

Our story is not one story but many stories to share. Balancing Act invites you to

WESTERN AUSTRALIA be surprised, delighted and challenged by the stories told through the eyes of First Nations artists and their works of art in this State Art Collection showcase.

Artitja Fine Art Gallery www.artitja.com.au

Roslyn Padoon, My Mother Country, 2023, acrylic on canvas, 60 x 120 cm. Image courtesy of the artist and Mangkaja Arts Resource Agency.

By appointment., South Fremantle, WA 6162.

Bunbury Regional Art Gallery www.bunbury.wa.gov.au/brag 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Wed to Sun, 10am–4pm. See website for latest information.

Chester Nealie, Large Bottle (detail), 2020-2023, woodfired stoneware, salt glazed, Tenmoku overglaze over salt glazed celadon, shell effects. 16 March–21 July South West Art Now 2024 Amanda Bell, Phillip Berry, Ian Daniell, Anthony Debbo, Kate Debbo, Jenni Doherty, Francesco Geronazzo, Jillian Green, Ruth Halbert, Sarah Hewer, Sandra Hill, Seamus Hughes, Corey Khan, Carly Le Cerf, Elisa Markes-Young, Alex & Nicole Mickle, Paul Moncrieff, Deanna Mosca, Kate Mullen, Chester Nealie, Lori Pensini, Rizzy, Helen Seiver, Louise Tasker, Thommo’s Community Garden, Monique Tippett, and Christopher Young.

City of Perth Council House Gallery www.perth.wa.gov.au 27–29 St Georges Terrace, Perth, WA 6000 Mon to Fri 10am–4pm. Closed public holidays. See website for latest information. 1 July–2 August Naidoc Week Exhibition In collaboration with the Janet Holmes a Court Collection, Mossenson Galleries

Lin Onus. Courtesy Janet Holmes à Court Collection. and the City of Perth Cultural Collection. This exhibition will help celebrate NAIDOC Week “Keep the Fire Burning! Blak, Loud and Proud,” which aims to honour and amplify the voices and artistry of our Indigenous creators. Showcasing artworks by Christopher Pease, Lin Onus, Gordon Bennett and Curtis Taylor.

Celebrating the extraordinary breadth of contemporary Aboriginal Art practice, Revealed features a spectacular floor-toceiling display of more than 200 works by over 70 artists from regional, remote and metropolitan WA. Each artwork reveals unique narratives of Country and culture. 10 May—4 August Darryl Dempster – DooDoo Darryl Dempster is an emerging Aboriginal artist from Esperance whose raw and free-spirited style of painting produces colourful, captivating and joyful work. Across a variety of mediums – from the traditional canvas to lampshades and hardhats – Darryl’s distinctive style shines in his first solo exhibition.

Petrina Hicks. Courtesy Michael Reid Gallery. 16 August–27 September Biophilia Petrina Hicks 16 August–27 September Black Dog Abdul Rahman Abdullah The narrative inspiration from both these artists draws from the indistinct space between human and animal states, presenting the viewer with expertly choreographed and meticulously crafted artworks.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See website for latest information. Our exhibitions program presents and commissions work by artists practicing locally, nationally and globally, offering a diverse selection of contemporary art. All FAC exhibitions are free to visit to ensure our visual arts program is accessible and inclusive of everyone. 10 May—4 August Revealed – New and Emerging WA Aboriginal Artists

Cathy Coomer, Land and Water Connecting with the Movement of the Serpent (detail), 2004, cement sheet, terracotta, acrylic paint, calico, wadding, 190 x 540 x 35 cm. City of Fremantle Art Collection, no.800. 10 May—4 August Aboveground | Belowground Aboveground Belowground exhibits contemporary and historical artworks drawn from the City of Fremantle Art and Civic Collections. This selection provides intersecting points of interpretation and knowledge about the Dreaming origins of the Derbarl Yerrigan (Swan River) and Wadjemup (Rottnest Island) at Walyalup (Fremantle) and its changing landscape. 16 August—27 October IOTA24 – Indian Ocean Craft Triennial IOTA showcases the vibrant and multidisciplinary work of international craft artists and groups from six Indian Ocean countries. 237

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John Curtin Gallery

KS and Sandra Murray will present an innovative ceramics and textile exhibition of Perth-based artists Tom Freeman and Holly O’Meehan with new works by First Nations female artists Anita Churchill, Delany Griffiths and Cathy Ward from Waringarri Aboriginal Arts, Kununurra as part of this significant, internationally focused festival.

www.curtin.edu.au/jcg Curtin University, Kent Street, Bentley, WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12pm–4pm Closed public holidays. Free admission. See website for latest information.

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tue to Sat, 12pm–5pm.

Kim Dodd, Shapes on Country, 2022, tjanpi (native grass) and raffia woven on salvaged metal car seat frame. Photograph: Thea Wischusen. 2 August—29 September Indian Ocean Craft Triennial: Codes in Parallel Following the success of IOTA21, the second Triennial is informed by the theme, ‘Codes in Parallel’, which contemplates the multi-various languages inherent in contemporary craft. With a particular focus on the Indian Ocean Region, this multi-venue festival celebrates stories, old and new, re-acknowledging the innovative role of craft practices in today’s fast evolving technological era, and revealing how craft is integral to enhancing community cohesion, environmental impact and socio-economic improvement. John Curtin Gallery is a Major Exhibition Partner for IOTA24. The ‘Futuring Craft 24’ conference will extend the dialogue about the ‘Value of Craft’, co-hosted by IOTA and Curtin University’s School of Design & the Built Environment, 3-6 September. More information: indianoceancrafttriennial.com.

Austin Honour, Peaches, oil on canvas, 60 x 40 cm. found imagery often depicting objects of history and nature. Honour was awarded a BA Hons Fine Arts from Central St Martins in London in 2014. Honour has shown twice at KolbuszSpace with Blue Room in 2021 and Outer in 2022 and this is his next much anticipated solo.

Jason Auld, Height Restriction, 1995, wood, metal and enamel paint, 230 x 70.5 x 70.5 cm. Gift of Dr Ian Bernadt, 1996. © the artist.

KolbuszSpace

18 May–17 August The End of History

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. 12 July—14 July Atonal Austin Honour Austin Honour is a British/Australian multidisciplinary artist whose work collages conventions of painting, sculpture and tattooing. Previously located in Berlin, Honour is now based in Perth, Australia. Interested in ideologies of history, material and value, Honour works within a holistic studio practice which aims to connect media, concept and form. Honour’s recent paintings stem from an engagement with 238

Holly O’Meehan, Revolution I & II, (detail), 2024, stoneware ceramic, underglaze and glaze, dimensions various. Image courtesy the artist. 2 August—11 August Coalesce (IOTA24) Curated by Sandra Murray KolbuszSpace is very proud to host a special event exhibition Coalesce, curated by Sandra Murray as part of IOTA24 (Indian Ocean Craft Triennial): Codes in Parallel, which will investigate the multi-various languages codified in contemporary craft, and brings together artists, makers and crafted works from around the Indian Ocean Rim. Alongside WA galleries including Fremantle Arts Centre, John Curtin Gallery and Holmes à Court Gallery,

The End of History explores artists’ relationship to history, as it’s made. At its centre is a group of works from the University of Western Australia Art Collection made between 1985 and 1995, united by mood and motif. These ‘historical’ works are juxtaposed with several recent acquisitions from artists born during and after that decade. This was a decade of transformational change locally, nationally and globally, in which political philosopher Francis Fukiyama famously declared humanity had reached the ‘end of history’ - and Lawrence Wilson Art Gallery opened its doors to the public. 18 May–17 August Origins This exhibition is an exploration of beginnings and endings – of family mythologies, births, deaths and cosmic cycles. Beginning with a focus upon the minutiae of the everyday in its grainy,

WESTERN AUSTRALIA Subiaco: 8 July—14 July Naidoc Week 2024 Jorna Newberry and selected artists.

Helen Maudsley, The Arrival, 1965, oil on wood panel, 39.1 x 41.7 cm. Cruthers Collection of Women’s Art, The University of Western Australia. gritty glory and then expanding outwards to consider the source of life. It features photographs and paintings from the Cruthers Collection of Women’s Art by artists including Dorothy Braund, Katthy Cavaliere and Helen Maudsley.

Linton & Kay Galleries

For Jorna Newberry, her Tjukurrpa (Dreaming) is deep and strong. Newberry’s painting career and methodology have developed into a unique and instantly recognisable style that draws on the totem of the perentie Ngintaka. Her style is multi-layered and abstract to maintain the secrecy of important culture matters. She has worked closely with her Uncle, Tommy Watson and developed her own style. “Tommy has had a big influence on me. He teaches me to be respectful in the way I paint” 16 July—5 August A Postcard From Paris Bernard Ollis Bernard Ollis’s new exhibition will resonate with many, celebrating as it does the city of Paris, host to the 2024 Olympic Games. The sense of being in Paris, close to the bridges, the Seine, museums and theatres is palpable, his high key almost Fauvian palette at once lively and optimistic.

www.lintonandkay.com.au

1 June–6 July Portals & Viewpoints Abdul Abdullah, Jacobus Capone, Erin Coates, Tove Kjellmark, Kate McMillan, Joshua Webb, Ian Williams, Holly Yoshida, John Young. In present day parlance the terms portal and viewpoints or points of view take on digital and social media framing, diluting them from the strictures of their architectural or physical origins to something more meta or metaphorical. In art—whether abstract or representational—portals and view points might relate to pictorial devices such perspective, picture planes and illusions, or they might too relate to content and conceptual and poetic readings. The works selected for exhibition bridge this expanded context, across painting, photography, drawing and sculpture.

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. Cottesloe Gallery: 2/40 Marine Parade Cottesloe, WA 6011 08 9388 3300 See website for latest information.

Joshua Webb, Smoke, 2023, accura and automotive lacquer, 140 x 102 x 102 cm.

Midland Junction Arts Centre Miik Green, endless nameless green, 2024, auto paint on aluminium, 155 x 86 x 70 cm. 7 August—26 August Convergence Miik Green Convergence contains a new series of small-scale, free-standing sculptures, paired with large format, high-gloss paintings. The abstract works combine Miik’s attraction to materials and finishes, with a focus on the clash of colour and form.

www.midlandjunctionartscentre. com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

MOORE CONTEMPORARY www.moorecontemporary.com

Jorna Newberry, Ngintaka - Perentie, 2024, acrylic on linen, 101 x 112 cm.

Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12pm—4pm. See website for latest information.

Max Thornton-Smith, View over Darlington. Image courtesy of the artist. 239

ar t g ui d e .c o m . au Midland Junction continued... 27 July–1 September A Home Among the Gum Trees Sarah Thornton-Smith and Max Thornton-Smith 27 July–25 August HyperVision - Sweet City of Swan youth artists.

20 July–29 September Mélange Underfoot artists: Nien Schwarz, Holly Story, Perdita Phillips, Annette Nykiel, Sharyn Egan, Jane Donlin and Nandi Chinna.

Mundaring Arts Centre

Perth Institute of Contemporary Arts (PICA)

www.mundaringartscentre.com.au

www.pica.org.au

7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See website for latest information.

Jane Donlin, Faultlines (detail), 2023, linen and cotton. Photo courtesy of the artist.

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Diana Baker Smith, Falling Towards Another, 2024, performance. Judy Wheeler Commission, Perth Institute of Contemporary Arts (PICA), 2024. Photograph: Daniel James Grant.

bunbury.wa.gov.au/brag

3 August–19 January 2025 Falling Towards Another (A Score for the Void) Diana Baker Smith

Agatha Gothe-Snape, IT IS THE COLOUR OF AN IDEA THAT WILL NOT COMPLETE ITSELF IN OUR LIFETIME, 2024, installation view, Perth Institute of Contemporary Arts (PICA), 2024. Photograph: Dan McCabe. 3 August–1 January IT IS THE COLOUR OF AN IDEA THAT WILL NOT COMPLETE ITSELF IN OUR LIFETIME Agatha Gothe-Snape 2 August–13 October Hatched: National Graduate Show 2024 Sophie Dumaresq (ACT), André de Vanny (NSW), Jamee Barker (NSW), Kate McGuinness (NSW), Thomas Hannah (NSW), Vedika Rampal (NSW), Melissa Stannard (QLD), Ruby Stevens (QLD), Alanah Kent (SA), Katey Smoker (SA), Lily Trnovsky (SA), Tiarnie Edwards (SA), Frances Malcomson (TAS), Edie Duffy (VIC), Ka Yan SO (Kelly) (VIC), Michelle Prezioso (VIC), Michelle Yuan Fitz-Gerald (VIC), Steven Christou (VIC), Emily J. Palmer (WA), Esther Forest (WA), Kasia Kolikow (WA), Laura Ward (WA).

A–Z Exhibitions

Northern Territory

JULY/AUGUST 2024

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Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Open daily 10am–4pm. See our website for latest information.

Faye Alexander, Hybrid, 2015, base of blades, wire stems, spiral stalk, 100 x 90 cm. Araluen Art Collection. 1 June–11 August GROUND SWELL Araluen at 40 This exhibition reflects on the four decades of the Araluen Arts Centre and its role as the key exhibiting, collecting and lending gallery on Arrernte Country in Mparntwe/ Alice Springs. Curated around five guiding currents; catalyst, immersion, collision, divergence, surprise, the exhibition presents artworks from Araluen’s extensive permanent collection and artworks it holds on long-term loan. Across these currents it brings into dialogue 200 artworks by Indigenous and non-Indigenous artists, created across more than 90 years, that embody, engage, explore, challenge and pay homage to this ancient place; the country, its stories and peoples.

Springs and this residency will allow me to spend weeks exploring and drawing the country that carries such a charge of energy and memory, to attempt to capture something of its integral nature.” 21 June–14 July Beanie Festival – Listen to the Land A four-day festival encompassing exhibitions, workshops and a marketplace with 6800 handmade beanies from over 500 beanie makers. The International Beanie Competition and Exhibition will highlight over 300 of the world’s most exquisite beanie creations from as far away as Japan, Germany, the United Kingdom and New Zealand. Beanies created at workshops held in remote Central Australian Indigenous communities will also be exhibited alongside creation from all around Australia.

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. Free admission.

Experience the diversity and richness of contemporary artistic practice when Australia’s longest running and most prestigious Aboriginal and Torres Strait Islander art awards return to MAGNT. Now in its 41st year, the 2024 Telstra NATSIAA showcases Aboriginal and Torres Strait Islander artworks from across the nation which reflect the ongoing vitality of cultures, engagement with contemporary issues and deep connections to Country. Awards Ceremony, Friday 9 August.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 8am–2pm. See website for latest information. 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.

Featuring artists of national significance from Central Australia and beyond, GROUND SWELL Araluen at 40 illuminates the importance of this region in shaping, not only arts practice, but also how we, as a nation, see ourselves and understand this country.

Kim Mahood, East of Alice looking North (detail), 2024, pastel and ink on paper, (diptych). 1 June–11 August Forcefield Artist in residence – Kim Mahood To draw or paint a place is an act of deep attention and perseverance. It requires you to bring all your senses to the task – to listen and look and feel, and to translate the multi-dimensional repertoire of sensations into marks on a two-dimensional surface. “I have made many art-making sorties into the country around Mparntwe/Alice 242

2023 Telstra Award winner, Keith Wikmunea, Ku’, Theewith & Kalampang: The White Cockatoo, Galah and the wandering Dog, 2023, earth pigments with binders on milkwood, 280 x 140 x 120 cm. Courtesy of the artist and Wik & Kugu Aurukun Arts Centre. Photograph: Mark Sherwood. 22 June–27 January 2025 2024 Telstra National Aboriginal And Torres Strait Islander Art Awards Presented by the Museum and Art Gallery of the Northern Territory and Principal Partner Telstra.

Violet Bond, Kiss of Death, 2024, digital photograph, dimensions variable. 17 May—27 July Bodies of Water Violet Bond

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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

17 5

M A P 11 & 1 2 G R E AT E R SY D N EY & N E W S O U T H WA L E S

RICHMOND

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Leo Kelly Blacktown Arts Centre Bankstown Arts Centre Blue Mountains City Art Gallery Bundanon Campbelltown Arts Centre (C-A-C) Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery Peacock Gallery and Auburn Arts Studio Penrith Regional Gallery Rex-Livingston Art SteelReid Studio Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery

3 14

18 15

18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36

Bank Art Museum Moree Bathurst Regional Art Gallery Broken Hill Regional Art Gallery Cowra Regional Art Gallery The Corner Store Gallery Fyre Gallery Glasshouse Port Macquarie Gosford Regional Gallery Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Ngununggula Orange Regional Gallery Outback Arts The University Gallery Rusten House Art Centre South East Centre for Contemporary Art (SECCA) Shoalhaven Art Gallery Studio Altenburg Straitjacket Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery Yarrila Arts and Museum

C A ST L E H I L L

K ATO O M B A

1 8 LIVERPOOL

Sydney

B A N KSTOW N

11 10

C A M P B E L LTOW N

CRONULLA

BARGO

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

WO L LO N G O N G

BY R O N 32 B AY 12

35 20

23 COBAR

3 BROKEN HILL

New South Wales

22 2 C E N T R A L 8 C OA ST

WO L LO N G O N G

33 16 EC H U C A

15 29 18 14 24 13 19 17

DUBBO

MILDURA

C O F FS HARBOUR

MOREE

BOURKE

21 27 25 28 30 6

KO S C I U S Z KO N AT PA R K

251

M A P 13 & 14 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY 7

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Feather and Lawry Gallery Gallery at HOTA The G Contemporary Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

6 SUNSHINE C OA ST

12 8

11 14 3

Brisbane 18 4

TO OWO O M B A

2 15

13 9

16 10 5 1 8

GOLD C OA ST

17 STA N T H O R P E

4 8 3 13 15 CAIRNS

TOW N SV I L L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

252

Above and Below Gallery Artspace Mackay Cairns Regional Gallery Court House Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Museum of Art Tanks Arts Centre Umbrella Studio UMI Arts

11 10 14 6 1 M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

M A P 15 & 1 6 BRISBANE & CANBERRA

R ST

ET RE ST

Fortitude Valley

IC 5 K ST

15 10

8 R

ST R E E

T ET

9 DA R Y

BOUN

Brisbane CBD South Bank

19 14 12

ST RE

Acton

1 7

PA R K E

CO S WAY

19 16

15 KIN

ADE

E AV

Deakin G

Barton 20

CAN AY

BER

E AV

AV E

L A ID

Russell

T EN W E AV

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT Hadfield Gallery M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery PhotoAccess Tuggeranong Arts Centre Watson Arts Centre

G G O D

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

A H K IC W

Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Museum Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery Metro Arts Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 17 Queensland Museum 18 QUT Art Museum 19 Robyn Bauer Studio 20 State Library of Queensland 21 UQ Art Museum

D R A W EET ED TR S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

RA A VE

253

M A P 17 & 18 H O B A RT & A D E L A I D E

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre The TAG Art Gallery Tasmanian Museum and Art Gallery

D AV

A G Y E

EY S

L S T

1 2 3 4 5 6 7 8 9 10

Hobart R

1 N

RA Y

10 AB

SAL AM ANC A PL

FRO Y RD

NORTH TCE

21 10

EAST TCE

254

HA CK NE

17 1 13

Adelaide

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Flinders University Art Museum Gallery M GAGPROJECTS Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

9 2

M A P 19 & 2 0 P E RT H & F R E M A N T L E

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Art Collective WA Art Gallery of Western Australia DOVA Collective Gallery 152 Gallery Central John Curtin Gallery KolbuszSpace Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary

7 W

ING

Perth

13 2

10 TH

SPL

11 EL

AID

6 RA

3 4 OR DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

1 255

L A S T WO R D

“But everyone has imagination, even people who say they don’t. And there are many possibilities as to what a work means, but it’s up to you to decide what it is to you.” — W E N DY S H A R P E , A R T I S T

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 © 2024 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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