Art Guide Australia — March/April 2021 by Art Guide Australia

M A RCH /A PR I L 2 021

Bill Henson Roslyn Oxley9 Gallery 5 March – 3 April 2021

Untitled (Detail), 2008–09 CL SH653 N22D archival inkjet pigment print 127 x 180 cm edition of 5 + 2AP

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VIVIENNE SHARK LeWITT VIVIENNE SHARK LeWITT The Wind Blows Where It Will The Wind Blows Where It Will

13 March – 17 April 185 Flinders Lane Melbourne 3000 13 March – 17 April +61 3 9654 6131 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com +61 3 9654 6131 www.annaschwartzgallery.com mail@annaschwartzgallery.com www.annaschwartzgallery.com 2021-03_ART GUIDE_SHARK LeWITT_March-April.indd 2

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26/1/21 12:39

Vincent van Gogh. Sunflowers (detail). 1888. © The National Gallery, London

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Art Gallery of New South Wales 30 Jan – 2 May 2021 Free entry

Margel Hinder: Modern in Motion

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The first retrospective of one of the most dynamic sculptors of the 20th century

Margel Hinder Revolving construction 1957 wire and plastic Art Gallery of New South Wales, purchased 1959 © AGNSW

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Yhonnie Scarce, Prohibited Zone, Woomera 2021, research photograph. Courtesy the artist and THIS IS NO FANTASY, Melbourne

Yhonnie Scarce: Missile Park Australian Centre for Contemporary Art, Melbourne 27 March—14 June 2021 Institute of Modern Art, Brisbane 17 July—18 September 2021 Presenting Partner:

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steam dreams The Japanese Public Bath

Kōtaro Imada, Koto-ku Tokiwayu, 2009. © the artist

February 12 – May 22 2021 The Japan Foundation Gallery

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The Japan Foundation, Sydney L e v e l 4, C e n t r a l P a r k 28 B r o a d w a y Chippendale NSW 2008 j p f.o r g . a u

Daniel Boyd, Michael Candy, Oron Catts & Ionat Zurr, Brad Darkson, Donna Davis, Justine Emard, Anton Hasell, Floris Kaayk, Kite & Devin Ronneberg, Thomas Marcusson, m0wson&MOwson, Uyen Nguyen, Max Piantoni & Matthew Riley, PluginHUMAN, Helen Pynor, Dominic Redfern, Theresa Schubert, Rebecca Selleck, Agat Sharma, Miranda Smitheram & Laura Woodward

Premiering at University of Tasmania Galleries, Plimsoll Gallery 37 Hunter Street, Hobart

19 March— 9 May 2021

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Why not visit us after dark? Open late Thursday nights until the end of March Delve into the Australian Museum’s incredible collections and exhibitions after hours, enjoy live music and relax at the pop-up bar.

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Mariw Minaral (Spiritual Patterns) My art is all about telling and illustrating the stories my father told me. The one thing I will never do is let my forefathers’ words be lost. Alick Tipoti

sea.museum/mariw-minaral | Darling Harbour Sydney Kaygasiw Usul, Alick Tipoti. Australian National Maritime Museum Collection 00054384. Purchased with funds from the Sid Faithfull and Christine Sadler program supporting Contemporary Indigenous Maritime Heritage in Far North Queensland and the Torres Strait Islands through The Australian National Maritime Museum Foundation.

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March/April

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Light Years

facebook.com/artguideaustralia instagram.com/artguideau twitter.com/artguideaust #artguideaust Art Guide Australia acknowledges the Aboriginal and Torres Strait Islander peoples who are Traditional Custodians of Country throughout Australia. We particularly acknowledge the Boon Wurrung and Wurundjeri peoples of the Kulin Nation, upon whose land Art Guide Australia largely operates. We recognise the important connection of First Peoples to land, water and community, and pay respect to Elders past, present and emerging. Please note: due to Covid-19 restrictions, gallery opening hours and exhibition dates may be subject to change.

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Janet Laurence, photograph from the series Conversations with Trees, 2020, duraclear prints and dibond mirror, 5 panels, each 120 x 80 cm. image courtesy of the artist and arc one gallery, melbourne.

Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2021 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.

A Note From the Editor PR E V I E W

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Lumen Botticelli to Van Gogh: Masterpieces from the National Gallery, London Gabriella Hirst: Darling Darling TarraWarra Biennial 2021: Slow Moving Waters Experimenta Life Forms: International Triennial of Media Art Shaun Gladwell: Homo Suburbiensis YEDI / SONGS from Patrick William Carter Textbook for Desire Ctrl + H Adam John Cullen: Elton F E AT U R E

34 38

New Australian Art to Believe In The Women Propelling the Arts INTERV IEW

Janet Laurence F E AT U R E

48 52 56 62

Light in the Dark The Rise and Rise of Mary Quant Richard Bell: Art As Action I L LUS T R AT ION Oslo Davis: Exercising the Funny Muscle S T U DIO

Deborah Kelly F E AT U R E

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Clarice Beckett: The Spiritual Modernist Stanislava Pinchuk: Plotted Histories Robin Frohardt: It’s in the Bag—Quite Literally

Issue 130 Contributors is a writer, producer and arts manager who has worked in the sector since 2006. She has a background in galleries and museums, artist-run initiatives, start-ups, and the public sector. TIMM A H BA LL is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art historytheory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. OSLO DAV IS is an illustrator, cartoonist and artist who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and the State Library Victoria, among many others. STEV E DOW is a Melbourne-born, Sydney-based arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. BR ION Y DOW NES is an arts writer based in Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. A NNA DUNNILL is an editor at Art Guide Australia, and a Naarm/Melbourne-based artist and writer. Her writing has been published in Art + Australia online, un magazine, Runway, fine print, The Toast and others. She works with textiles, ceramics and tattoo, and is one half of collaborative duo Snapcat. M A R I A M A RCILLA

JULIE EW INGTON is an independent writer and

curator based in Sydney. She was a curator at QAGOMA between 1997–2014, and a member of the curatorial team for ACCA’s Unfinished Business in 2017/18. She is currently Chair of Sydney’s 4A Centre for Contemporary Asian Art. NEH A K A LE is a writer, journalist and critic who has been writing about art and culture for the last ten years. Her work features in publications such as The Sydney Morning Herald, SBS, The Saturday Paper, Art Review Asia and The Guardian and she is the former editor of VAULT Magazine. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine. H A MISH TA-MÉ is an established commercial photographer with a parallel career as an exhibiting artist. He has a focus on portraiture in both his commercial and fine art practice.

A Note From the Editor When I was interviewing Janet Laurence for this issue, we spoke about what role art can possibly play during a time of great environmental threat. Laurence’s eloquent, almost matter of fact response was that “it’s better to act than to feel resigned and give up.” She doesn’t necessarily want to make protest art, she said, but she does believe art is a space for thought, action, and hope. This latter point is a prevailing theme throughout this issue—whether it’s an exploration into the female philanthropists driving the arts, Deborah Kelly’s invitation to join a new “queer, science fiction, climate change” religion, or Richard Bell’s paintings and installations, which cast an adamant call for social justice for Aboriginal people. Amidst this, there is of course the ongoing spectre of Covid-19. It continues to impact everyone, from the Museum of Old and New Art’s decision to reopen with a renewed loyalty to Hobart locals, artists having to rethink entire artworks and collaborations, and the stories behind getting international collections and artworks into Australia. But during the tough times there’s always humour—Oslo Davis reminds us that “absurdity and nonsense both have that unique power to disarm and tickle a viewer.” Disarming and tickling are just some of art’s many powers, as you’ll read and see. Tiarney Miekus Editor, Art Guide #130 and the Art Guide Australia team

“. . . art is a space for thought, action, and hope.”

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Previews W R ITERS

Tracey Clement, Anna Dunnill, Tiarney Miekus, Barnaby Smith, and Andrew Stephens.

Sydney Lumen

White Rabbit Gallery 6 March—1 August

A lumen is a unit of measurement used to describe the relative brightness of light, and Lumen at White Rabbit Gallery does indeed feature a wide range of light-emitting artworks by Chinese artists: photographs on lightboxes, video projections, and immersive installations delineated LuxuryLogico, Miniature, 2015, stainless steel, copper by green laser beams or strings of coloured LEDs. rods, LED lights, computer, 207 x 576 x 168 cm. Although, as curator David Williams points out, Lumen not only showcases light as a medium, it also focuses on the conceptual potential of illumination. Williams highlights Zhang Peili’s 2012 Portraits as a major work in Lumen that uses light as both a material and an idea. Peili’s video installation (which was acquired for White Rabbit in 2020 and has not been on show before) is massive and intense. Projected at 5 x 3 metres in a darkened space, it subjects both the audience and the 14 people filmed to excruciatingly bright white light. Watching the video, Williams says, makes for uncomfortable viewing as everyone involved—both on and off screen—is forced to squint. “We react in the same way as the person being videoed,” Williams explains. “The artist is saying that the people aren’t necessarily the real message behind the work.” 2012 Portraits can be read as a physical manifestation of the psychological pain involved in facing the harsh glare of reality. Alongside this piece, Williams has selected more than 30 diverse works for Lumen from the White Rabbit collection. Some, like Peili’s video, shine metaphorical light into hidden recesses, while others invite luminous play. But viewed as a whole, Williams says he hopes the exhibition will be an “opportunity to shed light on, or encourage people to take a closer look at, things that might be taken for granted otherwise.” —TR ACEY CLEMENT

Zhang Peili, 2012 Portraits, 2012, single channel video, 22 minutes 9 seconds.

Canberra Botticelli to Van Gogh: Masterpieces from the National Gallery, London National Gallery of Australia 5 March—14 June

Jacopo Tintoretto, The origin of the Milky Way, c. 1575, National Gallery, London. courtesy of the national gallery, london.

Gallery curators, like the rest of us, know they won’t be travelling internationally for some time; so having treasures from one of the world’s finest collections come to us instead is very welcome, and a matter of good fortune. National Gallery of Australia curator Sally Foster says the exhibition Botticelli to Van Gogh was on its way here via Japan when the pandemic struck in force. Showing in Tokyo and Osaka, it got stuck there, but improved conditions in Australia eventually meant it could travel onwards. Had the collection, housed at the National Gallery in London, not left Britain when it first did, the chances of it showing in Australia would

have been slim. While the show’s title may be conventional, it’s also spot on: the exhibition comprises the gallery’s greatest treasures, including works by Rembrandt, Goya, Turner, Renoir and Cézanne. Tracing significant themes that reflect the history of the gallery, it begins with the Renaissance, which was a matter of great public interest when the London gallery opened in 1824. From there the show covers the Dutch golden age, Baroque painter Anthony van Dyck and his influence on British portraiture, and the Grand Tour of Europeans visiting the continent, a 17th and 18th century tradition for the upper classes. Botticelli to Van Gogh further traces a love affair with Spanish painting, when the British and French began to ‘discover’ Velazquez and El Greco, followed by a section on landscape and the picturesque. The last grouping covers the rise of modern art in the late 19th century. “That is when the National Gallery stopped collecting and the Tate took over,” Foster says. As she notes, the show makes clear that the National Gallery collection was very carefully acquired as a means to teaching art history. “Each painting is considered incredibly important in its own right.” —A NDR EW STEPHENS

Melbourne Darling Darling Gabriella Hirst

Australian Centre for the Moving Image 11 February—29 April

Asking herself about the four edges that form the border of Australian landscape painter WC Piguenit’s 1899 work Flood in the Darling, 1890, Gabriella Hirst Gabriella Hirst, Darling Darling, 2020, video still. wondered about leakage. After all, the painting is full of ipmic commission, bark a-darling, from tilpa water—and, looking at it, we might wonder what is beyond bridge, bark andji country. the frame. Rivers can never be contained or shown in their entirety, especially in a painting. For the aptly titled Darling Darling at the Australian Centre for the Moving Image (ACMI), created as part of the Ian Potter Moving Image Commission, Hirst is presenting two back-to-back projections, playing simultaneously. While the distinct sounds from each film will leak into its companion film’s space, visitors will not be able to see both pieces at once. One film is a series of landscape-based images

shot around the Darling River (“Or is it the Barka-Darling or just the Barka?” asks Hirst, using its Indigenous name). The other footage, more documentary in style, examines conservation work done on the surface of the Piguenit painting at its home at the Art Gallery of New South Wales. Hirst’s research for Darling Darling has been underway since mid-2015 and the generously funded ACMI commission ($100,000) was a chance to focus her vision and bring on collaborators who have expertise in various aspects of film production. There are many ideas intertwined into this complex, provocative work: what is containment; what does the art of conserving paintings convey to us; and what did it mean for Piguenit to go out into the unceded landscape, in the early days of colonisation, to ‘capture’ it? “Like so many art projects [in the wake of Covid-19] it has been extended so far beyond its original conception,” Hirst says. “My ideas have developed so far from where they started.” —A NDR EW STEPHENS

Healesville TarraWarra Biennial 2021: Slow Moving Waters

TarraWarra Museum of Art 27 March—11 July

For its 2021 theme and title, the TarraWarra Biennial has turned to the Woiwurrung word that gives this consistently innovative exhibition its name. ‘Tarrawarra’ translates roughly as ‘slow-moving water’, and guest curator Nina Miall has adopted the concept of ‘slowness’ as a guiding philosophy for this year’s event, which arrives eight months after it was originally scheduled. In Slow Moving Waters, as the show is named, Miall and the 24 participating artists explore slowness in various ways. Yet the key idea is, as Miall explains, “the potential of slowness as an act of resistance . . . [against] the relentless accelerationism that increasingly characterises the human condition in the 21st century.” She adds that the regional setting is perfect for such a show, as here “the rhythms of time are not so conditioned by the late-capitalist cult of speed and productivity.” Megan Cope, Quandamooka (Moreton Bay/North Some of the most provocative and ingenious works Stradbroke Island), south-east Queensland, are durational in nature—that is, their processes unfold Currents II, detail, 2018, ephemeral ice core (vegetable extract), found net, marine shells over the course of the four-month Biennial. One of these (oysters, cockles, mussels, abalone), giclée is Lucy Bleach’s attenuated ground (the slow seismic map and acrylic on canvas mounted on board. zone), 2021, in which a double bass is embalmed in courtesy of the artist and milani gallery, brisbane. toffee that liquefies gradually, revealing the instrument underneath. In a similar vein is Megan Cope’s Currents III (freshwater studies), 2021, which features ice sculptures that slowly melt. Both works carry a certain ecological or geological message. “Environmental concerns are central to many works, and are explored in ways which balance the political with the poetic,” says Miall. The overall aim, she says, is for viewers “to become attentive to slow but significant processes, and be reminded of art’s capacity for drawing attention to the rich textures of experience in an age of human and environmental expenditure.” —BA R NA BY SM ITH

Hobart Experimenta Life Forms: International Triennial of Media Art

Plimsoll Gallery UTAS (University of Tasmania) 19 March—9 May

Experimenta Life Forms digs into the teeming soil where biology, science and technology thrive and cross-pollinate. In this iteration of the International Triennial of Media Art—which will tour nationally after its Hobart premiere—moss makes music, human ‘biohazardous waste’ is turned into bone china, two generations of robots meet and perhaps recognise one another, and fungi growth is controlled by movement. As co-curator Jonathan Parsons explains, the exhibition’s theme responds to emerging ideas in both art and science around sentience, Agat Sharma, Brachiation on the Phylogenetic Tree, 2020, interactive voice response system, interspecies communication, and definitions of ‘life’. 3–12 minutes. “It just felt like the ground was shifting in this area,” he says. Challenging human-centric thinking—situating human life as “part of the natural system rather than on top of it,” in Parsons’s words—the exhibition features 20 artists based in Australia and internationally. Setting the scene is History is made at night by Daniel Boyd, an immersive video that draws on Indigenous Western Desert painting traditions to enfold viewers in the night sky. Parsons describes the work as bringing a “macro view” to the exhibition’s context. At the other end of the scale is Agat Sharma’s Brachiation on the Phylogenetic Tree, an automated ‘call centre’ experience in which every option selected allows the caller to navigate the evolutionary connections between different microorganisms. The boundaries between the animate and non-animate are frequently negotiated. In Helen Pynor’s Habitation, the artist’s own bone matter, excised during hip replacement surgery, is turned into bone china replicas of her femur and pelvic bones. Other works bring a strong First Nations perspective to ideas of sentience and personhood: Itówapi Čík’ala (Little Picture), an interactive sound work by Suzanne Kite and Devin Ronneberg, applies an Oglála Lakȟóta (First Nations people of North America) way of understanding non-biological life to our relationship with artificial intelligence and robotics. Life, we begin to see, is slippery—and everywhere. —A NNA DUNNILL

Melbourne Homo Suburbiensis Shaun Gladwell Anna Schwartz Gallery 6 February—24 April

Shaun Gladwell, Homo Suburbiensis, 2020, still, HD video (4K), colour, sound, 13 minutes 5 seconds, Cinematographer: Skye Davies. © Shaun Gladwell. courtesy the artist and anna schwartz gallery.

Shaun Gladwell has said that his artwork references “the sense of the body as a monument to its own potential power.” The body is the perpetual figure and subject of Gladwell’s work—the artist is famous for his slow-motion videos that bring skateboards, motorbikes, surf boards and BMXs into the gallery space. Yet his newest art seems to leave behind this boyhood territory to delve into domesticity and personal exercise, which arose with particular potency during Melbourne’s lockdown.

In his three-decade practice, Gladwell often captures bodies in temporallysuspended moments as they glide, sustain and orient themselves; as a viewer, it’s more like a meta-discussion of how we experience the experience of bodies. Homo Suburbiensis follows this charted course with one single-channel video work and a series of paintings. Propped against the gallery wall, the latter pieces draw upon Gladwell’s Anonymous Figures series from the 1990s and early 2000s, as well as the history of painting and graphic illustrations. Meanwhile the video, which shares the same title as the exhibition and forms a dialogue with the paintings, looks at day-to-day actions: dancing, eating, running. At first separate, as the video progresses the actions merge, and are overlaid with pseudo-scientific narration. Keeping with Gladwell’s tendency to allude to art history in his works, the video also features references to historical works, such as Andy Warhol’s Brillo boxes being repurposed as yoga platforms. Continuing his film-essay style—the style that saw him represent Australia at the 53rd Venice Biennale in 2009 and hold a major retrospective at Sydney's Museum of Contemporary Art in 2019—this foray into domestic activities once again brings human movement to the fore. —TI A R NEY MIEKUS

Perth YEDI / SONGS from Patrick William Carter Patrick William Carter Perth Institute of Contemporary Arts 21 February—18 April The vibrant multi-disciplinary works of Patrick William Carter are, in their way, love stories: love of family, music, Country and culture. Combining performance and dance with sound, video and painting, Carter, a Noongar Patrick William Carter, Bloom #2, 2018, still, single artist based in Perth, has established a unique body channel HD video, 2:26 min. © patrick carter, of work that explores hybrid modes of creation. YEDI / mentors: laur a boynes, debor ah may, robert eades. SONGS from Patrick William Carter offers a warm and producer: simone flavelle. image: debor ah may. emotional sample of his recent works. While much of Carter’s work addresses his Indigenous identity, family and community, perhaps the most immediately engaging aspect of his art is not just his innovative toying with media and medium, but his collaborative spirit. With the exhibition including four projected pieces, a new work called WIND, 2021, shows how Carter approaches collaboration, working with performer and choreographer Sam Fox and designer and director Sam Price. And collaboration is also where this exhibition began. “My development as an artist who plays with media to craft songs and stories began with experimentation using iPads and projectors in 2012, followed by a collaboration with [Perth artist] Sohan Ariel Hayes,” explains Carter. “SONGS charts my evolving practice since I first collaborated with Sohan—he provided more sophisticated tools to experiment with my painted and drawn works, and create songs about my family. “Collaborators facilitate my process by sourcing materials, instruments, studios and other collaborators. They are an essential part of my process when hybridising artforms. When I work alone, my starting point is to work on paper using pencil, watercolour and acrylic paints.” Also exhibited is the triptych work BLOOM 1,2,3, 2017-18, in which Carter addresses his experiences of medical treatment. “BLOOM grew out of increased occurrences of illness and hospitalisations that interrupted [my] artistic and career development. The heart of this work is the overlay of culture and Country in a purely medical context and, ultimately, healing.” —BA R NA BY SMITH

Sydney Textbook for Desire Cement Fondu 20 March—2 May “No simple map of the emotions is available here,” writes poet Anne Carson, in her efforts to illuminate the workJazz Money, wattle, video still from crush, 2021. ings of our innermost impulses. “Desire is not simple.” This simultaneously complex and ambiguous way we intuit, enact and embody desire—personally and collectively—forms the departing point for Textbook for Desire. When preparing the exhibition, curator Josephine Skinner was feeling the impact of the #MeToo Movement, Black Lives Matter and Covid-19. Since desire is intrinsic to how we relate to each other, and also how we form and shape our worlds, it seemed like a fundamentally important topic. “I felt that it was urgent to focus on asking the question, ‘Who has written the textbook on desire until now?’” explains Skinner. “How might we as a society—and also in this case with the artists as our ‘teachers’—how might we imagine rewriting it?” Staged like a classroom that reimagines the gallery as a space for sharing knowledge, Textbook for Desire features newly commissioned works from a collection of artists. Giselle Stanborough’s mind map of desire will be accompanied by a performance, and other live works will be presented by Sweatshop Women and New Age Noise Collective. Forays into video and language come from poet and digital artist Jazz Money, whose whimsical yet commanding work stems from her experience as an Indigenous woman, while Kate Blackmore examines what’s known as ‘the butter scene’ in cinema to look at sexual consent. In addition, Bhenji Ra is exploring her Instagram as a site of sharing her trans experience. While the show acknowledges alternative understandings of desire, it’s not prescriptive. “It’s really complex territory,” says Skinner. “But nonetheless it is hopeful and forward-looking, and it aims to privilege the diversity of experiences, and value feminist and queer and decentralised and decolonised perspectives on the subject of desire.” —TI A R NEY MIEKUS

Perth Ctrl + H Astro Morphs Goolugatup Heathcote 27 March—9 May In the dark, an edgeless figure is dancing. Its body is a portal through which coloured orbs glow, like the lights of distant planets or fish in the deepest ocean. From the primordial soup, Sox and Yow emerge. Sox and Yow are the speculative alter egos of Perth Astro Morphs, Micromask Five, 2016–2018, artists Bianca Sharkey and James Doohan, collectively wool, cotton, beads, netting, sequins, piping, pipe known as Astro Morphs. The two characters and their cleaners, cotton shirt, polyethylene, nylon, wire, narrative are central to the collaboration. Astro Morphs’ dimensions variable. courtesy of the artist. aesthetic is tactile, hands-on: down-to-earth as well as interplanetary. Their films feature animated backgrounds drawn in Texta or collaged with coloured paper. There are lavish costumes—all beading and sequins and papier-mâché—which are often exhibited alongside the films like museum relics. The vibe is both cosmological and biological, influenced by insects, tree bark, fungi, and microscopic slides. Even the video’s

fluorescent colours, Sharkey points out, are found in the lab. At the end of Astro Morphs’ 2018 film Ascension, Sox and Yow die, but are then reborn: “repurposed,” says Sharkey, “by the microorganisms in a rockpool.” The pair are transformed into new beings called ‘neonates’. As humans, Sharkey explains, “we experience cultural evolution—so that’s something like mobile phones, or something external to us—but we don’t live long enough to witness our biological evolution.” Viruses and bacteria operate differently—we can see them evolve because we exist on different timeframes. Ctrl + H merges these planes between organisms. The video work picks up the narrative where Ascension left off, with the characters trying to understand their new forms and find an ecological niche. Evolutionary building blocks like ear canals and ribcages are reimagined as musical instruments; a poncho features a scaled-up image of the eye’s rods and cones. Ultimately, Astro Morphs stitch together a microbial, cosmic world that’s joyously glam, pulsing with new energy. —A NNA DUNNILL

Melbourne Elton Adam John Cullen LON Gallery 10 March—3 April Adam John Cullen’s sculptural vessels mimic fragmented ruins or ossified remnants of domestic life. But rather than hoping to conjure up a lost civilisation (either ancient or the future detritus of late capitalism, once it finally crashes and burns), Cullen explains that he's “trying to move away from the ruin aspect, not that I ever fully could, of course.” Instead he describes his work as a type of biographical excavation, which he deliberately tries to keep open to interpretation. The title of the Melbourne-based artist’s latest solo show, Elton, reflects his penchant for drawing upon personal narrative, but with a sense of ambiguity. “Elton was actually the name of my grandmother’s Corgi-mix that she had when I was a kid,” Cullen says. “I generally give my shows one-word titles, either an action, place or event, Adam John Cullen, Elton (No. 1), 2020, Hydrostone, or in this case a dog. A single-word title can be a little plaster, colour oxides, fine bone china cups, withholding, but that’s intentional. I want to reference ceramic vase fragments and past works. something personal, but not necessarily spell it out.” In Elton, Cullen presents cement sculptures cast into op-shop vases, glassware and ceramics. These are placed on pieces of furniture he has fixed up himself; a side-hobby, he explains, which helped keep him busy during lockdown. Cullen’s cast objects are embedded with personal items including clothes, ceramics, gifts and past works. “I then chip away at the surface and re-cast them inside a new form, creating multi-part sculptures,” he explains. “You could look at it as a personal archaeology, burying objects in the plaster, cement, Hydrostone, and then uncovering them for display. It’s not dissimilar to burying memories, then later going back and trying to work through them. You could say Freudian,” Cullen admits. “I would probably avoid that. But I also couldn’t argue that it’s not true.” –TR ACEY CLEMENT

New Australian Art to Believe In Now in its third iteration, The National 2021 is about care, hope, storytelling, and triumph through adversity. W R ITER

Mariam Arcilla

“Wanna join a religion?” Rachel Kent, curator at the Museum of Contemporary Art, asks me. Looking like a superhero, her eyes are framed by thumbs and index fingers coiling into a figure-eight shape. According to Kent, this make-shift infinity mask belongs to artist Deborah Kelly’s new religion, CREATION, which proposes a faith-based logic favouring the environment, science and reason to counter climate crisis denial and capitalist greed. Showing as part of The National 2021: New Australian Art, CREATION enchants with performative rituals, collages, liturgical scripts, instructional videos, and costumes. Its doctrine is guided by, as Kent says, “a feminist, Earthcentered, queer religion that embraces everybody, and cares for the planet.” Frankly, after the bumper-to-bumper catastrophes that littered 2020, it feels like we all need something new to believe in—so The National 2021 is timely. Now in its third iteration, it carries anthems of care and regeneration—for people, lands and ecosystems—as well as familial might, cross-generational knowledge, and spiritual systems of hope. Spanning three major Sydney galleries—Carriageworks, Art Gallery of New South Wales (AGNSW), and the Museum of Contemporary Art (MCA)—the institutions work under a shared vision, showcasing 39 artists and groups from across the country. Staged biennially from 2017 to 2021, the visionary Sydney exhibition catalyses the latest ideas and forms that drive contemporary art in Australia, and over the last six years has seen the creation of 149 artworks. If The National 2019 was “the middle child,” (as hinted by co-curator Daniel Mudie Cunningham in the show’s catalogue), perhaps its 2021 sibling is ‘the surprise baby’: turning the arrivals of coronavirus,

isolation and natural disasters into a recalibration of new concepts and ways of working. “Covid definitely brought a different aspect to how some artists created works,” says Abigail Moncrieff, an independent curator for Carriageworks, “which is what makes this exhibition timely and urgent: it’s clear artists are approaching this present moment with very strong intentions.” For instance, social distancing and the inability to share VR masks led Agatha Gothe-Snape to adapt her audience-participation concept for Apparitional Surge into a transmitted performance at Carriageworks, culminating in an AGNSW performance lecture. Meanwhile, Kent credits Zoom for being a saviour during lockdown, showing me artwork progress photos on her phone. At one point the conversation turns to Sally Smart, who lost access to her Melbourne and Indonesian studios during lockdown, and Kent tells me how she began collaborating long-distance with seamstresses in Yogyakarta for her MCA work. At the MCA, The National 2021 enthralls with narratives of familial lineage and women’s labour. Pulsating with rock-desert-red, Betty Kuntiwa Pumani’s 10-metre-long painting, Antara, salutes four generations of women painters in her family. Created on her mother’s Country, near Aṉangu Pitjantjatjara Yankunytjatjara Lands, this gargantuan portrait “captures Betty’s ideas of family, gender, intergenerational learning and the transmission of knowledge,” says Kent. “It’s an emotional work; it blew me away.” Sancintya Mohini Simpson, who also includes Right: Deborah Kelly, CREATION, 2020–21, still, detail, multi-channel HD collage animation, colour, sound. image courtesy and © the artist.

Betty Kuntiwa Pumani, Antara, 2020, synthetic polymer paint on linen. image courtesy of the artist and mimili maku arts © the artist. photogr aph: angus webb.

“…it’s clear artists are approaching this present moment with very strong intentions.” — A BIG A I L MONCR I E F F

Sancintya Mohini Simpson, Dhūwã ¯ , 2020, still, single-channel digital video, high definition, colour, sound. image courtesy of the artist and milani gallery, brisbane © the artist.

her family in her practice, presents Dhūwã ¯ , a filmic roar about ancestral trauma through the burning of sugarcane plantations in Far North Queensland; its ambient soundtrack is scored by her brother Isha Ram Das. Simpson pairs this with paintings that offer tales of “land, indentured labour, migration, and the parallel histories between India, South Africa, and Queensland,” Kent explains. At Carriageworks, the Karrabing Film Collective— known for their candid-style filming with handheld cameras and phones—will screen their five-channel video Day in the Life, documenting the factors that Indigenous families face in the Belyuen community during a 24-hour timeline. “It’s both a humorous and serious work,” explains Moncrieff, “bound by an absolute sense of human agency in the representation of a reassertion of their way of life on Country.” Gudirr Gudirr by Vernon Ah Kee and Dalisa Pigram also captures Indigenous legacy and well-being, combining Pigram’s haunting, body-centred performance with Ah Kee’s visual and oral storytelling. “The work speaks to the conditions of Dalisa’s community in Broome and broadens it out to a warning of climatic change,” says Moncrieff. “It’s a fantastic, intense and gripping work about history and the experience of place.” At AGNSW, curator Erin Vink says care for Country and land rights remain paramount. She describes the spiritual resolve of Betty Muffler’s collaborative painting with Maringka Burton, titled Ngangkari Ngura (Healing Country). “As a little girl, Betty survived the British atomic nuclear weapons testing in Maralinga, so she uses her art to talk about these experiences, because she’s also

a traditional healer,” explains Vink. Other projects invite audiences to invest in alternative worlds: Lisa Sammut summons an immersive cosmological portal, while Justin Shoulder’s sculptural installation, AEON†, invents “a unique biosphere,” says curator Matt Cox, “where creatures are birthed in weekly performances and animated through hand-crafted costumes and prostheses.” Ultimately, Kent tells me, The National aims to give audiences a renewed sense of hope through the power of storytelling and the transmission of knowledge, as well as understanding the various ways that creativity can triumph under adverse circumstances. “When we look back on this period,” she says, “my feeling is, even though it’s a terribly difficult time, some really interesting conversations and practices have come about necessarily because of those conditions.” Amen to that.

The National 2021: New Australian Art Art Gallery of New South Wales (Art Gallery Road, Sydney NSW) 26 March–5 September Carriageworks (245 Wilson Street, Eveleigh, Sydney NSW) 26 March–20 June Museum of Contemporary Art (140 George Street, The Rocks, Sydney NSW) 26 March–22 August

The Women Propelling the Arts From individuals to collectives, female philanthropy is a major driving force of the Australian arts. But who are these women? And why don’t we know more about them? W R ITER

Julie Ewington

At least since the opening in 1929 of ‘mother’s museum’, as Nelson Rockefeller dubbed the Museum of Modern Art (MoMA), established with advocacy from his mother Abby Aldrich Rockefeller, contemporary art has been associated with support from women. In Australia, connections between contemporary art, women artists, and their audiences have been understood at least since the 1920s, but what is the situation today for women supporters of visual arts? Have women emerged as important philanthropists in the arts in Australia? And have they made an impact on the cultural landscape? The short answer is yes. Women are increasingly potent in the country’s cultural affairs as donors, both individually and collectively. But first, and importantly, there is very little hard data on women and philanthropy in general, let alone in the arts. Philanthropy Australia’s ‘fast facts’ quotes Australian Tax Office figures from 2018, suggesting women give slightly more per capita than men, though they earn considerably less—but Philanthropy Australia has no statistics on women donors in the arts, so the field is overdue for serious research. (PhD, anyone?) That said, a number of analysts believe women have become more influential in recent years. In 2016, Australian Women Donors Network CEO Julie Reilly noted, “Whether as donors or recipients, the evidence is clear that women are key to achieving social change. Given women’s growing economic capacity, and their relative edge in generosity, it’s vital that we encourage and support women in philanthropy.”

This is borne out by professionals in arts philanthropy. Dominique Jones, philanthropy manager at Queensland Art Gallery | Gallery of Modern Art (QAGOMA), pointed out to me the recent increase in significant bequests from women to the gallery— such as curator Jennifer Phipps’s transformative bequest to establish the Oceania Women’s Fund, devoted to the commissioning and acquisition of works from the Pacific. These bequests to QAGOMA are now recognised through the gallery’s Schubert Circle, a donation group named for its most generous (woman) donor, the late Win Schubert. Moreover, Fiona Menzies at Creative Partnerships Australia reports anecdotal evidence that women are choosing to fund projects led by or for women both in the visual and performing arts; the Stella Prize for women’s writing, initiated in 2012, is exemplary of this trend. Additionally, there are wonderful accounts of women supporting projects investigating women’s achievements; for example the 2011 exhibition Louise Bourgeois: Late Works at Heide Museum of Art, which was supported by an all-woman group of patrons, alongside corporate exhibition partners. But what of more sustained and targeted forms of support? A major and recent example comes from Sheila: A Foundation for Women in Visual Art. Known simply as ‘Sheila’, it launched in May 2019 and aims “to overturn decades of gender bias by writing Australian women artists back into our art history and ensuring equality for today’s women artists.”

Sheila and Jim Cruthers at home in Perth in 1995, with their new women’s gallery behind them. photogr aph: richard hatherly. courtesy of the sunday times.

“People don’t realise how much pleasure there is in giving, when you see the results of your giving.” — C AT H R Y N M I T T E L H E USE R

Installation view of Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia, Canberra, featuring various works.

Sheila grew out of the arts philanthropy of the late Lady Sheila Cruthers, who initiated the Cruthers Collection of Women’s Art. Now housed at the Lawrence Wilson Art Gallery in Perth, this collection numbers over 700 works and is the largest, and the only stand-alone, collection of its kind in the country. Not surprisingly, Sheila’s donor list is dominated by women, and it has been described by artist Elvis Richardson of the Countess Report (Australia’s best data platform for gender diversity in the arts) as “the face of new cultural philanthropy desperately needed in Australia.” Cue the National Gallery of Australia (NGA) and its current Know My Name project, which aims to increase awareness of Australian female artists through exhibitions and publications, and to expand its collection to include more women artists—it was one prompt for this article. The NGA raised over $10 million to stage this ambitious multi-platform project, and it was so well supported, even in the 2020 Covid year, that NGA director Nick Mitzevich reports raising 10% over the target figure. Half of the 450 donors were new patrons with whom the project’s social relevance, and national reach, resonated. Not surprisingly, both the Sheila Foundation and the Countess Report

are affiliated with Know My Name as project partners, and perhaps the signal achievement of Know My Name, above its many parts, is to pull these existing energies together. Indeed, Mitzevich remarked to me that he has worked for decades with women supporters and patrons, and while he does not think they are becoming more numerous, he does believe women are becoming increasingly confident in articulating their commitments and desires. So, who are these women? In the visual arts perennially generous donors include leading figures such as Melbourne businesswoman Naomi Milgrom, and in Sydney architect and arts patron Penelope Seidler, and businesswoman and philanthropist Judith Neilson, who also co-founded White Rabbit Gallery. The two largest single gifts to Australian art museums in recent years also come from women: the late Diana Ramsay’s gifts to the Art Gallery of South Australia (establishing the James and Diana Ramsay Fund), and Win Schubert’s bequest of $35 million to QAGOMA, announced in late 2020. Significantly, both women had been long-term supporters of their respective state galleries. While it is true that a great deal of philanthropic heft comes from couples committed to the arts, with many driven by women with

strong views about the disposition of family monies, increasingly women philanthropists are independent—women with particular passions that they can support, whether with family wealth, or inherited or earned funds. Australia’s female arts philanthropists seem to come from all ends of the social spectrum: the range of personal histories is broad, interests are eclectic, and perspectives on philanthropy and its workings are diverse. Lawyer Elizabeth Pakchung, originally most interested in fashion, came to art philanthropy through friendship networks, “wants to support cultural projects”, and recently contributed to Know My Name. Pakchung thinks these Covid times have encouraged smaller donors—she says it’s not always the usual ‘heavy hitters’ who are now offering support. Another contemporary donor, and one-time curator and gallerist, Sally Breen, uses an ESG— Environmental, Social and Governance—screen on all her investments, including in cultural projects. This currently includes The Palms, a studio based at Rockdale in suburban Sydney, which provides spaces for five women artists sharing skills and tools. Breen says she admires the courage involved in this project, and the artists’ belief in themselves. Indeed, many

women I spoke to support a range of woman-focused projects, including projects at Sydney’s Royal Hospital for Women, the Asylum Seeker Centre and Lou’s Place, a women’s shelter in King’s Cross. Consistent threads emerge across female donors: a shared interests in the arts, participation in activities such as openings, lectures, and studio visits, and a further investment in the friendships that arts networks offer. It’s often major museums that foster such motivations and communities of purpose. For example, the Art Gallery of New South Wales Foundation holds many members including the impressive businesswoman Alenka Tindale, leading educator Rowena Danziger, long-term volunteer guide and arts supporter Denyse Spice, and more recently-arrived patron Barbara Wilby, who enjoys supporting younger artists. Wilby spoke to me about a shared social good as the core to philanthropy, about connections to community, and about the foundation’s “pleasure in giving”. I heard that last phrase—the pleasure of giving— often. It is the key for Brisbane plant scientist and arts patron Dr. Cathryn Mittelheuser, who with her late sister Margaret Mittelheuser—the country’s first woman stockbroker—is a staunch supporter of QAGOMA. Over

Anna Platten, Portrait of James and Diana Ramsay, 1992, oil on linen. private collection.

Kunmanara Williamson and Nita Williamson (collaborating artist), Suzanne Armstrong (collaborating artist), Ngayuku ngura (My country) Puli murpu (Mountain range), 2012, synthetic polymer paint on linen. purchased 2012 with funds from margaret mittelheuser, am, and cathryn mittelheuser, am, through the queensland art gallery foundation / collection: queensland art gallery. © the artists. photogr aph: natasha harth. image courtesy of qagoma.

Yayoi Kusama, Flowers that bloom at midnight, 2011, fibreglass-reinforced plastic, urethane paint, metal frame, 181 x 181 x 268 cm. purchased 2012 with funds from the josephine ulrick and win schubert diversity foundation through the queensland art gallery foundation. © yayoi kusama. collection: queensland art gallery | gallery of modern art (qagoma). photogr aph: mark sherwood, image courtesy of qagoma.

a two-decade period the sisters funded the acquisition of more than 100 works, notably by Indigenous artists including Sally Gabori, Yvonne Koolmatrie, Mavis Ngallametta and Lena Yarinkura. This giving has been informed and knowledgeable, fueled by the sisters’ life experiences as pioneers in their professional fields. In his catalogue introduction to the exhibition Two Sisters: A Singular Vision, which celebrated the Mittelheuser sisters’ gifts, QAGOMA director Chris Saines wrote, “Like collecting institutions around the world, QAGOMA is attempting to redress historical inequities in the gender representation in our holdings, and strategic support plays a valuable role in rebalancing the scale.” This understanding of gender equity and the determination to redress it runs through much philanthropy by women. Carol Schwartz, named in late 2020 by Philanthropy Australia as the country’s Leading Philanthropist for her work in promoting gender equity, has a strong commitment to the visual arts; she has funded projects including Unfinished Business: Perspectives on Art and Feminism at ACCA, Melbourne in 2017, and the Women’s Art Prize Tasmania, relaunched in 2018. She also enjoys supporting young women artists through collecting and commissioning. Alongside these individuals, there is considerable energy in giving circles that direct individual donations to common purposes, an efficient and

agreeably collaborative method that has allowed women to command their own social space and projects. Such circles include the Women’s Association at the National Gallery of Victoria, and the Women’s Art Group at the Art Gallery of New South Wales. So, how to summarise all this activity? The tide is finally turning in museums worldwide, including in Australia, towards the exploration of cultural and social diversity—a sea-change led by decades of feminist scholarship and advocacy, and by audience awareness of contemporary women’s art. Know My Name is only the most recent, and closest, instance of this trend. Most fascinating, there is now a convergence between women’s power as museum visitors— in an age when museums are sensitive to audience values and expectations, including the increasing participation of families—and the greater economic power of women as patrons of the arts. The future looks bright for women philanthropists: there is so much to be done. The last word goes to Cathryn Mittelheuser, reiterating what many women said to me: “People don’t realise how much pleasure there is in giving, when you see the results of your giving.” She quotes her sister Margaret’s advice to clients: “Secure a good living, educate your children so they can look after themselves, then give the rest away.” Sound guidance for a shared cultural future. ◎

Janet Laurence, photograph from the series Conversations with Trees, 2020, duraclear prints and dibond mirror, 5 panels, each 120 x 80 cm. image courtesy of the artist and arc one gallery, melbourne.

“I think, ‘How much are we heard?’ But it’s not going to stop me because I think it’s better to act than to feel resigned and give up.” – J A N E T L AU R E NCE

Interview

W R ITER

Janet Laurence

Tiarney Miekus

For three decades Janet Laurence has been creating artworks that consider nature in a multitude of ways: alchemy, fragility, care and empathy. Creating highly experiential installations, in recent years Laurence has been lauded for her simultaneously conceptual but also emotive approach to nature.

TI A R NEY MIEKUS

Have you always seen art as a response to the natural world, or did your initial interest in art start from a different place? JA NET LAUR ENCE

They both began individually but they came together quite quickly, funnily enough. In my early art training, I was living in Europe and it made me really consider our relationship to the land and the elements of nature in both Europe and Australia, and the incredible difference of being in Europe with the environment. It made me want to explore the nature of a particular place, so [nature] entered into my art in this way. Initially my art had evolved through an interest in elemental matter and alchemy. There were a whole lot of reasons for that; one was a feminist reason, another was a love of the process of things evolving and changing in time, and the being of matter and its transformation. I wanted to have this more conceptual overview of looking at how we dealt with our environment, nature and landscape. Somehow, that made me want to look inside the landscape rather than at the landscape in a picturesque way. TM

I noticed your first solo show was in 1981 when you were in your early thirties. It made me wonder if there was something else you were doing in your twenties, or was being an artist the only goal? JL

I was doing art on the side of other things like studying medicine, and then going and living overseas and doing a lot of different jobs. I went to art school in Italy when I was quite young and was then living in the country there [in Italy] in a very hand-to-mouth way, growing all my vegetables. Somehow, we never worried about time in those days, nor careers! I always

wanted to make art, but I really wasn’t attached to any art world. My making of art was very much attached to my way of life, and that allowed me to delve into a lot of ideas. TM

Were your family artistically minded? JL

No, not at all. And that’s why they never let me study art. In those days there were very few women artists you could look to in Australia, and it was assumed if you were studying art you’d be doing commercial art. It was by being in Europe that I explored much more of an art world, and I realised the difference of being in Australia with our young country that’s still trying to find its way on this land, as compared to the Europeans who are so embedded in the history of being on that place. It led me, when I came home to Australia, to get a job with the Flying Arts School, and flying around northern New South Wales, Queensland and the Northern Territory to do art classes. It was connected to a university in Brisbane, but was for people who were very isolated and wanted to study art. The extraordinary thing was most of them were landscape painters, but they weren’t really engaging with that landscape, nor were the farmers listening to the land. It was the whole story of how we colonised this place and how our art followed the same pattern. We just attached other ideas onto art dealing with the Australian landscape. That made want to look inside the being of the Australian landscape as compared to just making images that look like a European painting of it. TM

That’s interesting, because the artists and writers that you often cite as being influential, people

Janet Laurence, photograph from the series Conversations with Trees, 2020, duraclear prints and dibond mirror, 5 panels, each 120 x 80 cm. image courtesy of the artist and arc one gallery, melbourne.

like Robert Smithson, Joseph Beuys, Gaston Bachelard and W. G. Sebald, are all concerned with nature, but how nature is subjective, historical, conceptual and psychological. It feels like a method you follow. JL

Exactly. That was a way of entering into the landscape. That’s why alchemy was amazing knowledge to have as a process for entering nature: to watch the transformation of things and to think about that transformation, and then to give that meaning. When I was in art school in America, I gravitated to the more conceptual artists too, and I still am so engaged by that practice, but I seem to have ended up a little away from that—and I think it’s the nature of being here in Australia, too, and not living such an intense dialogue like that. TM

An interviewer once asked you, “Your works do set out to communicate something, don’t they?” And you said yes, but you didn’t say what those things are. JL

What I’m trying to communicate is not necessarily one thing, but more a wonder of nature. A lot of the work is dealing with fragility and loss, particularly more recently, and so I’m also often wanting to communicate care and empathy. TM

Do you think it’s interesting that we’re so largely disconnected from nature that we go to places like art galleries to get that experience of the natural world? JL

It’s funny that we do that, isn’t it? It’s such a shame. But I hope that by going to a gallery to get that experience, it can open you up to the real world. The gallery can give you a focus and a lens to look through, and maybe even understand something, and can bring it to your attention. Often in the bigger world, people aren’t looking. When you make an inquiry into a gallery or museum, you close up the whole world, in a way. You enter into that space, and having complete focus like that can heighten your senses. TM

I’m curious about the experience of being a female artist and creating works that deal with nature, especially when men have often been seen as quite heroic in this field. Has gender affected how you’ve been received as an artist? JL

Yes. I think it’s true that women painters were relegated to doing still lifes, while the main painters recording the landscape, or so-called recording the landscape, were men. But I also think there is another approach where women will look sideways and inside, perhaps more than the men who are still looking through the tradition of the more heroic image. I felt very free as a woman to work sideways, and I often thought of alche-

my as the side thing from the true science and true chemistry of the world—a kind of meta-science. The funniest thing is that my first review ever, which I’ve never forgotten, said, “Janet Laurence deals with nature and the dark side of life, and this is not a place where women should be.” What were women meant to be doing? Painting domestic life? And still, funnily enough, being a woman going through the 80s and feminism at that time, there were very few women who were engaging with the natural world. There were people like Bonita Ely and Rosalie Gascoigne, and they were heroes to me because so many women were talking about their constructed feminist lives—and if you look at the history of feminist art, that was all to do with identifying as a woman— but I just side-stepped that. I’m very removed from my work in some ways. I’m there, but I’m removed. I never consciously introduce myself into it, which so many feminists did. TM

Does it feel strange that as your success increases, the very subject matter of your art becomes more endangered and fraught? JL

Yes, it’s funny. People say of my work, “Oh, it’s so timely.” And you feel like saying, “Well, I’ve been doing it for 30 years!” But I think the field of art is a little conservative in its approach to these things. Climate change has taken a long time to enter art. And one of the reasons is—let’s face it—look who’s backed the art world. It’s a lot of fossil fuel money. It’s very difficult, but I think it makes me more passionate about doing stuff because I think, “God, we really got to this terrible state of emergency.” TM

Do you ever have moments of crisis where you wonder what art can do for environmental threat? JL

Yes, of course. I think, “How much are we heard?” But it’s not going to stop me because I think it’s better to act than to feel resigned and give up. I also feel that my art is partnered much more with actions, like climate change actions. But I don’t really want my art to be protest art. I just feel we have to choose whatever means we have to speak and act. And I think in doing that, it gives you a space for hope, you know? Small responses are often really important.

Tree Story

Monash University Museum of Art ( Monash University, 900 Princes Highway Service Road, Caulfield East VIC) 6 February—10 April

Know My Name: Australian Women Artists 1900 to Now National Gallery of Australia (Parkes Place, Parkes ACT) 14 November 2020—4 July

Light in the Dark As Mona celebrates its 10th anniversary, the gallery is strengthening its connection with Tasmanian locals and harking back to its beginning: a private art collection. W R ITER

Briony Downes

When the Museum of Old and New Art (Mona) closed its doors to the public in March 2020, the 15km-high searchlight beams of Ryoji Ikeda’s Spectra (Tasmania) returned to the night sky. First seen in 2013 at the inaugural Dark Mofo festival, since Covid-19 shut down much of Hobart Spectra has streamed into the sky every Saturday night, a steady reminder of resilience. The sudden absence of physical arts and culture events proved difficult for many, and Mona was not immune to the effects of pandemic-related closure. During Mona’s nine months off-the-grid, only a skeleton staff kept the wheels turning from home and on site. However, while Spectra was shining bright and the public grounds were quiet, inside the museum things were slowly changing. With a future reopening date uncertain and most of the artworks placed in storage, for the first time since its opening in 2011, Mona was a blank slate. “Once we went into lockdown and the museum closed, I started thinking about what to do straight away,” says senior curator Jarrod Rawlins. With most future plans required to be local, Rawlins worked with Mona owner and founder David Walsh, and exhibition designer Adrian Spinks, to devise a new way forward. As 2021 marks Mona’s tenth year in operation, a rehang of the permanent collection proved a fitting theme to follow. “We needed to set ourselves targets and deadlines even though they were arbitrary because we didn’t know when we were going to reopen,” Rawlins admits.

Encouraging potential visitors to stop and linger with the art more often, Rawlins and the curatorial team came up with the idea of kitted-out ‘lounges’ placed at intervals throughout the museum’s galleries. Centred around specific themes—sex and death, the colour blue, pub culture, ladies—each lounge is marked by its own artwork, chairs and carpets. “The idea of having furniture and carpets in the lounges was to reemphasise Mona’s origin and reason for being—it’s a private collection,” says Rawlins. “It’s like an edgy house museum and we wanted to exaggerate that. One of our goals was to be playful with the rehang and the lounges were really part of that experience.” All the interior pieces were purchased specifically for the rehang—some sourced locally and others shipped in from Europe and North America. In part a reflection on Mona’s first decade, the rehang contains a number of pieces on display when the museum opened in 2011: Callum Morton’s faux-mountain Babylonia, 2004; Greg Taylor’s assisted suicide machine, My Beautiful Chair, 2010; and the full-sized Mack truck in James Angus’s Truck Corridor, 2004. Even the kids get a look in with a small gallery filled with pillows, portholes and built in tunnels. “There are some really practical outcomes there because we’ve taken over our touring galleries for the collection and I could literally fit in more work,” says Rawlins. Several pieces are exhibited for the first time, most notably a series of late 19th century portraits of First Nations men and women by Sydney-based photography firm, Kerry & Co.

Tracey Moffatt, Something More, 1989; Brook Andrew, Sexy and Dangerous II, 1997. photogr aph: mona/jesse hunniford. image courtesy of mona, museum of old and new art, hobart, tasmania, austr alia.

“It’s like an edgy house museum and we wanted to exaggerate that.” — J A R ROD R AW L I NS

Mona Portrait Gallery with Ah Xian, China China – Bust 82, 2004, and Martina Schumacher, Waterlily Pond, 2004–5. photogr aph: mona/jesse hunniford. image courtesy of mona museum of old and new art, hobart, tasmania, austr alia.

Tom Otterness, Girls Rule, 2020. photogr aph: mona/jesse hunniford. image courtesy of mona museum of old and new art, hobart, tasmania, austr alia.

Mona interior, level B1, with Sidney Nolan, Crucifix, 1955; Brett Whiteley, The Naked Studio, 1981; Toby Zeigler, Vitalis, 2007. photogr aph: mona/jesse hunniford. image courtesy of mona museum of old and new art, hobart, tasmania, austr alia.

A major new addition to the Mona collection is the bronze sculptural playground Girls Rule, 20162018, by US artist Tom Otterness. Positioned on the lawns outside the museum, it was originally commissioned by Walsh for his (now delayed) Motown hotel development. Rawlins reveals, “It’s been crated in storage for a couple of years. This was a good opportunity to get it out as we had time to design the site and get it ready. David was very focused on the local audience when reopening so it was great to be able to add some cool new things.” When Mona reopened to the public in the final days of 2020, Nicole Durling, Mona’s director of collections and exhibitions, said it was like being invited back into Walsh’s home. While Mona’s primary function is still to hold an art collection worth over $100 million dollars, it also remains a place personally significant to Walsh: the ashes of his father are entombed within the museum, he wed Kirsha Kaechele in its Wim Delvoye designed chapel, and together they live with their daughter, Sunday, in an apartment clinging to the side of the main building. At times, you can catch a glimpse of Walsh walking the museum grounds in a rainbow striped jumper, unkempt grey hair flying. With the rehang imbued with a sense of

playfulness, Mona appears to have softened around the edges, its overall vibe shifting ever so slightly from the subversive adult Disneyland of 2011 to a comfy house museum (albeit still peppered with lashings of violence and soft porn). In late November 2020, ahead of Mona’s reopening, Walsh wrote in Tasmanian newspaper The Mercury, “When we opened, I thought our place was among the seekers-of-the-new, a space program for the creative urge. Ten years, and three million visitors, and a pandemic, have taught me that our place is with you.” With no blockbuster exhibition on the horizon, and smaller, locally-driven festivals like Mona Foma 2021 currently in favour, what does the future look like for Mona? According to Rawlins, the future makes him smile. Maintaining the enigmatic air of mystery that Mona is exceptionally good at cultivating, any further elaboration is brief. “We’ve got a future, I know that much. We are thinking about it and talking about it. It’s good.”

Mona Collection

Museum of Old and New Art (Mona) (655 Main Road, Berriedale, TAS) Ongoing through 2021

The Rise and Rise of Mary Quant When British designer Mary Quant led a 1960s fashion revolution, she would forever change how women dressed. W R ITER

Anna Dunnill

In 1965, English model Jean Shrimpton wore a minidress to the Melbourne Spring Races and caused a sensation. Photographs of her scandalous outfit hit the front pages. A simple white shift, hemline just above the knee, the dress appears laughably demure to contemporary eyes—but it was a clarion call of liberation to young Australian women, stifled by the stuffy conventions of the era. Eschewing the compulsory hat, gloves and stockings, Shrimpton’s free and easy appearance was a revelation, and Australian women embraced it swiftly. By the time the 1966 Flemington Races rolled around, hats and gloves had been tossed away, and hemlines had risen even higher. Fashion would never be the same. At the helm of this global movement was British designer Mary Quant. Championing “relaxed clothes, suited to the actions of normal life,” Quant is widely accepted as popularising the miniskirt and revitalising women’s dress. Characterising 1950s Britain as “railway stations and Typhoo tea, stockings and suspenders,” Quant led a revolution in colour, style and comfort. “I didn’t have time to wait for women’s lib,” she later said. Originally staged at London’s Victoria and Albert Museum (the V&A), and now travelling to Bendigo, Mary Quant: Fashion Revolutionary is a major survey of Quant’s remarkable career that radiates the designer’s buoyant personality. “She was female, she was young; she represented the triumph of youth and freedom,” says Bendigo Art Gallery curator Emma Busowsky Cox. Woven throughout the exhibition are stories, photographs and clothing from the millions

of women who adopted Quant’s groundbreaking designs and made them their own. The survey begins in 1955 with Quant’s first London boutique, Bazaar, which was something of a phenomenon. “If you think about the way shopping occurred before then, it was a very formal kind of experience,” says Cox. Harrods, for example, was a stolid world of hats, gloves, and demure cream teas. In contrast, Bazaar launched with a party (where all the stock immediately sold out), stayed open late at night, and featured extravagant, arty window displays with mannequins in lively poses and “crazy things like having a lobster on a lead.” Two years later Quant actually opened her second store directly opposite Harrods—a bold challenge to the establishment. Quant’s designs drew inspiration from surprising places. She reinvented styles from menswear and children’s wear—tailored trousers and jackets, pinafores and Peter Pan collars—and recast them as fashion for contemporary young women: fun, flirty, and easy to move in. In addition to ever-rising hemlines, she popularised coloured tights, reinvented the drab raincoat in a rainbow of hues, and experimented with new materials like PVC, lurex and jersey. “Stretch jersey was quite a new fabric then,” Cox says, “and this is a hallmark of [Quant’s] design—liberating from that corseted waist to a shorter hemline and stretch fabrics, which allowed women to move and run and jump and be more free.” A significant part of Quant’s success lay in her determination to make clothes available at a wide

Stealing a March on the Guards in The Observer, 1961. photogr aph: john cowan © john cowan archive.

Mary Quant and Vidal Sassoon, 1964 © trinity mirror / mirrorpix / alamy stock photo.

Lieze Denise modelling a Mary Quant cocktail dress, circa 1960. photogr aph: woburn studios. image courtesy of mary quant archive / victoria and albert museum, london.

“She was female, she was young; she represented the triumph of youth and freedom.” — EM M A BUS OWSK Y C OX

Mary Quant tights and shoes, circa 1966. image courtesy of mary quant archive / victoria and albert museum, london.

range of price points, effectively democratising fashion. She quickly embraced mass production with the popular Ginger Group line, which featured colourful shift dresses and separates at prices accessible to ordinary working women—even at a time when women’s wages were routinely a fraction of men’s. In 1963 Quant went a step further when she signed a deal with Butterick, a notable producer of sewing patterns, enabling home dressmakers to produce Quant designs cheaply and adapt them to personal taste. In the lead-up to the original V&A exhibition, adopting the slogan ‘We Want Quant’, the Victoria & Albert Museum undertook a widely-publicised search for Quant pieces to bolster their existing collection. They received over 800 responses from around the United Kingdom, spanning the gamut of high-end couture, High Street fashion, and homemade items produced from the Butterick patterns.

Women sent in photographs of themselves wearing treasured Quant pieces in the 1960s and 1970s, from wedding dresses to raincoats and miniskirts. Many of these original pieces have become features of the exhibition, often retaining additions by their former owners: one Ginger Group minidress sports a hemline raised even further by its wearer. It is notable that these clothes, often acquired by saving up hard-earned wages, had been carefully stored for decades. “These were garments that were more affordable, but they were also treasured by women,” Cox says. “They were just a big part of women’s lives.”

Mary Quant: Fashion Revolutionary Bendigo Art Gallery (42 View Street, Bendigo VIC) 20 March—11 July

Art As Action

Grounded in social justice, Richard Bell’s art is a call to action. It scrutinises settler-nationhood to reveal the corrosive damage made by the colonial state. Through painting, video, text and installation, the Kamilaroi, Kooma, Jiman and Gurang Gurang artist illuminates systemic racism, land injustice and Blak politics—all with humorous attention to the hypocrisies of the art industry itself, and its manipulation of First Nations artists. Through his iconic body of work Bell asserts Indigenous sovereignty, while reminding Anglo Australia that it lives and prospers on stolen land. Reflecting on his practice, Bell shares the stories behind five artworks including recent paintings created for Occurrent Affair at UQ Art Museum, which continue to examine racial inequality.

A R T WOR K B Y

A S T OL D T O

Richard Bell

Timmah Ball

Embassy, 2013-ongoing, canvas tent with annex, aluminium frame, rope, synthetic polymer paint on board, digital video, colour, sound. Ongoing installation. image courtesy of the artist and milani gallery, brisbane.

R ICH A R D BELL: In 2009 to 2011, young Aboriginal people started re-erecting Tent Embassies around Australia in response to government policies towards Aboriginal people. This inspired my response to present an artwork out of the Embassy model. At the time of the original Tent Embassy in 1972, I was beginning my last year in high school and was wondering how we could be so impoverished yet be the original owners of this country. The first rendition of Embassy I did was in Melbourne in 2013 and was meant as a tribute, not only to the people who first established the original Tent Embassy, but also to the young people who had revived the process. My Embassy projects comprise discussions and papers presented by distinguished guests connected to black and Indigenous internationalism—usually, my friends—most often under a tent, but sometimes under a beach umbrella. The first Embassy was a success, and invitations to present Embassies around the world started rolling in: Perth, Moscow, Cairns, Amsterdam, Brisbane, Jerusalem, Sydney, New York, Jakarta, Arnhem. They all hosted Embassies. I also successfully staged a Tent Embassy program during the opening and closing of the 2019 Venice Biennale.

Little fish are sweet, 2021, synthetic polymer on canvas. image courtesy of the artist and milani gallery, brisbane. photogr aph: rhett hammerton.

After I put a show together in September last year, I just went looking for images that I found interesting. I was very surprised to find an image of Joh Bjelke-Petersen [Queensland Premier from 1968 to 1987] with a shotgun. I don’t remember the name of the photographer, but it was such a powerful image—I wanted to use it straight away. He [Bjelke-Petersen] was such a divisive figure in this state; he oversaw some pretty dark parts of its history. And I remember Joh’s tenure as Premier; I remember as a kid his coup and how he manoeuvred the former leader of the Country Party out of the way. And I remember his demise as well, where he reportedly accepted bribes in the form of cash stashed in brown paper bags. R ICH A R D BELL:

U Can’t Touch This, 2021 (in-progress), synthetic polymer on canvas. image courtesy of the artist and milani gallery, brisbane. photogr aph: rhett hammerton.

Once again this is from a great photograph, and I’m just trying to do it justice. The reason I love the photograph is because of the defiant look that the protestor has. It was an image from the Commonwealth Games in 1982, and prior to the 80s all police in Australia had to be over 6 foot 2 inches. These two guys were definitely over that, and we’ve painted it larger than life so it’s really imposing. The coppers are looking down so there’s a certain dignity exuded by the young guy. R ICH A R D BELL:

Prospectus.22, 1992-2009, synthetic polymer paint and photographs on canvas with barbed wire, 243 x 457 cm (overall); left panel: 240 x 180 cm; centre panel: 240 x 90 cm; right panel: 240 x 180 cm; barbed wire: 27 x 26 x 3.5 cm. image courtesy of the artist and milani gallery, brisbane.

R ICH A R D BELL: [This work comes from] three separate, past interactions with

Chinese nationals relating to international trade between Aboriginal people and Chinese people. Each event happened 10 years apart, and began in 1972 and ended in 1992. 1972 saw an Aboriginal delegation sent to China shortly after Prime Minister Gough Whitlam had visited. Then in 1982, I happened to be working for the Aboriginal Legal service in Redfern and there was a delegation from China visiting Australia looking at trade. They invited us—a delegation of Aboriginal people—to the South Sydney council meeting. Finally, in 1992 I met a Chinese woman at a trade fair in Brisbane who was interested in trade, also. I was making tourist art back then, as well as contemporary art, and she asked me whether I was interested in selling arts and crafts into China. She said there were more millionaires living in China right now than there were people living in Australia. I tried to imagine how we could trade.

Judgement Day (Bell’s Theorem), 2008, acrylic on canvas, 240 x 360 cm. image courtesy of the artist and milani gallery, brisbane.

I had a breakthrough from making contemporary art on a regular basis. I did a bit of research and as far as I could see, Aboriginal art outsold Australian art by between five and ten to one. It was five to ten times bigger than Australian art in measurable terms, and in cultural terms there’s no comparison. The first thing visiting tourists want to see in art museums in Australia is Aboriginal art, because they’ve seen examples of everything else in other European countries or colonies. Basically, Australian art does not exist outside of the minds of Australians and I thought, “Fuck it, I’ll put that statement out there.” I’d won the National Aboriginal Art Award with a painting with the text ‘Aboriginal Art is a white thing’ and the next one was ‘Australian Art is a black thing’ and both statements are true. It is indisputable: Aboriginal art is a white thing. It’s presented in institutions that call themselves art galleries but are really just trophy rooms. And Judgement Day was the third one. I came to the conclusion of ‘Australian Art Does Not Exist’ as a statement of Aboriginal ownership of art and culture in this country. It’s an assertion of Aboriginal sovereignty over art and culture in Australia. That’s the reality. R ICH A R D BELL:

OCCURRENT AFFAIR: proppaNOW UQ Art Museum (James and Mary Emelia Mayne Centre Building, University Drive, St Lucia QLD) 13 February–19 June

Exercising the Funny Muscle One of Australia’s renowned illustrators, Oslo Davis, gives us a glimpse into the motivations, meaning and humour behind a recent collection of drawings.

OSLO DAV IS: In mid-2020, when I was faced with the prospect of little or no paid work coming in, I had to do something. My Postcard Project, a mercifully Covid-free, direct-mail, original art project, in many ways saved me. I drew more than 300 postcards—some pretty, some wacky— and sent them out to friends and strangers who ordered them online, potluck style: you got what you were given. It helped pay the rent and kept my hands moving. But more than that, it activated my funny brain muscle. Absurdity and nonsense both have that unique power to disarm and tickle a viewer, if only for a microsecond. During recent dour times this tickle became a panacea—well, it was for me at least, but also hopefully for all the good folk who took a punt not knowing what the hell they would get in their letterbox. Here’s a few of them.

Studio

Deborah Kelly

“What I think of as my real work happens outside the studio and in exchange with other humans.” — DEB OR A H K E L LY

PHOTOGR A PH Y BY

AS TOLD TO

Hamish Ta-Mé

Tracey Clement

Creating art that explores gender, identity, privilege and power, Deborah Kelly, who is perhaps best known for her cut-andpaste collages, has a peripatetic practice. Her home-base is an apartment in Bronte, in Sydney’s eastern suburbs, but she is just as likely to be found making work in Darwin or Denmark, and collaboratively online. For our studio visit, we found her at the fishing village of Currarong, New South Wales. Kelly tells us why it was so important for her to have studio space during the pandemic, and she explains how her analogue collages inform her “real works.” These projects, which she describes as “big, epic, multi-part and multidisciplinary,” are, she says, “not exactly studio-based, at all.”

PLACE

My studio practice has become very nomadic and portable. It’s really from necessity. Our apartment is pretty small and if I try to work there I have to completely pack up every night or else there is nowhere to eat. I must say, I don’t understand how Sydney artists on the whole afford studios. Since I got the surprise gift of a Bundanon residency [based on the south coast of New South Wales], about 12 years ago, I apply for things that have studio time and space attached to them. Bundanon completely changed my life: it made me realise how much I needed a studio, which I didn’t know before. Actually, when Covid-19 hit I had just established my first autonomous studio in Sydney, or anywhere. And three weeks later I was kicked out because of the virus. The biggest influence on me lately has been history: the times we’re living through, the pandemic. My partner and I left Sydney in March 2020 for Currarong, a tiny fishing village on the south coast of New South Wales. She co-owns a house here with her ex-partner that is big enough for me to have a workspace. I guess moving here was a mental health issue because I was supposed to be running face-to-face interdisciplinary art-making encounters with institutions around Australia. All of them were cancelled. So, what I got to do in Currarong [March 2020– January 2021] was spin my wheels productively instead of just eating my own heart out as everything fell over. Another crucial thing about having DEBOR A H K ELLY:

somewhere to work during the pandemic was that my father was ill under lockdown in Melbourne. I was so worried I would never see him again. And I didn’t. So having a studio was important to distract myself while I lost my dad. PROCESS

I used to do collage as my fall-back position when I didn’t have funds to make bigger work. It’s funny to me that it has become what people think of when my work is mentioned. Curator after curator, when they contact me they say, “Can you do me some collages?” I come back and go, “Well, can I do them with like a hundred people over nine months with life-sized collage portraits of strangers?” Which was the project I did for the 19th Biennale of Sydney in 2014, No Human Being Is Illegal. I kept working on that project for the next five years, touring Australia. My dad was my biggest fan– he actually posed naked for No Human Being Is Illegal and he came with me to many of the towns where I did the tour. He was a very old man, but he just loved being famous! I finally finished the project in London, in December 2019, on a commission from the Wellcome Trust [a research foundation based in London]. During the project I got to make such satisfying work, meet really interesting people, and make good friends in various regional centres. What I think of as my real work happens outside the studio and in exchange with other humans.

But I guess the studio, and the kind of playing that I do there with analogue collage, must be where I am cooking up my, well, chutzpah really—to be able to collaborate with strangers and seek for them to change the course of the work. I mean, I really try to put myself in a frame of mind where I can get past my own stupid artistic ego and see where other people would take the work and to really encourage that. So, perhaps that playing in the studio is—spiritual practice isn’t the right way to put it—but it is maybe an ego-taming practice in a way. PROJECTS

At the moment I’m working on a big evolving project called CREATION that will be in The National at the MCA [Museum of Contemporary Art]. I’m trying to gather people to build a queer, science fiction, climate change religion together. You know, I did think founding a religion would be hard, but nobody mentioned the pandemic! So what will happen at the MCA depends on what we’re allowed to do given current restrictions. A central part of CREATION is the magnificent liturgy I commissioned from the artist SJ Norman,

to give the religion heart and power, and to gather its intentions. If we are allowed to assemble there will be singing circles and chanting and dance movement teaching sessions. Hopefully there’ll be a big procession that people can join. And certainly there will be costumes hanging in space and an epic animation made from analogue collage characters that have emerged from collaborative workshops I’ve been organising between lockdowns and border closures in temporary studios around New South Wales—like at the Kandos Country Women’s Association—and also in Darwin. We developed the religion’s dance steps during the Liveworks Festival at Performance Space in 2020, with the amazing Angela Goh. CREATION will start being an exhibition thing this year at the MCA, but after that I’m hoping it will tour Australia for the foreseeable future, gaining substance in institution after institution. Substance, and believers!

The National 2021: New Australian Art

Museum of Contemporary Art (MCA) (140 George Street, The Rocks, Sydney NSW) 26 March–22 August

The Spiritual Modernist Painting in the early 1900s, Clarice Beckett is known as a leading Australian modernist—but a new exhibition locates something more mystical in the artist’s work. W R ITER

Victoria Perin

The atmospheric haze in Clarice Beckett’s paintings has always been imagined as a weather phenomenon—the most exquisite, oppressive fog. The Melbourne artist, who died in 1935, was part of a localised painting movement that banished hard boundaries between objects and the air that surrounds them. Yet curator Tracey Lock, who has brought together Clarice Beckett: The present moment at the Art Gallery of South Australia (AGSA), has a different reading: it’s not mist or fog, and it never was—it’s something much more otherworldly. Beckett is one of the few tonal painters—those who captured natural life with a sense of coloured atmosphere or mist—still cherished today, even surpassing the reputation of her teacher, artist Max Meldrum. Now recognised as a leading modernist, she spent her life in Melbourne and its surrounds, capturing commonplace scenes with her trademark ethereal style, before dying of pneumonia at the young age of 48. Whereas other tonal painters focused on still-life genres, Beckett painted outside: bitumen roads, black cabs, telephone poles, streetlamps, all suffused with the tonalist’s signature blur. With her plein air appreciation of modern life, many have categorised Beckett as an unfortunately late Impressionist, decades behind in the international avant-garde. Yet Lock thinks this idea of Beckett as a conservative modernist needs to change; there’s an experimentation in her work that has, until now, been little commented upon. “We need to prepare ourselves for understanding Clarice Beckett as being of international significance,”

says the curator. “She’s big guns.” On trips to the conservation labs at AGSA, curators and conservationists alike marvelled at Beckett’s paintings under the microscope. “Looking at the painted surface, it blows your mind,” says Lock. “Her technical ability was phenomenal.” While nobody denies Beckett’s exquisite skill, Lock’s reframing of Beckett as a spiritual modernist is more daring. This brings us back to the mist, the atmospheric haze that can paradoxically appear in Beckett’s overcast pictures, as well as her summer beach scenes. Historically, Lock explains, critics have said “really disparaging things about her getting lost in her own fog.” Lock recasts Beckett’s dissolving forms as a “vibratory sensibility” that alludes to an “otherworldly” place. The mist, then, is better understood as a vibration between space, distance and time; a haziness between one realm and another. Through recent historical revisions, we are only just beginning to appreciate the clandestine streaks of spiritualist thought that ran parallel to modernism during Beckett’s lifetime. Spiritualism is the general term for a belief that other realms—particularly the realm of the afterlife—exist and are visible in our own everyday world. Séances, automatic writing and entering trances were spiritualist practices, as was a Westernised version of meditation, derived from Eastern religions such as Buddhism and Hinduism. Beckett herself read spiritualist materials and was active in mystical circles: her friends included artists who were either Freudians, bohemians, or card-carrying spiritualists (like the prominent

Clarice Beckett, Motor lights, 1929, Melbourne, oil on board. gift of alastair hunter oam and the late tom hunter in memory of elizabeth through the art gallery of south austr alia foundation 2019, art gallery of south austr alia, adelaide.

“We need to prepare ourselves for understanding Clarice Beckett as being of international significance. She’s big guns.” — T R ACE Y L O CK

Clarice Beckett, Summer fields, 1926, Naringal, Western District, Victoria, oil on board. gift of alastair hunter oam and the late tom hunter in memory of elizabeth through the art gallery of south austr alia foundation 2019, art gallery of south austr alia, adelaide.

Clarice Beckett, The boatshed, 1929, Melbourne, oil on canvas. gift of alastair hunter oam and the late tom hunter in memory of elizabeth through the art gallery of south austr alia foundation 2019, art gallery of south austr alia, adelaide.

Clarice Beckett, Pavlova, the dying swan, 1929, Melbourne, oil on board. gift of alastair hunter oam and the late tom hunter in memory of elizabeth through the art gallery of south austr alia foundation 2019, art gallery of south austr alia, adelaide.

family of artist Alexander Colquhoun). This network extended to local artist couple Christian and Napier Waller, and visiting occultist architects Walter Burley Griffin and Marion Mahony Griffin. By drawing this web of spiritualism around Beckett, Lock has made a case for the existence of mysticism in both the artist’s life and in her painting. This re-thinking of Beckett as both a modernist and mystic is mirrored at an international level, with recent exhibitions reappraising the works of Wassily Kandinsky, Hilma af Klint, Georgia O’Keeffe, and Piet Mondrian. Unfortunately, due to her unexpected death, and the long period of critical obscurity that followed, very little is known about Beckett’s actual beliefs and her inner life. There are no existent letters or diaries written by the artist. “We’re dealing with fragments, shards,” says Lock. What does remain is a portion of her oeuvre, the majority of which was destroyed after Beckett’s death. Lock, however, is adamant that the remaining paintings–130 of which will be on show—are all you need to understand Beckett’s philosophy: “Let’s bring it on, put a Beckett up in an international context with those other artists. I can assure you, [she] will hold the wall.” Dawn and dusk are Beckett’s signature times of day. These ethereal ‘golden hours’ demonstrate the artist’s preoccupation with time appearing suspend-

ed, mutable. Because Beckett’s work was remarkably consistent (and because the artist showed little interest in writing the date on her work) her early, mid and late style cannot be discerned. “From her earliest to her last works, there is very little change,” observes Lock. Turning this potential obstacle into a strength, Lock organised The present moment as if the paintings represented a single, eternal day. It begins in early morning and travels all the way through late evening. Befitting Lock’s spiritualist interpretation, the exhibition presents Beckett’s layered relationship with time and the visible world. Between each section is not a doorway, but a rounded portal, through which the visitor is invited to mark the changes in the day—but where years and decades are irrelevant. Stepping through each portal, all of Beckett’s days stretch into one as she offers us the universal dawn, the universal dusk.

The present moment Clarice Beckett

Art Gallery of South Australia (North Terrace, Adelaide SA) 27 February—16 May

Plotted Histories Mapping data from conflict zones and disaster areas, Stanislava Pinchuk creates art that reflects upon trauma, memory and landscape. W R ITER

Neha Kale

There’s a myth that landscapes are neutral, as blank as stage sets. But Stanislava Pinchuk understands that the spaces we move through are alive with energy. They hold the patina of human experience, accrued over time. You can walk into a room, the artist says, and know that people have fought there; you can enter a space after someone has prayed, and feel a sense of elation. “It’s hard to deny the Holocaust when you are in Auschwitz, and that there’s been an invasion in Ukraine when there is a bomb crater,” says Pinchuk, an artist whose site-based works deal with conflict, trauma and memory—the last five years of which are collected in the survey exhibition Terra Data at the Heide Museum of Modern Art. “Land, ground, air and water have such a profound capacity for memory and record and witness.” And there is much to witness. Riots in Washington. An explosion in Lebanon. A London hospital overwhelmed by Covid-19 patients. We live in a world that asks us to process a magnitude of crises, as fast as the images which fly through our newsfeeds. Pinchuk is drawn to facts, figures and information, but her art charts disaster’s unseen topography in ways that bring a sense of slowness to global events. Over the last seven years the artist has used various elements of data—collected from conflicts such as the Ukranian Civil War, and the nuclear disasters at Fukushima and Chernobyl—and has ‘mapped’ this data by making tiny pin-holes in paper; all in figurations that are beguiling in their own right.

For Pinchuk, the forces of history may remake countries but they also redraw our personal borders. She believes that bodies and land are part of one continuum, and she has long etched intricate handpoked tattoos on her friends. “If there is an art medium that is painful and time consuming and difficult,” she jokes, “I am there.” Based in Melbourne for the moment, Pinchuk was born in Kharkiv, north-eastern Ukraine, in 1988— only two years after an accident at the Chernobyl nuclear power plant spelled catastrophe. “I was a shy kid; I really loved drawing and reading,” says the artist, who became obsessed with the greats of Russian literature. She moved with her family to Melbourne at 10 years old. “As a teenager, I got into punk,” she recalls. “I realised you could make things.” Soon after, her delicate paste-ups of women, made under the name Miso, started flanking the city’s doorways and corners. Her first solo show was at 19, and success followed. But in her late twenties Pinchuk experienced a “rupture.” In 2013, pro-democracy protests erupted in Kiev’s Maidan Square. By April, pro-Russian separatist rebels, armed with surface-to-air missiles, started seizing Ukrainian territory. In August, Russia invaded, and Pinchuk’s home country was embroiled in conflict.

Right: Stanislava Pinchuk, Data Map: Topography: Contaminated Soil Storage, Fukushima Nuclear Exclusion Zone, 2016, pin holes on paper, 75 x 101 cm. private collection © the artist.

“Land, ground, air and water have such a profound capacity for memory and record and witness.” — S TA N ISL AVA PI NCH U K

Stanislava Pinchuk, Red Paintings, 2020, 1.1 x 1.5 m each, 3.6 x 4.8 metres (overall, framed). © the artist.

Stanislava Pinchuk, Calais ‘Jungle’ Terrazzo V, 2018, camp remnants and ash resin, 18.5 x 11 x 5 cm. private collection © the artist.

“I come from generation after generation of people torn by war and genocide, but it wasn’t something I expected to see in my lifetime,” she says. “I was going through a huge break-up. I just stayed in my studio for six months and made work.” Surface to Air, which showed at Karen Woodbury Gallery in 2015 and drew upon Pinchuk’s experience and knowledge of this recent Ukrainian conflict, featured drawings resembling swathes of fabric. Up close, they comprise constellations of tiny pinpricks, each corresponding to a piece of data gleaned in the conflict zone, created painstakingly with the tip of a book-binding awl. While the public face of war has always been male, Pinchuk notes how women have historically documented conflict by making medieval battle tapestries and Afghan war rugs. “Textiles [were] the medium available for women to express themselves,” she says. Here, the intimacy of cloth is made apparent. It moulds to our bodies, responds to movements, and speaks to life in a war zone as an emotional and visceral experience that registers on our skin. Pinchuk’s art asks what it means to personally live through history. For example, in putting together her 2017 work Sarcophagus, Pinchuk visited Chernobyl’s Reactor 4. She used a Geiger counter to measure the levels of radioactivity in the ground before and after 1986; before and after the Chernobyl disaster. “It made me realise how much I grew up in Chernobyl’s shadow,” says Pinchuk, who comes from

a family of lace-makers and bee-keepers, and plotted the data as a 6-metre drawing that referenced bridal lace and bee-keeping veils. “We have culturally enforced amnesia for a lot of reasons. [But] it is very hard [to deny] when it is written on the land.” Most recently, in 2020, Pinchuk blanketed the steps of the Opera House with a Bessarabian rug, a style of carpet that originated in Ukraine and Moldova in the 19th century, and interweaves Persian, Central Asian and French influences. The work, presented as an image called The Red Carpet, which is being shown for the first time at Heide, incorporates a data-map of the Maidan Square protests (the aforementioned protests that took place in Ukraine in 2013). The Red Carpet also documents Australia’s bushfire season, and acts as a love letter to Jørn Utzon, a Danish architect who didn’t believe in hierarchies between decorative arts and architecture. While the rug has deeply personal implications for Pinchuk and her complex relation to Ukraine, to me it also asks this: how do we find a sense of home when the world is burning, when the histories that have formed us are yet to be voiced?

Terra Data Stanislava Pinchuk

Heide Museum of Modern Art (7 Templestowe Road, Bulleen VIC) 20 March—20 June

It’s in the Bag—Quite Literally Despite the barriers of international travel, New York artist Robin Frohardt is bringing her ecological art installation— centred on plastic bags—to Adelaide. W R ITER

Steve Dow

Growing up in Colorado, New York-based artist Robin Frohardt was inspired to become a puppeteer not by cute children’s shows but by seeing a couple of puppet shows aimed at adults, including one based on Charles Bukowski poetry about necrophilia. Frohardt was studying painting in school. “I never really knew what I wanted to paint,” she tells me from her home via Zoom. “I saw these really great puppet works for adults and had never seen anything like that before. “I realised with puppetry I didn’t have to pick an art form because I get to write the stories and sculpt the puppets and paint their faces and perform them on stage—and so it’s kind of everything, and I didn’t have to choose.” Frohardt is the creator of the massive ecological art installation Plastic Bag Store, in which all the branded ‘products’ and fruit and vegetables are made of single-use plastics, much of which she personally saved herself and from roommates in her share home. The store includes secret rooms and a puppet show with two main characters. One of these characters is living in the future, and trying to excavate a deluge of plastic junk, the significance of which he overestimates as having some sort of spiritual value. A team of seven, including Frohardt, are bound for Australia on sub-class 408 temporary activity visas to reconstruct and work the store at Adelaide Festival, but each team member will undergo 14 days of solitary quarantine when they arrive in the country, due to Covid-19.

Frohardt intends to use this lonesome duration in a hotel room for creating and thinking about art, although she laughs that she’s a little concerned about the lack of fresh air. The immediacy of life makes an impact on the artist, and her mundane shopping experiences inspired Plastic Bag Store. “I was watching them bag and triple bag my groceries that were already inside of bags, and it was like this Russian nesting doll of packaging,” she explains. “It struck me as humorous and absurd.” The store was first put on display in the heart of New York’s Times Square, on the corner of 47th Street and Seventh Avenue, beneath a huge LED sign. This was in March, but it was not opened until October because of social distancing requirements. “It had a long time to generate a bit of intrigue,” says Frohardt. “A lot of people who came to our shows, it was the first time almost all of those people had been to any kind of public performance, so people were moved just to be part of something again.” When it closed, the store was packed up into a single shipping container at Times Square—in plenty of time to reach Australia, given disruptions to shipping routes in this Covid-19 epoch—to be reconstructed in the disused Harris Scarfe department store in Adelaide’s Rundle Mall. “Sea is the most environmentally friendly way to go, but of course there are environmental consequences to even what we’re doing, trying to make work of that,” says the ecologically-minded Frohardt.

Robin Frohardt, Plastic Bag Store. photogr aph: maria bar anova.

“It was DIY and renegade, and we were making the shows for ourselves and performing them in the street and at festivals.” — ROBI N F ROH A R D T

Robin Frohardt, Plastic Bag Store. photogr aph: maria bar anova.

Across her art, Frohardt typically uses recycled materials such as cardboard, plastic, wood and cloth. “I find there’s something freeing when you’re limited by material,” she says. “If you can make anything out of everything, I kind of feel stifled and don’t know where to start. If it can only be grocery products and plastic bags, I feel there’s infinite possibilities.” In her 20s, while living in Oakland on the east side of San Francisco, Frohardt joined with sound designer Freddie Price—who worked on Plastic Bag Store— and a couple of other artists to found Apocalypse Puppet Theatre, which ran from 2005 to 2010, building puppets and performing shows in a mobile theatre that operated out of a wagon pulled by bicycles. “It was DIY and renegade and we were making the shows for ourselves and performing them in the street and at festivals,” Frohardt recalls. “It was a great start to my career.” In 2013, Frohardt created a theatre work called The Pigeoning, which The New York Times reviewed as a “tender, fantastical symphony of the imagination about a man who wants simply to be left

in peace, to work at his tidy desk or eat a sandwich unbothered on a park bench”. Frohardt’s continuous thread has been concern for the state of the planet. “I grew up camping and spending time in the Colorado mountains and I’ve always loved nature,” she says. “Coming of age at a time that climate change was starting to become part of our collective understanding has definitely influenced me. “I definitely feel powerless to make a dent,” she laughs, “and I definitely don’t want to preach or assume that I have any answers. I’m just trying to ask interesting, funny questions.”

Plastic Bag Store Robin Frohardt

Adelaide Festival (Rundle Mall, Adelaide SA) 23 February—14 March (Check the Adelaide Festival website for performance times: adelaidefestival.com.au)

www.araratgallerytama.com.au

ANNE & GORDON SAMSTAG 2022

VISUAL ARTS SCHOLARSHIPS

Image: Madison Bycroft, BIOPIC, or CHARLES GENEVIÈVE LOUIS AUGUSTE ANDRÉ TIMOTHEE, 2021, still from video, courtesy the artist. Showing at Samstag Museum of Art Winter 2021.

INTERNATIONAL

Anne & Gordon Samstag International Visual Arts Scholarships. Each scholarship includes — for twelve months of overseas study, a tax-exempt stipend equivalent to US$50,000, plus return airfares and institutional fees.

To learn more, phone 08 8302 0870, email samstagmuseum@unisa.edu.au or visit unisa.edu.au/samstag.

www.unisa.edu.au/samstag

Coady Mind Games 18 March—24 April

Coady, Love, Sex, Magic, 2020, acrylic and mixed media, 63 x 43 x 3 cm.

A Basement 2 / 1 Victoria Street, Windsor, 3181

W finkelsteingallery.com

E ask@finkelsteingallery.com

www.finkelsteingallery.com

T +61 413 877 401

Exhibition on until 18 April Museum of Sydney

Opening at Vaucluse House on 24 April

Exhibition partners

Narcissus Garden (detail), Yayoi Kusama, 1966/2002. Gift of the artist through the Queensland Art Gallery Foundation 2002. Collection: Queensland Art Gallery | Gallery of Modern Art. © Yayoi Kusama. Photo Natasha Harth, QAGOMA

www.slm.is/narcissusgarden

slm.is/narcissusgarden

FINE ART AUCTION 16 MARCH 2021, 6PM

For valuation and auction enquiries contact Olivia Fuller, Head of Fine Art | 03 8825 5624 | olivia.fuller@leonardjoel.com.au TOM ROBERTS (1856-1931) Portrait of a Lady c.1880s (detail), oil on canvas, 60 x 50cm | $60,000 – 80,000

leonardjoel.com.au www.leonardjoel.com.au

www.bendigoartgallery.com.au

W E N DY S TAV R I A N O S

Memor y of a room, almost for gotten 2011 acrylic on canvas 187 x 267 cm. Photo Neil Lorimer

G AT HE R E D

M E M O R I E S

M T G A S PA R D S T U D I O S, 2 0 1 1 - 2 0 1 3

NICHOLAS THOMPSON GALLERY

6 TO 24 APRIL 2021

www.nicholasthompsongallery.com.au

Michael Shannon Major Works from The Estate 6 - 24 April

C HA R L E S N O D RU M G A L L E RY

267 Church St 03 9427 0140

Richmond

Melbourne Vi c t or i a 3121 g a l ler y @charl esno d r umga l l er y.com.au Luna Park, 1957, oil on composition board, 122 x 61cm

www.charlesnodrumgallery.com.au

15 May - 1 August 2021

1 Laman Street Newcastle | 02 4974 5100 | nag.org.au Open Tuesday to Sunday & every day during school holidays Toby CEDAR Op Nor Beizam (Shark Mask) White 2018 (detail) bamboo cane, twine, raffia, pearl shell, acrylic paint, feather 80.0cm x 56.0cm x 31.0cm Les Renfrew Bequest 2019 Newcastle Art Gallery collection Courtesy the artist

www.nag.org.au

www.geelonggallery.org.au

www.andrew-baker.com

www.flg.com.au

www.artsproject.org.au

Ron McBURNIE Rain clouds over Kinchant Dam 2020, ink on paper, 46 x 62 cm. Image courtesy the ar�st.

ARTSPACE MACKAY 26 FEBRUARY TO 16 MAY 2021 Ron McBurnie is a leading Townsville-based ar�st and educator, drawing inspira�on from early tradi�ons of Bri�sh and European printmaking and pain�ng. In 2019 and 2020 McBurnie completed an extended ar�st residency with Artspace Mackay, capturing beloved landscapes and views of the Mackay region en plein air. The resul�ng suite of works on paper will be shown together in a major celebra�on of the beauty of Mackay and its surrounds, from Cape Hillsborough beaches to cane ﬁelds in Eton.

www.artspacemackay.com.au

KHADIM ALI Invisible Border 10 April― 5 June 2021

ima.org.au 420 Brunswick Street Fortitude Valley QLD

The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia Otherness has been developed in partnership with the Lahore Biennale Foundation. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

www.ima.org.au

image : Khadim Ali, Sermon on the Mount (detail), 2020, tapestry, embroidery and acrylic, 553 x 400 cm. Photo: Carl Warner. Image courtesy the artist and Milani Gallery, Brisbane.

Guy Warren The 100th year

kingstreetgallery.com.au T: 61 2 9360 9727

16 March – 10 April 2021

art@kingstreetgallery.com

Bush walk 2015 acrylic on canvas 60x60cm

www.kingstreetgallery.com.au

James Rogers Slideshow 2020 Waxed mild steel 72 x 54 x 23cm

12 – 14 Meagher Street Chippendale \ NSW \ 2008

nandahobbs.com info@nandahobbs.com

www.nandahobbs.com

JAMES ROGERS 22 APRIL – 8 MAY

the cube is a contemporary exhibition space featuring installation and new media works.

Emma Fielden Coalescence

6 February - 3 April

Image: Emma Fielden, Coalescence (video still), 2019 HD video 9:10 minutes, sumi ink and water Courtesy of the artist and Dominik Mersch Gallery

Cnr Art Gallery Way & Myahgah Road MOSMAN 2088 | Open 7 days, 10am - 4pm

www.mosmanartgallery.org.au

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www.mosmanartgallery.org.au

1/28/2021 2:44:22 PM

2 December 2020 — 11 April 2021

www.mcclellandgallery.com

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

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

Artists

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

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

Site & Sound: Sonic art as ecological practice

1 February to 24 April 2021 Robert Andrew / Fiona Foley / Julie Gough Colin Isaacs / Jolea Isaacs / Quarralia Knox and Radical Son (David and Tim Leha) / Carol McGregor Laurie Nilsen / Judy Watson / Warraba Weatherall A New England Regional Art Museum Touring Exhibition assisted by the Australia Government’s Visions of Australia program.

USC Art Gallery USC Sunshine Coast 90 Sippy Downs Drive Sippy Downs Q 4556 usc.edu.au/art-gallery

Robert Andrew Reveal 2018. Ochres, oxides, aluminium, acrylic, electro-mechanical elements. Courtesy the artist. www.usc.edu.au/art-gallery

OC CURRENT AFFAIR

e b r u a r y – 1 9 J u n e 2 0 2 1 // 1 3 F e b r u a r y – 1 9 J u n e 2 0 2 1 // 1 3 F e b r u a

BREAKING NEWS

aNOW // OCCURRENT AFFAIR // proppaNOW // OCCURRENT AFFAIR // proppaNOW

// V e r n o n A h K e e // To n y A l b e r t // R i c h a r d B e l l // M e g a n C o p e // o p e // J e n n i f e r H e r d // G o r d o n H o o k e y // L a u r i e N i l s e n // V e r n o n

UQ ART MUSEUM OC Art Guide.indd 1

www.art-museum.uq.edu.au

8/02/2021 11:06:12 AM

OBJEC TS OF MY AFFEC TION

STORIES OF LOVE FROM THE JOHNSTON COLLECTION 9 MARCH - 24 AUGUST 2021

Stories of Love celebrates the 30th anniversary of Fairhall opening to the public on 19 November 1990. Continue with us as we celebrate our remarkable milestone of 30 glorious years of sharing Johnston’s gift of love to the people of Victoria.

This exhibition will be a memorable opportunity to see objects gathered over a lifetime with affection by William Johnston and rearranged to create an English Georgian-inspired domestic interior in his beloved East Melbourne house, Fairhall.

INDIVIDUAL & GROUP BOOKINGS ESSENTIAL

HELLO@JOHNSTONCOLLECTION.ORG +61 3 9416 2515

johnstoncollection.org

KEEP INFORMED – CONNECT WITH US

www.johnstoncollection.org

miffy

& friends be charmed by the magic of miffy

Illustration Dick Bruna © copyright Mercis bv, 1979

27 March – 11 June 2021 Showing at Bunjil Place Gallery www.bunjilplace.com.au/exhibitions

www.bunjilplace.com.au/exhibitions

BILL HENSON

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

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

www.nag.org.au

www.canberraglassworks.com

lintonandkay.com.au

Jules Sher LIGHT, SHADOW AND SPACE 27 February—21 March Subiaco Gallery

Jules Sher, ‘Dwan Glow’ 2021 [detail], oil on canvas, 130 x 120 cm

Kate Elsey UNSCRIPTED 24 April—16 May Subiaco Gallery

Kate Elsey, ‘Infinite Rhythms’ 2021, oil on Arches paper, 130 x 188 cm

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

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

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

www.lintonandkay.com.au

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

PEDIMENT/ IMPEDIMENT Daniel Boyd Contemporary art project #1 Until 27 June 2021

Admission is free

sydney.edu.au/museum www.sydney.edu.au/museum

www.johnfriesaward.com

A–Z Exhibitions

MARCH/APRIL 2021

Victoria

James Street, McClelland Drive,

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

Dodds Street, Punt Road, Rokeby

Street, Lyttleton Street, Dunns Road,

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

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ACMI → Still from Darling Darling by Gabriella Hirst, Barka-Darling, weir 32, Barkandji country.

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] Mon and Tues 12noon–5pm, Wed to Fri 12noon–7pm, Sat 11am–7pm, Sun 11am–6pm. See our website for more information.

distinct sections frame the major moments in moving image history, including the origins and future of cinema, production design and the creative process, Australian culture and stories, the rise of videogames, and how screens inform, influence and empower us. 11 February–30 May Gabriella Hirst: Darling Darling Gabriella Hirst’s two-channel video art piece, Darling Darling, presents two contrasting visions of the Barka Darling River in dialogue with each other: the detailed work by art conservators to restore the 19th century painting, The flood in the Darling 1890, by WC Piguenit, and the environmental crisis facing the river today. Gabriella Hirst: Darling Darling is the recipient of the Ian Potter Moving Image Commission.

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.

13 March–17 April The Wind Blows Where It Will Vivienne Shark LeWitt

Ararat Gallery TAMA www.araratgallerytama.com.au

Until 18 April Nanette Bourke: Works from the TAMA Collection

Opening 11 February The Story of the Moving Image

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Vivienne Shark LeWitt, A penny for your thoughts, 2017, water paint on linen, 61 x 61 cm.

82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 Open daily 10am—4pm. See our website for latest information.

Taree Mackenzie, Pepper’s ghost effect, installation view, triangles, cyan and red, 2018 at ACMI. Photograph: Gareth Sobey.

ACMI’s centrepiece is the interactive free exhibition The Story of the Moving Image. The exhibition traverses time, countries and cultures in a mesmerising exploration of an art form that changed the world. Use our Lens to dive deeper, discover new favourites and inspire your curiosity beyond the museum experience. Five

Until 24 April Homo Suburbiensis Shaun Gladwell

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

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art

VICTORIA

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

Nanette Bourke, Watch over all living things, 1996, linocut print, artist’s proof, 42 x 26 cm. © The artist, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography and Video. School in Sydney, and at art societies and the CAE in Melbourne, before relocating to Western Victoria.

Pat Brassington, Precious, 2019, pigment print, 75 x 75 cm. 2 February—6 March Night Swimming Pat Brassington

Michael Lindeman, Paintings, Prints and Wall Hangings, 2007, synthetic polymer paint on canvas. that requires effort to achieve a result. Synonymous with the known definition of labour it is a tough slog or grind; an action that involves sweat and elbow grease. Work is the opposite of ease, leisure and idleness. Work is a daily struggle in a productive industry. Curated by Sabrina Baker and Anja Loughhead as part of the Artbank Emerging Curator program, Artwork brings together a selection of works from the Artbank collection that interrogate our relationship to art and traditional notions of labour. The exhibition holds a mirror to the perceived value of arts practice in contemporary Australian society and fiercely champions for its sustained and celebrated place within it.

Eugenia Raskopoulos, the shadow of language, detail, 2020-21, pigment print, 165 x 63 cm. 10 March—17 April the shadow of language Eugenia Raskopoulos Lisa Waup, Looking Through Time, 2017, emu feathers, parrot feathers, lyrebird feathers, pandanus (dyed), hemp, 100% cottons, shells, kelp, kangaroo ribs, and possum fur, 20.5 x 14 x 19 cm. © The artist, Ararat Gallery TAMA, and Ararat Rural City Council. Photograph: Fred Kroh. Until 1 May Looking Through Time: Basketry from the TAMA Collection This exhibition celebrates the unveiling of TAMA’s most recent acquisitions, a trio of baskets by Lisa Waup, an artist of Gunditjmara, Torres Strait Islander and Italian heritage. Looking Through Time, 2017, Spirit, 2015, and Mixed Bag, 2019, showcase Waup’s distinctive weaving practice and highlight themes close to her heart: tracing lost history, ancestral relationships, Country, motherhood and time.

5 March—22 May Robert Owen 20 April—22 May Catherine Woo

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

Featured artists: Claudine Marzik, James Nguyen, Janine McAullay Bott, Judith Kentish, Julie Gough, Kiron Robinson, Lorraine Connelly-Northey, Lottie Consalvo, Maria Josette Orsto, Michael Lindeman, Oscar Capezio, Pat Brassington, Paul Wood, Renee Cosgrave, Rose Nolan.

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for opening hours. Until 7 March David Frazer: Another night on earth Until 14 March Tracey Moffatt and Gary Hillberg: Montages, The Full Cut, 1999–2015

April—June Artwork

Curated and developed by Artspace, Sydney and is touring nationally in partnership with Museums and Galleries of NSW.

Work is an activity that consists of a beginning and an end. It is a purposeful task

Until 14 March Trent Parke: Ballarat Avenue of Honour 111

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

27 March–22 August Lindsay Family: Copland Conservation

13 February–11 April Mutual realities: Finding common ground in uncertain times

1 April–9 May VAMP Collective: NEST

A collaborative project between the Art Gallery of Ballarat and the City of Ballarat’s Creative City team.

The VAMP (Visual Artist Mothers Posse) Collective are alumni and current students of Federation University Arts Academy. A Backspace Gallery exhibition.

the transformative powers of imagination. A selection of his new works will be on display for the first time, and invites the viewer to peer into a unique vision of the world.

3 April–1 August Morris Cohen An AGB collection feature exhibition.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au

Vipoo Srivalasa, The rise of superhero series, 2020, porcelain. Photograph supplied by the artist. Image courtesy of the artist and Scott Livesey Galleries, Melbourne. © Vipoo Srivalasa. 13 February–11 April Vipoo Srivalasa: COVID superheroes A collaborative project between the Art Gallery of Ballarat and the City of Ballarat’s Creative City team. 18 February–28 March Stewart Hobson: Head study

ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun and public holidays 10am–5pm. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 12 noon–5pm, Saturday 13 March 12noon–4pm. See our website for latest information.

A Backspace Gallery exhibition.

5 March–11 April In Season

27 March–4 July Robyn Stacey: As still as life Artists include Katthy Cavaliere, Olive Cotton, Max Dupain, Joachim Froese, Christine Godden, Janina Green, Fiona Hall, Penelope Malone, David Moore, George J Morris, Michael Riley, Robyn Stacey and Anne Zahalka. A Monash Gallery of Art Travelling Exhibition. 112

This exhibition celebrates the natural beauty and community of Maroondah through a series of captivating landscapes and portraits by local artist Nina Ryan. Featuring tonal plein air landscapes that capture the ever-changing beauty of the local area and richly expressive portraits that reveal the distinct personalities of Maroondah’s local community.

www.artsproject.org.au

The annual exhibition of Year 12 Art and Design students from across Ballarat and region.

Robyn Stacey, Gorilla skull, 2005, from the series Beau Monde, chromogenic print. Courtesy of the artist, Darren Knight Gallery (Sydney) and Jan Manton Gallery (Brisbane).

15 February—2 April Maroondah Landscapes and Portraits Nina Ryan

Arts Project Australia

20 February–16 May Next Gen 2021: VCE art and design

A display of flower and plant themed works from the collection to celebrate the Ballarat Begonia Festival, including works by Criss Canning and Jason Benjamin.

Nina Ryan, South side, 2019, oil on canvas.

Kyoko Imazu, Secret party, 2017, papercut. 17 April—27 June ArtSpace at Realm: Mayflies and Stars: Kyoko Imazu

Collingwood Yards 35 Johnston Street, Collingwood VIC 3066 [Map 3] 03 9482 4484 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.

Kyoko Imazu creates imaginative and fantastical worlds through her intricate and highly masterful paper-cut technique, along with luscious etchings and other-worldly installations. ArtSpace has commissioned this new work by Imazu, called Mayflies and Stars, which utilises light to create an expanded shadow puppet show bringing the characters to life as they creep out of the corners and take centre stage. 15 February—2 April Maroondah Federation Estate Gallery: Diverse Allusions Barry Clarris Diverse Allusions presents striking new works by Maroondah artist Barry Clarris. Each work explores recognisable themes within the field of abstraction through vibrant compositions that are often imbued with a surreal edge that embraces

Boris Cipusev, Rotate Fast, 2019, greylead pencil, marker on paper, 35 x 50 cm. 20 March—1 May Where the Art Is Boris Cipusev, Alan Constable, Emily Dober, Miles Howard-Wilks, James Macsporran, Chris Mason, Mark Smith and Cathy Staughton amongst others.

VICTORIA

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.

Mimosa Echard, installation view, Cracher un image de toi / Spitting an image of you, (with Hannah Buonaguro and Ryan Foerster), VNH, Paris, 2019. Photograph: Johanna Benaïnous. 5 December 2020–15 March Overlapping Magisteria: The 2020 Macfarlane Commissions Encompassing living organisms, kinetic installations and immersive assemblages, Overlapping Magisteria pays attention to multiple ways of knowing, sensing, feeling and interacting with the world. The works by participating artists including Robert Andrew, Mimosa Echard, Sidney McMahon, Sam Petersen and Isadora Vaughan, draw on various social, cultural, technical and material forms, unsettling the lingering divide between nature and culture towards more complex realms of knowledge and experience. Overlapping Magisteria is the second edition of the Macfarlane Commissions, a multi-year partnership that supports ambitious projects by contemporary artists. Curators: Max Delany and Miriam Kelly.

of the past fifteen years work from this leading Australian contemporary artist. Yhonnie Scarce was born in Woomera, South Australia, in 1973 and belongs to the Kokatha and Nukunu peoples. She is known for sculptural installations which span architecturally-scaled public art projects to intimately-scaled assemblages replete with personal and cultural histories. Scarce is a master glass-blower, which she puts to the service of spectacular and spectral installations full of aesthetic, cultural and political significance. Her work also engages the photographic archive and found objects to explore the impact and legacies of colonial and family histories and memory. Scarce was recently the recipient with Edition Office architects of the prestigious National Gallery of Victoria Architecture Commission in 2019 which was awarded the Australian Institute of Architects Small Projects Award in 2020 and the Small Building of the Year in the 2021 Dezeen Awards. Yhonnie Scarce: Missile Park, developed by ACCA and IMA directors Max Delany and Liz Nowell working in collaboration with guest curator Lisa Waup, is showing at ACCA from 27 March to 14 April and the IMA, Brisbane from 17 July–19 September 2021.

In May 2020, the Weaving Futures project provided these artists with an opportunity to explore their practices through the lens of tapestry design. Nurturing creativity during a challenging time–the project disseminated skills and knowledge across different mediums and generations.

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Weds to Fri 11am–5pm, Sat and Sun 1pm–5pm. See our website for latest information. 28 January–7 March Bayside Local Now in its third year, Bayside Local is a much-anticipated annual exhibition that celebrates the high calibre of work produced by artists who live and work in the Bayside area. This year we are also including Bayside years 11 & 12 VCE students.

Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Gold coin entry. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis. Debbie Symons, Sing, 2020, detail, palm oil fronds and wire, dimensions variable. Courtesy of the artist. 13 March—9 May Sing

Yhonnie Scarce, Prohibited Zone, Woomera 2021, research photograph. Courtesy the artist and THIS IS NO FANTASY, Melbourne. 27 March–14 June Yhonnie Scarce: Missile Park Developed by ACCA in partnership with the Institute of Modern Art, Brisbane, this major new exhibition includes a new commission alongside a focussed survey

Hayley Millar-Baker, I screamed aloud (I Will Survive), 2020. Image courtesy of the artist. 9 March—21 May Weaving Futures Kay Abude, Atong Atem, John Bates, Eric Bridgeman, Dadang Christanto, Paula do Prado, Troy Emery, Emily Ferretti, Teelah George, Eugenia Lim, Julian Martin, Hayley Millar-Baker, Kent Morris, Britt Salt and Sera Waters.

Sing is an immersive and poetic installation by Melbourne artist Debbie Symons. Incorporating 100 handwoven pendant nests containing individual speakers emitting bird calls, Sing evokes the delicate and intricate connections found in remaining ‘wild’ rainforest environments. Her own path Her own path brings together the works of four early 20th century women artists. Margaret Baskerville, Jessie Traill, Norah Gurdon, and Janet Cumbrae-Stewart, all of whom have links to Bayside, and were trailblazers in their own way. Through innovation and tenacity, they had levels of success in their craft at a time when men dominated the field. 113

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

Peta Clancy, Undercurrent, 2018–19, inkjet pigment print. Image courtesy of the artist. 12 November 2020—31 March Undercurrent Peta Clancy

110%, Beth Sometimes, Debris Facility Pty Ltd, Isadora Vaughan, Kate Hill, Sarita Gálvez, Stefanie Hessler and others TBC. Curated by Abbra Kotlarczyk Mentor: Kyla McFarlane 1 February—30 April SATELLITE | Eight Pascale Bardos Curator Bridie Lunney

Bridget Chappell, To Phase Cancel the Cops, 2020. Photograph: Lou Wheeler Courtesy of the artist. 17 March—3 April No Comment Bridget Chappell Sound Series is presented in partnership with Liquid Architecture. 17 March—3 April Gateway Francis Carmody 7 April—24 April Swamp Breathing John Brooks and Audrey Tan

Mary Quant and Vidal Sassoon, 1964. © Trinity Mirror / Mirrorpix / Alamy Stock Photo. 20 March—11 July Mary Quant: Fashion Revolutionary

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

7 April—24 April George Prefers Forks Siying Zhou

Brunswick Street Gallery www.brunswickstreetgallery.com.au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. See our website for latest information. 11 March—28 March 27 Bernie Egan, Corrin McNamara, Deb Higgins, Elvira Franceschino, Emma Samin, Eoin Cassidy, Felicity Law, Gabe Freeman, Heidi Tyrrell, Irianna Kanellopoulou, Jaki Gemmel, Jill Newton, Joanne Russell, Joyie Choi, Julia Forte, Julie Crosthwaite, Karen Amos, Katie Banakh, Kerry Brown, Roxane Parmington, Sarah Vandepeer, Sharon Edwards, Stephanie Briggs, Susannah Low, Suzi Blackburn, Tina Wilkins and Tracy Clark. 11 March—28 March ICONS Richard McCoy

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

11 March—28 March Duality Simone Linssen

24 February—13 March Micro-(bial) Tenancies | 2020 Emerging Curator Mentorship

11 March—28 March Ideas of Resilience Emily Dang, Rose Hartley, Chelsea

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Hickman, Jaime Harrop, Sian Hope, Ceitidh Hopper, Iona Julian-Walters, Sarah Lay (SLAY), Jena Oakford, OpalOnyx, Ruby Quail, Bea Rubio-Gabriel, Bianca Billy Raffin, Gen Townsend.

Claudia Van Eeden, Starry Sky, pencil on paper, 22.9 x 30.4 cm. 11 March—28 March A Pond To Ponder On Claudia Van Eeden Openings Friday 12 March, 6pm–9pm. 31 March—18 April SKULLS + SEEDS Dan Power 31 March—18 April Visceral Viscera Evelyn O’Brien Burns 31 March—18 April Between Land and Sea Chantel de Latour 31 March—18 April Here and now Angie de Latour Openings Thursday 1 April, 6pm–9pm.

Adam Willett, Mercurial, digital print, dimensions variable. 31 March—18 April VIEWS Adam Willett 31 March—18 April Seeing not looking Justine Wake 31 March—18 April Open Spaces Patrick Carey Openings Thursday 1 April, 6pm–9pm.

VICTORIA

Buxton Contemporary → Grant Stevens, Fawn in the Forest, 2020 still, live-streamed procedurally generated computer graphics with sound. Assisted by Pat Younis. Courtesy of the artist and Sullivan + Strumpf, Sydney. 22 April—9 May No Escape Lewis Dalby 22 April—9 May Just Breathe Rhonda Goodall-Kirk 22 April—9 May Regenerative Visions Edwina Edwards, Juju Roche, Lizabeth Souness, Catherine Stewart, Courtney Young 22 April—9 May OUT Group Exhibition

30 January—14 March FEM-aFFINITY Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack, Janelle Low, Eden Menta, Jill Orr, Lisa Reid, Heather Shimmen, Cathy Staughton and Jane Trengove. FEM-aFFINITY brings together female artists from Arts Project Australia and wider Victoria whose work shares an affinity of subject and process. Curated by Dr Catherine Bell this exhibition uncovers shared perspectives on female identity.

Openings Friday 23 April, 6pm–9pm.

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

by drawing upon interdisciplinary and collaborative approaches. FEM-aFFINITY reveals how feminism materialises in distinctive and uncanny ways. FEM-aFFINITY is a NETS Victoria and Arts Project Australia touring exhibition. 27 March—11 June miffy & friends Dick Bruna (1927-2017), Stephen Bird, Sadie Chandler, Nadia Hernández, Carla McRae, Nell, Brian Robinson and Vipoo Srivilasa. A bedtime story that evolved into a beloved design icon, Dick Bruna’s Miffy has inspired generations. miffy & friends presents Bruna’s original drawings and prints alongside the work of seven contemporary Australian artists. Curated by Vanessa Van Ooyen. A QUT Art Museum Travelling Exhibition.

Buxton Contemporary www.buxtoncontemporary.com Corner Dodds Street and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 See our website for latest information. Buxton Contemporary, located at the University of Melbourne’s Southbank campus, draws upon the Michael Buxton Collection of contemporary Australian art as a foundation and inspiration for exhibitions, performance, research, teaching and publishing. Entry to Buxton Contemporary is free and open to the public.

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

Vipoo Srivilasa, Chloris 1, 2019, porcelain mix media and high saturate blue paint. Courtesy the artist and Edwina Corlette Gallery, Brisbane. Photograph: Andrew Barcham.

5 March—20 June This brittle light: Light Source commissions 2020–2021 Taloi Havini, Laresa Kosloff, Nicholas Mangan, Stuart Ringholt, Grant Stevens, Hossein and Nassiem Valamanesh. 115

ar t g ui d e .c o m . au the working life of women, Melbourne’s social and cultural life of the 1980s, and Maddison’s documentation of the people and industries of her adopted home of Eden. CCP will also premier Maddison’s The Fellow Traveller, an immersive photographic installation exploring her father’s radical political activities from the 1950s–1980s. This exhibition has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat 12noon–5pm or by appointment. 5 February—6 March Horizon Aaron Christopher Rees As a part of PHOTO 2021. This project is supported by the City of Melbourne Covid-19 arts grants.

Sara Oscar, Trophy, 2020, pigment print on Hahnemuehle paper, 100 x 100 cm. Courtesy of the artist. Skye Malu Baker, Untitled (grammar), 2020, bronze. 12 March—3 April The Pluperfect Skye Malu Baker 9 April—8 May BOTHY

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

Michael Shannon, Luna Park, 1957, oil on board, 122 x 61 cm. 6 March— 24 April Major Works from The Estate Michael Shannon

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

24 April—20 June To resound, unbound Hannah Brontë, Hootan Heydari, Callum McGrath, Anne Moffatt, Sara Oscar, Sanja Pahoki, Jessica Schwientek and Emmaline Zanelli. Consider the artist as a surface, possibly solid and flat like marble, or soft and rippled like foam, perhaps a combination of both. All surfaces resound or echo in some way, either forcibly reiterating, softening and distorting, or if the surface allows there can be total absorption. To resound, unbound explores the possibility of this resounding, where the surface of the artist can explore and adapt that which projects towards them. Specifically, themes surrounding inherited knowledge, identity, expectations, societal structures and narratives will see artists choose the way in which these themes resound, how they unbind themselves and adapt with the artist’s personalised perspective.

Counihan Gallery www.moreland.vic.gov.au

Ruth Maddison, My parents gave me a colourful life (1976), 2020, pigment print on rag paper, 100 x 148 cm. Courtesy of the artist. 18 February—18 April Ruth Maddison: It was the best of times, it was the worst of times

Charles Blackman, The Transparent Table, 1965, oil on canvas, 183.5 x 142.5 cm. 6 March—27 March Modern Australian Painting Group Show 116

CCP presents a major survey of one of Australia’s preeminent social documentary and feminist photographers, Ruth Maddison. The exhibition celebrates Maddison’s significant contribution to the documentation of Australian life and society from the 1970s to the present—from her earliest iconic hand-coloured works,

233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. See our website for latest information. Our contemporary art gallery promotes and inspires innovation and diversity in the visual arts through regular exhibitions, talks and workshops. Entry to the gallery is free. 6 February—21 March Disobedient Daughters Lara Chamas, Sab D’Souza, Shivanjani Lal, Gwan Tung, Dorothy Lau, Janelle Low, Andy Mullens, Sancintya Mohini Simpson, Ellen Yeong Gyeong Son, Zoe Wong, Meng-Yu Yan. Curated by Sophia Cai.

VICTORIA Julien Comer-Kleine, Lovie Smith and Mia Beauchamp. Celebrating the next wave of Victorian graduates in contemporary craft and design. Presented annually since 1993, Fresh! showcases the energy, skill and innovation of some of the best graduating students from craft, design and fine art disciplines throughout the state. Fresh! provides an important opportunity for graduates beginning their career as makers. The exhibition fosters the potential of graduating students and provides an insight into new directions of contemporary craft. Karena Goldfinch and unnamed Afghan woman, I would like to build a shelter or a guest house for street children, (detail), 2018, photogravure print and embroidery cotton, 32 x 32 cm. Image courtesy of the artists.

mosaics, sculpture and more, while the famous Lascaux Cave art in southern France gives an insight into how essential animals were to Palaeolithic culture. The Cunningham Dax Collection’s rich source of animal imagery show that many artists with lived experience of mental health issues also found animals to be deserving of their artistic attention. Creature Comfort is our way of saying thank-you to our non-human supporters for their love, companionship, beauty and inspiration.

Deakin University Art Gallery at Burwood www.deakin.edu.au/art-collection 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tue to Fri 10am–4pm during exhibitions. Closed public holidays.

6 February—21 March Making Marks: Australia to Afghanistan Curated by Sharon Plummer.

Blanche Tilden, Long Louvre, 2010, necklace. Photograph: Jeremy Dillon. Courtesy of Gallery Funaki. 26 March—5 April Fireflow Alexandra Hirst, Blanche Tilden, Jasmine Targett, Holly Grace and Tim Edwards .

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

Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Mon to Fri 11am–5pm, Sat 11am–4pm. See our website for latest information.

Fireflow brings together five contemporary artists exploring the possibilities of glass as a versatile medium. The exhibition presents the works of Alexandra Hirst (SA), Blanche Tilden (VIC), Jasmine Targett (VIC) Holly Grace (VIC) and Tim Edwards (SA) and demonstrates new thinking and approaches to the centuries-old practice of glassmaking. Works exhibited show a mastery of materiality, process and technique alongside experimentations with form. Long-established methods are used alongside new technologies, forging future directions in the craft. This exhibition is part of 2021 Melbourne Design Week.

13 February—20 March Fresh! Anna McGirr, Belle Thierry, Bolaji Teniola, Faye Butler Jess Graham,

27 January—26 March Venetian Blind Curated by Professor David Cross and Associate Professor Cameron Bishop this exhibition features over 23 Australian and New Zealand artists and creative researchers.

Federation University www.federation.edu.au/pogallery

The Dax Centre www.daxcentre.org 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 Wed to Fri 11am–3.30pm, plus last Sunday of each month 12noon–3pm. 28 February—17 December Creature Comfort

Belle Thierry, Corner (Aluminum), from Within series 2020, photographic print.

Sandy Gibbs, Jondi Keane and Patrick Pound, The Spacer, 2019, digital video of public actions in Venice. © and courtesy of the artists.

Selected works from the Cunningham Dax Collection. Humans have an important and timeless relationship with animals. Whether it is an appreciation for the majesty of wild creatures or the unconditional love of a furry companion, animals can be a wonderful source of support for our mental wellbeing. Artists across the millennia have shown their appreciation for animals – ancient Egyptians honoured cats through painting,

Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 [Map 1] 03 5327 8615 Wed to Fri 12noon–5pm, Tues open by appointment. Free admission. 11 March—1 April Eye2021 Ballarat’s Arts Academy graduating students exhibition showcases work by visual art and design graduating students across five programs: Bachelor of Visual Arts, Bachelor of Communication Design, Creative Arts (Honours) and Advanced Diploma of Graphic Design. 15 April—28 May Shelter From The Storm Tony Griffin Through an exhaustive description of the everyday and often overlooked objects in one suburban home in the early part 117

Lisa Sewards SHORT STORIES Exhibition Runs 2 – 20 March 2021

lisasewards.com.au

This exhibition is supported by the City of Melbourne Arts Grants.

Image: Pyrocumulonimbus, a charcoal sky (detail), 2020, unique state, etchings, archival pigment prints and charcoal, four panels, BFK cotton rag 300gsm and Awagami Tengucho papers 80gsm, 138x198cm framed. Photo credit: Chris van der Spuy.

www.fortyfivedownstairs.com

www.newblankdocument.com

www.510collective.com

VICTORIA Federation University continued...

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

fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri 11am–5pm, Sat 11am–3pm. See our website for latest information. 2 March—20 March Short Stories Lisa Sewards Printmaking and paintings. all / most / some / none Madeleine Joy Dawes Drawings.

Tony Griffin, Untitled, 2020, acrylic on board, 20 x 20 cm. Courtesy of the artist. of the 21st century, as a form of archaeology of its recent past and present, Tony Griffin’s research considers how broader entanglements are hidden in our everyday through the proliferation of our things. By exploring theories of the mutual dependency between humans and things, Griffin’s paintings provide agency in discerning those relationships and act as a means to understand our world in this age of anxiety.

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

Amber-Rose Hulme, Stop, 2020, pastel on paper, 114 x 114 cm. 11 March—27 March STATIC Amber-Rose Hulme

4 February—13 March Parallel Universe Louise Paramor

James Yuncken, Lantau, 2020, acrylic on canvas, 83.5 x 55.5 cm. 23 March—10 April Elemental Aliki K, Joan Blond, Bev Plowman, Jo Carroll Paintings. Travels with my wife: Painting Hong Kong from the water and air James Yuncken Paintings.

Ann Ryan, The Duchess and the Butterfly II, 2020, collage mixed media, 100 x 80 cm. 11 March—27 March Flora, Fauna and Other Unrelated Stories Ann Ryan

Coady, Love, Sex, Magic, 2020, acrylic and mixed media, 63 x 43 x 3 cm. 18 March—24 April Mind Games Coady

30 March—24 April New Works Marise Maas 27 April—15 may New Works Chelsea Gustafsson

Nel ten Wolde, Ropas Abandonadas I, 2019, digital print, 50 x 50 cm. 119

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

Li | Shannon Lyons 13 January - 27 March 2021

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

www.bundoorahomestead.com www.bundoorahomestead.com

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

VICTORIA fortyfivedownstairs continued... 13 April—24 April A Pilgrim’s Progress Nel ten Wolde Paintings and digital. 13 April—24 April Iteration Margaret Manchee

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Mon to Fri 10am–4pm. See our website for latest information.

Paintings and etchings. 27 April—8 May Making Nonsense Janno McLaughlin

Fox Galleries www.foxgalleries.com.au Morano, Retrato con luna creciente (detail) #3, mixed media on canvas, 126 x 195 cm. 29 January—30 April This town, My quarter Morano Originally from Barcelona, Mornington Peninsula artist Morano paints large scale canvases inspired by colorful childhood memories of Spanish street culture and cityscapes that depict the moments of calm we can all find in the chaos of modern life. 9 February—23 March Urban Capsules Morano

Emilie Heurtevent, The Abyss 6, 2020, mixed media on canvas, 122 x 122 cm.

1 April—7 May CHANGED FOREVER Legacies of Conflict A Shrine of Remembrance touring exhibition. In Changed Forever, stories of migrants who have resettled in Australia from war-torn countries are presented beside those of recent veterans of overseas service in the Australian Defence Force. This moving exhibition explores the impacts of global and civil conflict in changing lives and shaping contemporary Australia.

Paintings and installation.

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

University of Melbourne. The exhibition considers this question from the perspectives of First Nation communities in Mexico, Cuba, and Australia. It features a Virtual Reality journey guided by traditional elders. Destinations include a sacred Mayan cenote lake, an Afro-Cuban medicinal forest, and the Nanda Dreamtime story of the Murchison River.

Exhibition floor talk and opening event / Thursday 8 April, 5.30pm–7.30pm. RSVP Essential.

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

Morano will paint a mural on rear wall of Glass Cube gallery, that can viewed by day or night and will be live streamed on YouTube. View the mural being painted live from the street front at the Glass Cube or join the artist online.

6 March—31 March The Abyss Emilie Heurtevent Artists Antonio Balletta, Antonio Bellemo and Antonio Muratore. 10 April—9 May Perceptions Antonio Balletta, Antonio Bellemo, Antonio Muratore

Geelong Gallery www.geelonggallery.org.au Osvaldo Civetta, Jujuy. Photograph. 26 February—16 April Roots, Raíces Osvaldo Civetta Adam Douglass, Flaaaaaa Kaaaaaccct Flaaa, mixed media on canvas, 150 x 150 cm. 1 April—6 April Liminal Wanderlust Bonnie Lane, Wanda Gillespie, Charlotte Watson, Eleanor Taylor, Adam Douglass, Mia Salsjö.

A photographic glimpse of South American indigenous peoples in their native homes sharing with the world the roots of their culture, tradition and land that continues to persevere in the modern world. 26 February—25 March Who is Nature? Adrian Hearn in collaboration with the

55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. See our website for latest information. Until 18 April Scenic Victoria—Land, sea, city Works from the Geelong Gallery’s exceptional collection to survey artists’ enduring interest and engagement with the landscapes, seascapes and cityscapes of 121

ar t g ui d e .c o m . au Geelong Gallery continued... our region and wider State, with a specific focus on artistic responses to locations of personal significance.

Amrita Hepi, Monumental, 2020, video still. Courtesy of the artist. Until 28 March Monumental Amrita Hepi The entrance to Paradise lies at your mother’s hands Lara Chamas Andrew Hazewinkel, Staring together at the stars #1, 2011, screenprint on carborundum paper; artist's proof. Geelong Gallery, Sybil Craig Bequest Fund, 2014. © Courtesy of the artist, Photography: Andrew Curtis.

Kait James, Colonial virus, 2020, wool and cotton on printed cotton. Courtesy of the artist. © Kait James. Photographer: Kait James. Until 25 April Souvenirs (Wall commission #1) Kait James As a proud Wadawurrung woman, Kait James’s work poses questions relating to identity, perception, and our knowledge of Australia’s Indigenous communities. Using the craft technique of punch needling, she embroiders found materials now considered kitsch through their outdated representations of Indigenous people and culture. The works in Souvenirs are based on Aboriginal calendar tea towels from the 1970s and ’80s that generalise and stereotype her culture: she subverts these representations with the addition of familiar pop-cultural references, and imagery relating to indigenous issues relevant to the tea towel’s calendar year, as well as to the present day. Through the use of humour and vibrant colours, James addresses the way colonial culture has dominated Australia’s history, how Australia and the world perceives our First Nations’ people and her personal reflections on her Indigenous heritage. Until 25 April Framing the figure—contemporary photography and moving image works from the collection Pat Brassington, Andrew Hazewinkel, Gabriella Mangano and Silvana Mangano, Deborah Paauwe, Polixeni Papapetrou, David Rosetzky, Darren Siwes, Charlie Sofo, Christian Thompson and Anne Zahalka. Framing the figure explores artists’ use of the camera to capture their human subjects in both still and moving images. 122

Through performative gestures, constructed narratives or a focus on specific body parts, these lens-based artists work closely with their subjects to compose the figure within the camera’s frame. As our perceptions of time continue to be affected by extended periods of lockdown, isolation and uncertainty, this selection of works highlights still photography’s capacity to freeze a moment in time and conversely, the repetition of actions and activity that moving image works present. Until 16 May RONE in Geelong Over the last two decades, Geelong-born artist RONE has built an exceptional reputation for large-scale wall paintings and immersive installations that explore concepts of beauty and decay. RONE’s latest site-specific installation will transform Geelong Gallery’s rooms in response to the architecture and history of the building, and the Gallery’s collection. The first comprehensive survey of RONE’s career to date will also be presented, charting the artist’s practice from early stencil works and street art, to photographs documenting major installations that have transformed abandoned spaces.

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

10 April—30 May Late Summer Todd McMillan and Sarah Mosca

Georgina Cue, Orpheus, 2020, archival inkjet print, 114 x 155 cm, .Courtesy of the artist. Gertrude Glasshouse: Until 6 March Pictures Georgina Cue Presented part of PHOTO 2021, International Festival of Photography. 12 March—17 April Andrew Atchison

Glen Eira City Council Gallery www.gleneira.vic.gov.au Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat 1pm–5pm and Sun 10am–5pm. See our website for latest information. 4 March—21 March. Celebrating Australian women artists: works from Council’s art collection. 25 March—18 April Water Glen Eira Artists Society Perspectives Glen Eira Cheltenham Art Group 22 April—9 May Life, devotion and death in Tbilisi Nathan Miller Colour and Light Donald Kenner

VICTORIA

Gippsland Art Gallery www.gippslandartgallery.com Wellington Centre, 70 Foster Street, Sale VIC 3850 03 5142 3500 [Map 1] Mon to Fri 9am–5.30pm, Sat, Sun & Pub Hols 10am–4pm. See our website for latest information. 25 January 2020—25 July The Art of Annemieke Mein A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist.

celebrating his unique style of storytelling and painting. Rodney Forbes is represented by Australian Galleries, Melbourne.

Hearth Galleries www.christinejoycuration.com Contemporary ethical Aboriginal art. 208 Maroondah Highway, Healesville, VIC 3777 [Map 1] Wed to Sun 10am–4pm. 0423 902 934

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 See our website for latest information.

5 October 2020—26 September Stories from the Collection This exhibition delves into the deep, multi-layered history of the Gippsland Art Gallery’s permanent collection in an ever-evolving journey through the ages.

Michael Cook, Livin’ the dream (BBQ), 2020, Inkjet print on archival Hahnemuhle cotton rag, 120 x 180cm, edition of 8 + 2 APs. Courtesy of the artist and THIS IS NO FANTASY. 23 January—14 March Livin’ the Dream Michael Cook

Victor Cobb, A Country Road, 1932, pencil on paper, 24 x 31 cm. Private collection. 13 March—2 May Victor Cobb – The Happy Wanderer This exhibition will present rarely seen works by this historically significant artist, ranging from his Gippsland vistas to his urban subjects that memorialise a Melbourne of days gone, alongside works by some of Cobb’s contemporaries such as Lionel Lindsay and John Shirlow. A collaboration between guest curator Rodney Scherer and Gippsland Art Gallery.

Athena Nangala Granites, Yanjirlpirri or Napaljarri-warnu Jukurrpa (Star or Seven Sisters Dreaming), synthetic polymers on Belgian linen, 122 x 76 cm. 1 March—31 May Seven Sisters - Kungkarangkalpa and Napaljarri-warnu Jukurrpa - Tricks and Transformation.

Cook offers a retake on Australian history by imagining a contemporary Indigenous community with Aboriginals living the lifestyle prescribed by white norms. The disjuncture between the reality of Indigenous life and the white Australian dream/ideal raises the question ‘What makes a person civilised?’ and suggests how different history might have been if those Europeans had realised that the Aborigines were indeed civilised. Cook’s works reinterpret Australian history and reframe entrenched narratives through the eyes of Indigenous Australians. His carefully choreographed images reflect on notions of truth and identity and consider how art and images shape history and cultural memory. The images explore the continued effects and ongoing

Athena Nangala Granites and Priscilla Napurrurla Herbert from Warlukurlangu Artists.

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm.

Rodney Forbes, Two Sisters, 1984, oil on canvas, 129.6 x 130 cm. Collection Gippsland Art Gallery. Donated by Euan Heng through the Australian Government Cultural Gifts Program, 1997.

20 February—20 June Agniezska Polska: The New Sun 27 February—23 May Blue Over Time: Robert Owen—A Survey 20 March—15 August Cry of the Land

13 March—16 May Rodney Forbes – In My Life

20 March—20 June Stanislava Pinchuk: Terra Data

A showcase of Forbes’ colourful and characteristic practice from 1983 to 2020

1 May—31 October House of Ideas: Modern Women

Mary Kemarre, Alyawarr people, Women’s ceremony, 1991, screenprint, printed in colour inks, from multiple stencils. National Gallery of Australia, Canberra, Gordon Darling Australasian Print Fund 1991 © Mary Kemarre. 123

ar t g ui d e .c o m . au Horsham Regional Gallery continued... aftermath of colonisation and cultural marginalisation. Part of PHOTO 2021 International Festival of Photography. 6 March—16 May Body Language A National Gallery of Australia touring exhibition. As a direct response to the United Nation’s International Year of Indigenous Languages, the National Gallery of Australia is touring Body Language, which explores the identity of Australia’s diverse Aboriginal and Torres Strait Islander people and communities. “For many Aboriginal and Torres Strait Island people, identity is a source of strength and resilience and there are many ways in which they identify: what they believe in, how they look, how they feel and how they see themselves in society.” Kelli Cole, Curator.

environmental issues of world parks, atomic testing, endangered species, migratory birds and food chains. 23 April—23 May Art Gallery 275: Bark, leaves, soil, berries: conversations on place Paradoxa Collective Paradoxa Collective comprises four Australian contemporary artists: Penelope Aitken, Anna Farago, Siri Hayes and Susan Wirth. Based in the outer north east of Melbourne, they share an interest in peri-urban landscapes, connecting to the land through practical restoration and regeneration activities combined with site-informed art making. Opening Friday 23 April, 6pm–8pm.

Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Aberfeldie, VIC 3039 [Map 4] 03 9243 1750 Tues to Sun 11am–4pm. See our website for latest information.

An exhibition for all the family, Body Language explores the iconography of language as expressed through symbols and patterns and includes works that explore these themes.

Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information. Ivanhoe Library and Cultural Hub celebrates our role in coming together with the community in the spirit of cultural expression and exchange. This is an inclusive place where people are inspired to think, study, create and enjoy an enriching program of cultural and learning experiences.

Embittered Swish, Ghouls, 2020, digital photographic print. Penelope Aitken, The fizz and the pop, 2020. 23 April—16 May Loft 275: What we are made of will make something else Penelope Aitken and Jutta Pryor (with Marc Zegans and Evgeny Pustota) Considering state change and metamorphosis, the works in this exhibition embody chaos theory and compost through painting, video, poetry and sound. In dark reflexive paintings, Penelope Aitken uses ink brewed from plants to reflect on the nature of nature. Video artist Jutta Pryor offers an interpretation of the divergence of natural and fabricated systems. Opening Friday 23 April, 6pm–8pm.

29 January—21 March REUNION Embittered Swish Embittered Swish is composed of Mossy 333, Romy Seven Fox, Mick Klepner Roe, Bobuq Sayed and Ainslie Templeton. The exhibition comprises installation, paintings, photography and soundscapes, building to a theatrical exploration of what it might mean to come together now and attempt to enact artistic gestures such as closure, uncovering, or the recuperation of past performative lifetimes.

Performance: Thursday 11 March, 6.30pm Ivanhoe Library and Cultural Hub Theatrette: Windows of Longing: The Art of Edward Heffernan

Wendy Black at Dag Printing, Hardware House, 1979. Photograph by Martin Munz. Until 18 April Art Gallery 275: Five Decades: The Art of Wendy Black This retrospective showcases the screenprints of Wendy Black. Her journey from art school, student union politics and community print workshops to a personal art practice that explores the natural world—mountains, coastlines, inland water, undersea. Her prints highlight 124

A musical and visual exploration of the art of Edward Heffernan OAM (1912–92) who was born in Eaglemont. His vision of the Australian landscape celebrated views of Heidelberg, iconic scenes across the City of Melbourne, as well as bush and coastal vistas. Working with charcoal, watercolour, lino cut and oils, Heffernan also developed a passion for the female nude. This event will feature a live performance by new music ensemble Aurora Lumina in real-time collaboration with visual artist Jutta Pryor. Limited seats, bookings essential. If you cannot attend in person, a recording of this performance will be available to view online for a limited time.

Sam Harrison, Butterfly Effect, 2019, acrylic on MDF board. 9 April—6 June (False)-Relationality Sam Harrison, Nikau Hindin and Michael Tuhanuku. Curated by Moorina Bonini and Tyson Campbell.

VICTORIA

Kingston Arts → Paula Lindley, Les Baux-de-Provence, detail, 2019, acrylic on canvas, 13 x 20 cm.

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Wed to Sat 12noon–5pm.

writing by artists and writers of all ages and abilities. Works are created within 24-hours in response to a secret theme and then exhibited at Kingston Arts Centre Galleries. Opening Saturday 27 March, 4pm–6pm.

G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. 03 9556 4440 Wed to Sat 12noon–5pm. Free entry. See our website for latest information.

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

G3 Artspace: 5 March—10 April After Provence Presented by Tina Blackwell, Stella Greig, Paula Lindley and Gihan Sadek. After Provence is a group exhibition inspired by the recent travels of artists, Tina Blackwell, Stella Greig, Paula Lindley and Gihan Sadek through the South of France. Exploring the rich histories of the local region, the artists have wandered in the footsteps of Impressionist Masters: Cezanne, Picasso, Monet and Van Gogh to explore their own sense of colour, technique, and expression. Distinct in style and approach, each artist represents a unique facet of their shared journey through an exhibition of contemporary paintings. Opening Thursday 4 March, 6pm–8pm. Kingston Arts Centre Galleries: 29 March—28 May Artz Blitz 2021 Artz Blitz is an annual community competition featuring works in sculpture, painting, drawing, collage and creative

Sharon Monagle, In The Pause, 2020, acrylic on canvas, 61 x 61 cm. G3 Artspace: 15 April—15 May 2020 Shelter in Place Presented by Sharon Monagle and Rose Lucas Visual artist, Sharon Monagle, and poet, Rose Lucas, collaborate in this new exhibition mediating on their shared and collective experiences of 2020. They reflect upon the terrible fires of Summer 2019–2020; the uncertainty of the autumn isolation; the reprieve of winter; the lockdown of late winter into spring; and the tentative emergence and transitions of late spring into summer. Opening Wednesday 14 April, 6pm–8pm.

Pitcha Makin Fellaz, We know where you shop (Kangaroo), acrylic paint on pvc foamboard, 122.5 x 90 x 0.5 cm. Collection of KHT. Gift of Tom Mosby and Tony Ellwood. 13 March—30 May Deadly Narratives: Recent Collection Highlights 125

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

Spark your curiosity with creations and concepts devised more than 500 years ago by the brilliant artist, inventor and scientist, Leonardo da Vinci. With over 60 machines and artworks on display, the exhibition brings to life the most important and impressive designs of the Renaissance polymath, including the bicycle, spring-powered car, hang glider and airscrew the precursor to the helicopter.

10 February—7 March Inimical Cave Christopher Day As part of PHOTO 2021.

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun for a limited number of visitors in two sessions: 11.15am–1pm and 2pm–3.45pm. See our website for latest information. Adam John Cullen, Elton, installation at Fawkner cemetery as part of MoreArt 2020, Moreland City Council. 10 March—3 April Adam John Cullen

Peter Churcher, 1964–, Drinking Age Verified, 2004, oil on canvas, 137 x 153 cm. Showing in March Early paintings by Peter Churcher

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm and public holidays. See our website for latest information.

Ash Keating, Aerial # 1 - #4, 2020, pigment, urethane acrylic, perlite and mica flakes on canvas. Photograph by Matthew Stanton. 13 February—16 May Duallity Ash Keating Ash Keating works within an expanded contemporary field, through painting, performance, sculpture, video and intervention. Keating’s large outdoor murals, created with paint filled fire extinguishers, can be found across Melbourne. Following a year of creative experimentation and marking a transition in technique, Keating’s new works have been built with many layers of colour and textural materials. Their surfaces hold an intense depth and richness, giving the series a meditative quality that invites slow and reflective viewing. The exhibition will be accompanied by a public mural in St Kilda commissioned by the City of Port Phillip. 13 February—16 May Sonder Troy Emery 13 February—16 May Burn Down the House Nicholas Folland

LON Gallery www.longallery.com

26 February—25 April DA VINCI MACHINES Explore the mind of Leonardo da Vinci. 126

136a Bridge Road, Richmond VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm. See our website for latest information.

Casey Jeffery, The Sense in the Nonsense, acrylic and oil on pine, 2020, 65 x 91 cm. 7 April—1 May Casey Jeffery

LUMAS Gallery www.au.lumas.com 597 Church Street, Richmond, VIC 3121 [Map 6] 03 9421 3525 Mon to Wed 9am–5pm, Thu and Fri 9am—6pm, Sat and Sun 10am—5pm. See our website for latest information. 1 March—15 March Marrakech Many legends are entwined with the city of Marrakech. As one of the four royal cities of Morocco, it’s a place steeped

VICTORIA 16 April—30 April Portraits

Massimo Colonna, Serene Garden. with history. The artist Massimo Colonna resurrects the city’s histories and its royal ambience within his work, which captures the oriental magic of the city and the compositions of its exceptional architecture and exotic birdlife. Colonna presents the city in his own distinctive style using virtual architectural forms that aren’t determined by statics, but by the laws of aesthetics. Receive a free small floral artwork (13 x 13 cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers.

André Monet portrays the pop icons of our time in expressive, large-format collages. Not only does he capture our fascination with celebrity culture, but also the complexity of the stars’ individual personalities. Human, vulnerable, and exalted at the same time, these charismatic celebrities bring us under their spell. Receive a free small floral artwork (13 x 13 cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers.

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

Philip Samartzis, recording at Watts Hut, Eastern Antarctica, 2010. Courtesy of the artist. Steve Adam, Ros Bandt, Leah Barclay, Philip Brophy, Daniel Browning, Christophe Charles, David Chesworth, Madelynne Cornish, Robert Curgenven, Reuben Derrick, Sarah Edwards, Lawrence English, Nigel Frayne, Susan Frykberg, Amy Hanley, Liquid Architecture, Rachel Meyers, Xen Nhà, Steaphan Paton, Frans Ari Pasetyo, Douglas Quin, Philip Samartzis and Eugene Ughetti, Thembi Soddell, Tina Stefanou, Barry Truax, Chris Watson, and Jana Winderen.

Metro Gallery www.metrogallery.com.au

David Wadelton, Bulleen Corner, 2020, digital photograph. Until 27 March Empty Streets and Stacked Chairs Tommy Clarke, Body Surf. 16 March—31 March The Art of Summer British photographer Tommy Clarke leans well outside the cockpit of a helicopter to photograph beachscapes from an almost perpendicular angle. That way, drifting yellow boats or the course of the Ironman in Hawaii become graphical structures— the transition between the beach teeming with people and turquoise sea appears as an ordered pattern. We are unaccustomed to seeing the scenery in this way, and we feel an urge to decipher it. At the same time, however, our eyes simply soak in the beauty of it all. Receive a free small floral artwork (13 x 13 cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers. 1 April—15 April Tango Christopher Pillitz has seen the world. His reportage and finely wrought image series have been produced in over seventy countries and are published in the globe’s largest magazines. With his eight monographs and numerous international exhibitions, Pillitz counts among the last decades’ most renowned photo journalists. Receive a free small floral artwork (13 x 13 cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers.

Images of Manningham in lockdown taken over the final two weeks of Australia’s March-May 2020 Covid-19 lockdown period by photographers Bill McAuley and David Wadelton.

1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tues to Fri 10am–5pm, Sat 11am–5pm. See our website for latest information. Until 13 March Spiritualisation of the Matter David Milne Recent paintings and sculpture.

McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. See our website for latest information. McClelland collects and safeguards a rich cultural legacy and extensive art collection, while presenting a diverse program of changing indoor and outdoor exhibitions with a focus on contemporary spatial practice. McClelland supports contemporary artists to develop, create and present their work, and manages a range of significant commission programs including the Southern Way McClelland Commissions, and previously the biennial McClelland Sculpture Survey & Award. 27 January—11 April Site and Sound: Sonic art as ecological practice

Saxon Quinn, What will get you up tomorrow, 2021, cement, oils, acrylics, oil paints, graphite, oil pastel, spraypaint on hardboard with oak frame, 83 x 113 cm. Until 13 March Only one in the Room Saxon Quinn Recent paintings, sculpture and installation works. 16 March—10 April Raymond Young An exhibition of recent ceramics and sculpture. Greg Weight Selected portraits of Indigenous artists from a private collection. 127

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VICTORIA Metro Gallery continued...

tre, Eileen’s plant collection is now housed in the National Herbarium of Victoria at Royal Botanic Gardens Victoria, where it contributes to critical science and conservation research. The Mallee on the Map provides a special glimpse into this important collection and celebrates Eileen’s life and botanical legacy. Hoda Afshar, Agonistes (still) 2020, 1-channel digital video, colour, sound. Courtesy of the artist and Milani Gallery, Brisbane. 18 February—7 March Agonistes Hoda Afshar Commissioned by Photo Australia for PHOTO 2021.

Tom Gerrard, Sunday 11am, 2020, mixed media on paper, 150 x 120 cm. From 13 April Consequence Tom Gerrard Recent paintings and works on paper.

Mildura Arts Centre www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Mon to Fri 10am–4pm. See our website for latest information.

Left: Coastline, Gallipoli, Turkey, 2021, archival pigment print, edition: 1 of 3. Right: Christine Johnson, Riverbank, Red Cliffs, Victoria, archival pigment print, edition: 1 of 3, 2021. 8 February—2 May Soundscape and Landscape An installation by Christine Johnson inspired by The Troopships of Anzac, a poem by Eileen Ramsay, née Couve. Visual artist: Christine Johnson Sound artist: Angus Craig

Soundscape Christine Johnson and Angus Craig The soundscape begins before dawn along the banks of the Murray at Red Cliffs, a place Eileen may have sometimes visited on Anzac Day to listen to early morning birdsong and to see the sunrise. Landscape Christine Johnson

13 February—25 April The Mallee on the Map Presented by Royal Botanic Gardens Victoria and Mildura Arts Centre. When Eileen Ramsay began collecting plants in the late 1940s, the self-described ‘lover of the wild’ and passionate plant collector expressed a most earnest desire to help put the Mallee area on the map. Over a decade, the Red Cliffs resident assembled a collection of more than a thousand plants, adding ten species to the list of plants formally recorded in Victoria. Originally conserved at Mildura Arts Cen-

www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Thurs to Sun 11am–4pm. See our website for latest information.

Soundscape and Landscape is a contemplation of an aspect of the life of Mallee botanist Eileen Ramsay; of the grief and loss she is said to have experienced when her two brothers, Alan and Tom were both killed at Gallipoli in 1915. In the poem she imagines soldiers on the voyage from Albany, Western Australia, bound for Anzac Cove. Every Anzac Day, Eileen Ramsay was known to retreat to the bush, to seek solitude and to remember her brothers. She wrote The Troopships of Anzac while living in Red Cliffs, where her family moved after World War I.

Ptilotus exaltatus, collected by Eileen Ramsay near Nowingi in 1950. Royal Botanic Gardens Victoria.

Monash Gallery of Art

Two landscapes Coastline, Gallipoli, Turkey and Riverbank, Red Cliffs, Victoria hang opposite one another. At first, the images appear to closely resemble each other; in fact, they are depictions of locations on opposite sides of the world.

Missing Persons www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 Wed to Sun 12noon–5pm. See our website for latest information.

Max Pinkers, View of South Korea from the Balcony at the DMZ, North Korea, 2018, from the series Red Ink, pigment ink-jet print, printed 2019, 72.4 x 108.4 cm (paper: 74.4 x 110.4 cm). Courtesy of the artist. 17 February—16 May Not standing still: new approaches in documentary photography PHOTO 2021 is a major new biennial international festival of photography that will activate Melbourne and sites across regional Victoria with the most inspiring photography from Australia and around the world. MGA’s headline PHOTO 2021 exibtion will explore the festival’s theme of ‘truth’ through the lens.

Monash University MADA Gallery www.artdes.monash.edu/gallery Monash University, Caulfield Campus Building D, Ground Floor, 900 Dandenong Road, Caulfield East, VIC 3145. Wed to Fri 10am–5pm, Sat 12—5pm during exhibitions. Free entry. 129

Level 1 & Atrium Gallery, Level 35

The Show Must Go On: What the performing arts were doing during the time of COVID-19 8 February—30 May A collection of photographic portraits of creatives working in the performing arts sector by Heidi Victoria. www.heidivictoria.com

Heidi Victoria, Ako Kondo & Chengwu Guo, 2020. Photograph.

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

25 Collins St Melbourne 3000

Ph 9653 0000 Open 24 hours sofitel-melbourne.com.au

www.heidivictoria.com

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www.thealchemist.net.au

VICTORIA MADA Gallery continued...

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

6 March—23 May The Overwintering Project: Westernport Co-ordinated by Melbourne artist Kate Gorringe-Smith. The Overwintering Project: Westernport focusses on Westernport as an internationally significant migratory shorebird habitat. With artists Alexis Beckett, Andrej Kocis, Beverley Meldrum, Byron Scullin Heather Hesterman, Cathryn Vasseleu, Dominic White, Hank Tyler, Helen Kocis Edwards, Jan Parker, Kate Gorringe-Smith, Khue Nguyen, Lindy Yeates, Liz Walker, Magda Miranda, Rea Dennis, Simeon Lisovski and the artists of the Overwintering Project Print Portfolio.

Photograph of Tai Snaith and Lisa Waup by Theresa Harrison.

Cover illustration by Jerusa Messina for Campus in Camps and Grupo Contrafilé, The Tree School, publication produced on the occasion of the 31st Bienal de São Paulo, São Paulo, 2014. Courtesy of Sandi Hilal and Alessandro Petti.

Sandi Hilal and Alessandro Petti, The Tree School, in Maria Nadotti and Nick Axel (eds), Permanent Temporariness, Art and Theory Publishing and the Royal Institute of Art, Stockholm, 2018, p. 307. 11 March—20 March The Tree School As part of Tree Story at MUMA, MADA Faculty Gallery is hosting The Tree School, a nine day-long project that focuses on critical environmental and sustainability issues, Indigenous ways of knowing and a recognition of trees as our ancestors and family. Conceived by architects Sandi Hilal and Alessandro Petti and coordinated by Yorta Yorta and Woiwurrung artist, organiser and educator Moorina Bonini, The Tree School curriculum in Melbourne had been developed in dialogue with N’arweet Carolyn Briggs AM and Brian Martin of the Wominjeka Djeembana Indigenous Research Lab at Monash University, and colleagues from the Monash Sustainable Development Institute, Monash Science, Monash Education and Monash Art Design & Architecture.

Nici Cumpston, Great-grandmother, Barka, 2020, Adelaide, Kaurna Country pigment inkjet print, 80 x 80 cm. Courtesy of the artist and Michael Reid Gallery. 6 February—10 April Tree Story Brook Garru Andrew (AU), Yto Barrada (FR/MA), Berdaguer & Péjus (FR), Joseph Beuys (DE), Tania Bruguera (CU), Hayley Panangka Coulthard (AU), Nici Cumpston (AU), Agnes Denes (HU/US), Yanni Florence (AU), Ceal Floyer (UK), Nicole Foreshew (AU), Henrik Håkansson (SE/ DE), Sandi Hilal and Alessandro Petti (PS/ IT), Beth Mbitjana Inkamala (AU), Judith Pungarta Inkamala (AU), Tim Johnson (AU), Reena Saini Kallat (IN), Peter Kennedy (AU), Olga Kisseleva (FR), Janet Laurence (AU), MAIX Reserved Forest (MY), Brian Martin (AU), Kent Morris (AU), Peter Mungkuri OAM (AU), Optronic Kinetics (AU), Uriel Orlow (CH/UK), Jill Orr (AU), Katie Paterson (UK), Ed Ruscha (US), Yasmin Smith (AU), Daniel Steegmann Mangrané (BR/ES), Stelarc (AU), Linda Tegg (AU).

Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 11am–4pm. See our website for latest information. Over the past 50 years the MPRG Collection has grown to include over 1800 objects, including paintings, drawings, prints and sculptures.

6 March—23 May A World of One’s Own Tai Snaith A podcast series and exhibition. With a nod to Virginia Woolf’s iconic 1929 essay A Room of One’s Own, artist Tai Snaith has conducted a series of podcast conversations with female-identifying artists whom she admires. In this third series Snaith presents relaxed, colloquial exchanges with artists selected from the MPRG works on paper collection including Elizabeth Gower, Katherine Hattam, Deborah Kelly, Lily Mae Martin, Fiona McMonagle, Sally Smart and Lisa Waup. 6 March—23 May Among the Trees Lauren Guymer MPRG local focus. Among The Trees is a collection of new watercolour paintings inspired by Guymer’s encounters in the Australian landscape.

Neon Parc www.neonparc.com.au City: 1/53 Bourke Street, Melbourne, VIC 3000 [Map 2] Brunswick: 15 Tinning Street, Brunswick VIC 3056 [Map 5] 03 9663 0911 Thu to Sat 12noon–5pm, or by appointment. See our website for latest information. Neon Parc Brunswick: 12 March—17 April Autism, Bitcoin and the Four Seasons Kieren Seymour 23 April—29 May Distortions Rob McLeish

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33a St David St Fitzroy VIC 3065 Mon-Fri: 9:30-5:30pm Sat: 10-5pm T: 03 9419 5666 F: 03 9419 6292 E: mes@mes.net.au @melbourne.etching.supplies www.mes.net.au

Omnus Framing Est. 1978

www.omnusframing.com.au

VICTORIA

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

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.

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

23 November 2020—8 March TIWI TIWI celebrates the unique art and culture of the Tiwi people of Melville and Bathurst Islands and explores the dynamic trajectory of Tiwi art across time and across media, from 1911 to now. TIWI comprises 153 works rigorously selected from the NGV collection, supplemented by 130 loans of rare historical objects and contemporary works drawn from Australian public and private collections. Angela Brennan, Pluto’s got a heart on it, 2020, oil on linen, 171 x 181 cm. 3 March—20 March Like, tomorrow Angela Brennan

Ivan Durrant , Feeding, 1970, synthetic polymer paint on composition board, 61.3 x 76.5 cm. Collection of the artist © Ivan Durrant.

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

24 March—17 April Blue Chip XXIII: The collectors’ exhibition

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 Tue to Sat 11am–5pm, or by appointment. See our website for latest information.

23 November 2020—18 April Ivan Durrant: Barrier Draw Ivan Durrant is a leading exponent of photorealist painting as well as a sculptor, filmmaker, performance artist and writer.

16 February—6 March Rhys Lee 9 March—27 March Antonia Sellbach

Michael Riley, Untitled, 2000, from the cloud (cow) series , inkjet print on banner paper, 110 x 155 cm. National Gallery of Victoria, Melbourne, © Michael Riley Foundation, courtesy The Commercial, Sydney, licensed by Copyright Agency, Australia. 12 March—October Big Weather 26 March—11 July Top Arts 2021 2 April—22 August She-Oak and Sunlight: Australian Impressionism

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

Wendy Stavrianos, Shaft, 2011, acrylic on canvas, 187 x 420 cm. Photograph: Neil Lorimer. 6 April—24 April Wendy Stavrianos 27 April—15 May Karla Marchesi

19 December 2020—29 August Spectrum: An Exploration of Colour 133

ararat gallery tama

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

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

A: 82 Vincent Street, Ararat, VIC 3377

E. gallery@ararat.vic.gov.au

T. (03) 5355 0220

W. araratgallerytama.com.au

www.araratgallerytama.com.au

VICTORIA

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

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

inhabit the surface of my prints become the visual language through which I hope to create yet another world which invites the viewer to empathise or re-imagine and feel.” Angela Coombs-Matthews.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. See our website for latest information. 28 February—20 March Faces and Places Yasmini Kedem

Susan Wald, Mungo XXIII, 2018, black ink on Hahnmuller paper, 56 x 67.5 cm. 4 March—18 March Mungo Susan Wald

Charlotte Alldis, Until We Meet Again, oil on linen, 101.6 x 121.92 cm. 16 March—21 March Twin Flame Charlotte Alldis

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

Susan Wald’s upcoming exhibition explores her response to Lake Mungo, the land, its structure, spirituality, and ancient history, with a series of monotypes made during her residency at The Art Vault in Mildura. These black and white prints were inspired by her visit to Lake Mungo, sitting, drawing and writing in solitude among the sand and mud pinnacles. The artist’s aim was to try and capture a sense of the time, spirit and energy of this ancient, powerful land. Experimenting with the space, form and thick black ink, Susan used tools, rags and brushes to wipe, draw and paint the images, trying to penetrate deeper in order to reflect some of the power of this sacred place.

Graeme Rowe, Flame, oil on canvas, 198 x 183 cm. 21 March—2 April Boundarybend Graeme Rowe

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Facebook: RMITGallery Instagram: @rmitgallery See our website for latest information.

Angela Coombs-Matthews, Gathering, 2020, monotype, 93 x 60 cm. Unknown (photographer), Bryan Dowling conducting MUCS at Tallebudgera campsite, Gold Coast, 1961, graphic reproduction. Courtesy of Australian Intervarsity Choral Societies Association, Melbourne. 22 February—7 May Multivocal Multivocal celebrates the creation, performance and experience of music at the University of Melbourne, past and present, showcasing the cultural collections of the University that focus on music in its many forms.

15 April—29 April Flights of Fancy Angela Coombs-Matthews Flights of Fancy is an exhibition of paintings and monotypes exploring the natural environment and the inner landscapes of the mind, of the imagination and of dreams. “My prints are a visceral response to a harsh yet beautiful landscape. My work has always reflected the inner psychological world just as it reflects aspects of the physical world. The interplay between these two worlds provides the stimulus for much of my creative energy and output. The distinctive marks which

Jurassic Skin Collection, designed by Jenny Bannister, c. 1984. Photograph by Derek Hughes. Colour slide, Gift of Jenny Bannister 2014, RMIT Design Archives Collection. 26 February—8 May Jenny Bannister Raids the Archives 135

www.redgallery.com.au

ST KEVIN’S ART SHOW IS ONE OF THE LONGEST RUNNING ANNUAL ART EVENTS IN THE COUNTRY, CELEBRATING ITS 50TH YEAR IN 2021. This non-acquisitive award offers prize monies totalling $14,000. • Main Prize: $10,000 • Works on paper prize: $3,500 • Plus a $500 people’s choice. Entries in all 2D media are welcome by professional practicing contemporary artists. Previous winners include Prudence Flint and Marieke Dench.

Entries close March 28th. www.stkevinsartshow.com.au for details. 136

@skc.artshow

www.stkevinsartshow.com.au

VICTORIA 27 February—27 March Tall Tale Laith McGregor

RMIT Gallery continued... Legendary fashion designer and RMIT alumnus Jenny Bannister takes a look inside RMIT’s Cultural Collections to curate an exhibition that reflects the University’s history as an incubator of design.

Belinda Reid, Barossa I, 2019, photolithographic prints hand-woven.

The Designers’ Guide: Easton Pearson Archive, 2018. Photo: Carl Warner. Illustration: Stephen Mok. Donated by Dr Paul Eliadis through the Australian Government’s Cultural Gifts Program 2017 Easton Pearson Archive, Museum of Brisbane Collection.

18 February—31 May FRESH!2019-20: Resolution Belinda Reid Called Resolution, Belinda Reid from the VCA (Victorian College of the Arts) has produced a body of work based on the time-honoured traditions of both lithography and weaving.

26 February—8 May Pattern and Print: Easton Pearson Archive A touring exhibition organised by Museum of Brisbane (MoB), toured by Museums & Galleries Queensland. This project has been assisted by the Australian Government’s Visions of Australia program. The Easton Pearson Archive gift to Museum of Brisbane has been made possible by the generous support of Dr Paul Eliadis, a Brisbane-based philanthropist and patron of contemporary art and design. The Archive consists of more than 3,300 garments donated by Dr Eliadis through the Australian Government’s Cultural Gifts Program, 2017. It is supported by more than 5,000 accessories, specification sheets, range plans, look books, photographs and other supporting material donated by Pamela Easton and Lydia Pearson, 2018.

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

Jake Walker, 152, 2020–21, acrylic, linen and glazed earthenware, 43 x 33 cm. Courtesy of the artist and STATION. 27 February—27 March Pipes Jake Walker

Mali Taylor, Holding Time, 2019, clay, 90 x 120 x 45 cm. 18 February—31 May FRESH!2019-20: Holding Time Mali Taylor Mali Taylor from RMIT has created Holding Time, a selection of hand-built ceramic sculptures that preserve time through the methodical and meditative layering evocative of archaic Australian landscapes. 18 February—31 May FRESH!2019-20: Cascade Duncan Young

Dychymig Dychymig: Tree Alphabet Clare Milledge

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

In Cascade, former arborist Duncan Young a recent graduate from RMIT School of Design (Furniture) explores the journey of the tree from its natural place in the ground to its rebirth as a group of stools made in varying Australian timbers.

Curated by Kiron Robinson.

8 February—30 May The Show Must Go On: What the performing arts were doing during the time of COVID-19

Janina Green, Tori Lill, Ali McCann, Sanja Pahoki, Aaron Christopher Rees, Kiron Robinson and Emanuel Rodriguez-Chaves.

A collection of photographic portraits of creatives working in the performing arts sector by Heidi Victoria.

19 February—27 March Not for the sake of something more

3 April—1 May rings of Saturn André Piguet and Christopher LG Hill

This exhibition is part of Photo 2021, International Festival of Photography.

Sofitel Melbourne on Collins www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information.

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

Michael Carney, Documented Artefact, 2021, oil on canvas, 122 x 92 cm. 20 March—2 May Roadside Picnic: past, present and future all at once Michael Carney 137

PINK

Digital exhibition launches THU 04 FEB 5PM

MAJA MALOU LYSE + ARVIDA BYSTRÖM HONEY LONG + PRUE STENT ANASTASIA KLOSE LOLA-MAE PINK TRACEY LAMB JESSIE ADAMS

FLUID

Versatile identities in the 21st Century

18 MAR - 24 APRIL

Digital exhibition launches THU 18 MAR 5PM

OPHELIA BAKOWSKI NATHAN BEARD EBONY HICKEY JAMES LEMON DANIEL R. MARKS BROOKE VAN DER LINDEN GIDEON WILONJA PAUL YORE

Wyndham Art Gallery Great Art. Deep West. 177 Watton Street, Werribee

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

Image Credit: Ophelia Bakowski May All Acts Of Love And Pleasure Be My Rituals

04 FEB - 08 MAR

Image Credit: Lola-Mae Pink We Share Our Mothers Health

A hue where feminine and feminism collide

VICTORIA

Stephen McLaughlin Gallery → Elizabeth Banfield, lacuna, 2020, linocut artist book, kozo tissue, thread. Stockroom Kyneton continued...

17 March—3 April Paul Zika

20 March—2 May Shift Work Claudia Pharès

17 March—3 April Elizabeth Banfield

Presence Kristin Burgham Skyline 2 Naoise Halloran-Mackay

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

7 April—24 April Helen McInnis

Sutton Gallery www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] Tue to Sat 11am–5pm. Sutton Projects: 230 Young Street, Fitzroy, Melbourne VIC 3065 [Map 3] Tue to Sat 1pm–5pm. 03 9416 0727 See our website for latest information. 6 February—6 March Sutton Gallery: Composite Acts David Rosetzky

See our website for latest information. 22 January—14 March Violent Salt This exhibiton discusses issues surrounding racism and discrimination against First Nations peoples and minority groups as well as the lack of respect for, and desecration of, culture and the natural environment. Violent Salt invites artists to speak their truths about these experiences and offers an opportunity for understanding and connection, whilst seeking to celebrate and honour Australia’s unique multiculturalism and landscape. Violent Salt features works by Abdul Abdullah (NSW), Vernon Ah Kee (QLD), Richard Bell (QLD), Daniel Boyd (NSW), Abdul Abdullah, For we are young and free, 2017, manual embroidery, 126 x 108 cm. Darebin Art Collection. Megan Cope (QLD), Karla Dickens (NSW), S.J. Norman (VIC) Yhonnie Scarce (VIC/ SA) and Jemima Wyman (QLD). Violent Salt is an Artspace Mackay Touring Exhibition co-curated by Yhonnie Scarce and Claire Watson.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au

Paul Zika, Stellar 16, 2019, 85 x 92 x 5.5 cm, acrylic on wood. 24 February—13 March Sheena Mathieson

Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm.

19 March—9 May Earth Canvas This exhibiton explores the creative experiences of both the regenerative farmer and the artist, their respective engagement with the land and their vision for a healthier world. The exhibition features works by Ros Atkins, Jenny Bell, 139

ar t g ui d e .c o m . au Swan Hill Regional Gallery continued... Jo Davenport, Janet Laurence, Tony Nott, Idris Murphy and John Wolseley. Earth Canvas was developed by regional collaborative Earth Canvas: Art in Ag, curated by Albury LibraryMuseum, and supported by the National Museum of Australia. This project has been assisted by the Australian Government’s Visions of Australia program.

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. Open all public holidays. Open 7 days a week. See our website for latest information.

Tinning Street Presents www.tinningstreetpresents.com 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thu to Sun 11am–5pm. 25 February—14 March Confluence Charlotte Watson Confluence follows Watson’s merging sense of home. Through drawing and storytelling this exhibition explores various meetings; history and the ocean, trees and the self, and how waterways carry stories that we cannot always see. 25 February—14 March Reinterpretation portraits Luke King Staring at the window, lockdown tells you to do this or that, isolation confuses and twists your stomach. During this time to contemplate, King searches our portraits and moments, relating and reinterpreting the feelings in the confined space.

28 November 2020—8 March Looking Glass: Judy Watson and Yhonnie Scarce

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This body of works consists of paintings showing how natural forms have been transformed into the stylized motifs often found in lace. The sources of these images are varied, maybe Chantilly lace, the design from a table cloth or even a strange insect that sparks a series of transformative possibilities.

Tolarno Galleries www.tolarnogalleries.com Hilary Green, Georgia Sacre, Medusa, soft sculpture, glass beads, cotton, wire, acrylic paint.

Featuring 24 artists from across the country and a number of new site-specific installations, the TarraWarra Biennial 2021 considers the broader arc of history against the pull of the accelerated now, attentive to notions of place, subjectivity and community, and to an idea of the present as a site of multiple durations, pasts and possible futures.

9 April—25 April Pattern and Ornament Douglas Kirwan

Morphing flesh, distorted desires and ambiguous forms. Ultraviolent Lite tongues the blurred boundaries between sensory and subconscious. Greenwood’s pieces heave and glow with irregular cadence, visceral imagery consorting with the ethereal. Space and proximity inform awareness within a realm of colour, impulse and light.

At its heart, the exhibition is both a love song and a lament for Country; a fantastical alchemy of the elemental forces of earth, water, fire and air. Watson’s ochres, charcoal and pigments, pooled and washed upon flayed canvases, have a natural affinity and synergy with Scarce’s fusion of fire, earth and air. Watson and Scarce express the inseparable oneness of Aboriginal people with Country, a familial relationship established for millennia.

27 March—11 July TarraWarra Biennial 2021: Slow Moving Waters

Douglas Kirwan, Flowering Tree, 2018, acrylic on canvas, 210 x 140 cm

9 April—25 April Ultraviolent Lite Matthew Greenwood

An important and timely exhibition which brings together two of Australia’s most acclaimed contemporary artists— Waanyi artist, Judy Watson and Kokatha and Nukunu artist, Yhonnie Scarce.

Jacobus Capone, Sincerity and Symbiosis, 2019, video still, detail. Courtesy of the artist and Moore Contemporary.

Trace and Reflect is a series of works on paper that explores how an abstract composition is constructed. Each work traces the relationship between chance and control that exists within non-representational drawing and painting processes.

19 March—4 April A Droplet of Dew in her Glittering Web Romey Porcu, Seth Searle, Lucinda Florence, Gemma Flack, Cat Rabbit, Caitlin Shearer, Eleanor James, Chloe Rose Thomas, Stephanie Watt, April Phillips, Aoife Billings, Sophie Morrow, Georgia Sacre, Lizzi Morris, Eve Wickson, Leili Tehrani Walker, Kanya Oldaker, Lilah Benetti, Frances Cannon, Hilary Green. Curated by Frances Cannon and Hilary Green. A Droplet of Dew on Her Glittering Web features the multidisciplined work of 20 women and gender non-conforming artists. Inspired by Louise Bourgeois’ recurring motif of the spider, curators Frances Cannon and Hilary Green explore the concepts of connection, transparency, community and home. 19 March—4 April Trace and Reflect Ariana Luca

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

Tim Maguire, Untitled 20200902, 2020, oil on canvas, 153 x 168 cm. 13 March—10 April Tim Maguire

VICTORIA

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

5 March—22 March Vas George Hicks Foundation Contemporary Exhibition

13 March—30 May Contemporary Landscape Perspectives: A Group Show

VAS Members Exhibition inspired by the summertime.

Presenting five contemporary landscape painters, Max Berry, Holly Greenwood, Dan Kyle, Bronte Leighton-Dore and Andrew Pye, who explore individual perspectives of elements of the Australian bush, the terrain, landscape and key symbolism of trees and flora in their immediate environment. 27 February—28 March Anthea Kemp: Painting Place An exhibition depicting and evoking the artist’s own personal memory of place. This ‘sense of place’ is a constant for Kemp and is a lens through which she views her paintings in relationship with the intimacy of the landscape she inhabits. 6 April—16 May Therese Shanley: From Tullamore to Finch Street

Izabela Pluta, Iterative composition 1979, (pages 17-18 Australia), 2020, pigment print on Eco Solvent Cotton Rag Paper, mounted on dibond, 124 x 200 cm. Image courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney. 23 January—10 April Reconfigured/Rediscovered Christian Capurro, Ben Cauchi, Danica Chappell, Peta Clancy, Daniel Crooks, Izabela Pluta and Robyn Stacey. Reconfigured/Rediscovered brings together a group of artists to extend our perceptions of photography and image-making into new realms. Highlighting the permeability of photography, this exhibition questions the relationship between image and reality, how images operate and how they can be created without a camera. Forms of photography that have been liberated from a traditional relationship between camera and print are explored as the selected artists negotiate the possibilities of installation, time and space, and early photographic techniques.

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

Ted Dansey. Splitsail Barge, watercolour. 16 April—26 April VAS Maritime Exhibition VAS Members Exhibition inspired by all things nautical. 1 April—12 April Retrospective Judith Perrey Life and works.

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

An exhibition of oil paintings and drypoints by local artist Therese Shanley exploring powerful narratives of memory. Taking inspiration from the artist’s childhood memories of growing up on a farm in North East Victoria intertwined with new memories being created in the artist’s own home, with her own children and family.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov.au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12am–3pm, See our website for latest information.

The Gallery presents a diverse visual arts program of national, state and regional exhibitions. The program includes shows by regional artists, touring exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere.

Changed Forever: Legacies of Conflict. 4 February—13 March Changed Forever: Legacies of Conflict

Susan Sutton, Labyrinth, 2020, winner of the Contemporary Award.

Anthea Kemp, Feeling of before place, oil on canvas, 57 x 46 cm.

Walker Street Gallery and Arts Centre will be exhibiting The Shrine’s touring exhibition Changed Forever: Legacies of Conflict. Changed Forever tells incredible stories of human endurance. The exhibition showcases poignant personal narratives of loss and reconciliation that inspire. Accounts of conflict, dislocation and resettlement encompass experiences of veterans and migrants who have come to Australia because of conflict. 141

BOROONDARA.VIC.GOV.AU/ARTS

Reconfigured/ Rediscovered TOWN HALL GALLERY HAWTHORN ARTS CENTRE SAT 23 JAN – SAT 10 APR 2021

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

OPENING HOURS Monday – Saturday 12noon – 4pm Closed public holidays

360 Burwood Road Hawthorn Victoria 03 9278 4770

www.boroondara.vic.gov.au/arts

VICTORIA Walker Street Gallery continued...

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

LGBTQI+ community, FLUID will interrogate how shifting identities are redefining male/female gender norms and creating life outside binary ideals. Versatile identities in the 21st Century. Opening event 18 March, 6.30pm–8.30pm.

Yering Station Art Gallery www.yering.com 38 Melba Highway, Yarra Glen 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm. See our website for latest information.

Georgia Szmerling, National Park Wildflower Manitoba Canada Bay Coast, 2017, acrylic on paper, 50 x 70 cm. Represented by Arts Project Australia, Melbourne. 25 March—1 May Flora Flora is a series of exhibitions, programs and events across the City of Greater Dandenong, offering new perspectives and renewing our wonder for the plant world. We invite you to immerse yourself in this program and explore the importance, beauty and fragility of nature.

Our historic cellar door with its rustic charm, high ceilings and whitewashed brick walls operates as both a tasting room and an art gallery. We exhibit the works of both established and emerging Australian artists in all art forms. Exhibitions are located in the Main Gallery on the ground floor and in the Winery Viewing Gallery, with exhibitions rotating every four to six weeks.

Flora will include exhibitions and programs across the City of Greater Dandenong including Walker Street Gallery and Arts Centre, Heritage Hill Museum and Historic Gardens, Alex Wilkie Nature Reserve, Connection Art Space and the Garnar Lane Display Boxes.. Anastasia Klose, Miss Spring 1883, 2016. Image courtesy of the artist.

Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat 12pm–4pm. See our website for latest information.

4 February—8 March PINK Anastasia Klose, Tracey Lamb, Lola-Mae Pink, Maja Malou Lyse and Arvida Byström, Honey Long and Prue Stent, Jessie Adams. Curated by Caroline Esbenshade. PINK, a hue where feminine and feminism collide. Presented in the lead-up to International Women’s Day this exhibition explores the use of pink and other feminine motifs in creative practice by womxn. Once maligned for being girly and diminutive, pink is reclaimed and presented in hues ranging from hot pink to millennial with works exploring the social, biological and performative intersections of the colour in practice.

Alexander Pinkster, Paradise Lost Series. No 11., acrylic on board, 90 x 120 cm. 3 March—11 April Retrospective 1985—2021 Alexander Pinkster

Echo Wu, The Spirit of the Peony, 2020, chinese brush painting © the artist. 23 February—10 April Bloom Echo Wu and students. Acclaimed exhibiting Chinese Brush Painting artist Echo Wu, specialises in flower and bird styles. Her work combines traditional and contemporary techniques with her own evolving vision. See this exhibition of scrolls and paintings featuring nature, by students and teachers of Echo Wu’s Chinese Brushstroke Art Classes.

Ophelia Bakowski, May All Acts Of Love And Pleasure Be My Rituals. 18 March—25 April FLUID Ophelia Bakowski, Nathan Beard, Ebony Hickey, James Lemon, Daniel R Marks, Brooke Van Der Linden, Gideon Wilonja, and Paul Yore. FLUID is mutable, adaptable, flexible and versatile, all of which are becoming necessary for us to carve our own path into an uncertain future. Influenced by the

Kate Baker, The Yearning, silver gelatin print, 84 x 84 cm. 14 April—23 May The Dance Kate Baker Photography. Emmy Mavroidis Sculpture. 143

A–Z Exhibitions

MARCH/APRIL 2021

New South Wales

Albermarle Street, Soudan Lane,

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

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

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

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

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

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

Old South Head Road

NEW S OUTH WALES Ongoing online Secret Snacks Benjamin Law, Kylie Kwong, Luisa Brimble and James Jirat Patradoon.

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

Artbank www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information.

Bussaraporn Thongchai, The same feet that save me also torture me, 2020, drawing on paper, 150 x 120 cm.

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

Berlin is the outcome of two years in the shelter, specifically designed to document the women’s stories and experiences as they applied for asylum in the context of trafficking, or applied for refugee status. It was first presented at ARDEL’s Third Place Gallery, Bangkok in March 2018 and is being presented at 16albermarle with six new works made in 2020.

Imhathai Suwatthanasilp, Imagination from dry papaya leaf, 2020, mixed technique acrylic and graphite on paper, 139 x 88 cm. 6 February—6 March Visions of Light Imhathai Suwatthanasilp, Jiratchaya Pripwai and Trinnapat Chiasitthisak. This exhibition presents new work by three Thai artists with a commitment to contemporary drawing practice. In a digital visual culture where physical encounters with artworks are often replaced by exposure to screens or virtual realities, re-examining immediate experience such as the touch of an ink pen on paper presents itself as imminent. Visions of Light also draws connections to drawing as a form of communication that predates writing. The act of drawing is emphasized as a primary form of human expression—both in a physical and emotional sense. In seeking to create a larger space for reflection around drawing, the exhibition explores drawing as artistic expression, but also as innate language and potential in human beings. By the simple act of looking at a drawing one can see both inwards and outwards, immediately encountering the drawer’s relation to the world.

4A Centre for Contemporary Asian Art www.4a.com.au 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm. An independent not-for-profit organisation based in Sydney, Australia. 4A fosters excellence and innovation in contemporary culture through the commissioning, presentation, documentation and research of contemporary art. Our program is presented throughout Australia and Asia, where we ensure that contemporary art plays a central role in understanding and developing the dynamic relationship between Australia and the wider Asian region.

20 March—17 April Pieces from Berlin Bussaraporn Thongchai In 2015 Thai artist Bussaraporn Thongchai relocated from Bangkok to Berlin. Once settled she began working at Ban Ying, a small shelter home providing services for migrant women from Africa, southeast Asia and eastern Europe who had often been the victims of human trafficking and the sex trade. Pieces from

Secret Snacks, 2021, designed by More of Something Good, commissioned by 4A Centre for Contemporary Asian Art, courtesy of the artists.

20/20: Shared Visions, Artbank, Sydney, November 2020. Photo: Silversalt photography. 20 November 2020—31 March 20/20: Shared Visions 40 years of Contemporary Australian Art. 20/20: Shared Visions celebrates 40 years of Artbank. A dense web of connections stretches across the Artbank collection. The artworks held within our stores tell stories of familial connection, intergenerational inspiration, shared experiences and convictions and evolving practices. This exhibition presents 20 pairs of works that illuminate these relationships and illustrate the wonderfully diverse landscape of Australian contemporary art. As the title implies, 20/20 celebrates the great vision and foresight shown in establishing a sustainable artistic support program, which has culminated in the development of a significant collection that tells the story of Australians and their art from 1980 to 2020. Featured artists: Ian W. Abdulla, Khadim Ali, Richard Bell, Gordon Bennett, Robert Campbell Jnr, Barbara Cleveland, Richard Crichton, Isabel Davies, Linda Dement, Walter Ebatarinja, Bonita Ely, Sally Garromara and Nellie Nambayana , Raafat Ishak, Harley Ives , Kitty Kantilla, Deborah Kelly, The Kingpins , Maria Kozic, Dhuwarrwarr Marika, John Mawurndjul, David McDiarmid, Lenie Namatjira, Reinhold Inkamala, Ivy Pareroultja and Myra Ah Chee , Maureen Poulson Napangardi, Nasim Nasr, Jimmy Njiminjuma, Bronwyn Oliver , Mary Pan and Nyurpaya Kaika, Thom Roberts, Julie Rrap, Kate Scardifield, Madonna Staunton, Darren Sylvester, Ken Thaiday Snr, Kaapa Mbitjana Tjampitjinpa, Jenny Watson, Kaylene Whiskey, Roy Wiggan, Kunmanara (Mumu Mike) Williams, Paul Yore, Nyapanyapa Yunupiŋu.

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Art Gallery of New South Wales → Margel Hinder, Revolving construction, 1957, wire and plastic, 35.5 x 56 x 49.5 cm. Art Gallery of New South Wales, purchased 1959 © AGNSW.

Art Gallery of New South Wales www.artgallery.nsw.gov.au

Longing for Home Six Aboriginal artists explore yearning, distance, time and space and their emotional connection to Country.

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

Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm. See our website for latest information. Until 21 March Pat Larter: Get Arted This first solo exhibition of Australian artist Pat Larter reveals a collaborative, provocative, humorous and ultimately joyful artistic practice that challenged conventions of the male gaze and stereotypes of female desire and sexuality. 30 January—2 May Margel Hinder: Modern in Motion This exhibition reveals the work of one of the most important and dynamic, yet underrated, Australian sculptors of the 20th century.

Betty Muffler and Maringka Burton Ngangkari ngura (Healing Country), 2020. Courtesy of the artists and Iwantja Arts © the artists.

4 February—5 April ARTEXPRESS 2021 This dynamic and popular exhibition features a selection of outstanding student artworks developed for the art-making component of the HSC examination in Visual Arts 2020.

26 March—5 September The National 2021: New Australian Art The National 2021: New Australian Art at the Art Gallery of NSW presents 14 artist projects that consider the potential of art to heal and care for fragile natural and social ecosystems.

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Katherine Hattam, I am here, mixed media on paper.

NEW S OUTH WALES 6 March—27 March I Am Here Curated by Katherine Hattam.

ter. The exhibition features ink calligraphy on paper and silk scrolls. 21 April—16 May Shaping Wit Will Coles, Chris Dolman, Blak Douglas, Emily Galicek, Claire Healy and Sean Cordeiro, Gillian Kayrooz, Tara Marynowsky and Kenny Pittock.

Group show of women artists.

Nicola Moss, Orchid House, paper collage, acrylic paint, mixed media on stretched linen, 143 x 143 cm (framed). 13 April—1 May Plants Give Me Hope Nicola Moss

Artspace www.artspace.org.au 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] Mon to Fri 11am–5pm, Sat and Sun 10am–5pm. 16 January—5 April djillong dumularra Carol McGregor and Judy Watson. Presented by Artspace and Sydney Festival, djillong dumularra features the work of Carol McGregor (Wathaurung, Kulin Nation) and Judy Watson (Waanyi), two Brisbane-based Aboriginal Australian artists working with historical and contemporary material to illuminate the continuing strength of Indigenous culture. In Wathaurung and Waanyi respectively, djillong – meaning tongue of land – and dumularra, flowing water, together evoke the living connection to Country and cultural memory that defines their distinct approaches to artmaking. Harnessing shared knowledge across time and place and drawing on the strength of matrilineal connections in particular, McGregor and Watson both engage in processes of collaborative creation and reflection to present a series of works that resonate across the gallery and beyond.

A Willoughby City Council curated group exhibition, presented in partnership with the Sydney Comedy Festival. For centuries, artists have been using their medium to challenge or criticise serious issues. Alternately, artists have broken historical artistic canons to reveal that art objects or visual images can be playful or comedic. Shaping Wit explores the work of artists who use humour and irony to talk about serious or light-hearted things. Satirical and cynical art can provide a subtle means for compelling its audience to challenge preconceived ideas and social and political conventions. Jack Connaghan, The Unpredictable Year, 2020, photograph. 3 March—28 March Smart Expressions 2021 Willoughby City Council presents an exhibition of student artworks selected from the 2020 NSW HSC practical examination in Visual Arts. 2020 presented many challenges, particularly for young people in the latter years of high school. As part of Generation R, this exhibition showcases the resilience and optimism of youth. The exhibition presents a wide variety of artworks exploring resilience topics such as the environment, discrimination, isolation, gender identity, mental health, connection and hope, and how Covid-19 has impacted life. 31 March—18 April RENCLUB Members’ Exhibition 2021 Local artist group RENCLUB presents an exhibition of Japanese calligraphy. RENCLUB Members’ Exhibition 2021 offers many styles of writing from traditional to modern. Japanese calligraphy, or ‘Sho’ in Japanese, attempts to bring words to life and endow them with charac-

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst NSW 2010 [Map 8] 02 9361 4555 Tues to Sat 11am–4pm. Free entry, donation encouraged. See our website for latest information. Australian Design Centre is an independent contemporary craft and design organisation igniting creative ideas and building cultural vibrancy across a range of platforms including exhibitions, festivals, events, retail, touring, digital and publishing. Working with over 700 artists we produce 20 exhibitions and over 100 events each year in Sydney and across Australia through ADC On Tour our national exhibition touring program. The Centre’s Object Shop in Sydney and online sells the work of over 100 Australian makers.

Art Space on The Concourse www.willoughby.nsw.gov.au/Community 409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri 11am–5pm, Sat and Sun 11am–4pm.

Anita Johnson Larkin, Beneath the weight of the sheets, 2019. Photograph: Bernhard Fischer. Chris Dolman, All Dried Up, 2019, oil and pencil on cotton. Courtesy of the artist and Galerie pompom, Sydney.

20 February—20 March Come To Me Without A Word Anita Johnson Larkin Anita Johnson Larkin, a NSW textile artist 147

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for the Arts, its arts funding and advisory body.

and sculptor, considers objects as storytellers–salvaged domestic objects are re-associated with the human body and gestures of repair give the objects poetic qualities.

Ken Done, Indian Summer, 2011, oil and acrylic on board, 76 x 100 cm. 12 March—1 May Ken Done: Paintings you probably haven’t seen

Bathurst Regional Art Gallery www.bathurstart.com.au Brenda Livermore, Continuum, 2020. Photograph: Janet Tavener. 25 March—15 May Signatures: The Mark of the Embodiment of Identity and Intent In this exhibition 21 artists from the group Untethered Fibre Artists investigate the making of a mark–a distinctive pattern, notion or characteristic– in textiles and fibre.

70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm, public holidays 11am–2pm. See our website for latest information

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

BAMM heritage building. BAMM is a regional art institution with a difference. For 30 years we have worked to enhance the cultural life of Moree with a changing schedule of exhibitions that educate, challenge, and delight our local audience and visitors to the region.

20 February—5 April Myth-Making, Heroes and Villains Rebecca Wilson In 2010, Forbes-born, Hill End-based artist and writer Rebecca Wilson embarked on comprehensive research and a creative journey to reveal the lesser-known stories of the Central West, with a particular focus on the remote town of Hill End. Her findings resulted in two powerful series, A Portrait of Landscape and Time in Hill End: Myth-Making, Heroes and Villains and Kate Kelly: Sister of an Outlaw, both of which encourage viewers to question who are the heroes and who are the villains in Australia’s recorded history. A BRAG exhibition. 20 February—5 April Lazy Dynamite Casey Chen

Hoda Afshar, Dog’s Breakfast, 2011, archival inkjet print, 61 x 88.9 cm. Courtesy of the artist. 20 February—5 April Just Not Australian Presenting Australian practitioners at the forefront of national debate and practice. Drawing together 20 artists from diverse cultural backgrounds, their differing ideas and perspectives on nationhood coexist within this timely thematic show. Showcasing the common sensibilities of satire, larrikinism and resistance so as to present a broad exploration of race, place and belonging, Just Not Australian interrogates what it means to be Australian at this challenging point in time. Artists include Abdul Abdullah, Hoda Afshar, Tony Albert, Cigdem Aydemir, Liam Benson, Eric Bridgeman, Jon Campbell, Karla Dickens, Fiona Foley, Gordon Hookey, Richard Lewer, Archie Moore, Vincent Namatjira, Nell, Joan Ross, Tony Schwensen, Raquel Ormella, Ryan Presley, and artistic duo Soda Jerk. Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council

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Rebecca Wilson, Cranky Sam the Bushranger, 2018, acrylic on board, 60 x 60 cm. Courtesy of the artist and Gang Gang Gallery.

Emerging Sydney-based ceramic artist Casey Chen’s practice references historical illustrations from an eclectic mix of folklore, mythology and pop culture. For the National Art School 2020 Grad Show, Chen drew upon imagery and motifs from the archetypal tales of the four great classic novels of Chinese literature: Romance of the Three Kingdoms, Journey to the West, Water Margin and Dream of the Red Chamber. His resulting works are both a self-exploration and an homage to the rich and enduring history of Chinese porcelain craft and Japanese ukiyo-e woodblock prints. A BRAG Foyer SPACE exhibition. 10 April—30 May DARK Steven Cavanagh and Wendy Sharpe Steven Cavanagh and Wendy Sharpe have been friends for a decade. Their work can be viewed as a dialogue between two artists who explore the drama of light and dark using different mediums. “We see this use of darkness in our work as a physical and psychological space that speaks to the human condition and the artists’ experience.” It is here that their work collides. A BRAG exhibition. 10 April—30 May Hardenvale: Our Home in Absurdia Hardenvale is a large-scale immersive

NEW S OUTH WALES environment created by three leading contemporary drawing practitioners: Catherine O’Donnell, Kellie O’Dempsey and Todd Fuller. Constructed with wall drawings, paste-ups, found objects, hand-drawn animations, sound and performances, the space is full of connection and disconnection, sameness and difference, comfort and disquiet. Hardenvale invites the audience to connect with their own diverse experiences, memories and emotions associated with domestic space and living on the cultural fringe. Curators: Catherine O’Donnell, Kellie O’Dempsey and Todd Fuller.

Bega Valley Regional Gallery www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. See our website for latest information. Idyllically situated within the Bega Valley Shire on the land of the original custodians, the people of the Yuin Nation, a landscape of pristine wilderness, rich pastures, unspoilt coastline and boutique villages, the BVRG is the regions only publicly funded gallery and an outpost for contemporary visual culture. The gallery also boasts one of the country’s richest and most loved portrait awards, a $50,000 non-acquisitive prize for realistic portraiture.

Abdul-Rahman Abdullah, David, 2018, edition of 6 plus AP concrete, enamel, oxide, 39 x 48 x 31 cm. Photograph: Abdul-Rahman Abdullah courtesy of the artist and Moore Contemporary. and brings together products, projects and works of art that reflect many of the current preoccupations with concrete within contemporary art, design and architecture in Australia. Abdul-Rahman Abdullah, Adam Goodrum, Alex Lotersztain, Anna Horne, Baldasso Cortese Architects, Candalepas Associates, CHEB – Deb Jones and Christine Cholewa, Convic, Durbach Block Jaggers Architects, Edition Office, Elvis Richardson, Glenn Murcutt, Kyoko Hashimoto and Guy Keulemans, Inari Kiuru, Jamie North, Megan Cope,Rhiannon Slatter, Tom Borgas, Sanne Mestrom, SMART Design Studio and WOOD Melbourne.

Blacktown Arts www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tue to Sat 10am–5pm. 6 February—13 March POWER Dennis Golding

Matthew Johnson, Aqua Lacuna (after Gabo), 2010, oil on linen, 170 x 150 cm. 27 January—19 March Beneficence: New Works to the Collection BVRG presents an exhibition of new works, freshly gifted to your permanent collection, which we hold on behalf of the Bega Valley community. Curated by gallery director Iain Dawson, Beneficence features work by Alesandro Ljubicic, Brett McMahon, Brett Weir, Celia Gullett, Heather Burness, Joe Furlonger, Matthew Johnson and Tommy Watson.

Film, video and sound artist Darrin Baker explores the naming of the western Sydney suburb Pemulwuy–and the stories of the Bidjigal man and resistance leader for whom the suburb is named–in this multiscreen, surround sound installation. Baker interweaves animation and fictional recreations with documentary interviews with traditional knowledge holders, to unpack the history and legacy of Pemulwuy the man, the guerrilla warrior legend and the suburb named in his honour.

Kamilaroi/Gamilaraay artist Dennis Golding’s practice critically interrogates political, social and cultural representations of Aboriginal history. With an inclination towards superhero symbolism, Golding’s work empowers contemporary Aboriginal cultural identity and frees it from colonial narratives. As the artist in residence for Solid Ground, Golding worked with the Aboriginal and Torres Strait Islander students at Alexandria Park Community School to create 100 superhero capes depicting visual representations of connections to Country, memory, heritage and lived experience.

Faraimo Paulo. 6 March—3 April Eleni – Navigators of Polynesia Faraimo Paulo Traditional painter, carver and designer Faraimo Paulo of Tokelau is on a mission to record his people’s history and culture. Tokelau is made up of three coral atolls, Atafu, Nukunonu and Fakaofo, 500km north of Western Samoa. As emigration and rising water levels from global warming threaten to erase the traditional Tokelauan lifestyle, Paulo has embarked on a mission to realistically capture on canvas the culture, stories and scenes of Tokelauan society, often using his family members as models. This exhibition at The Leo Kelly Blacktown Arts Centre represents a major survey of Faraimo Paulo’s recent work.

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.

6 April—18 June CONCRETE: Art Design Architecture A major exhibition exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. Curated by JamFactory’s Margaret Hancock Davis (Senior Curator) and Brian Parkes (CEO), the exhibition includes 21 artists, designers and architects from across Australia.

Darrin Beker, Still from Pemulwuy and The Naming of Things, 2021. Courtesy of the artist. 20 February—27 March Pemulwuy and The Naming of Things Darrin Baker

Arthur Boyd, Lovers on fire in boat with kite, 1965, oil on canvas. Bundanon Trust Collection. 149

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Casula Powerhouse Arts Centre → Jagath Dheerasekara, Bungarusa panthera: a hybrid, 2021, video Still. Courtesy of the artist. Blue Mountains City Art Gallery continued... 23 January—7 March Landscapes of Anxiety Gary Shinfield A Blue Mountains Cultural Centre Exposé Program exhibition. 23 January—7 March Blue Mountains Portraits 2021 A Blue Mountains City Art Gallery exhibition. 13 March—2 May Arthur Boyd: Landscape of the Soul Landscape of the Soul is Bundanon Trust’s new three-year nationally touring exhibition exploring a lifetime of landscape paintings by renowned Australian artist Arthur Boyd. Curated by Barry Pearce the exhibition is drawn principally from Bundanon Trust’s own collection of the artist’s work. A Bundanon Trust touring exhibition.

Gary Shinfield, Valley, 2018, detail, unique state print (woodcut) on hand-made Thai paper, dimensions variable. Courtesy of the artist. 13 March—28 March Collector’s Edition #7 Now in its seventh year, this fundraiser exhibition supports the Blue Mountains Cultural Centre’s Collection Acquisition Fund. Over 80 original artworks by prominent artists will be for sale through silent auction. A Blue Mountains City Art Gallery exhibition.

Broken Hill Regional Art Gallery www.bhartgallery.com.au

Casula Powerhouse Arts Centre www.casulapowerhouse.com

404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3444 Tue to Sat 10am–4pm. See our website for latest information.

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Mon to Fri 9am–5pm, Sat & Sun 9am–4pm. Closed pub hols.

Opened in 1904 Broken Hill Regional Art Gallery is the oldest regional gallery in New South Wales. The beautifully restored emporium displays a selection of works from the City of Broken Hill’s art collection and a quality program of temporary exhibitions by local, state and national artists along with touring exhibitions.

Casula Powerhouse Arts Centre is a multi-disciplinary arts centre that has six galleries (with changing exhibitions produced and presented by Casula Powerhouse), a 326-seat theatre, artist studios, Clayhouse Ceramics Studio, live-in facilities for artists, internal and external public artworks, collection storage facility, retail areas including café and bar, and green open spaces. 13 February—11 April The 66th Blake Prize

Jane Skeer, Embedded Landscapes: Out of the Ashes series, 2020, burnt and smashed xantthorroea leaves from KI bushfires, on paper, burnt tree stumps on steel, dimensions variable. 26 February—25 April 2021 Maari Ma Indigenous Art Awards Out of the Ashes Jane Skeer Anthropocene Kathy Graham Willyama Arts Society – Group Show

Eye Shen, Wishing you well, 2021, digital media and augmented reality, still. Courtesy of the artist. 13 February—11 April Sending you Love xx Sab De Souza and Eye Shen 3 April—9 May Bush, Country, Voices Curated by Western Sydney Parklands, Casula Powerhouse and City People. 24 April—27 June George Gittoes: on being there Curated by Rod Pattenden 26 April—27 June LOSS 151

KEN DONE 1-5 Hickson Road, The Rocks, Sydney, www.kendone.com Pale emerald reef, 2020, oil and acrylic on linen, 152 x 122cm

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Campbelltown Arts Centre www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information. 7 January–14 March Space YZ Curated by Daniel Mudie Cunningham. In times of alarmingly diminishing art school options in the tertiary and higher education systems, Space YZ, curated by Daniel Mudie Cunningham, draws inspiration from the visual arts legacy of Western Sydney University (formerly known as University of Western Sydney). The exhibition presents significant early works created by 88 Visual Arts and Electronic Arts alumni during their undergraduate studies or within two years of graduation.Including early work by Brook Andrew, Liam Benson, Raquel Ormella, Savanhdary Vongpoothorn and Justene Williams among many others, Space YZ celebrates the vibrant artistic practices that have flourished from this important institution, while advocating for better access to art school education in Western Sydney and across Australia. In partnership with Western Sydney University, Campbelltown Arts Centre has launched a website to accompany Space YZ. Featuring commissioned texts and reflections from artists and key people involved at the school as well as extensive archival material. Visit spaceyz.com.au to find out more.

Jazz Money, Crush, 2021. HD video. Commissioned by Cement Fondu. Videography: Jazz Money. Sound: Gabriel Santos.

foundations is the first temporary exhibition in the Chau Chak Wing Museum’s large Ian Potter Gallery. Representing more than 20 Yolŋu clan groups and 100 artists, the exhibition was produced in collaboration with the Yolŋu communities of Milingimbi, Ramingining and Yirrkala. Included are paintings dated to the late 1920s, alongside work from throughout the last century and contemporary pieces, expressing spiritual, philosophical and legal foundations.

20 March—2 May Textbook for Desire Nat Randall and Anna Breckon, Jazz Money, Giselle Stanborough, Kate Blackmore, Bhenji Ra and Sweatshop Women.

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm. See our website for latest information.

Daniel Boyd, Contemporary art project #1: Pediment/Impediment.

Chau Chak Wing Museum

Pediment/Impediment is the Chau Chak Wing Museum’s inaugural contemporary art project in the Penelope Gallery. A model of the Athenian Acropolis and plaster casts of classical sculpture from the University’s collections are veiled in myriad pinpoints of light and darkness, a stunning resistance to Enlightenment ideas and the ‘light’ of Western civilisation.

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

Until June Contemporary art project #1: Pediment/ Impediment Daniel Boyd

Cowra Regional Art Gallery www.cowraartgallery.com.au 77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 Tue to Sat 10am–4pm, Sun 2pm–4pm. Admission Free. 14 February—21 March CONCRETE: art design architecture

Nola Tegel, Campbelltown Old and New I, 2020, oil on board.

Abdul-Rahman Abdullah (WA) Adam Goodrum (NSW) Alexander Lotersztain (Qld) Anna Horne (SA) Baldasso Cortese Architects (Vic) Candalepas Associates (NSW) CHEB – Deb Jones and Christine Cholewa (SA) Convic (Vic) Durbach Block Jaggers Architects (NSW) Edition Office (Vic) Elvis Richardson (Vic) Glenn Murcutt (NSW) Kyoko Hashimoto and Guy Keulemans (NSW) Inari Kiuru (Vic) Jamie North (NSW) Megan Cope (Vic) Rhiannon Slatter (Vic) Tom Borgas (SA) Sanne Mestrom (Vic) SMART Design Studio (NSW) WOOD Melbourne (Vic). A touring exhibition by the JamFactory.

27 March—9 May Then & Now Nola Tegal 27 March—9 May Looking Back, Looking Forward Macarthur Textile Network 27 March—9 May Friends & Focus 2021

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

Gululu dhuwala djalkiri: welcome to the Yolŋu foundations. Until August Gululu dhuwala djalkiri: welcome to the Yolŋu foundations Showcasing the University of Sydney’s extensive eastern Arnhem Land art collection, Gululu dhuwala djalkiri: welcome to the Yolŋu

This is a major exhibition exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st Century. Curators are Margaret Hancock Davis and Brian Parkes. The exhibition includes 21 artists, designers and architects from across Australia and brings together products, projects and works of art that reflect many of the current 153

ar t g ui d e .c o m . au Cowra Regional Art Gallery continued... preoccupations with concrete within contemporary art, design and architecture in Australia. 1 April—9 May John Gollings: History of the Built World John Gollings is Australia’s pre-eminent photographer of the built environment. For the past 50 years he has been synthesising his joint interests in photography and architecture to explore the cultural construction of social spaces. While Gollings is well known for his documentation of new buildings and cityscapes, this survey exhibition situates these images within the broader context of his photographic practice. Alongside his commercial work, Gollings has always engaged in projects concerned with architectural history and heritage. This includes photographs of iconic modernist buildings, ancient sites of spiritual significance and the ruins of abandoned cities. Gollings’s interest in architectural heritage is also apparent in his documentation of places such as Melbourne and Surfers Paradise, where he has recorded the evolution of the built environment over extended periods of time. This travelling exhibition has been made possible with the support of Monash Council, Creative Victoria, the Bowness Family Foundation, the Gordon Darling Foundation and the Vizard Foundation.

around the historical collection of artefacts related to the rituals and ceremonies of organised labour held by Trades Hall in Sydney, Tirades Hall includes several new, oversized Still Lifes, a soundscape by composer Louise Loh and multiple contextualising wall notes by Indigenous broadcaster, artist and cultural commentator Daniel Browning and, the fanners of the flames of intergenerational memory, Pirie and Neale Towart. Brick Veneer Belvedere. (Savour Labour) continues Gary and Renjie’s commitment to collaboration as a way to build new communities and to the idea that memory is one of the few unpoliced sites of resistance to the inequalities and conformity produced by the transactional economy. Their large scale, photocopy based collaborations are dazzling and visually compelling; not least because they are more sites of enactment than acts of representation, but also because they effectively rupture the link between spectacle and material privilege that have become so prevalent in art and life.

Darren Knight Gallery www.darrenknightgallery.com

NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey. Wed to Sat 11am–5pm. See our website for latest information.

David Collins, Cycadic Rhythm, 2020, oil on canvas, 107 x 124 cm. 17 February—24 March Australian Wildlife Conservancy Mount Zero Exhibition Tim Allen, Alison Coates, David Collins, Peter Stevens and Mary Tonkin.

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

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

Kyle Murrell, Work in progress, 2020.

The Cross Art Projects foregrounds contemporary work and curatorial projects that reflect the multiple relationships between art and life, art and the public sphere, and explores the boundaries of this context.

31 March—22 April Defiance Award Winners from the Paddington Art Prize Exhibition 2019 Kyle Murrell and Willemina Villari Opening Sunday 28 March, 11am—2pm. Abstract 2021 Group exhibition of gallery and invited artists. Opening Sunday 28 March, 11am–2pm.

I saw the Figure 5, Embold, 2021, antique Parade Way Finders, wall mounted black and white photocopy on variously tinted 80 gsm papers, 350 x 500 cm. 10 April—1 May Brick Veneer Belvedere. (Savour Labour) A new, multi-perspectival spatial environment or Hebitat by the artist Gary Carsley and the architect Renjie Teoh whose use of the manual and the complex as ways to contest the collapse of the value of labour relative to capital results in uniquely immersive environments. Developed in part 154

Kenzee Patterson, Bullecourt, 2020, laminated Rouse-Port Fairy bluestone, debossed, marbleized silicone wristband, 78 x 13 x 11 cm. 6 March—3 April 1/2 to dust Kenzee Patterson with Tarik Ahlip, Julia McInerney, Robert Pulie, Luke Parker, Therese Keogh and Mitchel Cumming.

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington

Eden and the Willow www.edenandthewillow.com.au 16 King Street Newtown NSW 2042 [Map 9] 0431 231 981 Tue & Thu 11am–7.30pm, Wed & Fri 11am—6pm, Sat 11am–5pm. See our website for latest information.

NEW S OUTH WALES 4 March—15 March Before Darkness Descends Alicia Douglas

10 February—14 March Handgun BBQ Damian Dillon

4 March—15 March In/visible Group exhibition curated by Brett Anthony Moore.

This series looks at the invisible social, cultural and geographical architectures we inhabit, in particular the urban, suburban and natural environments where colonial erasure and national mythologies have failed to turn space into place as Australia remains both ‘unsettling and unsettled’.

4 March—15 March Meaningful Manoeuvres Karen Benton, Melinda Clyne, Kate Coyne and Jude Williams.

Cinzia D’Alberti, Winter Sky, 2020, acrylic on paper, 13.5 x 11 cm.

4 March—15 March are you going to keep that? Zoe Anika Bilston

16 March—10 April Cinzia D’Alberti

Rmsina Daniel, ‫ܐ‬ ݇ ‫[ ܐ ܹ̈ܫܵܢ‬næːʃeɪ], 2020, steel, 62 components, overall 230 x 450 x 3 cm. Photograph: Peter Morgan. 13 April—8 May Rmsina Daniel Rmsina’s practice comes from an interest in figuration and the human form. The work [næːʃeɪ] ܹ ‫ܐܐ݇ܢܵܫ‬ ̈ was born from a coffee cup. Back in the Middle East, there is a habit of flipping the coffee cup upside down after drinking it. The grounds left in the bottom of the cup create an image that the reader then translates.

Gaffa Gallery www.gaffa.com.au 281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 Mon to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information. Gaffa is a multi leveled creative precinct located in the heart of Sydney’s CBD next to Town Hall Station. The ground floor houses long term tenants, Level 1 is a dedicated gallery level of four gallery spaces run by a curatorial team, Level 2 has jewellery workshops and studio spaces and Level 3 houses more studio spaces.

Cooper and Clache, Violin and Glasses, 2021, instruments, electronics and sound, dimensions variable, and Clache Raong, Re Member Part III – Re Find, 2017 to 2021, moving image, dimensions variable. 18 March—29 March Loops of Repetition Clache Raong and Paul Cooper 18 March—29 March Vampires, Cargo Pants, and Other Important Stuff Lauren Ami

17 March—18 April The Flattening of Everything Genevieve Felix Reynolds

18 March—29 March Pattern of the Days Adrienne Overall 1 April—12 April An Ornithologist’s Guide to People-Watching Theo Harris 1 April—12 April Small Town Boy Liz Bradshaw Blunderbuss social Keiran Gordon and Nick Gordon 15 April—26 April Transitions Open Bite Printmakers (26 artists) 15 April—26 April Untitled [Limens No. 2] Renay Ringma

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438 See our website for latest information. 10 February—14 March The Folly of Colour Nuha Saad

Alicia Douglas, Before darkness descends, 2019, water colour and gouache on paper, 35 x 53.5 cm.

Genevieve Felix Reynolds, The new kingdom, 2020, oil paint on steel with crystal dolphin, Germany, 84 x 60 cm.

Nuha Saad works with optimism and a modernist inheritance turning to colour and abstraction in a time of uncertainty and upheaval.

Matthew Harris, Perspective, 2020, acrylic on canvas, 162 x 122 cm. 17 March—18 April The Simple Life Matthew Harris 21 April—23 May Diadikasia Belle Blau, Nancy Constandelia, Danica Firulovic, Louise Gresswell, Graziela Guardino, Suzie Idiens, Rebecca Waterstone. Curated by Nancy Constandelia. 21 April—23 May Floor Talks and Installs, 2020–2021 Jesse Hogan 155

FLORA EPHEMERA RUTH JU-SHIH LI

4 MARCH - 3 APRIL GALLERY LANE COVE + CREATIVE STUDIOS OPENING RECEPTION

SATURDAY 6 MARCH 2:00PM - 4:00PM

Kindly sponsored by Taipei Economic and Cultural Office in Sydney and Australian Taiwanese Friendship Association.

www.gallerylanecove.com.au

27 February—3 April 60 Years of Margaret Woodward A survey of more than 50 major works dating from 1950's to 2010 from the artist studio available for sale

Margaret Woodward, Leaning into the Cushions, oil on Canvas, 163.5 x 240 cm.

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

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Gallery76 www.embroiderersguildnsw.org.au/Gallery76 76 Queen Street, Concord West, NSW 2138 02 9743 2501 instagram: @gallery76_queenst Mon to Fri 9am–4pm, Sat & Sun 10am–2pm. Closed public holidays. Fully wheelchair accessible. Street parking and easy public transport access. See our website for latest information. 30 January—4 March Festival of Lace Historic and contemporary lace from the NSW National Trust, Australian Lace Guild, Embroiderers’ Guild NSW and contemporary lace makers. The Festival of Lace is a unique exhibition bringing together pieces from some of the foremost lace collections in the country, along with a variety of contemporary work pieces by practising Australian lace artists. From C17 Venetian lace to contemporary ‘pandemic lace’ pieces – this is lace as you’ve never seen it before. The festival also includes workshops in contemporary or traditional lace and a two-day conference: Lace Looking Forward // Lace Looking Back.

and hospitality venues. Discover the best of basketry art at Gallery76 this March.

2pm–4pm, RSVP essential.

Gallery Lane Cove

This annual Lane Cove Art Society members’ exhibition is a staple of the lower north shore cultural calendar. It will feature new works across the mediums of acrylic, oils, watercolour and pastels. Opening event Friday 9 April, 5pm–8pm.

www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm, Sun 10am– 4:30pm. Extended Saturday hours till 4:30pm throughout March and April, except 3 & 24 April. See our website for latest information.

9 April—24 April ArtXtra Lane Cove Art Society

3 March—3 April Rewilding Alyson Hayes, Kat Seward, Penelope Cain, Barbara Doran, Susie Pratt, Wendy Bishop, Greg Hodgkinson Rewild and reflect with new Sydney-based interdisciplinary artist collective exploring the captivating and controversial concept of returning habitats to a natural state. Curated by Dr Sky Hugman and Ann Proudfoot. A Gallery Lane Cove Art Month Sydney program. Opening event Wednesday 3 March, 5pm–8pm, RSVP essential.

Guy Warren. Courtesy of the artist. 29 April—29 May Guy Warren Centenary Survey This survey exhibition contemplates the evolution of Guy Warren’s approach to painting while illuminating recurring motifs and themes throughout the long span of his artistic career. It will feature recent works by the celebrated, prolific artist as well as pieces that reflect his connection with the local area. A centenary celebration of the Guy’s artistic practice supported by Lane Cove Council. Curated by Rachael Kiang. Opening event Thursday 29 April, 5pm–8pm.

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

Flora Freidmann, Hanging About. 6 March—1 April [Not A] Basket Case: Making a case for contemporary basket art Nina Brabbins, Catriona Pollard, David Grushko, Nurit Ophir, Julya Hegarty, Felicity Chapman, Suzanne Davey, Asahi So, Susie Oldfield, Zimmi Forest, Jillian Culey, Kelcie-Bryant Duguid, Glenese Keavey, Lisa Stevenson, Trudi Nisbet, Ann Coddington, Flora Freidmann. [Not A] Basket Case: Making a case for contemporary basket art, brings together contemporary Australian and international basketry artists for a one-off group exhibition, an incredible array of styles and techniques which showcase the best this medium has to offer. Basket weaving is an ancient art practice which highlights both humanity’s dependence on nature and nature’s ascendency as the organic forms defy constraint. Wall hangings and sculptural pieces - ideal for homes, office spaces

Ruth Li. Photo: Jennifer Brady. Image courtesy of the artist

27 February—18 April David Martin: Port Macquarie 200

Autobiographical in nature, Ruth Li’s ephemeral and experimental ceramics installations act as a metaphorical meditation on the fragile paradox of life, death and time; celebrating the continual process of renewal while investigating the politics of gender, spirituality and ritual.

Port Macquarie 200 is organised by local historian and art specialist David Martin in celebration of Port Macquarie’s 200th birthday. In April of 2021, Port Macquarie celebrates its 200 birthday! It was established by the British in 1821 as a convict camp - only the third settlement on the mainland, after Sydney and Newcastle. Port Macquarie 200 profiles the contributions of seven artists who chose Port Macquarie as their subject during the course of two centuries.

This exhibition is supported by the Taipei Economic and Cultural Office, Sydney and the Australian Taiwanese Friendship Association. A Gallery Lane Cove Art Month Sydney program curated by Rachael Kiang. Opening event Saturday 6 March,

A few of the significant features of Port Macquarie captured in the artworks still remain, but most are long gone. This is an historical journey, as much for Australian European-style of art itself, as it is for the township. Adding to the expected artworks

4 March—3 April Flora Ephemera Ruth Ju-Shih Li

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ar t g ui d e .c o m . au Glasshouse continued... in oils and water colours are drawings in pencil, charcoal, ink and chalk as well as a fine example of an early aquatint created through the intaglio printmaking process. Special inclusions are the very earliest artworks of Port Macquarie, a selection of sketches by the inspirational female figure Eirene Mort, and a series of previously unseen vibrant water colours painted by Sir Lionel Lindsay in 1916. Port Macquarie 200 is organised by local historian and art specialist David Martin in celebration of Port Macquarie’s 200th birthday.

video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation. Goulburn Regional Art Gallery is delighted to be the launch venue for this touring initiative.

184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12noon–4pm. See our website for latest information. 5 February–3 April Otherwise Arbitrary Moments David Ryrie The artistic practice of David Ryrie is resonant of the encounter at its most bare and honest. Otherwise Arbitrary Moments is an exhibition of new work that pairs these seemingly ordinary encounters with the question of human scale. Preserving an array of moments through large scale photography, Ryrie posits our grown and assumed relationship to things as fluid, changeable and dreamlike. Just as we may recall an event or a fleeting moment in a new way each time we remember it, these images offer new detail and revelations at each viewing. This exhibition sees Ryrie present large scale images working in tandem on the viewer as installation, and is his first major solo at the gallery.

1 April—8 May The Music of the Planets An exhibition from printmaker Ruth Burgess. Through the medium of large format multi-block woodcuts, engravings and poetry, Burgess explores the wonders of the universe. Forum 17 April with Anne Ryan and Katrina Cashman. Bookings essential–see gallery website.

Hurstville Museum & Gallery

Goulburn Regional Art Gallery www.goulburnregionalartgallery.com.au

This exhibition celebrates works by HSC 2020 Visual Arts students from schools in the Ku-ring-gai and Hornsby area.

www.georgesriver.nsw.gov.au/HMG Marilou Chagnaud, Reflection, 2020, hand folded paper, digital printing, 48 x 156 cm each. Photo: 5Foot. 16 April—12 June Marilou Chagnaud Chagnaud is a French artist based in Canberra. Working across printmaking, sculpture, and site-responsive installations, Chagnaud is interested in how abstract patterns and repetition can create dynamic experiences that impact our sense of space. Her recent work pushes the boundaries of paper to explore its sculptural potential through folding, stacking, and hanging.

14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—2pm, Sun 2pm—5pm. See our website for latest information.

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

Stephen Quick (United Kingdom), RebelRebel, aerosol and ink on canvas. 6 February—2 May 2019 Stencil Art Prize Edgy, political, cheeky and pop-culture inspired – The Stencil Art Prize is the largest stencil event in the world.

Mel O’Callaghan, Centre of the Centre, 2019, installation view, Artspace, Sydney. Courtesy the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photograph: Zan Wimberley. 16 April—12 June Centre of the Centre Mel O’Callaghan Centre of the Centre is a major new commission by Australian-born, Paris based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through 158

Ruth Burgess, Harmonies from Space, woodcut, image size 47 x 42 cm, paper size 98 x 65 cm. 2 March—25 March Art North

The prize is a snapshot of the grassroots stencil art form that has undergone resurgence in recent decades and is now thriving on the streets in every country around the globe. The Stencil Art Prize global community of finalists push the boundaries of the “stencil definition’ utilising a diverse range of techniques, materials and technology. From photorealist stencils, dozens of layers, to intricate hand-cut stencils on delicate paper– The Stencil Art Prize is the authority on all things “stencil art”. A touring exhibition curated by Jacinta Fintan.

Hazelhurst Arts Centre www.hazelhurst.com.au

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

Khoi Tuan Nguyen, Sydney Technology High School, Family Portrait, (detail), 2020, painting. 13 February—5 April ARTEXPRESS 2021 This annual exhibition, curated by Hazelhurst, showcases outstanding HSC artworks of over 50 students from across NSW, including 10 works from local schools. This year students explore various issues including equality, identity, family and friendship, as well as the experiences of their life in 2020 - a year like no other. ARTEXPRESS is a joint partnership of NSW Education Standards Authority and NSW Department of Education in association with Hazelhurst Arts Centre.

Incinerator Art Space www.willoughby.nsw.gov.au/Community 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information. 3 March—21 March Desert Colours 2021 Presented by Honey Ant Gallery, this exhibition of paintings highlights the radiance of desert colours. Australia’s desert centre can appear an inhospitable environment. However, from this seemingly unpromising place an explosion of colour and creativity has emerged over the decades. The colour of sunrise, sunset, sand hills, the changing seasons, flora and fauna—all are constant sources of inspiration for Indigenous artists painting their ancestral stories on to canvas. View exceptional works by the artists of Papunya Tjupi Arts. 24 March—11 April Thin Ice 3 Itzick Fisher, Szilvia Gyorgy, Akira Kamada, Kerry Laws, James McCallum,

Itzick Fisher, Transformation 1, 2020, etching and rust prints. Ron Robertson-Swann, Ayako Saito and Nahomi Yoshizawa. Skating on thin ice is an exciting but risky activity, requiring a sense of adventure. Artists from the Thin Ice and Thin Ice2 exhibitions present Thin Ice3 , an exhibition of print, painting, drawing and sculpture. Continually searching for new challenges, this group of artists have created works inspired by the cube.

Kōtaro Imada, Edogawa-ku Tokiwa-yu, 2019. © the artist. importance of its preservation and the future of Japanese communal bathing culture. Through a diverse selection of works including historical artefacts, retro-pop ephemera, mural painting, contemporary photography, illustration, and local community art, Steam Dreams presents an introduction to the multifaceted sentō culture of Japan.

The Ken Done Gallery www.kendone.com Pamela Leung, Siege, 2020, ink and pastel on rice paper. 14 April—2 May Shades Of Red IV, 2021 Pamela Leung

1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5pm. See our website for latest information.

Shades Of Red IV, 2021 presents an exhibition of mixed media, installation and painting. Pamela Leung explores themes such as the mundane routines of everyday life, relationships, connections, displacement, and the diaspora. She shares her personal migratory experience with the audience, while also allowing them to reflect on the broader ideas of identity and displacement. The colour red takes on a significant symbolic status in her work, representing the differing emotional perspectives of Western and Eastern cultures. Further, she sees red as the very colour that runs through us, despite what colour skin we are.

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

Ken Done, Pale emerald reef, 2020, oil and acrylic on linen, 152 x 122 cm. 17 February—24 March Recent Works Ken Done

12 February—22 May Steam Dreams: The Japanese Public Bath This exhibition plunges into the world of sentō—the history of the public bath, the 159

ar t g ui d e .c o m . au 6 February—11 April False Sense of Security Fernando do Campo, Heath Franco, Doug Heslop, Tracey Moffatt and Gary Hillberg, Halinka Orszulok, Shevaun Wright and Giselle Stanborough. Curated by Halinka Orszulok.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. See our website for latest information. Guy Warren, Dry land with blue figure, acrylic on canvas, 35.5 x 51 cm. 16 March—10 April The 100th year Guy Warren

The Lock-Up www.thelockup.org.au

13 April—8 May Luke Sciberras

Macquarie University Art Gallery www.artgallery.mq.edu.au

90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm.

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 11am–4pm. Group bookings must be made in advance. See our website for latest information.

Heath Franco, Home Town Two, 2016, video still. HD digital video, stereo sound, duration 9:47, Edition of 240 + 10 AP.

The Macquarie University Art Gallery (MUAG) offers regular, changing exhibition programs to engage audiences from all walks of life. We want to inspire you, stir you, induce you to the wonders of art and encourage your own critical thinking in articulating those ideas that bring us to a closer understanding of our identity, our society, our culture and our world view. Our team of curators utilise an interdisciplinary framework to explore the intersections between art, science, history, philosophy, media, music and culture. MUAG produces

Andrew Christofides, Followers, acrylic on polyester canvas, 153 x 122 cm. 16 February—13 March Parallel Universe: A paradise of images Andrew Christofides

16 April—30 May Inside Elands Alison Bennett, Una Rey, Rilka Oakley, Juliet Lamont, Leigh Redhead and Arnhem Hunter. Curated by Una Rey.

Maitland Regional Art Gallery → Jess Johnson and Simon Ward, Terminus, 2017-18, still, virtual reality experience in five parts: colour, sound. National Gallery of Australia, Canberra. Commissioned with the assistance of The Balnaves Foundation 2017. 160

NEW S OUTH WALES exhibitions that contribute to our broader understanding of Australian art in relation to our contemporary society and our sociopolitical and cultural histories on an international scale.

Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] 02 4934 9859 Tue to Sun 10am–5pm. Café open from 8am. Free entry, donations always welcomed.

Uncurated, installation view. Photography Effy Alexakis, Photowrite.

20 February—2 May Terminus Jess Johnson and Simon Ward.

5 August 2020—23 October Uncurated The gallery’s lead installer was asked to hang available works from the collection without any appeal to medium, content, context, size, artistic reputation or thematic narrative—just hang! The result is transformative, not simply as a means of reviving the life of the gallery space, but as a think tank of fresh aesthetic ideas generated by the juxtaposition of works which consciously may never have been consummated in a professionally researched and curated exhibition. Dedicated to artist Mark Davis.

the 20 high schools across Sydney’s Northern Beaches. Represented are diverse bodies of work including multimedia, digital, sculpture and drawing. In conjunction with Express Yourself, three awards are granted to students featured in the exhibition: Manly Art Gallery & Museum Society Youth Art Award and the Theo Batten Bequest Youth Art Award, awarded to a student continuing tertiary study in the arts, and KALOF People’s Choice Award. Presented in partnership with Northern Beaches high schools and Northern Beaches Council Youth Services. 19 February—28 March Northern Beaches Artist Book Award Every two years the Northern Beaches Library Service holds an Artists’ Book Award attracting entries from around the world. Selected books are exhibited and judged. The winning works are then acquired and added to the artist book collection of the Northern Beaches Library Service, which is unique in our community.

MADE/WORN: Australian Contemporary Jewellery, Liam Benson, Coat of Arms, 2009. Image: Steven Cook. 20 February—2 May MADE/WORN: Contemporary Jewellery and Place 20 February—23 May An Unending Shadow Ann Cape and Sophie Cape

Fan Dongwang, Pandemic Body, 2020, acrylic on canvas, 36 x 46 cm. 1 March—16 April The Pandemic Bodies Fan Dongwang Reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of humans regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalised, suspended, fragmented, perplexed, and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post-pandemic psyche. Covid-19 is a wakeup call for us to rethink our relationship with technology and the environment to create new control, purpose, and identities for future generations to survive. The Pandemic Bodies is part of Lunar North Confluence; exhibitions celebrating Lunar New Year on the North Shore. The Pandemic Bodies is proudly supported by 2020 COVID-19 Response Funding from: Create NSW Australia Council of the Arts and National Association of Visual Arts.

27 February—30 May ARTEXPRESS

Leila Jeffreys, Rose crowned dove, 2017 Series: Ornithurae.

27 February—30 May Maitland International Salon of Photography

3 April—30 June Birdland Leila Jeffreys

13 March—6 June Saturday: When Commercial Artists Go Rouge

An exhibition by acclaimed Australian contemporary artist Leila Jeffreys, uniquely curated for MAG&M. The artist is best known for visceral and mysterious images of birds that explore and subvert the traditions of portraiture. Her avian subjects are photographed at human scale with a startling attention to colour, line, form and composition. For Jeffreys, birds are both medium and message. Her practice opens windows into critical questions about the shared anthropomorphism that connects humans with animals, the sense of wildness that tugs at the fringes of everyday existence and the fleeting and precious connections that bind us to the natural world.

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

10 April—9 May Seaweed Arboretum

Jethro Baker, Fish sculpture and digital image, 2020 (St Luke’s Grammar School). 19 February—28 March Express Yourself 2021 A significant annual curated exhibition of artworks by HSC Visual Arts students from

Exploring the intersection of art and science, this unique exhibition celebrates the extraordinary world of our hidden underwater forests. Seaweed Arboretum, by artists Jennifer Turpin and Michaelie Crawford of Turpin Crawford Studio, is part of Manly’s Seaweed Forests Festival, a unique collaboration between the artists and Sydney Institute of Marine Science (SIMS). The Festival’s innovative program of talks, workshops and events will bring MAG&M to life. This project is supported by SIMS and the NSW Government’s My Community Project.

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Inner Garden Guy Brown

Guy Brown, Still Life, oil on board, 2020

3–24 April

Ever(?)green Alessia Sakoff Alessia Sakoff, Grow Till Tall II, ink and gouache on canvas, 2020

6–27 March

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

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Manning Regional Art Gallery www.manningregionalartgallery.com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 Tue to Sat 10am–5pm The Manning Regional Art Gallery is a vibrant cultural hub, promoting art and community engagement in the Manning Valley and Midcoast region for 30 years. The Gallery presents a diverse and outstanding exhibition program throughout the year showcasing, emerging and established artists, group and solo shows and high profile touring shows.

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

6 February–3 April Coalescence Emma Fielden In Coalescence, what initially looks like Emma Fielden’s concrete studio floor transforms into a state of fluidity as ink meets water. This video work is as much about the mathematical concepts of fluid dynamics and the Big Bang theory as it is about the emotional physicality of two materials becoming one.

Martin Browne Contemporary is dedicated to showing the finest in Australian and international modern and contemporary works of art. The gallery combines a program of new work by its exhibiting artists with curated exhibitions of selected works from the secondary market.

2020 Artists of Mosman: 2088 exhibition, Mosman Art Gallery. 20 March–24 April Artists of Mosman: 2088 This exhibition continues the rich tradition of art-making which has been upheld by scores of artists, writers and poets throughout the 20th century to the present day. The annual exhibition is a diverse survey of the region’s thriving artistic community and includes works created by Mosman residents as well as friends and volunteers of the gallery. The resulting large group exhibition shows contemporary artworks across the mediums of painting, drawing, printmaking, textiles, photography, sculpture and ceramics.

Trevor Weekes, Leopard, oil on canvas. Courtesy of the artist. 18 February—4 April To be Humanised 2 Trevor Weekes The association between humans and animals has continued to fascinate Trevor and this body of work focusses on his observations of the big cats.

Henry Curchod, Nine trades, the tenth one, tea, 2020, oil and acrylic on canvas, 152 x 122 cm. 4 March—28 March Inside head, outside head Henry Curchod 4 March—28 March Marlene Gilson

Mosman Art Gallery www.mosmanartgallery.org.au

Part of Mark O’Brien’s extensive record collection. 18 February—4 April For the Record After the successful Off the Record exhibition in 2016, Mark O’Brien returns with more of his amazing collection of vinyl LPs, covering more than 50 years of music recording.

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

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. 13 February—18 April A Country Life Olive R Odewahn: As part of the MAMA Open Call program, featuring a collection of photographs taken between the late 1920s and mid1960s, which form a record of one woman’s experience as a pioneering female photographer. Olive Odewahn’s work is an example of mid-twentieth century vernacular photography in rural Australia. It is an exhibition of people and places, posed portraits and candid moments, community events, recreation, and family. The artist’s shadow makes occasional appearances, as do all manner of farm animals, alongside crowds in Wagga Wagga expecting the Queen, and the construction of the Hume Dam in the 1930s.

8 April—23 May New Work Rod Spicer S.E.E: strange, endangered and exposed. Susan Ryman, Prue Sailer and Lauren Potts.

Murray Art Museum Albury (MAMA)

Emma Fielden, Coalescence, 2019, HD video 9:10 minutes, sumi ink and water. Courtesy of the artist.

The exhibition is curated by artist and photographer Dr. Catherine Rogers, with the assistance of Valerie Odewahn. 163

Paul White, Precarious Balance of the Phoenix Bloom (White Orchid) 2019 (detail), pencil, 95 x 77cm, Winner Muswellbrook Art Prize 2020, Works on Paper, Muswellbrook Shire Art Collection Corner of Bridge & William St, Muswellbrook Monday to Saturday, 10am - 4pm arts.centre@muswellbrook.nsw.gov.au muswellbrookartscentre.com.au

www.muswellbrookartscentre.com.au

NEW S OUTH WALES Murray Art Museum Albury continued...

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au

Bridget Chappell, Field Work, 2019. Image courtesy of the artist.

First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4pm. Admission free. See our website for latest information.

26 February—27 June Bogong Centre for Sound Culture: Notes From the Field Artists include Adam Pultz Melbye (DE), Andrew Tetzlaff (AU), Bridget Chappell (AU), Christophe Charles (JPN), Daniela d’Arielli (ITL), Felix Wilson (AU), Gabi Schaffner (DE), James Geurts (AU), Justas Pipinis (AU) Lesley Duxbury (AU), Madelynne Cornish (AU), Michael Vorfeld (DE), Philip Samartzis (AU), Sabine Vogel (DE), Shannon Leah Collis (CAN).

Certificate Visual Arts submissions produced in 2020 and curated around a theme that emerged from the selection process. Curators Helen Willis and Melody Jones have noticed concepts around the environment, family, culture and understandably health–in this extraordinary year–have dominated in the field of submissions. A MAC yapang project curated by Helen Willis and Melody Jones. 13 February—6 May Art in Your Community: Printmaking This exhibition includes works from local artists that utilise printmaking techniques from traditional woodcut, etching, engraving and lithography to modern screenprinting.

Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 Tues to Sun 10am–5pm, Fri until 9pm. Closed Mondays. See our website for latest information.

Presenting work from the 10 year history of the Bogong Centre for Sound Culture (B-CSC), an artist residency and forum for experimental practices, situated in the foothills of Victoria’s Alpine National Park. Notes from the Field gathers works by recent B-CSC residents who have travelled from across Australia and from around the world to the tiny village of Bogong. The exhibition presents a series of sound based and visual artworks, including field work from the residencies including photographs, installations, maps, drawings, and sound works that have been made in and in response to the Bogong landscape . Sophie Davidson, Warners Bay High School, Is What’s Yours Mine?...Joy, 2020, detail, rice paper, watercolour, gouache, acrylic paint, dimensions variable.

Brook Andrew, Lines of Time, 2015, MAMA installation view. Image courtesy MAMA. Photo: Paul Temple.

13 February—2 May First Class 20 Now in its 13th year, First Class is a much-anticipated annual exhibition project celebrating the high calibre of work produced by students from the Hunter and Central Coast regions. First Class 20 is selected from nominated Higher School

12 March—5 September Brook Andrew Murray Art Museum Albury (MAMA) is proud to present DIWIL, an immersive installation by Wiradjuri artist Brook Garru Andrew. The Wiradjuri word DIWIL translates to ‘collection’ and reflects on the artists’ relationship with history, country and objects. DIWIL brings together significant works from the past ten years set within the premier of GARUU NGAAY NGINDUUGIRR, a major new installation commissioned by MAMA.

Betty Kuntiwa Pumani, Antara, 2019, synthetic polymer paint on linen, image courtesy the artist and Mimili Maku Arts © the artist. Photograph: Angus Webb. 26 March—22 August The National 2021: New Australian Art Lauren Berkowitz , Maree Clarke, Mehwish Iqbal, Kate Just, Deborah Kelly, Sancintya Mohini Simpson , Betty Kuntiwa Pumani, Cameron Robbins, Caroline Rothwell, Sally Smart, Mulkun Wirrpanda, John Wolseley, Judith Wright. 2 October 2020—9 May Connected: MCA Collection Bob Burruwal, Rosalie Gascoigne, Mabel Juli, Jumaadi, Noŋgirrŋa Marawili, Jack Nawilil, Alick Tipoti, Bede Tungutalum, Kunmanara Williams.

Amanda Donohue, Still Useful – Lamb, 2010, zinc plate etching on 250gsm BFK Rives paper, 39 x 40 cm. Image courtesy of the artist.

2 October 2020—9 May Anywhere but here: MCA Primavera Acquisitions Suzannah Barta, Dion Beasley, Shaun Gladwell, Matthew Griffin, Felicia Kan, Paul Knight, Moya McKenna, Jess MacNeil, TV Moore, Nell, Keg de Souza, Hiromi Tango, Emma White. 26 February—4 September 2022 165

ar t g ui d e .c o m . au Museum of Contemporary Art continued... MCA Collection: Perspectives on place Alick Tipoti, Angela Tiatia, Angelica Mesiti, Bianca Hester, Bonita Ely, David Malangi (Estate), David Stephenson, Emily Floyd, Fiona Foley, Gunybi Ganambarr, Janet Fieldhouse, Justin Trendall, Khadim Ali, Louisa Bufardeci, Maria Fernanda Cardoso, Maria Josette Orsto, Martu Artists, Mason Kimber, Megan Cope, Minnie Manarrdjala, Nicholas Mangan, Peter Maloney, Raquel Ormella, Robert MacPherson, Rosemary Laing, Shirley Purdie, Simryn Gill, Tom Nicholson, Yasmin Smith, Yukultji Napangati.

Museum of Sydney www.sydneylivingmuseums.com.au Corner Phillip and Bridge Streets, Sydney, NSW 2000 [Map 8] 02 9251 5988 Thurs to Sun 10am–5pm. See our website for latest information.

Yayoi Kusama, Narcissus garden, detail, 1966/2002. Gift of the artist through the Queensland Art Gallery Foundation 2002. Collection: Queensland Art Gallery | Gallery of Modern Art. © Yayoi Kusama. Photo Natasha Harth, QAGOMA. each other and their onlookers, visitors can immerse themselves in an infinitely recurring web in which the surrounding visible world is trapped and perpetuated. Narcissus Garden by Yayoi Kusama will also be featured as part of Culture Up Late from Thursday 25 February until Thursday 25 March at the Museum of Sydney.

Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au

Marion Mahony Griffin, Tasmanian eucalyptus and leptospermum shrubs (Forest Portrait no 12), detail, c1918– 1919. Collection of Joanne and Peter Burley Griffin. 7 November 2020—18 April Paradise on Earth Discover the visionary world of artist and architect Marion Mahony Griffin. Explore Mahony’s career and ongoing legacy through dramatic installations, immersive digital experiences and stunning objects that illustrate her unique approach to art, architecture and design. The exhibition delves into Mahony’s architectural beginnings and aesthetic sensibility; her collaboration with Walter Burley Griffin; and key projects in Australia, including Canberra, the Capitol Theatre and Café Australia, with a special focus on the life and community of Castlecrag. A newly produced film examines Mahony’s ongoing impact and the experience of living in the experimental suburb of Castlecrag in more depth, through interviews with current and former owners of Griffin homes and a selection of architects and other experts in the field. 20 February—18 April Narcissus Garden Yayoi Kusama Experience Narcissus Garden, by Yayoi Kusama, one of the most significant artists of the 20th century displayed for the firsttime at the Museum of Sydney. Featuring 1,200 mirrored balls reflecting

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Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm. 11 January—1 May A dog is A Dog: From The Collections Inspired by T.S. Eliot’s poem of the same name, A dog is A Dog assembles works from the Collections depicting our four-legged friends in a series of charming and at times peculiar scenes. Man’s bond with dogs has persisted for centuries, evolving from a hunting partner into the now common pastime of showing them off on the internet and labelling them as one’s ‘best friend’. For thousands of years, artists have shown their admiration and respect for dogs by painting and carving their likenesses. As canines are often living symbols of loyalty, protection, and unconditional love, it’s easy to see why they’ve been such a long and colourful part of art history. We celebrate our bond with dogs and the long history of dog inspired art in A dog is A Dog.

Marion Borgelt, Moon’s Shimmer: No. 1, 2019, pearlescent acrylics, acrylic, timber, Belgian linen, nails, vertical end frames, 212 x 210 cm. Winner 47th Muswellbrook Art Prize 2020, Painting, Muswellbrook Shire Art Collection. Fred Williams. The Upper Hunter region is also well represented with a number of local artists being successful in winning the prize including Peter Atkins, Dale Frank, Lyn Nash and Hanna Kay. Along with Muswellbrook Shire Council, who since 1958 has acted as sponsor and administrator of the Muswellbrook Art Prize, Bengalla Mining Company has generously sponsored the prize for the past 26 years, their commitment ensuring the development of the Muswellbrook Shire Art Collection. 8 March—1 May Art Tracks IV: Myth, Folklore and Wisdom Throughout history, mythologies and folklore have expressed, through shared verbal and visual narratives, the customs and values of civilisations. Contemporary artists both seek to preserve these stories in a continuation of legacies that stretch back through the millennia (Margaret Loy Pula, Anatye - Bush Potato), as well as reinterpret them in the creation of new visual narratives (Col Jordan, Daedalus Series No. 10). Art Tracks IV: Myth, Folklore and Wisdom draws together works from the Collections acquired via the Muswellbrook Art Prize, each as a unique representation of that which shape and reflect cultural values and identity, and afford meaning and intelligibility to our world. 11 January—1 May In Our Own Words: An Oral History Project To listen and to hear are two of the greatest

8 March—1 May Muswellbrook Art Prize 2021 Since 1958, the Muswellbrook Art Prize has grown and evolved and is today one of the richest prizes for painting in regional Australia. Astute adjudication of the prize over the years has yielded an excellent collection of modern and contemporary Australian paintings, works on paper and ceramics from the post war period of the 20th century and into the 21st century, with the winning acquisitive works forming the nucleus of what is now known as the Muswellbrook Shire Art Collection. Previous winners of the Muswellbrook Art Prize include such key figures as David Aspden, Sydney Ball, Richard Larter and

Fred Jackson, Echidna Feeding Around Waterhole, 2011, acrylic on canvas, 88 x 110 cm. Purchased by Muswellbrook Shire Council, NAIDOC Week 2011, Muswellbrook Shire Art Collection.

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National Art School Gallery → Iluwanti Ken, Walawulu ngunytju kukaku ananyi (Mother eagles going hunting), 2020. Courtesy of the artist and APY Art Centre Collective. gifts an Elder can bestow. Through the Aboriginal oral history project In Our Own Words, members of the local Aboriginal Community share their stories of heartache, love, resilience and empowerment. Aboriginal culture is the oldest living culture on earth and the Hunter Valley area is rich in deep cultural landscapes, stories and practices. In Our Own Words not only celebrates Aboriginal people and culture with stories of caring for country, preservation of culture and the deep sense of belonging, but how local Aboriginal people have adapted in a contemporary world, from enterprise development and economic opportunities, to social justice and education. A defining feature of all those who took this journey was their love of the area and their commitment to a strong future for all Aboriginal people that recognises an often hard past while remaining focused on a strong future for the generations that will follow.

4 March—13 March New Works Kim Leutwyler 1 April—17 April New Works Christopher Horder

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

James Rogers, Cover Up, 2020, waxed mild steel, 75 x 60 x 30 cm. 22 April—8 May New Works James Rogers

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm. See our website for latest information. 26 March—22 May Dobell Drawing Prize #22 Margaret Ambridge, Suzanne Archer, Maree Azzopardi, Belinda Birchall, Stephen Bird, Tom Blake, John Bokor, GW Bot, Matt Bromhead, Anthony Cahill, Mitch Cairns, Tom Carment, Chris Casali, Susanna Castleden, Joshua Charadia, Maryanne Coutts, Adrian De Giorgio, Damian Dillon, Amy Dynan, Yvonne East, Stephanie Eather, David Fairbairn, Jackson Farley, Philip Faulks, Mandy Francis, Todd Fuller, Joanna Gambotto, Minka Gillian, Jane Grealy, Amanda Hart, Nicci Haynes, Kendal Heyes, Alun Rhys Jones, Locust Jones, Jumaadi, Jennifer Keeler-Milne, Iluwanti Ken, Martin King, Debbie Locke, Euan Macleod, Brian Martin, Julian Martin, Noel McKenna, Peta Minnici, Reg Mombassa, Nick Morris, Anna Mould, Al Munro, Anh Nguyen, Catherine O’Donnell, Travis Paterson, Maria Petrova, Anna Louise Richardson, Peter 167

Yannima Pikarli Tommy Watson, Ngayuku Ngura My Country, acrylic on linen 122 x 153 cm.

Yannima Pikarli Tommy Watson Exhibition opening 11 March

“The outstanding painter of the Western Desert” – John McDonald, Sydney Morning Herald.

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 See our website for our latest opening hours. brendacolahanfineart.com www.brendacolahanfineart.com

CALL FOR ENTRIES

$25,OOO Acquisitive Painting Prize

(in any style and subject)

ENTRIES CLOSE 19 JULY 2O21

Enter online at cowraartgallery.com.au/calleen2O21 or contact the Cowra Regional Art Gallery for an entry form

EXHIBITION OF FINALISTS: 2 October to 21 November 2O21

2020

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20 years

Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794 ADMISSION FREE Hours: Tuesday–Saturday 1Oam–4pm, Sunday 2pm–4pm (Mondays closed) T: (O2) 634O 219O E: cowraartgallery@cowra.nsw.gov.au www.cowraartgallery.com.au

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

NEW S OUTH WALES National Art School continued... Sharp, Emma Theyers, Noel Thurgate, Claire Tozer, Shonah Trescott, Leonardo Uribe, Murat Urlali, Craig Waddell, Fiona White, Paul White and Tianli Zu.

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

Bill Henson, Untitled 3, 2018–19, detail, from the series Untitled 2018–19. Monash Gallery of Art, City of Monash Collection courtesy of the artist, Tolarno Galleries (Melbourne) and Roslyn Oxley9 Gallery (Sydney). Henson was commissioned to revisit the suburb of his childhood and to produce a new body of work reflecting upon his earlier series Untitled 1985–86, known by many as ‘the suburban series’. A Monash Gallery of Art (MGA) travelling exhibition curated by Pippa Milne.

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

James Tylor, (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013, inkjet print on Hahnemühle paper with hole removed to a black velvet void, 63 x 63 cm framed. Courtesy of the artist and UTS Art Collection.

9 April—4 July War and Peace: Official war artists in the collection Harold Abbott, Ernest Buckmaster, A. Henry Fullwood, Nora Heysen, Fred Leist, Arthur Murch, H. Septimus Power and Arthur Streeton.

www.olsengallery.com

This exhibition presents a multifaceted concept that brings together contemporary Aboriginal artistic practice from across the country. Curated by Emily McDaniel, the exhibition features existing works across the mediums of drawing, painting, sculpture, ceramics, textiles, video and photography.

Lionel Lindsay, The Crab, 1931, wood engraving, printed in ink on black paper. Donated under the Australian Government’s Cultural Gifts program by Max and Nola Tegel in 2016. © Estate of Lionel Lindsay by permission of the National Library of Australia.

Curated by Emily McDaniel, in conjunction with UTS Gallery and Bathurst Regional Art Gallery, presented nationally by Museums & Galleries of NSW. This project has been assisted by the Australian Government’s Visions of Australia program.

5 February—4 April Lionel’s Place: Lionel Lindsay from the Maitland Regional Art Gallery Collection Lionel Lindsay

The light fades but the gods remain showcases two key series by Bill Henson, one of Australia’s most eminent artists. In celebration of MGA’s 25th anniversary,

contemporary collage. Each artist has developed a unique approach to their art making, whether it be in form, concept and or process which move beyond cut and paste collage.

OLSEN

13 February—18 April Void

27 February—16 May Bill Henson: The light fades but the gods remain

Simon Welsh, Jester, 2020, collage. Courtesy of the artist.

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

Lionel’s Place encompasses all the themes that Lindsay explored over his career including: landscapes from abroad; Australian imagery including Sydney streets, laconic swagmen and portraits of literary personalities such as Henry Lawson; mythical and domestic gardens; still life depictions of flowers and fruit and vegetables; and a menagerie of birds and animals. 5 February—14 March Contemporary Collage Sydney Collage Society Sydney Collage Society presents a group show, featuring 11 artists working in and exploring the possibilities of

Kate Shaw, Sheltering Sky, 2020, acrylic and resin on board, 90 x 120 cm. 3 March—20 March Kate Shaw 169

a rt award

2021

2018 art award exhibition winner Catherine O’Donnell

Grace Cossington Smith biennial art award

Call for entries 2021 The Grace Cossington Smith Gallery and Abbotsleigh invite submissions from Australian artists for the Grace Cossington Smith biennial art award for any two dimensional media in response to the theme Making Connections. The award theme is inspired by the work of Abbotsleigh Old Girl and artist Grace Cossington Smith who made connections with her changing world through her drawing and painting. Media Entry submissions Entries close Exhibition

Two dimensional art forms Open online from 1 March 2021 29 August 2021 6 November to 4 December 2021

$15,000 acquisitive, awarded to the winner $2,500 awarded to an early career artist $2,500 awarded to a local artist from Hornsby and Ku-ring-gai area The winners share a three-week group exhibition at the GCS Gallery in 2022 Please visit www.gcsgallery.com.au for entry forms and terms and conditions

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

NEW S OUTH WALES OLSEN continued...

Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Lill Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor and Justine Youssef.

Paul Rousso, A Duotone Extravagance, 2020, mixed media on hand-sculpted acrylic, 71 x 132 x 19 cm. Image courtesy PIERMARQ* and the artist. 4 March—21 March Duotone Zhuang Hong Yi (NL) and Paul Rousso (USA).

Tuppy Goodwin, Antara, 2020, synthetic polymer on linen , 198 x 198 cm. 3 March—20 March Tuppy Goodwin 24 March—17 April Stephen Ormandy

Parramatta Artists’ Studios

2021 Rydalmere Studio Artists (L-R) Paul Greedy, Nadia Odlum, Heath Franco, Linda Brescia, Felicity Castagna, Chris Dolman, Tarik Ahlip. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. 1 March—30 April 2021 Rydalmere Studios Artists Announcement: Paul Greedy, Nadia Odlum, Heath Franco, Linda Brescia, Felicity Castagna, Chris Dolman, Tarik Ahlip.

www.parramattastudios.com.au Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] Parramatta Artists’ Studios Rydalmere: 22 Mary Parade, Rydalmere NSW 2116 02 9806 5230 Open during events. Studio visits by appointment. Admission free. 1 March—30 April 2020 Parramatta Studio Artists

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

Thorbjørn Bechmann, UT1, 2021, oil on canvas, 150 x 120 cm. Image courtesy PIERMARQ* and the artist. 25 March—11 April Immersion Thorbjørn Bechmann (DK) and Taylor Thomas (USA).

Parramatta Artists’ Studios → 2021 Parramatta Studio Artists (L-R) Kirtika Kain, Shivanjani Lal, Cindy Yuen-Zhe Chen, Dacchi Dang, Sabella D’Souza, Gillian Kayrooz, Lill Colgan, Yana Taylor, Sofiyah Ruqayah, Akil Ahamat, Kalanjay Dhir, Tully Arnot. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. 171

Showcasing some of the most exciting Australian artists working in the modern quilt movement today.

3–30 MAY 2021 9am–4pm weekdays l 10am–2pm weekends 76 Queen St, Concord West, 2138 www.embroiderersguildnsw.org.au/Gallery76

Image: Neuralgia Kim Simpson

NEW S OUTH WALES

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.

meditative contemplation and the constant decisive movement of a brush and palette knife. The kinetic relationship between nature, the elements and painting, forge the bedrock of his practice.

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm.

Makinti Napanangka, Untitled, 1995, acrylic on linen, 91 x 91 cm. Private collection, courtesy of Utopia Art Sydney. the Australian art landscape forever. Presented with the support of Utopia Art Sydney and Papunya Tula Artists Pty Ltd.

Bill Henson, Untitled, archival inkjet pigment print, 127 x 180 cm. 4 March—3 April Bill Henson

Rochfort Gallery www.rochfortgallery.com 317 Pacific Highway, North Sydney, NSW 2060 [Map 7] 0438 700 712 Wed to Fri 10am–5.30pm, Sat and Sun 10am–4pm, Closed Mon and Tues.

10 April–30 May Tree of Life: a testament of endurance Kate Florence, Scenes Of An Untold, 185 x 150 cm. 10 March—21 March Kate Florence 24 March—4 April Hannah Nowlan and Tatsiana Shevarenkova

Curated by Gavin Wilson, Tree of Life is an exhibition by indigenous and nonindigenous Australian artists who are concerned for the environment and natural world, and understand the deep spiritual and physical associations that connect all forms of life.

7 April—18 April Stacey Rees

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. 4 March—27 March Is it black and white…. Luciana Smith, The Eye of The Dolphin, 110 x 90 cm. 21 April—2 May At The Potluck With Just A Fork Luciana Smith

Ken Knight, Austral Summer, 120 x 122 cm. 6 February—21 March Ken Knight Survey Exhibition 1979–2020 Ken Knight held his first solo show in 1979. This year Rochfort Gallery celebrates four decades of dynamic contemporary post-impressionism by an artist who has devoted his life to landscape. Knight’s ability to set up his easel and decisively gauge dynamic forms from sprawling vistas, is a skill established by sheer immersion: in paint, in nuanced seasons and in the stripped yet subtle colours that are singular to Australia. His process, like the works themselves, are a poignant mix of

S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. Until 4 April Papunya: 50 years An exhibition celebrating 50 years of Papunya Tula artists who 1971 began making paintings that were destined to change

Catriona Secker, Connections, 2020, graphite on paper, 20 x 25 cm. Photo Catriona Secker. 173

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

Tamworth Regional Gallery

15 April—8 May saplings Anna May Kirk, Catriona Secker, Rebecca Selleck, Tamara Marrington and Chrystal Rimmer. Curated by Emma Pinsent.

www.tamworthregionalgallery.com.au

STATION www.stationgallery.com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Wed to Fri 12noon–6pm, Sat 10am–4pm. 13 February—13 March Phenemar Sam Martin

Nettie Sumner, Copper Pots. 11 April—23 May Bio Genesis – From living beings come similar living beings Mothers and daughters explore their shared and separate creativity: Mercy Jo Sumner and Nettie Sumner, Libby Hobbs and Dimity Kidston. Opening Sunday 11 April, 11am.

Sullivan+Strumpf www.sullivanstrumpf.com

1 August 2020—23 October 2022 Tension[s] 2020 Tamworth Textile Triennial Curatored by Vic McEwan.

18 February—13 March Love Letters Between the Rain and the Fire Lindy Lee

The Tamworth Textile Triennial, held every three years, showcases the best of textile art from across the country attracting artist participation from all states in Australia. Tension[s] 2020 acknowledges that the world has long been a place under various tension[s], both harmonious and dissonant. In order to bear witness to, contribute to and respond to these tensions, the triennial will focus on the future of people and place through textile as a material and human experience as materiality. The national tour will visit Tamworth, Mosman, Wagga Wagga, Ararat, Mornington, Wangaratta, Canberra, Bowen Hills, Mackay, Murwillumbah, and Taree throughout 2020, 2021 and 2022. It will also be provided as an online exhibition to allow anyone anywhere to access the exhibition.

20 March—17 April a complicated good time Marian Tubbs

Sturt Gallery & Studios www.sturt.nsw.edu.au Cnr Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm.

New furniture born from original thinking by Rolf Barfoed, Elliot Bastianon and Andrew Carvolth. 174

The 4th Tamworth Textile Triennial, Tension[s] 2020 national tour, launched at the Tamworth Regional Gallery on the 1st of August 2020.

Thienny Lee Gallery www.thiennyleegallery.com

Tony Albert, Conversations with Preston: Waratah, 2020, acrylic and vintage appropriated fabric on Arches paper, 153 x 103 cm.

14 February—4 April The Millennials

Linda Erceg, Biomorph, 2020, mixed plastics, 300 x 500 x 250 cm. Photography Miranda Heckenberg.

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.

Marian Tubbs, outta mai hair into a swim (dolphin sex) local waters mostly, 2020, fusion print on aluminium, 100 x 70 cm. Courtesy of the artist and STATION.

Elliot Bastianon, Mochi seating.

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

18 March—10 April Conversations With Margaret Preston Tony Albert 15 April—8 May Glenn Barkley 15 April—8 May Sanné Mestrom

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Tue to Fri 10am–4pm, Sat 11am–4pm. 11 March—30 March Embodied Landscape II Howard Arthur Tweedie In Embodied Landscape II, Howard Arthur Tweedie builds on his previous exhibition by further exploring the complex and inseparable relationship between people and place. This new

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

artists in recognition of Margaret Olley, a NAS alumnus. 19 March—22 August Ned Kelly series Sidney Nolan Sidney Nolan’s 1946–1947 paintings on the theme of the bushranger Ned Kelly are one of the greatest series of Australian paintings of the 20th century. A National Gallery of Australia exhibition. Fernvale School, home of the Murwillumbah Potters. Photograph: Vic Basten. 2021 will mark the 50-year anniversary of the Murwillumbah Potters Inc. Earth ‘n’ Fire will celebrate the history and strong continuity of the club showcasing the pottery of the club’s tutors – both past and present – and a selection of creations fired in traditional wood, gas and raku kilns. 5 March—2 May Tension(s) 2020: Tamworth Textile Triennial

UNSW Galleries www.artdesign.unsw.edu.au/unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm. Closed public holidays.

The Tamworth Textile Triennial showcases the best of textile art from across the country, attracting artist participation from all states in Australia. Tension(s) 2020: Tamworth Textile Triennial has been curated by Vic McEwan, creating an important record of the changing nature and progress of textile practice from a national perspective.

Paul Williams, Crossing Over, acrylic on canvas, 122 x 92 cm. 22 April—11 May Liminal Moments Phillipa Butters and Paul Williams Following on their previous duo-exhibitions with a shared affinity for spontaneity and abstraction, Liminal Moments is the third exciting collaboration between acclaimed artists Phillipa Butters and Paul Williams. The latest exhibition is a deeper exploration referencing liminality, highlighting its ambiguous and often unknown nature, focusing on its in-between state or threshold that opens the way to something new. Artist-cum-art therapist, Butters’ latest work centres around the initial response to person or place, and the transitioning relations and responsive conversation between the self, the canvas and the creative process. Multi-award-winning artist, Williams’s landscape paintings suggest a bridge spanning a river, indicating a rite of passage. His figurative work also conveys a feeling of ambiguity or alternative reality when navigating a liminal space.

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun 10am–5pm. 5 March—2 May Earth n’ Fire Fifty Years of Murwillumbah Potters

5 March—2 May After Blue Jean Sisters Belinda Smith A craftivism project by artist Belinda Smith, which shines a light on the exploitation of human labour and environmentally destructive practices of today’s fast fashion industry. Blue Jean Sisters was commissioned and exhibited at Adderton: house & heart of mercy for A Fierce Hope.

Megan Cope, Untitled (Death Song), 2020. Performance by four South Australian musicians on Kaurna country. Courtesy: the artist, Art Gallery of South Australia, and Milani Gallery, Brisbane. Photograph: Saul Steed. 16 January—17 April Fractures & Frequencies Megan Cope A survey of works by Quandamooka artist Megan Cope investigating listening practices and extractive industries in Australia. Presented in association with Sydney Festival. INFRACTIONS Rachel O’Reilly

Sidney Nolan, The defence of Aaron Sherritt, 1946, detail, from the Ned Kelly series 1946–1947, enamel paint on composition board, 121.2 x 90.7 cm. Gift of Sunday Reed 1977. National Gallery of Australia, Canberra. © National Gallery of Australia.

Feature-length video installation platforming the struggles of frontline Indigenous cultural workers against threats to more than 50% of Australia’s Northern Territory from shale gas fracking.

19 March—25 July Still life Jacqueline Hennessy In 2020, Sydney-based artist Jacqueline Hennessy spent time in the Gallery’s Nancy Fairfax Artist in Residence Studio to develop new work for her solo exhibition Still life. Jacqueline Hennessy is represented by Jan Murphy Gallery Brisbane. This exhibition is an outcome of Tweed Regional Gallery – National Art School (NAS) MFA Residency Award. The collaboration aims to showcase emerging

Gerwyn Davies, Desert West, 2020. Archival inkjet print. Courtesy: the artist, Sydney; Michael Reid Gallery, Berlin and Jan Murphy Gallery Protege, Brisbane. 175

ar t g ui d e .c o m . au UNSW Galleries continued... 13 March—17 April Plush Gerwyn Davies A survey of photographs by Gerwyn Davies exploring the expression of Camp as an aesthetic strategy in photographic self-representation. John Fries Award 2021 Darcey Bella Arnold, Daniel Jenatsch, Sara Morawetz, Ryan Presley, JD Reforma, Melanie Jame Wolf and Shevaun Wright. Shortlisted from over 400 applications, the seven finalists of the 2021 John Fries Award present newly commissioned works, developed with the support of curator Miriam Kelly. Presented in partnership with the Copyright Agency.

Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission. 3 October 2020—2 May Forms and Echoes: from the National Art Glass Collection Forms and Echoes showcases works within the National Art Glass Collection that explore the use of multiple elements to create and expand upon a single powerful idea.

The University Gallery www.newcastle.edu.au/campus-life/newcastle/callaghan/ spaces-and-places/the-university-gallery GS Building, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] See our website for latest information. 3 February—6 March Plan and Execute Libby Eckersley

ing and making in response to how the artist and researcher’s relationships, within place, transform through time. 14 February—11 April Don’t call Wagga Wagga, Wogga! A tongue in cheek play on the early phonetic spelling of the city’s namesake, Don’t call Wagga Wagga Wogga!, presents a curated selection of works from the gallery collections across all mediums from artists either born, currently working or spent significant periods in the Wagga Wagga and surrounding Riverina region.

Watt Space Gallery www.newcastle.edu.au/wattspace 20 Auckland Street, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information. 5 March—25 April Building Resilience A group exhibition by the University of Newcastle’s School of Architecture and Built Environment.

Annabel Nowlan, Swaggie symbols 1–4 (detail), 2020. L–R: Religious talk gets you a free meal, Barking Dog, Alcohol in this town + good place, Man with a gun lives here, mixed media on tin on wood. 91 x 37 cm. 30 January—4 April Unfinished Maps Annabel Nowlan Unfinished Maps delves deep into the Australian landscape, exposing forgotten histories, human error, and focusing on the endless bounty of everyday aesthetic nuances.

Exploring contemporary responses to climate catastrophe, community and sustainable development.

Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm. Ongoing Animal in Art: The Collection

James Rhodes, The Tangible Image, detail, 2020. Image courtesy of the artist. 11 March—10 April The Tangible Image A solo exhibition by UoN PhD candidate, James Rhodes. Exploring what materiality means for the photographic practice through experimentation in both how photographs are created and displayed, Rhodes asks us what information can/do the tangible qualities of photographs hold? 14 April—16 May Abstraction A solo exhibition by Charlie Sheard.

Steven O’Hara, Gold Mines, 2020, acrylic on canvas, framed. Image courtesy The Art Factory. 30 January—4 April The Art Factory: 5 Years The Art Factory Supported Artist Studios. 5 Years celebrates the growth and creative practice of artist participants working within The Art Factory Supported Studio. The Studio encourages artists living with disability to explore new materials and themes and develop their own unique approach to image making. 6 February—11 April A Critical Practice of Place: Decolonisation and Reinhabitation Christopher Orchard This exhibition displays seven years of think-

176

The only regional gallery in NSW to permanently display its collection, the WPCC collection focusses primarily on the animal. This is a rich vein of exploration for artists and the collection features a dazzling variety of mediums, styles and approaches to the subject. Form oils to printmaking, installations to digital media, the WPCC’s collection features surprising and engaging works from some of Australia’s best contemporary artists. 13 February—16 May Herstory: Coral Dolan Herstory by Dubbo based artist Coral Dolan features works that explore and celebrate the lives of women in regional NSW. Inspired by their courageous stories of travelling and settling in isolated areas, Dolan fashions multi-layered works from found ‘women’s objects’, eco printed fabrics, and preserved botanicals; sealing them with preserving wax, with the intent to create artefacts that encapsulate the hitherto untold stories of these women.

NEW S OUTH WALES

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

www.virtualtours.westernsydney. edu.au Margot Hardy Gallery, Western Sydney University (Bankstown Campus) Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 See our website for latest information. www.virtualtours.westernsydney. edu.au

Coral Dolan, Həːst(ə)ri1, detail, 2020, wax, organic material, cyanotype print, eco printed cotton, linen fabric, charcoal, gold leaf, thread. Image © artist.

Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road, Rydalmere NSW 2116 02 9685 9210 Wed to Thu 10am–4pm. See our website for latest information.

Herstory is an exhibition where Dolan sheds light on the importance of preserving these historic personal and cultural stories of regional women, before they risk being forgotten. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. Curated by Mariam Abboud.

Johnny K, When Two Hearts Meet, oil and aerosol on board, 60 x 60 cm. 18 March—29 March The Contented Heart Johnny K

Belinda Mason, Frozen, Candice, Australia, 2015, from the Silent Tears series, 67 x 100 cm, photograph. 1 April—18 June Beyond the Blind Spot Belinda Mason, Denise Beckwith, and Dieter Knierim (Blur Projects). Curated by Dr Alasdair Foster. J. E. Vincent, Vincent's Studio, Wheeler family, 1952, digital scan of original B & W negative, collection Dubbo & District Family History Society. 24 October 2020—23 May True to Life Likeness: A History of Vincent’s Studio, Dubbo Vincent’s Studio was a photographic studio that operated in Dubbo and region from the early 1900s to the late 1970s. Before phone cameras and social media, photographic studios played a crucial role within a community, documenting and producing photographs of weddings, debutante balls, engagements, couples, nurses, service personnel, elected officials, sporting teams, portraits, passport photographs, families, children, babies, and assorted buildings. This exhibition charts the history of photographic studios, the Vincent’s Studio collection and the invaluable work of volunteer-run organisations like DDFHS in preserving our material culture. This exhibition is a collaboration between Western Plains Cultural Centre, Local Studies and Dubbo & District Family History Society.

Emily Persson, Flinders III, impasto oil on canvas, 107 x 107 cm. 19 April—8 May Emily Persson

Western Sydney University Art Galleries www.westernsydney.edu.au/ aciac/exhibitions2 Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943 Mon to Friday 10am–3pm. 17 February—23 April Universe in Coins This is an exhibition featuring the works of Yang Xifa.

www.westernsydney.edu.au/wsusculpture Campbelltown Campus, Narellan Road or Gilchrist Drive, Campbelltown 02 4620 3450 Mon to Sun 10am–4pm See our website for latest information. 6 May—6 June Western Sydney University Sculpture Award and Exhibition

Weswal Gallery www.weswalgallery.com.au 192 Brisbane Street, East Tamworth, NSW 2340 [Map 12] 02 6766 5847 Thur and Fri 10am–4pm, Sat & Sun 10am–2pm. See our website for latest information. 177

ar t g ui d e .c o m . au Weswal Gallery continued... 4 February—7 March Riding on the Sheep’s Back James White

6 March—2 August Lumen From the blindingly brilliant to the dim

11 March—11 April Painting the Walk Lynne Flemons

13 February—18 April George Gittoes: On Being There A visual record of how George Gittoes not only survives, but creates in the face of forces that would seek to repress the human imagination. This exhibition curated by Dr Rod Pattenden gives privileged access to the artist’s process through personal visual diaries, field drawings, paintings, photography and film. 6 March—6 June WOW! What Stories We Tell

Yao Chung Han, DZDZ4,2015, electronics, lamps, 500 x 152 x 313 cm. and diffused, White Rabbit’s upcoming exhibition looks to the light to reveal the overlooked and intangible. With works by more than 25 artists from China and Taiwan, visitors will traverse harsh fluorescents, digital realities and literal cracks of lightning to uncover the invisible architecture that shapes our world.

The Women of Wollongong playing and creating together to tell their stories through performance. This exhibition, curated by Libby Bloxham, celebrates 20 years of women’s community circus in the Illawarra.

Wollongong Art Gallery www.wollongongartgallery.com

Scott Owen, Still Life, oil on board, 45 x 35 cm. 15 April—16 May Low Key House Proud Scott Owen

Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Mon to Fri 10am–5pm. See our website for latest information. Wollongong Art Gallery has an important collection of Australian, Aboriginal and Asian art. The permanent collection not only documents Illawarra regional histories and art practices, but also reflects developments and issues in art of local, national and international relevance. Our diverse program includes exhibitions and activities that highlight the unique energy and creativity of the Illawarra region, as well as those derived from partner institutions around Australia and the world. 8 August—18 April Art+Care

Erika Sorby, Ring Stack, 2020, oil on board, 30 x 30 cm.

One of the Gallery’s most important functions is the development, maintenance, conservation and presentation of its Art Collection which is considered to be one of the finest in regional Australia.

15 April—16 May Portraits and Possessions Erika Sorby

3 April—11 July Saxon Reynolds: Wunderkammer An exhibition which embraces the traditional Victorian ‘Cabinet of Curiosities’, to explore the texture and beauty of discarded objects in their raw form and imbue them with new life and function, connecting disparate components to create contemporary relics. Until 21 March Coomaditchie—Keeping Culture Alive Featuring artists Lorraine Brown, Narelle Thomas, Shane Brown, Allison Day, Dereke Brown, Jessica Mook-Brown, Tynan Lenihan, Meahlah Langlo-Brown and curated by Lorraine Brown, Narelle Thomas and Kristy Thomas.

White Rabbit Contemporary Chinese Art Collection

Until 11 July Every Body A collection exhibition of narrative, mythological, historical and reflective depictions of the human body. Including works by Pat Brassington, Stephen Benwell, Sue Healy, Anita Johnson Larkin, Richard Larter, Garry Shead, Clare Thackway and Stephen Bird.

www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. The gallery will be closed until 5 March as we prepare for our next exhibition Lumen. 178

Saxon Reynolds, Uni, 2018, mixed media assemblage, 25 x 20 x 15 cm. Photography by Bernie Fischer.

George Gittoes, Words, 2019, stencils, oil on canvas, 152.5 x 122.5 cm. Collection of the artist.

A–Z Exhibitions

MARCH/APRIL 2021

Queensland

Brookes Street, Macalister Street, Brunswick Street, Doggett Street,

Hasking Street, Russell Street, Bundall Road, Fernberg Road,

Fortescue Street, Abbott Street,

Jacaranda Avenue, Maud Street,

Arthur Street, Pelican Street,

Village Boulevard, George Street,

Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,

Ruthven Street, Flinders Street, Wembley Road

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

Andrew Baker Art Dealer

19 February—16 May A Changing Ecology Danie Mellor, Fiona Foley, Archie Moore

www.andrew-baker.com

Caloundra Regional Gallery www.gallery.sunshinecoast.qld. gov.au

26 Brookes Street, Bowen Hills, QLD 4006 [Map 15] 07 3252 2292 0412 990 356 Wed to Sat 10am–5pm or by appt. See our website for latest information.

22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays.

Paintings, photographs, prints and sculptures by leading contemporary Australian, Melanesian and Polynesian artists, including: Lincoln Austin, Leonard Brown, Michael Cook, Karla Dickens, Marian Drew, Ruki Famé, Fiona Foley, Stephen Hart, Donna Marcus, Michel Tuffery, Katarina Vesterberg and William Yang.

Michael Cook, Nature morte (Blackbird), 2021, inkjet print, 91 x 122 cm. 10 March—24 April Natures Mortes Michael Cook

Dylan Mooney, Away from country, 2020, lithography and watercolour, 111.5 x 77 cm. Image courtesy of the artist. 16 February—12 May The Wall Dylan Mooney 26 February—16 May In Search of Arcadia Ron McBurnie

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 to Sun 10am–3pm. Free entry. See our website for latest information. 4 February—16 May Horizons Tony Druery

Caboolture Regional Art Gallery www.moretonbay.qld.gov.au/ caboolture-gallery The Caboolture Hub 4 Hasking Street, Caboolture, QLD 4510 [Map 13] 07 5433 3710 Mon to Sat 10am–4pm. See our website for latest information.

Caboolture Regional Art Gallery. Danie Mellor, A changing ecology, 2012, pencil, pastel, paint, and wash on paper, 118 x 167.5 cm. Mackay Regional Council Art Collection. Commissioned by Mackay Regional Council, BHP Billiton Mitsui Coal and Artspace Mackay Foundation 2012. 180

Caboolture Regional Art Gallery is closed for improvement works until 16 April.

Alison Mooney, Night Swim Under Lights, detail, 2019, mixed media on canvas, 150 x 150cm. Gift of the artist, 2019. Courtesy of Sunshine Coast Art Collection. Photo: Carl Warner. 12 February—14 March Latest and Greatest: Sunshine Coast Art Collection recent acquisitions Rolf Bartz, Bianca Beetson, Gary Bish, Lyndon Davis, Joe Daws, Johanna DeMaine, Roley Drysdale, Joe Furlonger, Carol Forster, Diena Georgetti, Barry Green, Jane Harthoorn, Natalya Hughes, Kumantye Jagamara, Chizuko Jones, Ian Jones, Carl McConnell, Phil McConnell, Harry Memmott, Brent Miller, Milton Moon, Alison Mooney, Warren Palmer, Sarah Rayner, Jan Roebuck, Joy Roggenkamp, Tatsuya Tsutsui, Margaret Ellen Turner, Mary Williams and Elizabeth Willing. 12 February—14 March Contemporary Wood-Carved Netsuke TanetoshiI Hiraga, Bokusen Takagi, Rumine Kandachi, Hiroaki Nakanishi, Bishu Saito, Yuzan Tatara, Koji Tanada, Izumi Kato, Yoka Mukaida, Asuka Kajiura, Zanmai Onosato, Yoji Yamada, Hideyuki Sakurai, Tohei Nakagawa, Muhou Ishii, Hideyuki Sakurai, Taisei Nakahata, Mitsukuni Kagami, Dosai Kudo, Mitsukuni Kagami, Shokou Terato, Mokuchu Yatsugi, Hiroaki Nakanishi, Tomoe Ikeda, Shion Omagari, Motomasa Kurita, Shinya Nagashima, Takeshi Inoue, Tadamine Nakagawa, Yoji Yamada, Muhou Ishii, Mushu Yamazaki, Toshiki Tanaka, Kazuaki Nakamura, Kouen Sawai, Koma Hitomi, Mabu Nakakaji, Bishu Saito, Taisei Nakahata, Masahiro Saito, Tadamine Nakagawa, Masahiro Saito, Rumine Kandachi, Bishu Saito, Yoshimasa Tsuchiya, Ryushi Komada, Akira Kuroiwa,Tadatsuna Ito, Tetsumi Dannohara, Akira Kuroiwa, Ryo Kitazumi, Rieko Otake, Rin Suzuki, Masami Sakai, Douho Michiura, Tomoyuki Iwata, Kazu Shogen, Zanmai Onosato, Masami Sakai, Mansei Uehara, Tohei Nakagawa, Bokusen

QUEENSLAND Takagi, INA, IKKEI and Hitomi Nishiguchi.

12 February—20 March Prediction proposals Pat Hoffie 12 February—20 March Underfire Jennifer Herd 26 March—2 May Now & then 21 works from Papunya Tula artists 1974–2020.

major epicentres. One year on from Black Summer, the devastating 2019–20 bushfire season, the work of fifteen emerging, established, and posthumous artistic voices are presented here to frame an understanding of this theory of a new, incendiary era, and engage with closely related themes of global warming and climate threat in this state.

26 March—2 May Body Line Indigenous body painting from Northern Territory and Queensland.

Gallery 48 Raelean Hall, Skin in the game, 2021, oil on board, 83 x 83 cm. Image courtesy of the artist. 19 March–2 May Local Artists – Local Content Art Prize 2021 Miles Allen, Marvene Ash, Rex Backhaus-Smith, Chris Blake, Leigh Campbell, Tony Coles, Johanna DeMaine, Libby Derham, Catherine Dinkelmann, Julie Field, Carol Forster, Shannon Garson, Cilla Gault, Raelean Hall, Anne Harris, Kate Harris-Macleod, Kim Herringe, Bernadine Hine, Christine Hopkins, Mervyn Jefferson, Nadia Katt, Paula Kos, Sarah Lawson, Ben Lucas, Richard Muldoon, Jason Murphy, Viki Murray, Judi Parkinson, Rodney Peterson, Karina Prichard, Jan Roebuck, Phillip Rolton, Susan Schmidt, James Stickland, Margaret Ellen Turner, Aleida Van Der Hoogte, Sam Vatovey, Laura Vecmane, Darren White and Jonathan Wright.

FireWorks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm.

www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed, Fri and Sat 12noon–5pm. See our website for latest information.

30 January–20 March To the curve of you Cailtin Franzmann Co-commissioned with TarraWarra Biennial, to the curve of you is a series of sonic and relational artworks focused on the movement and connections of plants, people and microbes. The project experiments with gardening, foraging, fermenting, and flower essences as embodied processes that can both celebrate and disrupt values, histories, and feelings related to the cultivation and care of land.

Theodore Kennett-Raj, Eden trashed, 2017, acrylic on canvas, 90 x 120 cm. 1 March—30 April Life in Eden Theodore Kennett-Raj

Institute of Modern Art www.ima.org.au Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Wed to Fri 10am–5pm, Sat 10am–3pm. 30 January–20 March On Fire: Climate and Crisis Gordon Bennett, Naomi Blacklock, Paul Bong, Hannah Brontë, Michael Candy, Kinly Grey, Dale Harding, Tracey Moffatt with Gary Hillberg, Erika Scott, Madonna Staunton, Anne Wallace, Judy Watson, Warraba Weatherall, Tintin Wulia, and Jemima Wyman. Curated by Tim Riley Walsh.

Pat Hoffie, Countdown to midnight VI, 2020, archival ink jet and screenprint on Hannemuhle paper, 120 x 86 cm.

Caitlin Franzmann, to the curve of you (Achira), 2020, still from video documentation by Charlie Hillhouse.

On Fire: Climate and Crisis profiles contemporary Queensland art in a time of significant ecological change. It situates this analysis during the emergence of what fire historian Stephen Pyne describes as the Pyrocene—the fire equivalent of an ice age, with Australia as one of its

Khadim Ali, Sermon on the Mountain, detail, 2020, tapestry, embroidery and acrylic, 553 x 400 cm. Photo: Carl Warner. Image courtesy of the artist and Milani Gallery, Brisbane. 10 April–5 June Invisible Border Khadim Ali In his largest Australian solo exhibition to date, Hazara artist Khadim Ali explores the normalisation of war and the experience of refugees through a series of poetic installations and textile works. Featuring existing work alongside new commissions developed for the IMA, the exhibition will also feature Otherness, a major body of work developed in partnership with the IMA and Lahore Biennale Foundation. 10 April–5 June LINK Tay Haggarty LINK is a series of new object-based works that explore slowness, productive ambiguity, and the shared experience of risk taking. The exhibition invites us to 181

ar t g ui d e .c o m . au Institute of Modern Art continued... foster this culture and practice of care, and apply the same attention to bodies, gender and difference as we go about our daily lives. Tay Haggarty was the 2020 recipient of the Jeremy Hynes Award, given to a Queensland artist in the earlier stages of their career, made possible by a bequest made by the family of Jeremy Hynes in his name.

Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. See our website for latest information.

David Attwood, The Last Bastion of Laziness. Photo: Jordan Halsall. Sharka Bosakova, Thomas Oliver and Golda Guido, Bold Act, 2020, inkjet print.

is interested in ideas around work ethic, productivity and aspiration.

5 March—17 April Reconnect memories – a family history Shehab Uddin The crucifixion of Christ Lynne Mullen Workshop wonders XIX

Lacey-Law-Lobwein, At Arm’s Length. 6 March—21 March At Arm’s Length Lacey-Law-Lobwein An experimental collaboration by three emerging artists who share a common practice of working with digital video and screen-based media.

Keith Burt, Silver wattle, 2020, oil on canvas, 60 x 60 cm. 23 February—13 March Gallery 1: Motionless Keith Burt Gallery 2: Before and After Mark Tweedie 16 March—10 April Gallery 1: Monica Rohan Gallery 2: Louise Tate 13 April—1 May Jacqueline Henvnessy and Linde Ivimey

Logan Art Gallery www.logan.qld.gov.au/artgallery Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat 10am—5pm. See our website for latest information. 5 March—17 April UnMasked Sharka Bosakova 182

Michelle Hamer, Know your enemy, 2014, hand-stitching on perforated plastic.

25 March—28 March CTRL+ALT+DEL: Shift

23 April—5 June The warp and weft of the forest Laila Aasand Bjornsson

Shift continues a series of exhibitions aimed at uniting First Nations, Pasifika and culturally diverse creatives. Curated by Conscious Mic, Bindimu And Fern Collective.

Are you having a good night? Michelle Hamer My story: the unbroken spirit of the Kalkadoons Colleen Sam Mini miners - finding ghost Colleen Sam

Metro Arts www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm. 6 March—21 March The Last Bastion Of Laziness David Attwood Playing on the infamous laziness of cartoon character Garfield, this exhibition

10 April—24 April Dungeon Master Spencer Harvie Featuring drawings created based on the rules of Dungeons and Dragons, Dungeon Master aims to examine the unclear boundary between fantasy and reality in online spaces.

NorthSite Contemporary Arts www.northsite.org.au Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm. 13 February—10 April Shifting Surrounds Yandell Walton

QUEENSLAND 29 January—21 March Shimmering World Shannon Garson Are You Having A Good Night? Michelle Hamer Casuistry Yanni Van Zijl 26 March—16 May Peta Clancy Yandell Walton, Uprise, 4 channel projection installation with sound. Sound design Michele Vescio with William Elm. Animation Tobias Edwards. Photographer: Matthew Stanton.

Unvanished Kent Morris Ochre Energetic Activation! Ochre Bee

Onespace Gallery www.onespacegallery.com.au

Barbara Dover, Adrift, assemblage, found marine plastic disposable lighters. 8 cm x 150 cm. 2021. Photographer: Michael Marzik. 19 February—1 April Call of the Running Tide Jill Chism, Rosey Cummings, Ross Cummings, Susan Doherty, Barbara Dover, Tim Ellis, Ashley Holmes, Molly Bosworth, Klara Royster, Suzannah Baccini, Andrea Collison, Barbara Dover, Leanne Emmit and Victoria Park, Wendy Wagner, Robyn Glade Wright, Tanya Chapman, Lynette Griffiths and Marion Gaemers.

Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm.

349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. 5 February—13 March OLD SHIELDS NEW WAYS Guest Curator: Trish Barnard

Between March and April we present Quandamooka artist, Elisa Jane Carmichael’s latest solo show, Present Surroundings. This body of work will explore themes such as caring for country, resources, climate change, the impacts of mining, loss of land and cultural materials and how these situations influence the environment today. Carmichael will honour these themes through an exploration of a range of new mediums, including cyanotypes and photograms. The exhibition also includes a series of woven forms that highlight and share her practice as a saltwater woman from Quandamooka Country.

Outback Regional Gallery, Winton www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.

Old Shields New Ways will feature artworks by Indigenous artists from north Queensland such as Michael BoiyoolAnning (Dulgu-barra Yidinji), Paul Bong Bindur-Billin (Yidinji), Abe Muriata (Girramay) and Napolean Phillip Oui (Djabugay). The exhibition presents contemporary interpretations of the elaborate traditional historical shields that were decorated with important totemic designs associated with Aboriginal cultural groups who inhabited the rainforest region of north Queensland.

Kathy Ellem, Hearts as Big as the Sky, 2019, Major Award Winner of the 2020, John Villiers Outback Art Prize. 13 March—7 May 2021 John Villiers Outback Art Prize Generously sponsored by The John Villiers Trust. Finalist Exhibition.

Perc Tucker Regional Gallery www.townsville.qld.gov.au

Elisa Jane Carmichael, When the lorikeets call (detail), 2019, ungaire, mullet scales, lorikeet feathers and merino wool, 66 x 24 x 5 cm. Image: Louis Lim. Courtesy of the artist and Onespace Gallery. Kent Morris, Boonwurung (St Kilda) Crow, 2017, archival print on rag paper, 120 x 80 cm, edition 8 + 2AP. Courtesy of the artist.

26 March—24 April Present Surroundings Elisa Jane Carmichael

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. 22 January—28 March Maldives Artworks Roland Nancarrow Roland Nancarrow has been working and exhibiting in North Queensland for decades, with his vibrant and stylised approach to the natural world, heavily 183

ar t g ui d e .c o m . au Perc Tucker Regional Gallery continued... influenced by the forms and colours found in the tropical north. Nancarrow’s latest body of work is touring Australia, comprising of watercolour, acrylic and sculptural works made over several artist residencies at one of the world’s most stunning locations, the Maldive Islands.

12 February—11 April Curiouser and Curiouser Katya Venter Curiouser and Curiouser is a sublime world of perfection mixed with the grotesque. Immersive in scale, it is an abject yet beautiful playground of hybridised baby-animals. The artist, Katya Venter, invites us to be Alice in Wonderland inside a large scale Wunderkammer (cabinet of curiosities). 3 April—13 June Entropicana Hannah Murray

Robert Brownhall, Royal Exchange in morning light, 2020, oil on linen, 95 x 133 cm.

Perc Tucker Regional Gallery is proud to support the next generation of Townsville and North Queensland-based artists. Hannah Murray is fast growing a name for herself as one of North Queensland’s most beloved artists, and Entropicana is her first major solo exhibition. Murray’s Entropicana explores the duality of life in the tropics through lush illustration, and a playful postmodern approach to composition, juxtaposing seemingly unrelated imagery to create a series of beguiling montages.

Lauren Jaye Carter, Closer / Further, 2020. Relief print collage; Kozo natural, BFK Grey, Kitakata Warm. 12 February—11 April Yonder Lauren Carter Yonder is the first major solo exhibition of North Queensland-based artist Lauren Jaye Carter, and brings together new interdisciplinary works on paper which incorporate drawing, painting, collage and printmaking. Carter’s studio approach is considered and nuanced, incorporating the artist’s subtle sense of colour, which shifts the mood of the works from the sunbleached climes of so many Australian artists, toward somewhere more liminal, a twilight world.

Sylvia Ditchburn, Mapping Loam Island on the Ross No. 7, 2020, acrylic on canvas.

16 April—13 June (Dis)Location Carolyn McKenzie-Craig and Damian Dillon (Dis)Location examines the intangibility of affect over Australia’s post-colonial landscape. In the visual arts, this is a context where landscape is considered as a set of inter-relations between body and space, inhabitation and other cultural metaphors. The landscape serves as a site of analysis in relation to the underlying violence of capital economies. This cultural matrix is disrupted through strategies of chemical dissolution (Dillon) and copy generated error codes (Craig). Both approaches dissolve the boundary between self and other, and subject and object, to provoke slippages into smooth space. This space of osmotic fluidity allows the artists to transgress the everyday into an uncanny state of confusion—to implicate the viewer within the abject state of loss.

16 March—10 April Robert Brownhall

Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery 130–134 Gympie Road, Strathpine, QLD 4500 07 3480 6941 Mon to Sat 10am–4pm.

This exhibition brings a range of new and recent works by both artists, including printmaking and photography, performative, sculptural and installation elements to fuse a new whole between the artists and their various media. (Dis) Location is thought-provoking and visually disarming collection of works, and an experiment in collaboration between these two artists uniquely suited to the modular downstair space of Perc Tucker Regional Gallery.

12 February—11 April Mapping Loam Island on the Ross Sylvia Ditchburn

Philip Bacon Galleries

‘Mapping Loam Island on the Ross is constructed like a portrait in homage to this special place, a pocket of wildness on the banks of the Ross River […] In her capture of this place, she takes us into its smallness which expands into a sense of the holistic connectedness of the natural world.’ – Selection written by Louise Martin-Chew, from her exhibition essay.

2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information.

184

Robert Brownhall, Morning jet, 2020, oil on linen, 88 x 115 cm.

www.philipbacongalleries.com.au

Bridie Gillman, Some sort of growth, detail, 2019, oil and pastel on canvas. Winner 2019 Moreton Bay Regional Art Awards, Moreton Bay Regional Council Art Collection. 27 March—24 April Moreton Bay Region Art Prize The exciting new Moreton Bay Region Art Prize builds on the strong foundation of the Moreton Bay Region Art Awards, to support and celebrate local artists. The exhibition of finalists will be held at the new Pine Rivers Art Gallery.

QUEENSLAND

QUT Art Museum → Dean Cross, This Placed (almost but not quite), 2018, pure pigment print on cotton rag. Courtesy the artist and Yavuz Gallery, Sydney.

Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central QLD 4817 [Map 17] 07 4773 8871 Tue to Sun 10am–5pm.

collectors have helped shape the City of Townsville Art Collection to include a range of visually dynamic works. a selection of which are presented here. Curated by Jonathan McBurnie.

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 See our website for latest information.

William Yang, Australia, 1943 -, Ben Law. Arncliffe, 2016/2020, Inkjet print on Ilford Galerie smooth cotton rag. Image courtesy: The artist © William Yang. Queensland Art Gallery (QAG): 27 March—22 August Seeing and Being Seen William Yang Gallery of Modern Art (GOMA): Until 21 March Unfinished Business: The Art of Gordon Bennett

Patricia Piccinini (Australia VIC b.1965), Teenage Metamorphosis, detail, 2017, silicone, fibreglass, human hair, found objects, 25 x 137 x 75 cm. Purchased 2018 Queensland Art Gallery | Gallery of Modern Art Foundation. Collection: Queensland Art Gallery.

Until 26 April The Motorcycle: Design, Art, Desire

QUT Art Museum

16 February—16 April Curious Affection Patricia Piccinini

www.artmuseum.qut.edu.au

30 April—15 August Graphic Tendencies: Works from the City of Townsville Art Collection The Townsville region has long been the home of many artists deeply invested in graphic practices, art which uses the visual elements for immediate and satisfying results. With a strong commitment to drawing, which has been translated into disciplines such as printmaking, painting and photography, Townsville and North Queensland artists and

Gordon Bennett, Australia 1955-2014, After Basquiat (abcd), 1993, watercolour on postcard paper, 14.7 x 10.5 cm. © The Estate of Gordon Bennett, Collection: The Estate of Gordon Bennett.

QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat and Sun 12noon–4pm. See our website for latest information. 27 March—6 June On Earth Claude Pannka, Dale Harding, Dean Cross, Emma Fielden, Ian Burn, Jillian Namatjira, 185

ar t g ui d e .c o m . au QUT Art Museum continued... Joe Rootsey, Michael Cook, Mirdidingkingathi Juwarnda Sally Gabori, Robert Andrew, Sancintya Mohini Simpson, Yasmin Smith and more.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 Mon to Sat 10am–4pm. See our website for latest information. 6 March—12 June State of Shine When we think of Queensland, we think warm weather, beaches and blue skies. But as we know, Queensland is much, much more. It is a place of contrasts and extremes, and a state of mind. The Jewellers and Metalsmiths Group of Australia (Queensland Chapter) have set out to capture what it means to work and live in the Sunshine State. Drawing inspiration from its history, people and landscape, these artisans capture the essence of Queensland. State of Shine exhibition was first developed by the Jewellers and Metalsmith Guild of Australia, Queensland Chapter for Radiant Pavilion. This iteration is developed in partnership with Moreton Bay Regional Council.

Weapons for the soldier is a partnership project between the APY Art Centre Collective and Hazelhurst Arts Centre. This project has been assisted by the Australian Government’s Visions of Australia program.

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. 16 January—16 March Sunset at Wellington Point Kathryn Blumke 20 March—18 May Sheer Light Helle Cook

edland Art Gallery, R Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information.

Lionel Lindsay, Balconies, Venice, n.d., watercolour and pencil, 38.8 x 26.8 cm sheet. Lionel Lindsay Gallery and Library Collection 044, © National Library of Australia. 20 March—11 July Sharing the Vision: Marion Bolton and the Lindsay Collection This exhibition pays tribute to Marion Bolton (1908–1994) and her vital role, alongside her husband W.R.F. Bolton (1905–1973), to establish and maintain the Lionel Lindsay Gallery and Library Collection. The Lindsay Collection was officially opened to the public in 1959 and has been housed at Toowoomba Regional Art Gallery since 1994.

7 February—21 March Drawn 28 March—9 May Recent Acquisitions: Works from the RAG Collection 28 March—9 May Singing Up the Spirit of the Land

Toowoomba Regional Art Gallery Tony Albert and Vincent Namatjira, Australia’s Most Wanted Armed with a Paintbrush, 2018, archival pigment print on paper, found patches, fabric, 100 x 100 cm. Courtesy of the artist and Sullivan + Strumpf, Sydney and Singapore. 12 March—15 May Weapons for the soldier A major exhibition bringing together Indigenous and non-Indigenous Australian artists to examine complex themes of weaponry, warfare, and protecting land and Country. It was initiated by the young men of the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, Vincent Namatjira, Aaron Ken, Derek Jungarrayi Thompson, Anwar Young and Kamurin Young, with support from senior artists Willy Kaika Burton, Ray Ken, Peter Mungkuri, Mumu Mike Williams and Frank Young. 186

www.tr.qld.gov.au/trag 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10.30am–3.30pm, Sun 1pm–4pm. Closed Mon & Public Hols. Free entry. See our website for latest information. 21 November 2020—14 March Rainbow Gold: Oil paintings from the Lindsay Collection Named after an image from Dorothea Mackellar’s popular poem about Australia, My Country (1908), this exhibition highlights oils by Frederick McCubbin, Tom Roberts, Percy Lindsay and other painters represented in the Lionel Lindsay Gallery and Library Collection.

David Hedley, The Straits, Expedition National Park, 2002, colour photograph, 25.5 x 17 cm. Reproduced by kind permission © the artist. 20 March—11 July The Expedition Range: Photographs by David Hedley Three spaces in time unfold to highlight a remote and complex section of the Central Queensland Sandstone Belt, or Central Highlands. 21st-century bushwalkers travel through time, touching on Ludwig Leichhardt’s 1844 traverse of his

QUEENSLAND

UQ Art Museum → Zanny Begg and Elise McLeod, The City of Ladies, 2016–2017. Photographic stills by Federique Barraja. Image courtesy of the artists. Expedition Range, only to encounter the existence of a deeper genius loci – spirit of place. An exhibition of photographs by David Hedley with original Leichhardt-related materials held in the Lionel Lindsay Gallery and Library Collection at Toowoomba Regional Art Gallery. The artist and the Gallery respectfully acknowledge that the displays relate to the Country of the Jiman people.

Umbrella Studio Contemporary Arts

5 March—11 April Mudpickers Mudpickers features artists Jane Hawkins, Rhonda Payne, Bronwyn Smith, Lauren Jaye Carter, Hannah Murray and Suzannah Babicci. The exhibition collectively maps the artists’ experiences with place and an investigation of memory and history. The works reflect a shared interest in trawling across the mudflats of Townsville to find hidden treasures in the layers, colours, textures and botanical forms.

www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information.

www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm. Closed Sunday and public holidays. 13 February—19 June Occurrent Affair proppaNOW: Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey, and Laurie Nilsen. The City of Ladies Zanny Begg and Elise McLeod.

Jenny Tyack, Promised Land, 2016, paint and crockery fragment collage on satellite dish, 96 x 86 cm. 5 March—11 April Siren Call Jenny Tyack

Suzannah Babicci, Mind your mudflats, 2021, digital print on satincloth, tape, 80.1 x 106.86 cm print (dimensions vary on installation).

UQ Art Museum

In this exhibition, Jenny Tyack explores unheard female voices. The artist embraces and empowers women to express themselves in their unique voices. She encourages the viewer to examine the evolving spaces that women occupy, and to accept or reject prevalent female visual icons such as hags, witches and enchantresses.

Daniel McKewen and Anonymous, chat with anon (production still from The ideo-log Project), 2020, found iPhone, digital images and videos, dimensions various. Image courtesy of the artist and Milani Gallery, Brisbane. 21 August 2020—1 March 2022 Conflict in My Outlook_We Met Online Zach Blas, Natalie Bookchin, Chicks on Speed, Xanthe Dobbie, Sean Dockray, Kate Geck, Elisa Giardina Papa, Matthew Griffin, Kenneth Macqueen, Daniel Mckewen, Zach Blas and Jemima Wyman. 3 August 2020—19 June DEMOS Andreas Angelidakis 187

A–Z Exhibitions

MARCH/APRIL 2021

Australian Capital Territory

Federation Square, Kingsley Street,

Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,

London Circuit, Blaxland Crescent,

Wentworth Avenue, Kennedy Street,

Parkes Place, King Avenue,

King Edward Terrace, Anzac Parade,

Kendall Lane, Reed Street,

Manuka Circle, Aspinall Street

AUSTRALIAN CAPITAL TERRITORY

Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening. See our website for latest information.

basis and also a large collection of antique and preloved artworks which have been collected in response to the discarding of our culture. Folk Art, needlework, Marquetry are all appreciated here. This privately run gallery is a celebration of Australian history and culture through art. In the heart of industrial Canberra.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm. See our website for latest information.

Wendy Wooden, The song, oil on canvas, 100 x 100 cm.

Australian National Capital Artists Inc. (ANCA) is an artist-run-initiative based in Canberra, Australia. We offer affordable and professional studio and exhibition space to artists at all stages of their practice.

Lauren Brincat, Lottie Consalvo, Eloise Kirk, Sarah Mosca, Clare Thackway and Katy B Plummer. Working across a variety of mediums including performance, installation, photography and painting this exhibition will aim to straddle the periphery between the non-human world and personal imaginings and domestic landscapes.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 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.

Opening 27 March Autumn exhibition

Artists Shed www.artistsshed.com.au Bula’bula Arts, Julie Djulibing Malibirr, woven mat, pandanus with natural dyes.

1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Open daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.

4 March—21 March Gurrwiliny II Bula’bula Arts Weavings. Ali Nobile, Flag for a Secret Society: Hope Conjurors, 2020, handsewn velveteen, thread, glue, felt and dowling rod, 20 x 200 cm.

4 March—21 March Lucienne Rickard Drawings.

24 February—14 March Supernatural Light Affinity Yvette Hamilton, Ali Noble, Lisa Sammut and Helen Shelley. Supernatural Light Affinity is an exhibition that proposes abstraction, enigmatic symbolism and magical luminescence are legitimate agents for inspiring curiosity and wonder.

Anna Eggert, Angie, 2020, stainless steel mesh, copper, 21 x 27 x 25 cm. 4 March—21 March Anna Eggert Sculpture. 25 March—11 April Belonging – a landscape memoir Holly Grace Studio glass. Margaret Hadfield-Zorgdrager, Jon Stevens.

Eloise Kirk, Dark Maria, 2019, plaster, wood, resin and collage, 6 x 9 x 4 cm.

Exhibiting the fine art of Margaret Hadfield-Zorgdrager on a permanent

7 April—25 April Unthinkable Fields

25 March—11 April Waterhole Sue Lovegrove Paintings. 189

CREATIVITY TAKES COURAGE

NATIONAL CAPITAL

ART PRIZE Entries open 02 April 2021

The inaugural annual National Capital Art Prize, with a distinguished panel of judges and a prize pool of $37,000, is open to all Australian visual artists, across several genres and mediums NationalCapitalArtPrize.com.au www.nationalcapitalartprize.com.au

AUSTRALIAN CAPITAL TERRITORY

National Gallery of Australia

Canberra Glassworks www.canberraglassworks.com

www.nga.gov.au

11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. 14 November 2020—4 July Know My Name: Australian Women Artists 1900 to Now More then 300 works, highlights include a floor-to-ceiling presentation of artists’ portraits in a variety of mediums, the work of pioneering performance artists Bonita Ely and Jill Orr, and a complete edition of Tracey Moffatt’s first major series of photographs, Something more, 1989. Gemma Smith has been commissioned to paint the walls of the galleries. Michele England, Watch and Act, 2019, oil on board. 19 March–4 April Just Add Water Carmel McCrow

Until 14 March XU ZHEN®: ETERNITY VS EVOLUTION XU ZHEN

Ephemera Michele England, Dash Kossman and Fran Meatheringham. At the point of a singular horizon Ren Gregorčič Scott Chaseling, Sanctuary, detail, 2020, glass, steel. Courtesy of the artist and Canberra Glassworks. Photo by Brenton McGeachie, 2020. 13 January—11 April The Redemption of Colour Scott Chaseling

Kyeema Gallery at Capital Wines

Osteology Keziah Craven 9 April—25 April Expanding the Field: encounters in archaeology and art UK Frederick On The Ground Cherylynn Holmes Icon Jeffree Skewes

Vincent van Gogh. Sunflowers, 1888. © The National Gallery, London.

www.capitalwines.com.au/kyeema-gallery/

5 March—14 June Botticelli to Van Gogh: Masterpieces from the National Gallery, London

13 Gladstone Street, Hall Village, ACT 2618 02 6230 2022 Thurs to Mon 10.30am–5pm. See our website for latest information.

Spanning 450 years, this exhibition presents 60 paintings by some of Europe’s most revered artists, including Titian, Rembrandt, Vermeer, Velázquez, Goya, Turner, Renoir, Cézanne and Gauguin. Exclusive to Canberra, it comprises the largest group of works to travel outside of the United Kingdom in the history of the National Gallery, London.

The Kyeema Gallery in Hall Village in operates in conjunction with Capital Wines Cellar Door, 15 mins from the Canberra CBD. The gallery features regular exhibitions of works by Indigenous, established and emerging Australian artists including local Canberra regional artists.

M16 Artspace www.m16artspace.com.au Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm. See our website for latest information.

Liam Fallon, -ETS (After Hopper), 2020. oil on board, 40.5 x 60.5 cm. Image courtesy of the artist. 30 April–16 May Transmission Liam Fallon From there to here, in-between places, I am many thoughts. Gerald Jones Ellen Shields

The exhibition explores seven key periods in Western European art history: the Italian Renaissance, Dutch painting of the Golden Age, Van Dyck and British portraiture, the Grand Tour, Spanish art from the seventeenth century, landscape and the picturesque and the birth of modern art. Highlights include Rembrandt’s Self Portrait at the Age of 34, 1640, Vermeer’s A Young Woman seated at a Virginal, c.1670 and Van Gogh’s Sunflowers, 1888. Botticelli to Van Gogh: Masterpieces from the National Gallery, London is presented in partnership with Art Exhibitions Australia and the National Gallery, London. 191

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National Portrait Gallery

Tuggeranong Arts Centre

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.

www.tuggeranongarts.com

Babacar Traore, Aube, 2018. Senegalese artist Babacar Traore creates re-worked snapshots to tell the story of the ‘Buujukat’, an architect of our refuse. This creative figure re-constructs waste, rescuing it from certain death. 4 March—3 April Meatheads Katrina Stamatopoulis In Meatheads, London-based artist Katrina Stamatopoulis experiments with the boundaries of portraiture. Featuring packaged meat re-cast to echo human forms, her images provide each portion of flesh the personality it deserves.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information. 6 February—13 March Allsorts Alex Parrinder, Kate Buerckner, Margot LaFontaine, Joan Comisso, Annie Marshall, Sasha Maniov, Julia Hughes and Malyan Gilbert. 6 February—27 March Jack, John and Kempsey Jack Featherstone, Nigel Featherstone and Anna Georgia.

8 April—8 May Building Blocks Sarah Annand

Peter Brew-Bevan, Rachel Ward and Bryan Brown, 2006 (printed 2020). 20 March—1 August Australian Love Stories Reconnect and reflect with our new major exhibition, Australian Love Stories (in real life!) as we explore love, affection and connection in all its guises. From the enduring to the forbidden, romantic to platonic, the unrequited, obsessive, scandalous or creative. Swoon over more than 200 artworks from across photography, painting, works on paper, small sculpture AND an immersive glass installation.

Annand is a textile designer linking photography, painting and digital design to create patterns for interiors. Her works dissect our built environment through a sculptural aesthetic which draws on distinctive modernist and brutalist architectural styles. 8 April—8 May Super Sport Sunday Thomas Lord New Zealand artist Thomas Lord showcases a series of large format black and white photographs exploring the greater Otago region. These spaces of contemplation – some wild, some urban and some curated to represent Nature – are settings for rites of passage for local young adults.

Charlotte Allingham, Worthy of Love, 2020, digital Illustration. 9 April—5 June After Dylan Mooney and Charlotte Allingham.

PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tue to Sat 10am–4pm. See our website for latest information. PhotoAccess, the ACT and region’s centre for photography, film and media arts, presents a dynamic program of exhibitions showcasing local, Australian and international artists practicing across diverse forms of contemporary photo-media. 4 March—3 April L’homme et son environnement Babacar Traore 192

Ellen Dahl, Field Notes from the Edge #13, 2020. 8 April—8 May Altering the Edge Ellen Dahl Dahl probes the idea of ‘landscape’ to express trepidations around the Anthropocene and the uncertainties of place and belonging. With a continuing interest in ‘places at the edge of the world’, Dahl presents works from the north/ south peripheries of the arctic island of Spitsbergen in Norway and Tasmania in Australia.

Malcom Fortaleza, Swardspeak I, detail, 2019, laser etching and ink on Kozo paper, 64 x 47 cm. Photo by Brenton McGeachie. 9 April—5 June Deqolonise: The Erotic as Power Léuli Eshrāghi, Roshan Ramesh, TextaQueen, Sione Monu, Jazz Money, Basjia and Malcolm Fortaleza.

A–Z Exhibitions

MARCH/APRIL 2021

Tasmania

Albert Road, Hunter Street,

Wilmot Street, Elizabeth Street,

Tasma Street, Salamanca Place, Harrington Street, Davey Street,

Main Road, Maquarie Street,

Castray Esplanade, Stewart Street,

Liverpool Street, George Street, Dunn Place, Murray Street

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Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. See our website for latest information.

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information.

Lucy Bleach, Brothers Volcano, 2020, South Kermadic Arc acoustic data image, Dziak et al, 2008, public domain. Lucy Bleach, Torika Bolatagici, Aliansyah Caniago and Raisa Kamila, Jane Chang Mi, Anthony Johnson, Ricky Maynard, Marian Tubbs and James Tylo. Presented in partnership with Ten Days on the Island.

Paul Gundry, A Whisper of Hawthorne. Michael Schlitz, God is nature – nature wins, 2020, clay, twig and wax thread, 3 of 30.

23 February—15 March Gothic Relief Paul Gundry 16 March—5 April Chasing the shadow Tony Woods 6 April—26 April New Works from the Hill Ian Parry

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. See our website for latest information. 29 January—13 March Home is Where The Art Is Public Program Participants

Michael Muruste, On Minna Road, 2020. 27 April—10 May Michael Muruste Minna Road Michael Doolan, Alpine Boy, 2018, ceramic, fibre glass, aluminium and auto enamel. Michael Schlitz, God is nature - nature wins 2020, clay, twig and wax thread, 3 of 30. 19 February— 6 March Dai Li, Michael Doolan and Michael Schlitz 12 March—3 April Disappearing Writers and Artists

An initiative from the Devonport Regional Gallery that was born out of the pandemic lockdown and restrictions that saw the gallery’s Creative Space shut down and its participants confined to their homes. No longer able to meet for creative workshops, the gallery took its art activities online with a different activity posted weekly and participants encouraged to share pictures of their work. Aimed to cater for a wide range of age groups, the Home Is Where the Art Is activities were a way of maintaining our creative community via the digital realm, at a time when separation and isolation were a necessity.

Contemporary Art Tasmania www.contemporaryarttasmania.org

9 April—1 May Iconotropy Rob O’Connor

27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun 12noon–5pm. See our website for latest information.

Milan Milojevic, Terra Incognita rug 1, 2021, archival inkjet on velvet short pile fabric, 128 x 200 cm.

9 April—1 May Fermented Preserves Georgia Morgan

18 March—11 April Composing Archipelagos Curated by Jasmin Stephens.

An exhibition of prints and 3-dimensional objects that continues to explore contemporary cultural identity and the

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6 February—20 March Terra Incognita: A duck-billed what? Milan Milojevic

TASMANIA complexities of a cross-cultural position. Milojevic is a first generation Australian of German/Serbian parents, and for four decades he has engaged with the dilemma of growing up and belonging to three countries and finding a space ‘in between’, an imagined and unknown place constructed from collected stories of a homeland he never witnessed and is based instead upon memory, myth, fiction and fact.

abstract images, drawing out a deeper atmosphere from the landscapes we live in and travel through. On the one hand contemplating the inevitability and drama of fire in the Australian bush, and on the other, recognising the restorative energy that time in nature provides, this exhibition is an invitation to reflect on personal and subjective connections to the landscapes around us.

Penny Contemporary

The synthesis of fact and fiction play a pivotal role in his practice, content that is informed and inspired by the aesthetics and visual language developed by 18th and 19th century engravers and naturalist artists. The fictitious flora and fauna are constructed through a combination of digital and traditional print technologies. Reference to engravings and woodcuts stems from his interest in the role these early prints played in disseminating visual information through compendiums and encyclopaedias.

2 April—29 May Constrained—Reclaimed Vicki West and David mangenner Gough

Penny Contemporary is a boutique gallery situated in Hobart’s CBD. We offer exhibition representation and curatorial opportunities to local, national and international artists at all career stages. Our exhibitions and events comprise of a broad range of art and community collaborations that aim to invigorate the audience’s experience of contemporary art and culture.

Notable Tasmanian Aboriginal curators and Artists Vicki West and Dave mangenner Gough have been invited to co-curate and exhibit in the Main Gallery. This collaborative work will guide and interact with visitors in the gallery space immersing in culture country and feelings of past and present.

Handmark

www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment.

26 February—22 March Dirty Linen Nicole Robson

www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Sat 10am—4pm, or by appointment. See our website for latest information.

Christopher Pyett, Beethoven Symphony No 2 Opus 36 (Beethoven series), 1966, oil on canvas, DCC Permanent Collection. 6 February—1 May Recollections: Revisiting the beginnings of the Devonport Regional Gallery Permanent Collection The Devonport Regional Gallery evolved from the inception of the Little Gallery, which was founded by Jean Thomas as a private commercial Gallery in 1966. The Devonport Regional Gallery’s collection has its beginnings in the works collected by Jean Thomas for The Little Gallery, beginning in 1966 with an exhibition of works by Tasmanian artist Christopher Pyett. This exhibition looks back on the artists represented in the original Little Gallery, featuring works from the Permanent Collection that was built from Jean Thomas’ original vision.

Eva Nilssen, Loom, 2019, waste soft plastics, dimensions variable, photograph by Gerrard Dixon. Mandy Renard, Inspirited Desires, 2020, hand-coloured limited edition dry point, 70 x 70 cm. 12 March—5 April Mandy Renard New prints.

26 March—16 April Too too solid Eva Nilssen

20 March—1 May Fathom: Little Gallery Emerging Artist Program Sam Beckman The photographs in Fathom investigate the emotive side of our interactions and relationships with the natural world. Using long handheld exposures, Sam has set aside crisp detail in favour of more

Adrian Barber, Light at the Ponds, 2019, acrylic on canvas, 51 x 61 cm.

Erin Smith, Sunday Drives, oil on canvas, 61 x 60 cm.

9 April—26 April Adrian Barber New paintings.

21 April—11 May Frequently infrequent Erin Smith 195

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Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Wed to Mon 10am—6pm. See our website for latest information. 30 November 2020—30 April TIM Since 2011 Tim has sat in our museum for nearly 4200 hours, under the auspices of art (specifically, Tim by Wim Delvoye). When Mona shut in March, Tim asked David if he could continue sitting in the dormant museum, seeing out his annual six months with us. David agreed.

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information. 5 December 2020—21 November Queen Victoria Art Gallery, Royal Park: Nest Alastair Mooney In Nest you’ll find artist Alastair Mooney breaking out of the traditional gallery experience. Through his love for Tasmania’s natural environment and native bird species, coupled with a Fine Arts degree, Mooney has been able to create captivating displays built from recognisable local imagery and intricate hand crafted Huon pine sculptures of native birds both small and large.

Anne Zahalka, Lost Landscapes. Image: Rob Burnett. 5 December 2020—24 October Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka Have you ever wondered where old habitat diagrams go once an exhibition comes to an end? For our latest exhibition, Lost Landscapes, artist Anne Zahalka has re-imagined three of the dioramas featured in the original zoology gallery once located at QVMAG Royal Park. Using the original dioramas, Zahalka has created a contemporary representation of the 196

Fingal Valley and Tamar Island landscapes originally featured to show their current state and the negative impact humans have had on the natural world through tourism, industry and population growth.

two culturally distinct, yet similar, artistic traditions that were used historically for both sacred and practical purposes.

5 December 2020—22 May 2022 Queen Victoria Art Gallery, Royal Park:

ArtRage 2020

Skin Garry Greenwood Wander through the curious and magnificent creations from the imagination of iconic Tasmanian leather craft artist, Garry Greenwood in our latest exhibition as part of the Summer Season program at QVMAG Royal Park. 5 December 2020—13 February 2022 Queen Victoria Art Gallery, Royal Park: Herself Women have been consistently underrepresented in collections and exhibitions since museums and art galleries were established in the nineteenth century. Global collective movements championing female equality, such as the #knowmyname movement, have played a defining role throughout 2020, so it’s only fitting that this December we’re turning the spotlight to female artists featured within our collection who have paved a path of their own, and contributed to both the Tasmanian, and Australian, creative industries.

19 December 2020—21 March Queen Victoria Museum, Inveresk: ArtRage is an annual initiative that exhibits the top works from young Tasmanian artists in year 11 & 12 studying Art Production or Art Studio Practice as part of their Tasmanian Certificate of Education. These artworks have been selected by QVMAG from works shortlisted by the art teachers of the various colleges.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tues to Sun 10am–4pm. Free entry, bookings required.

15 August 2020—28 March Queen Victoria Museum, Inveresk: The Estuary kanamaluka/Tamar estuary has been an important part of the lives of Tasmanians for more than 40 000 years. Today this complex waterway is central to the identity of people living in Launceston and the Tamar Valley. The estuary faces big challenges: climate change, population growth, pollution, and invasive plant and animal species. This exhibition highlights the physical aspects of kanamaluka/Tamar estuary, some of its history, and lets you see the alien but beautiful world that is just below the surface.

Wrapped in Culture. Image courtesy Art Gallery of Ottawa. 22 January—18 July Queen Victoria Art Gallery: Wrapped in Culture Witness a world-first collaboration between the First Nations Peoples of Canada and Australia with the new QVMAG exhibition Wrapped in Culture, a powerful reclamation project grounded in community. The project was developed in November 2017 when 10 artists created traditional robes (a buffalo robe and possum skin cloak) over a 3-week workshop in Ottawa, Canada. The international joining of these two groups of artists revives

Jacob Leary, It needs to grow, 2020, mixed media. Argyle Galleries: 12 March—9 May Hobart Current: Liberty A contemporary exhibition and program about Liberty. Who chooses freedom for whom, in what space and during what time? Rosie Dennis, Creative Director of Hobart Current, has selected ten contemporary artists to help find the answer. Tasmanian artists Sinsa Mansell, Brigita Ozolins, James Newitt, Jacob Leary, Dexter Rosengrave and Nadege Philippe-Janon feature in this collection, which also spans interstate and international talent including Uncle Wes Marne, Suryo Herlambang, Jagath Dheerasekara and Sarah Jane Pell creating new works in the mediums of film, installation, performance and visual art. The works commissioned for Liberty offer personal and vulnerable perspectives on the theme, challenging notions of agency and representation, surveillance and exile. Gallery 6: 20 December 2019–ongoing This Too Shall Pass Henry Hunter This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things.

A–Z Exhibitions

MARCH/APRIL 2021

South Australia

Mulberry Road, North Terrace, South Road, Porter Street,

Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,

Portrush Road, Morphett Street, Sixth Street, Gibson Street,

Thomas Street, Kintore Avenue,

King William Road, Grenfell Street

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ACE Open → Hotel (Pripyat), Chernobyl exclusion zone (2019). Image courtesy Yhonnie Scarce and Lisa Radford.

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Fri 11am–4pm, Sat 10am–5pm.

Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified.

Flinders University Museum of Art

As South Australia’s flagship contemporary art gallery, ACE Open presents a year-round program of free exhibitions by practicing South Australian, Australian and international artists. Its exhibitions, talks and events are held at its Lion Arts Centre home in the west end of the city. In name and nature, ACE Open forges the future with an approach that is flexible and constantly evolving, placing values of ambition, integrity, openness and criticality at its core. 26 February—24 April The Image Is Not Nothing (Concrete Archives) The exhibition will present new and existing work in a range of material forms by over 20 artists from Australia, the Pacific region, Europe and Asia, including Hayley Millar-Baker, Rosemary Laing, Megan Cope, Unbound Collective and more. Curated by Yhonnie Scarce and Lisa Radford. 198

sensory journey from the first breath of sunrise, through to the hush of sunset and finally a return into the enveloping mists of nightfall. 130 paintings are drawn from national public and private collections, and highlights include the artist’s famed ethereal images of commonplace motifs such as lone figures, waves, trams and cars. Tickets on sale now.

www.flinders.edu.au/museum-of-art

Clarice Beckett, Australia, 1887-1935, Summer fields, 1926, Naringal, Victoria, oil on board, 24.5 x 34.5 cm; Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019, Art Gallery of South Australia, Adelaide. Photo: Saul Steed. 27 February—16 May Clarice Beckett: The present moment The Art Gallery of South Australia’s upcoming major exhibition Clarice Beckett: The present moment takes you on a

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. 22 February—16 April The Guildhouse Collections Project: Ritual Nature Ray Harris Ritual Nature features a new series of evocative performative videos by South Australian artist Ray Harris, that explores

S OUTH AUSTRALIA to be held at JamFactory and is supported through the well-established partnership between the two important South Australian institutions. This exhibition features responses by artists and designers to the function, history and meaning of the chandelier as a signifier of luxury and wealth, as well as the object’s significance in a contemporary context. Ray Harris, Saltwaters, 2020, HD digital video. © the artist. ritual actions in connection to cleansing and death. Her work is the result of a research-based residency investigating the conceptual art collection at Flinders University Museum of Art. The Collections Project is a collaboration between Guildhouse and Flinders University Museum of Art.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS currently presenting virtual exhibitions online. Gallery open by appointment only. See our website for latest information.

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Mon to Sat 10am–5pm. See our website for latest information. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Daily 11am–5pm.

Tom Moore, Cyborg Symbiosis, 2020. Photo: Grant Hancock. 15 February—26 April JamFactory at Seppeltsfield: JamFactory Icon 2020 Tom Moore: Abundant Wonder JamFactory’s Icon series celebrates the achievements of South Australia’s most influential visual artists working in craft-based media. Tom Moore is one of Australia leading glass artists and over the course of his career has carved out a singular voice within Australian glass art making. His engaging, sophisticated and technically challenging hybridised animal/ plant sculptures and the fantastical worlds they inhabit are deeply embedded in the history of glass making and scientific discovery.

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and pub hols. 6 February—14 March Safe Space contemporary sculpture Abdul-Rahman Abdullah, Alex Seton, Claire Healy & Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling, Will French.

Chris Boha, Fractal Cloud, 2020. Photo: Grant Hancock 26 February—26 April In-House Stephen Atkinson, Chris Boha, Louise Bird, Julie Collins, Melanie Cooper, Ron Corso, Matt Huppatz, Mark Kimber, Michael Kutschbach, Joanna Majchrowska, Peter Schumacher, Peter Walker and Hanah Williams. In-House is the University of South Australia’s fourth biennial research exhibition

Safe Space is a major touring exhibition of contemporary sculpture that explores different notions of space — abstract or real, physical, psychological, political and social. www.safespacesculpture.com. 20 March—2 May Domestic Arts: Sera Waters This exhibition subverts and unravels the baggage-laden yet wondrous category of making once labelled ‘domestic arts’ (often a.k.a. ‘women’s work’). Perceived regularly as mundane or sentimental, home-making expressions are reworked

Claire Healy & Sean Cordeiro, Downstairs Dining Room – Octopus, 2014, Lego, IKEA chair and plant with hanger, 96 x 100 x 72 cm. Photograph by Ivan Bulijan. Image courtesy of the artists and Roslyn Oxley9 Gallery. in Domestic Arts to show not only the knotty tangles hiding within otherwise innocuous home-craft, but also that these make-do methods are rich repositories of passed along knowledge. In Australia, the domestic arts have been central to settler colonial home-making.

Lyn Wood, Kindred, 2020, oil on canvas, 38 x 60 cm. Photo by Lyn Wood. Image courtesy of the artist. 20 March—2 May That Old Stuff Lingering residues, chips and rust on this ‘old stuff’, connects Lyn Wood to the lived experiences and repetitive rituals that gave meaning to the domestic life of her grandparents. The unsophisticated, unadorned beauty of white enamelware belies the resilience and complex realities of its form and function.

Nexus Arts www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information. 18 February—19 March The Migrated Words Abrahim Mohammadi This exhibition from emerging artist Abrahim Mohammadi explores the plight 199

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Abrahim Mohammadi, The Migrated Words, 2017, gouache on Vasli, 23 x 23 cm. of the Hazara community of Afghanistan and Pakistan, who comprise one of the biggest communities of forced migrants in the world. Drawing on his background in Mughul painting techniques, Mohammadi works to contemporise them and cast them in a new light.

Newmarch Gallery www.newmarchgallery.com.au ‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon to Wed & Fri 9am–5pm, Thurs 9am–7pm, Sat 9am–4pm, Sun Closed.

Mark Niehus, Breast Cancer, acrylic on plywood, 86 x 61 cm. 9 April—9 May Backbone Mark Niehus From the artist’s imagination, an array of characters find themselves in diverse situations in this collection of projections, penned elucidations and blindly knowing markings on plywood.

praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

Harriet McKay, Hen, 2020, pen, handdyed cotton and felt on raw calico, 118 x 93 cm (unframed). Photo courtesy of the artist. 15 April—7 May Running Towards Home Harriet McKay Running Towards Home is a meditation on the personal longing for place, community, and domesticity. Incited by a feeling of isolation as a result of bushfire smoke and Covid-19 related travel bans, this exhibition reflects on McKay’s personal experiences of home - both as a conceptual framework and as a physical site of rejuvenation and material memory. Through a combination of pen, hand-dyed cotton and felt on raw calico, Running Towards Home explores the need for tangible connection - with place and people - to heal in times of great communal longing, exasperation, and loss.

11 February—6 March SUGAR Bianka Kennedy Sugar? Sweet! But what do sugars in our body look like? Take a walk through an engaging exhibition of new works by visual artist and theatre designer Bianka Kennedy. Inspired by the research of scientist Dr. Matthew Briggs, Bianka’s sculptures have been created through exploration of complex sugars in the body. A family and access encouraged event. Claudine Maselli, Untitled (stitch-moulded figure with vase). 5 March—1 April Mother’s Ilk Will Cheesman/Pamela Jane Cheesman, Henry Jock Walker/Michelle Gai Branson, Jack Hodges/Sharyn Brady, Kaspar Schmidt Mumm/Koruna Schmidt Mumm, Jack Ladd/Cathy Brooks, Wes the Pants/ Claudine Maselli A group of contemporary male South Australian artists pair with their mothers to combine and compare each-other’s creative forces, and produce an artwork or two. 200

11 March—1 April Presence Felix Atkinson (Vic), Danny Jarratt (SA), Angelique Joy (SA), Ellen Sleeman-Taylor (ACT), Henry Wolff (SA) Presence creates spaces of autonomous self-reflection and explores how these spaces are navigated by the body. The body becomes the point of departure; its dimensions and the space it occupies, the narratives it holds and how these unfold around it. The reinterpretation of bodily presence evokes the queer or gender non-conforming body, allowing for a tender consideration of how we perform gender and identity.

Kate Kurucz, Touch Screen, oil on linen, 150 x 120 cm, 2020. Photo courtesy of the artist and Prolab Imaging. 15 April—7 May (Personal Attention) Kate Kurucz (Personal Attention) is a show driven by a year in which many of us experienced isolation and used technology to seek new forms of intimacy and connection. Drawing a link between YouTube’s popular ASMR videos and a masked radio star from the 40’s, the work offers a window into our shared and timeless need to feel that we are not alone.

S OUTH AUSTRALIA

Riddoch Arts & Cultural Centre www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat & Sun 10am–2pm. See our website for latest information. The Riddoch Art Gallery is the largest regional gallery in South Australia. It was first opened in the Mount Gambier Institute in 1887 with funding from pastoralist, parliamentarian and cultural benefactor John Riddoch. The Gallery maintains international art museum standard conditions and is the only state government funded regional gallery. It provides gallery space for local artists and community groups, and provides both state and national touring exhibitions. The Riddoch’s collection of over 1500 items includes important paintings and prints that depict the people and history of the Limestone Coast, a significant collection of Aboriginal art from Utopia and a large collection of 20th Century Australian art. 18 December 2020—7 March My 2020 - Poster Exhibition Various artists 2020 has been a strange year for everyone, but it’s our individual stories that give this time meaning. The Riddoch asked members of the public to submit their own movie poster design, capturing their 2020. The resulting exhibition is a celebration of the good and bad times, a chance to reflect and be creative. 6 February—7 March South East Art Society: Open Art Awards Various artists South East Art Society Inc. encourages the practice of Visual Arts and their promotion throughout the Limestone Coast and surrounding regions. The Open Art Awards will feature works on paper, paintings, sculpture, ceramics, textiles, photography and video.

13 March—9 May Sub-Liminal Paul Snell

6 February—20 March [GRAFTd] exhibitions | Adelaide Fringe Festival 2021:

Through Snell’s work the daily saturation is replaced by selective sensitisation, his pieces continuing an exploration of non-representative forms and examining the possibilities of abstraction and minimalism in photo-media. The work investigates the transformation of photographic modes of production and the manipulation and exploitation of data to invent new visual forms. By rhythmically repeating, pairing, overlapping, reversing and sequencing through the investigations of specific colour relationships, Snell seeks a sensory understanding of the physical object. These pieces are not representations of certain realities; they are their own reality.

South by South Gilbert Roe

20 March—9 May Shifting Art Interventions Chris Bennie, Mel Cecotti, April Hague, Anthony Hamilton, Deborah Rogers, Henry Jock Walker. Shifting Art Interventions is an exhibition of six Australian artists clearly thinking outside of the box, exploring the society of spectacle through paintings, objects, and installations, presenting bodily memories, experiences of authenticity through the process of charming improvisation.

What constitutes my world, my universe? Fragments / ichnography / integrated / schemata / interrogations / matter/ underlying / self. Uprising Neville Cichon Signs are emerging. The ocean, and all within it, break their silence on the unsustainable human impacts they have endured. 27 March—1 May Artist in residence exhibitions: Songlines of a Karmilaroi Woman Shirley Morgan Shirley Morgan is a Karmilaroi elder, her family comes from Coonabarabran in North Eastern NSW. Morgan learnt her craft from other Aboriginal women and it is through these skills, through paint, colour and story that she shares the path her life has woven.

Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10pm–4pm, Sat 1pm–4pm. See our website for latest information. Sauerbier House is an innovative artspace providing a platform to support cultural exchange through contemporary visual arts. Sauerbier House offers established and emerging contemporary artists site responsive residency (non-resident) and independent exhibition opportunities. The extended residencies provide a platform for arts practitioners to creatively respond to a complex and culturally significant coastal location.

Michele Fairbairn and Vicki Hollamby, Rêverie, Cyanotype on cotton watercolour paper 200gsm, 42 x 30 cm. 27 March—1 May AlchemiK Silience Kollektive - Michele Fairbairn, Tamara Lee, Vicki Hollamby and Nicholas Dallwitz. At the intersection of arts, psychology, geography and activism, The Silience Kollektive engages in psychogeographical dérives, playful interventions and provocations to create a site-responsive multimedia installation inspired by the Port Noarlunga landscape.

Paul Snell, Bleed # 202041, 2020.

Gilbert Roe, Untitled, 2020, archival pigment print, 25 x 20 cm. Image courtesy of the artist.

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Samstag Museum of Art

Tsomi, Wan bel Taloi Havini

www.unisa.edu.au/samstagmuseum

From its inception in 2019, the Adelaide// International has been intended as a flexible framework from which to examine ideas prevalent across national and international art, each with an eye on the specifics of temporality – contending with the past, experiencing the present and, in 2021, considering the future.

University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information.

Jesse Jones, Tremble Tremble, detail, 2017. Courtesy of the artist. 26 February—1 April 2021 Adelaide//International: Tremble Tremble Jesse Jones James Tylor, Vanished From an Untouched Landscape 6, 2018, inkjet print on void, 25 x 25 cm.

The 2021 Adelaide//International views the future as an unmade shared space. In its preceding year a global pandemic has made clear the myriad ways in which we are connected or distanced from others around the world. This experience, shared on an unprecedented scale, will inevitably colour our view of art and how we view it. With the world paused, the question is: when we resume, where to from here? To continue or to reinvent? The 2021 Adelaide//International comprises four exhibitions that draw upon the communal, the potential and the alternative to consider the collective actions that are carrying us forward to a shared future.

Endnote: The Ethical Handling of Empty Spaces Fayen d’Evie

Captain Cook & the Art of Memorabilia 30 January - 29 May 2021

EXHIBITION OPEN: Tuesday to Saturday 10am to 4pm No booking required to Gallery: walk-ins welcome. Visit www.rochefoundation.com.au for more information and to buy joint tickets to Captain Cook and Fermoy House.

Explore Captain Cook through the objects connected to him, and contemporary responses to his impact on Australia.The Resolution table c.1810, a significant piece of English Regency memorabilia relating to Cook, is displayed for the first time at TDRF, alongside dozens of nationally important artworks, items of memorabilia, and First Nation artist perspectives of history coinciding with the anniversary of Cook’s first voyage to the Pacific.

THE DAVID ROCHE FOUNDATION ADELAIDE

House Museum

241 Melbourne Street, North Adelaide, South Australia 5006 T: (08) 8267 3677 | E: info@rochefoundation.org.au 202

www.rochefoundation.com.au

A–Z Exhibitions

MARCH/APRIL 2021

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

83 BUSSELL HIGHWAY MARGARET RIVER WA 6285 WWW.JAHROC.COM.AU | 08 9758 7200

ASTRID DAHL

EXHIBITION - NATURES SMILE 2ND JANUARY - 31ST JANUAY 2020

PINK DIAMONDS FOREVER

LAUREN WILHELM SOLIPSISM

27th February – 21st March Argyle Pink Diamonds Investment Diamonds & Jewellery 12th March - Ongoing www.jahroc.com.au

Featured Artwork - Diminuendo 120cm x 120cm oil on linen

WESTERN AUSTRALIA

Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12noon–4pm, or by appointment. See our website for latest information.

New work that explores a formal response to the space, light and colour experienced in architecture and film. Studio-based studies that evolve over time; through patient, repeated, improvised acts of mark making and composition. Marks which highlight the material and subjective properties of colour and the intrinsic qualities of the mediums of ink and paper, paradoxically resulting in a casual, almost flippant, aura.

of life will, at times, weave in and out of stories about Country. Equally, across the show, visitors will encounter passages of serenity, corridors of tradition, and trails that speak to the upheavals experienced by generations of Indigenous people.

Ponderings Galliano Fardin A new painting series that meditates on our temporary presence in time and space, allowing us to witness the phenomena of existence and to ponder on the mysteries of the universe.

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. Olga Cironis, Seeing is Believing, 2014, repurposed ceramic ornament and military fabric, 27 x 20 x 18 cm.

Please check the Gallery’s website and follow us on social media for the latest information and collection news.

13 March—10 April This Space Between Us Olga Cironis New work and selected highlights by Olga Cironis, in conjunction with the launch of This Space Between Us – the first publication to focus on her three-decade art career. Featuring essays by arts writers Lisa Slade, Paola Anselmi and Jacqueline Millner, the monograph conveys the breadth of a practice intertwined with multiple mediums and methodologies. Each artwork contains layers of research, collected stories, muted voices and cultural heritage; psychologically loaded with meaning, provoking and seducing the viewer, navigating them through history and inviting them to question our social and environmental connections. 17 April—15 May Pages, Studies, Notes Jurek Wybraniec

Until 15 March sorry I was/am too much Carla Adams Albert Tucker This exhibition pairs works by Contemporary Western Australian artist Carla Adams and one of Australia’s most foremost modernist artists, Albert Tucker. The show includes Adams’ paintings, textiles, ceramics and mixed-media objects, drawings and visual diaries that emerge from her experiences in the contemporary dating world. This is juxtaposed against a selection of Tucker’s drawings and paintings from the Gallery’s Collection, produced between 1943 and 1989. Until 22 March Leaving LA | Tee Ken Ng and Tim Minchin From working with Grammy Award winning musicians to commissions from the likes of Google, Twitter, Netflix and Perrier, Tee Ken Ng is a Perth-based artist, filmmaker and designer with a global reach and reputation. This exhibition focuses on his recent animated music video for another Perth luminary, Tim Minchin.

Richard Bell, One more hour of daylight, detail, 2017–2019, synthetic polymer paint on linen, three parts: 240 x 180 cm each; 240 x 540 cm (overall). State Art Collection, Art Gallery of Western Australia. Purchased through the Art Gallery of Western Australia Foundation: TomorrowFund, 2019. Image © Richard Bell, courtesy of the artist and Milani Gallery, Brisbane. On Display Balancing Act Our story is not one story, but many stories to share

Galliano Fardin, White Noise (detail), 2020, oil on canvas, 101 x 101 cm.

Albert Tucker, Sunbathers, 1955, oil on hardboard (masonite), 96.2 x 130.4 cm. State Art Collection, Art Gallery of Western Australia. Purchased 1985. © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art.

This exhibition attempts to showcase works of art that reflect the depth of Aboriginal and Torres Strait Islander art and culture, with other aspects of the Aboriginal condition. As a result, radical observations about the ups and downs

Presented as an installation of the swirling hand-made zoetropes that bring Minchin’s song Leaving LA to visual life, it reveals the unique and exquisite charm, art and craft of Ng’s animation practice. Combined with live video projections of the zoetropes in action and an accompanying soundtrack, Ng creates a sense of being within the animation itself as the entire piece becomes a living artwork that fully encompasses the viewer.

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787, 0418 900 954 See our website for latest information. 12 March—5 April ANANYI NYURAKUTU | Going Home An exhibition of paintings and ceramics from Ernabella Art Centre artists. 205

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Yurpiya Lionel, Anumara, 100 x 88 cm. Courtesy the artist and Ernabella Arts.

Saudade is an exploration of memory. Part of a series that includes The Strange Quiet of Things Misplaced, The Original Place and a 2018 installation called Memory of a Memory, Elisa MarkesYoung’s work muses on the unreliability of our recollections and the question of what and where is home. The work in Saudade picks up elements of the older work and rearranges them, resulting in imagery that is intended to convey the feeling of a bitter-sweet melancholy that the Polish call ‘tęsknota’. Nuanced and intricate, Saudade is an exhibition not to be missed.

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat, 10am–4pm. See our website for latest information.

Country connects all aspects of Anangu life and its continuation of spirituality, culture, language, family, Tjukurpa (law) and identity. Paintings in this exhibition incorporate the inspired results of the Ngayuku Mulayangu munu Ilpiltja project which took two key Ernabella Art centre family members from the Lewis and Lionel families, back to Country.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. See our website for latest information. 16 January—18 April Building Happiness Helena Sahm The built environment has been a longtime focus of Helena Sahm’s work. Originally from Sydney, she developed a more intimate relationship with Bunbury by creating images of its buildings after she made the city her permanent home. This current body of work is about the evolution from the local to the international, and derives inspiration from the likes of Alain De Botton’s The Architecture of Happiness, a fascinating exploration of how we define the spaces we live in, Building Happiness is an exhibition not to be missed.

Wong + Megirian x Liam Kennedy, 2020. Megan Shaw. Photograph: Christopher Canato. 13 February—28 March Reassumed Ends Megan Shaw Reassumed Ends explores the allure and value of discarded objects, via the media of discarded toys, industrial materials, and domestic bric-a-brac, to create discussion about the hierarchy of material. Shifting the assumed values or ‘means’ issued to objects and developing possible alternative ‘ends,’ to create an exciting re-encounter with the quotidian. Shaw utilises the term ‘object paintings’ when describing her work, as she applies the aesthetic methodologies borrowed from painting: balance, shape, colour, line and texture during the creative process. Reassumed Ends is a playful re-encounter with the familiar. 6 March—7 June Bunbury Biennale – HE | SHE | THEY The Bunbury Biennale is a major contemporary art exhibition in Western Australia. For the first time in the history of the Biennale, artists have been invited to explore a theme.

Elisa Markes-Young. Courtesy of the artist. 23 January—11 April Saudade Elisa Markes-Young 206

HE | SHE | THEY is a journey into gender identity. The exhibition will explore notions of inclusion and diversity, celebrating the heterogeneity of gender within Western Australian culture and community. The Bunbury Biennale 2021 opens on Saturday 6 March, 6pm. This exhibition is proudly supported by the City of Bunbury, Dept of LGSCI, Geographe Wine Region and Vukelic Group.

16 February—17 April Fair Isle Emma Buswell, Mei Swan Lim, Angelina Karadada Boona, Joanne Hayward, Bo Wong and Rose Megirian (Wong + Megirian), Melissa McGrath and Kelly Fliedner (Semaphore). Fair Isle features new work by eight West Australian artists, designers, photographers and writers, whose practices offer space to reflect, resist and to share their knowledge and relationships to craft, culture and place. Presented by Perth Festival in association with DADAA.

Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information. 4 February—14 March A Forest of Hooks and Nails Dan Bourke, Phoebe Clarke, Angela Ferolla, Rob Kettels, Maxxi Minaxi May, Hugh Thomson, Phoebe Tran, Tyrown Waigana Zev Weinstein, Hansdieter Zeh. Curated by Tom Freeman. Fremantle Arts Centre’s world class gallery program has an invisible heart – its install team. Working with artists, curators and others, they combine their varied skills to create elegant exhibitions, seemingly effortlessly. Though essential,

WESTERN AUSTRALIA a good install crew’s tireless work is often unnoticed. In A Forest of Hooks and Nails that dynamic is flipped on its head. The install crew are the artists. With years of insider knowledge and intimate behind the scenes experience, the artists will produce site-specific artworks that engage with the building, its history, the community, and the politics and aesthetics of this much-loved Fremantle icon. A Forest of Hooks and Nails is presented as part of the 2021 Perth Festival.

jarra young adults to explore and express personal and collective identity, capturing the songs, stories, styles, language, artwork and living creativity of contemporary Ngaanyatjarra culture. For Straight Outta Wilurarra the Creative Hub will be recreated in one of FAC’s galleries with a photographic studio, selfie booth, hair salon and artworks which make a bold statement on the culture, style and unique voices of Western Desert people.

Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat 12noon–2.30pm. See our website for latest information

Holmes à Court Gallery www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284 At No. 10, Douglas Street, West Perth, WA 6005 Open daily 10am–5pm. See our website for latest information. Our changing programme includes events of national and international interest, developed through cultural, academic and business relationships. These events provide opportunities for conversation, discussions and debate about art and Australian culture, and support the gallery’s contribution to the community.

North Metropolitan TAFE aims to build and maintain a permanent collection of works of visual art and craft for the cultural enrichment of its student body, staff and wider community and as a resource for teaching, learning, research, enjoyment and place-making..

Bessie Daylight, Bat and Goanna Ngarranggarni, 2020, ochre and acrylic on canvas, 70 x 50 cm. Image courtesy of the artist and Warmun Art Centre.

Jeremy Kirwan-Ward, Time and Time Again, detail, 2019.

26 March—23 May Revealed Exhibition: New and Emerging WA Aboriginal Artists Presenting the best new and emerging Aboriginal artists from remote, regional and metro WA, Revealed 2021 will showcase artworks across painting, installation, textiles, photography, print media, video, jewellery, carving and sculpture. Hosting over 100 talented emerging Aboriginal artists, the galleries will brim with contemporary work, fresh from the studios of WA’s Aboriginal Art Centres and independent artists.

6 February—13 March Holmes à Court Gallery at No.10: Reflection/Submersion Erin Coates, Carmela Corvaia, Julia Davis, Lesley Duxbury, Jeremy Kirwan-Ward, Hiroshi Kobayashi, Sue Lovegrove, Clyde McGill, Roy Wiggan, Cecile Williams. Elizabeth Kelly, Shell, 2020, Corian, 60 x 80 x 1.5 cm.  2 March—25 March On Revolution ACT artist Elizabeth Kelly is our Artist in Residence – she says it’s time for artists to rethink how we conduct ourselves in a truly revolutionary manner–to stand against the habits of plastic waste, fossil fuel dependence and pollution.   Revolution also refers to a circle, and in this case, a circular economy. Spinning around an axis acts as a metaphor for rethinking the framework of a changing world where working with found and upcycled materials is a conscious choice.  7 April—23 April

Travis Lane, Self-portrait, 2020, photographic print. Image courtesy the artist 26 March—23 May Straight Outta Wilurarra Spanning music, fashion, design, writing and photography, Wilurarra Creative is an arts hub in the remote community of Mirlirrtjarra (Warburton) on the Ngaanyatjarra Lands, 900km north-west of Kalgoorlie. For the past 16 years Wilurarra Creative has supported Ngaanyat-

SHINE The cream of Visual Arts, Photography, Fashion, Product Design, Graphics, Interiors, Multimedia plus Screen. Shine is an opportunity to see North Metro TAFE’s shiniest star grads of 2020. 30 April—21 May Between The Sheets – Artists Books Challenging notions of the book with both traditional and contemporary approaches. Presented by Gallery East.

Charles Conder, Lucien Et Esther, 1902, Holmes à Court Collection. 14 February—16 May Holmes à Court Gallery at Vasse Felix: Intimacy Rick Amor, Hans Arkeveld, Merrick Belyea, Josl Bergner, William Boissevain, Charles Conder, Robert Dickerson, William Dobell, David Downs, Russell Drysdale, Emanuel Fox, Anne Marie Graham, Guy Grey Smith, Paddy Jaminji, James Linton, Francis Lymburner, Mary McLean, Alexander Nganjmirra, John Oldham, Margaret Priest, Thea Proctor, Peter Skipper. 26 March—1 May Holmes à Court Gallery at No.10: George Haynes: From the Sublime to the Ridiculous 207

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JahRoc Galleries www.jahroc.com.au 83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm. See our website for latest information.

another spectacular pink diamond mined from its soil again. Pink diamonds are forever...they are an investment commodity, a gift of love, an heirloom, and a piece of rare beauty to wear and enjoy. JahRoc Galleries has secured the largest collection of Argyle pink diamonds that Margaret River has ever seen and will be holding a special diamond event to show them on the 12 March. Get in touch before they are snapped up. To own an Argyle pink diamond is to own a piece of Australian history.

Japingka Gallery www.JapingkaAboriginalArt.com 47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information.

surfaces that she works into, scraping back linear designs into the underlayers of solid colour. Rosella Namok’s imagery includes lagoons and bamboo thickets, full moon nights, monsoonal rains over the ocean and clan designs from her community. This exhibition has a lighter feel with the artist using pinks and gold colours and some pastel tones that create space and softness to the painting surfaces.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12noon–4pm. See our website for latest information.

Lauren Wilhelm, Diminuendo, 120 x 120 cm, oil on linen. 27 February—21 March Solipsism Lauren Wilhelm My work is an examination of the human condition as I see it – the ephemeral nature of life and our preoccupation with the minutia of everyday living, ignoring our own expiry and the damage to the environment around us. I’m fascinated with everyday history – the lives that have gone before us and been forgotten. Juxtaposing classical images and modern themes, my paintings are my comment on transience. I reference the classical portrait with the often arrogant, invincible gaze of the wealthy landowner – and contrast the contemporary equivalent in the form of the modern day land developer and the fact that prestige, wealth or beauty are still no weapon against time. I’m also exploring the part animals play in human lives – the realities and mythologies.

Rover Thomas, Bedford Station, ochre pigments on board, 180 x 92 cm. 26 March–30 April Gallery 1: Landscapes in Ochre Kimberley Artists Japingka Gallery presents Landscapes in Ochre, featuring older works by major Kimberley artists using ochre pigments. Many of these artists helped set benchmarks for a new generation of painters to ponder and aspire to. Major works by Rover Thomas evoke the raw experience of the Kimberley. The artist’s brush strokes and gestures all recorded in layers of ochre paint that are swept over the surface of the boards as he painted. Other leading artists from the time include Queenie McKenzie, Jack Britten and Henry Wambini.

Heart Shaped 1.25ct Argyle Pink Diamond.

Rosella Namok, Morning Rain, 2020, acrylic on canvas, 180 x 111 cm.

From 12 March Pink Diamonds Forever

26 March–30 April Gallery 2:

The closure of the iconic Argyle diamond mine in November 2020 has seen the demand of their truly limited supply of pink diamonds escalate to a new level. The closure has cemented the fact that Western Australia is unlikely to ever see

Rosella Namok brings the tropical heat and the coastal colours of Far North Queensland to her latest exhibition at Japingka Gallery. Rosella uses fluid paint

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Recent Paintings Rosella Namok

Abdul-Rahman Abdullah, The Dogs, 2017, stained wood and chandeliers, dimensions variable. Installation view: PATAKA Art + Museum, Porirua New Zealand. Private Collection. Installation view. Image courtesy of the Artist and MOORE CONTEMPORARY. Until 23 April Abdul-Rahman Abdullah: Everything is True In partnership with the Perth Festival 2021, the John Curtin Gallery presents Everything Is True, the largest ever assembly of sculptural work by Perth-based artist Abdul-Rahman Abdullah. Opening in early February 2021 during the Gallery’s Bunuru season, the exhibition reflects the Festival’s theme of Bilya, the Noongar word for river, which also has the double meaning of holding the body in place and connects the past and future. Abdullah explores the different ways memory emerges from domestic spaces, often drawing on his personal memories of family life. Everything Is True presents audiences with a blend of exquisite technical virtuosity, material intrigue and a palpable presence that can be both playful and terrifying. Filling the entire John Curtin Gallery, the 29 works featured in Everything Is True present an emotionally charged journey through the memories, dreamscapes, and spiritual imagination of one of Australia’s most compelling contemporary artists. Working mostly in sculpture and installation, his work has been described as magic realism, creating poetic interventions with the built environment.

WESTERN AUSTRALIA

KAMILĖ GALLERY

Linton & Kay Galleries

www.kamilegallery.com

www.lintonandkay.com.au

Cathedral Square, 3 Pier Street, Perth WA 6000 [Map 19] 0414 210 209 See our website for latest information.

Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 6465 4314 Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 2116 Fri to Sun and public holidays 11am–5pm or by appointment.

Liza Walsh, Lake With No Water, 2020, acrylic on canvas, 61 x 66 cm. 12 February—6 March Desert Painters Kamilė Gallery X Wirnda Barna Art Centre

Unknown Creator, Tjulpu - Bird, c.1995. Cundeelee, Western Australia. Wood, 28 x 7 x 8 cm. Gift of Rod Stockwell, Berndt Museum of Anthropology Collection [1995/0117]. 13 February–5 June Creatures: Ochred, Pokered, Carved and Twined Artworks and objects from the Collection of the Berndt Museum of Anthropology.

Jules Sher, Haze and Shadow Landscape 2, 2020, oil on canvas, 111 x 101 cm. 27 February—21 March Subiaco Gallery: Light, Shadow and Space Jules Sher

Michael Doherty, Blue Vibrations, 2020, oil on canvas, 120 x 120 cm. 12 March—9 April Time Time Michael Doherty

“My art is a series of minimal landscapes in which the horizon line divides the veils of atmospheric colour in an attempt to capture the moments of ever-changing light, shadow and passing time.” Jules Sher.

16 April—14 May Pretty Bird Ross Potter

Lawrence Wilson Art Gallery & Berndt Museum www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information. 13 February–5 June Paper Cut Artworks from the Cruthers Collection of Women’s Art by Jude Adams, Barbara Brash, Joy Hester, Mary MacQueen, Rosella Namok, Ann Newmarch, TextaQueen and Lesbia Thorpe, among many others.

Olga Cironis, Alexandra, 2013, archival digital print, 120 x 80 cm, Collection of the Art Gallery of South Australia. Copyright and courtesy of the artist. 13 February–5 June Dislocation Olga Cironis Presented in association with Perth Festival.

Kate Elsey, Infinite Rhythms, 2021, oil on Arches paper, 130 x 188 cm. 24 April—16 May Subiaco Gallery: UNSCRIPTED Kate Elsey Kate Elsey captures and annotates the primordial conditions of our planet into 209

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woven together into an immersive and reflective experience.

her own visual language. Here the scripted world is defeated by evolutionary wisdom.

27 March—30 May Safe Keeping Celebrating the role of the Shire of Mundaring Art Collection as a record and resource for the Mundaring community, Safe Keeping presents a perspective from local artists on the recent global forced retreat from public spaces and refocussing on community networks.

Perth Institute of Contemporary Arts (PICA)

Joie Villeneuve, You’ve Been Walking the Water’s Edge, 2021, mixed media on wood, 120 x 180 x 5 cm.

www.pica.org.au

6 March—28 March Mandoon Estate: Walking The Water’s Edge Joie Villeneuve Along the waters edge Gentle river currents Crashing ocean waves This work maps a journey from tumult to tranquility

Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. Tove Kjellmark, Self Portrait and Pig, 2013/2018, C-type print, acrylic, aluminium, 146 x 107.2cm Ed 3/3. Courtesy the Artist and MOORE CONTEMPORARY. 10 April—1 May Tove Kjellmark

Mundaring Arts Centre www.mundaringartscentre.com.au

Andrew McDonald, Spirit Engines, 2021, unique state rubber stamp relief print, 50 x 50 cm.

7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

21 February—18 April nyinalanginy / the gathering Dean Cross, Sharyn Egan, Peggy Griffiths Madij, Yabini Kickett, Bridget Reweti, Damien Shen, Jasmine Togo-Brisby and James Tylor. Curated by Glenn Iseger-Pilkington.

3 April—25 April Mandoon Estate: Spirit Engines Mikaela Castledine, Steven Castledine, Andrew McDonald Andrew McDonald, Mikaela Castledine and Stephen Castledine are three members of the one extended family, working in vastly different mediums. They start in the same place but travel unforeseen paths. What drives them? What fuels them? How far will they go?

MOORE CONTEMPORARY www.moorecontemporary.com Cathedral Square, 1/565 Hay Street, Perth, WA 6000 [Map 19] 0417 737744 Wed to Fri 11am—5pm, Sat 12noon—4pm. See our website for latest information. 13 February—13 March Elham Eshraghian-Haakansson 210

James Tylor, (Deleted scenes) From an untouched landscape#2, 2013, inkjet print on hahnemuhle paper with hole removed to a black velvet void , 50 x 50 cm. Edition of 5.

Vicki Ames, Dark Blue Balustrade, 2020, detail, clamped Shibori and hand embroidery, 55 x 120 cm. Until 21 March Traces Vicki Ames Using textiles to explore the visual language of urban architectural facades, Vicki Ames’ solo exhibition highlights the ageing surface qualities of buildings and the histories they reveal. Until 21 March Tend/er Snart Club An interactive exhibition that brings people together to encourage thought about ways of caring within communities. Physical and online components are

Patrick Carter, Bloom #2 (still), 2018, Single channel HD video, 2:26 min. © Patrick Carter. Mentors: Laura Boynes, Deborah May, Robert Eades. Producer: Simone Flavelle. Image: Deborah May. 9 February—18 April YEDI / SONGS from Patrick William Carter

A–Z Exhibitions

MARCH/APRIL 2021

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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Museum and Art Gallery of the Northern Territory

28-year legacy of highlighting the importance of visual arts education and the role of arts educators in encouraging and guiding the creativity of young NT artists in preparation for their futures.

www.magnt.net.au

Through the display of recent acquisitions alongside historical collection items, Fresh celebrates the continued development of the Museum and Art Gallery of the Northern Territory’s art collection.

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. 13 March—13 June Exit Art A celebration of the talents and creativity of the next generation of artists and designers, presenting the very best contemporary art and design from Northern Territory Year 12 students. Presented by the Museum and Art Gallery Northern Territory in partnership with the Northern Territory Department of Education, Exit Art reflects the diversity of the Territory’s artistic practice and practitioners, expressing universal themes of identity, place and environment. This year will continue the exhibition’s

threads that weave these collections together provide audiences with a rare opportunity to explore and engage with a number of the Northern Territory’s artistic treasures.

Eko Nugroho, Kekerasan dan Korupsi, 2007, hand drawn machine embroidered rayon thread with Calico interfacing, 43 x 79 cm. MAGNT Collection. Until 27 June Fresh: Connecting New & Old Art Bringing together works from the Aboriginal, Australian and South East Asian art collections. This exhibition reveals diverse stories from within these collections and the broad geographic regions they represent. The fascinating

NCCA – Northern Centre for Contemporary Art www.nccart.com.au Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols. See our website for latest information NCCA is the leading centre for contemporary visual art in the Northern Territory – bringing together diverse communities of artists and audiences to engage with contemporary ideas and practices. NCCA brokers opportunities for artists locally, nationally and internationally and connects communities through its dynamic programs.

RAFT artspace www.raftartspace.com.au 2/8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions. See our website for latest information. RAFT is nationally and internationally renowned for its unique style and carefully considered exhibitions. Since its inception, the gallery has set an agenda promoting community interest in the region and provoking an extensive critical discourse.

Fabian Brown, The Inca Man, 2020, enamel paint on masonite, 109 x 109 cm. 1 April—24 April The Tennant Creek Brio

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24 19

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33 LO R N E

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Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Distorted Frame East Gippsland Art Gallery Everywhen Artspace

13 14 15 16 17 18 19 20 21 22 23 24

21 13 7

B A I R N S DA L E

25 31

10 12

Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Maffra Exhibition Space Mildura Arts Centre National Wool Museum QDOS Art Gallery Queenscliff Gallery Post Office Gallery Art Academy

SALE

MORWELL

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Red Tree Gallery Rutherglen Art Gallery Shepparton Art Museum Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Town & Country Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery

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MAP 2 MELBOURNE CBD

T ES

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6 27 20 8

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1 2 3 4 5 6 7 8 9 10 11 12 214

Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery Flinders Lane Gallery

13 14 15 16 17 18 19 20 21 22

fortyfivedownstairs Gallery @ City Library Harvey Galleries Immigration Museum Kings ARI Koorie Heritage Trust Margaret Lawrence Gallery Missing Persons Museum of Chinese Australian History National Gallery of Victoria – The Ian Potter Centre 23 National Gallery of Victoria – NGV International 24 Neon Parc

25 26 27 28 29 30 31 32 33 34

No Vacancy Gallery The Old Treasury Building ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Stephen Mclaughlan Gallery Tolarno Galleries

MAP 3 FI TZ R OY /C O L LI NGWO O D

A LE X A W E S TG

ARTH

NDRA P DE

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11 17

Collingwood

LANGR

1 V IC TO

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7 20 5

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Alcaston Gallery Australian Galleries Australian Print Workshop Artbank Arts Project Australia Brunswick Street Gallery BUS Projects

8 9 10 11 12 13 14

Centre for Contemporary Photography Daine Singer Fox Galleries Lamington Drive Modern Times Melbourne Museum Nicholas Thompson Gallery

15 16 17 18 19

PG Printmaker Gallery Seventh Gallery Slow Clay Centre Sutton Gallery This Is No Fantasy + Dianne Tanzer Gallery 20 West Space 21 Yarra Sculpture Gallery

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MAP 4 G R E AT E R M E L B O U R N E

SOUTH MORANG YA R R A G L E N H E A L E SV I L L E BUNDOORA

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E LT H A M

16 M A R I BY R N O N G

L I LY DA L E

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Melbourne

R I N GWO O D

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1 8

W I L L I A M STOW N

G L E N WAV E R LY WHEELERS HILL

M A LV E R N E A ST

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DA N D E N O N G M O R D I A L LO C

PAKENHAM CRANBOURNE

21 9 F R A N KSTO N

M O R N I N GTO N

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ACAE Gallery ArtSpace Realm Black Cat Gallery Bundoora Homestead Bunjil Place Burrinja Cultural Centre Colour Factory Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium Glen Eira City Council Gallery

14 15 16 17 18 19 20 21 22 23 24 25 26

Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art Monash University Museum of Art Mornington Peninsula Regional Gallery TarraWarra Museum of Art The Substation

27 28 29 30

Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yering Station Art Gallery

MAP 5 & 6 N O RT H E R N M E L B O U R N E A N D SOUTHERN MELBOURNE

12 Arts Project Australia Burke Gallery c3 Contemporary Art Space Chapman & Bailey Counihan Gallery In Brunswick The Dax Centre The Fox Darkroom & Gallery Gertrude Contemporary Gallerysmith and Gallerysmith Project Space 10 George Paton Gallery 11 Ian Potter Museum of Art 12 Islamic Museum of Australia 13 Johnstone Collection 14 Neon Parc Brunswick 15 Old Quad 16 Otomys Contemporary 17 Red Gallery 18 RMIT Project Space / Spare Room 19 Shirazi Art Gallery 20 Tinning Street Presents 21 Victorian Artists Society 22 West End Art Space

20 14

1 2 3 4 5 6 7 8 9

B R U N SW I C K

N O RT H C OT E B R U N SW I C K E A ST

1 17 PA R KV I L L E C A R LTO N N O RT H

6 15 7

10 2

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F I TZ R OY

C A R LTO N

4 3

C O L L I N GWO O D

18 21

16 13

MELBOURNE CBD

Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Brightspace Charles Nodrum Gallery Eastgate Jarman Finkelstein Gallery Firestation Print Studio Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Leonard Joel Linden New Art LON Gallery Lynn Jaanz at York Street Lyon House Museum LUMAS Galleries Margaret Lawrence Gallery MARS Gallery Metro Gallery Niagara Galleries Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

14 21

RICHMOND

18 CREMORNE

SOUTHBANK

H AW T H O R N

B U R N L EY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

3 SOUTH YA R R A

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KO OYO N G

23 12 PRAHRAN M I D D L E PA R K

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19 ST K I L DA W E ST

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20 8

24 ST K I L DA

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MAP 7 SY D N EY

< 18 33 GORDON

27 M AC Q UA R I E PA R K

LINDFIELD

S E A FO RT H

FA I R L I G H T

C H ATSWO O D

M A N LY

LANE C OV E

N O RT H B R I D G E

17 ST L EO N A R D S

G L A D E SV I L L E

29 N O RT H SY D N EY

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MOSMAN

30 26

BALMAIN

32 7

THE R O C KS

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Sydney

R OZ E L L E

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HABERFIELD

11 8

DA R L I N G H U R ST

23 U LT I M O

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BONDI B E AC H

14 N E W TOW N ALEXANDRIA M A R R I C KV I L L E

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218

16albermarle Adelaide Perry Gallery Annandale Galleries Annette Larkin Fine Art Australian National Maritime Museum Art Atrium Artereal Gallery Articulate project space Artsite Gallery Art Space on the Concourse Boomalli Aboriginal Artists Co-operative

12 13 14 15 16 17 18 19 20 21 22

Brenda Colahan Fine Art Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Harvey Galleries Seaforth Harvey Galleries Mosman Incinerator Art Space

23 24 25 26 27 28 29 30 31 32 33

Interlude Gallery Kate Owen Gallery Kerrie Lowe Gallery Lavender Bay Gallery Macquarie University Art Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery Sullivan & Strumpf Sydney College of the Arts Gallery Wallarobba Arts and Cultural Centre

MAP 8 SY D N EY C I T Y

18 8

CA HI LL ES PY

Sydney CBD

19 14

WH WP

AR IE ST

M AC Q U

H ST EL IZ AB ET

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Australian Design Centre Art Gallery of New South Wales Artspace The Cross Art Projects Firstdraft Gaffa Gallery Harvey Galleries The Ken Done Gallery Museum of Contemporary Art Australia (MCA) Museum of Sydney

11 12 13 14 15 16 17 18 19 20

ST IT IO N

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PA R K

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DR UIT T ST

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The Sculptors Society S. H. Ervin Gallery SOHO Galleries Sydney The SPACE Gallery Stacks Projects Stanley Street Gallery State Library of New South Wales Sydney Opera House Wentworth Gallery Wentworth Gallery, Martin Place

219

MAP 9 DA R L I N G H U R ST / R E D F E R N / WAT E R LO O

PA R K

6 9

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Darlinghurst 14

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4A Centre for Contemporary Asian Art Artbank Sydney Australian Centre for Photography Brett Whiteley Studio Carriageworks Chalk Horse Chau Chak Wing Museum The Commercial Conny Dietzschold Gallery Darren Knight Gallery

11 12 13 14 15 16 17 18 19 20 21

Eden and the Willow Flinders Street Gallery Galerie pompom Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Liverpool Street Gallery m2 Gallery Nanda/Hobbs National Art School

22 23 24 25 26 27

Powerhouse Museum UTS Gallery Sabbia Gallery Verge Gallery Wellington Gallery White Rabbit Gallery

M A P 10 PA D D I N GTO N

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Arthouse Gallery Australian Galleries Barometer Blender Gallery Cement Fondu Cooee Art Gallery Defiance Gallery at Mary Place Dominik Mersch Gallery Fellia Melas Art Gallery Fox Jensen Gallery Sally Dan-Cuthbert Martin Browne Contemporary

9 13

13 14 15 16 17 18 19 20 21

RE P ARK

OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery Thienny Lee Gallery UNSW Galleries Wagner Contemporary

221

M A P 11 & 12 G R E AT E R SY D N EY A N D N E W S O U T H WA L E S

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

RICHMOND

Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Harvey House Gallery and Sculpture Park Hawkesbury Regional Gallery Hazelhurst Regional Gallery & Arts Centre Hurstville Museum & Gallery Parramatta Artists Studios Peacock Gallery and Auburn Arts Studio Penrith Regional Gallery Rex-Livingston Gallery Steel Reid Studio Sturt Gallery UWS Art Gallery Wallarobba Arts and Cultural Centre Wollongong Art Gallery

K ATO O M B A

C A ST L E H I L L

1 10 11 LIVERPOOL

B A N KSTOW N

9 8

C A M P B E L LTOW N

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18 WO L LO N G O N G

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

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Bank Art Museum Moree Bathurst Regional Art Gallery Bega Valley Regional Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Orange Regional Gallery The University Gallery Shoalhaven Art Gallery Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery

BY R O N 26 B AY 12

C O F FS HARBOUR

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29 20 25 COBAR

BROKEN HILL

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New South Wales

MILDURA

18 14

21 2 C E N T R A L C OA ST

9 24 7

16 KO S C I U S Z KO N AT PA R K

22 13 17 19

WO L LO N G O N G

EC H U C A

M A P 13 & 1 4 G R E AT E R B R I S B A N E & Q U E E N S L A N D

H E RV EY B AY

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

19 Karen Contemporary Artspace Caboolture Regional Gallery Caloundra Regional Gallery Cooroy Butter Factory Arts Centre Dust Temple Gallery at HOTA Hervey Bay Regional Gallery Honey Ant Gallery Ipswich Regional Gallery Logan Art Gallery Montville Art Gallery Noosa Regional Gallery Pine Rivers Regional Gallery Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

4 SUNSHINE C OA ST

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Brisbane 17

TO OWO O M B A

2 14

13 9

15 10 6 1 9 5

GOLD C OA ST

16 STA N T H O R P E

6 CAIRNS

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1 2 3 4 5 6 7 8 9 10 11

Artspace Mackay Cairns Regional Gallery Gala Gallery Gallery 48 Gladstone Regional Gallery Northsite Contemporary Arts Outback Regional Gallery Perc Tucker Regional Gallery Pinnacles Gallery Rockhampton Art Gallery Umbrella Studio

8 11 4

M AC K AY

Queensland R O C K H A M P TO N

G L A D STO N E

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M A P 15 BRISBANE

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Andrew Baker Art Dealer Artisan Gallery Art from the Margins Edwina Corlette Gallery Fireworks Gallery Graydon Gallery Griffith University Art Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

12 13 14 15 16 17 18

Maud Street Photo Gallery Metro Arts Mitchell Fine Art Gallery Museum of Brisbane Onespace Gallery Philip Bacon Galleries Queensland Art Gallery/ Gallery of Modern Art 19 Queensland Museum 20 QUT Art Museum 21 Side Gallery

22 23 24 25

State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

M A P 16 CANBERRA

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12 24

Acton

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21 PA R K E

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Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

225

M A P 17 & 18 H O B A RT & A D E L A I D E

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Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

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KING WILLIAM RD

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10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

15 NE

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Art Collective WA Art Gallery of Western Australia FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

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Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

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1 2 3 4 5 6 7

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1 227

“Frankly, after the bumper-to-bumper catastrophes that littered 2020, it feels like we all need something new to believe in.” — M A R I A M A R C I L L A , W R I T E R , P. 5 6

“I didn’t have time to wait for women’s lib.” — M A R Y Q UA N T, FA S H I O N D E S I G N E R , P. 74

“I’m trying to gather people to build a queer, science fiction, climate change religion together.” — D E B O R A H K E L LY, A R T I S T, P. 8 6

She-Oak and Sunlight Australian Impressionism 2 April – 22 August

Only in Melbourne at The Ian Potter Centre: NGV Australia, Fed Square PRINCIPAL PARTNER

MAJOR PARTNER

SUPPORTERS

Tom Roberts She-oak and sunlight 1889 (detail) National Gallery of Victoria, Melbourne. Jean Margaret Williams Bequest, K. M. Christensen and A. E. Bond Bequest, Eleanor M. Borrow Bequest, The Thomas Rubie Purcell and Olive Esma Purcell Trust and Warren Clark Bequest, 2019

“What I’m trying to communicate is . . . more a wonder of nature.”

— Janet Laurence

artguide.com.au