Art Guide Australia — May/June 2021 by Art Guide Australia

M A Y/ J U N E 2 021

C OV E R S T OR Y

Emily Crockford won’t be pushed to the margins

P LUS

The spirit world of Hilma af Klint

Joan Ross on history and high-vis

Kathy Temin

Roslyn Oxley9 Gallery May – June 2021 roslynoxley9.com.au

Mothering Garden (in progress), 2021 synthetic fur, synthetic filling Photo: Renato Colangelo

MIKE PARR HALF WAY HOUSE

1 May – 31 July 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com Photo: Mark Pokorny annaschwartzgallery.com

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JUNE 4 - 26 2021 The Japan Foundation Gallery

The Japan Foundation, Sydney Lvl 4, Central Park 28 Broadway Chippendale 2008 NSW

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Gabriella Hirst 11 Feb - 30 May

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Glennys Briggs Introducing Glennys Briggs 6 May—12 June

Glennys Briggs, Born on Country, 2020, collagraph and etching on Hahnemuele paper, 74 x 60 cm.

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eX de Medici DOUBLE CROSSED paintings 6 - 30 May 2021

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THE McCLELLAND COLLECTION

50 YEARS OF SPATIAL PRACTICE

15 May – 15 August 2021 Augustine Dall’Ava Richard Giblett Stephen Haley Inge King Janet Laurence Akio Makigawa Fiona McMonagle Sanné Mestrom Ron Mueck Patricia Piccinini Ken Reinhard Tim Silver Kylie Stillman Colin Suggett Simon Terrill George Tjungarrayi Lisa Waup

Janet Laurence, Forensic sublime (Crimes against the landscape series: Styx Forest) 2008, mirror, oil glaze, Duraclear on Shinkolite, 101.0 x 455.0 cm. Collection of McClelland. Purchased with assistance from the Robert Salzer Fund and The Fornari Bequest, 2009. Image courtesy ARC ONE Gallery. Copyright the artist.

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This exhibition is supported by the Victorian Government through Creative Victoria.

McClelland Sculpture Park + Gallery 390 McClelland Drive Langwarrin Vic 3910 03 9789 1671 mcclellandgallery.com

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 v

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May/June

2021

EDITOR ISSUE #131

Anna Dunnill

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CONTRIBUTORS ISSUE #131

Timmah Ball, Michaela Bear, Tracey Clement, Steve Dow, Briony Downes, Anna Dunnill, Sheridan Hart, Ben Juers, Kathleen Linn, Jesse Marlow, Tiarney Miekus, Giselle Au-Nhien Nguyen, Jane O’Sullivan, Barnaby Smith, Andrew Stephens, Madeleine Thornton-Smith.

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

Cover artist: Emily Crockford

front Emily Crockford, Funky Jungle Rosie in her

Pom Pom Zoo, 2019, acrylic on canvas, 122 x 152 cm. Image Courtesy of Studio A. back Emily Crockford, Nadia Daisy of Present, 2020, acrylic on canvas, 30.5 x 25 cm. Image Courtesy of Studio A.

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

26 28 28 29 30 30 31 32 32 33

We Eat We Are Georgia Banks: Remains To Be Seen Jurek Wybraniec: Pages, Studies, Notes Notes from the Field: Bogong Centre for Sound Culture David Booth: Time Feeling Slippy The City of Ladies Nadia Hernández: Con la punta de los dedos (With the tips of your fingers) Pony Express: Abolish the Olympics Blanche Tilden—ripple effect: a 25 year survey Australian Love Stories F E AT U R E

34 38 42

Hilma af Klint: Secret Communion Catherine O’Donnell: Building a Collective Memory Bringing the Outside In INTERV IEW

eX de Medici F E AT U R E

52 56

Louise Zhang: Colouring the World Joan Ross: On History and High-Vis S T U DIO

Vipoo Srivilasa C OM M E N T

Artists United F E AT U R E

70 74 78

Awakening the Voice of the Drum Looking Good in Two Worlds Beyond the Beaches

Issue 131 Contributors 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. MICH A ELA BEA R is an emerging curator and writer currently working at RMIT. She was Assistant Editor for the 2017 Honolulu Biennial and has written for a range of publications including Art Asia Pacific, viennacontemporary mag and the Australian and New Zealand Journal of Art (ANZJA). 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. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. 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. BEN JUERS is a cartoonist, teacher, writer and member of Glom Press, Workers Art Collective and Other Worlds Zine Fair. His work has appeared in the Sydney Review of Books, Lifted Brow and Overland. SHER IDA N H A RT is an artist and writer based in Perth. She recently completed a PhD at Curtin University in contemporary art and its relationship to geolocation and remote sensing. Sheridan has exhibited at The Daphne Collection, Paper Mountain, John Curtin Gallery and Turner Galleries. TIMM A H BA LL

is a Sydney-based arts writer and curator whose work includes reviews, catalogue essays, interviews and exhibitions. Her writing has been published in Artist Profile, Vault Magazine, Art & Australia, Running Dog and Un Projects. JESSE M A R LOW is a Melbourne-based photographic artist. He has exhibited widely both here and overseas. He is represented by M.33 and his third monograph Don’t Just Tell Them, Show Them was published in 2014. 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. GISELLE AU-NHIEN NGU Y EN is a VietnameseAustralian writer and critic based in Naarm/Melbourne. JA NE O’SULLI VA N is an arts writer and journalist based in Sydney. She is a former editor of Art Collector and Art Edit magazines and has also contributed to the Australian Financial Review, Artnet, Ocula and Artist Profile among others. 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. M A DELEINE THOR NTON-SMITH has training in painting and ceramics. She uses remediation as a method of challenging the medium and archetypal forms. Recently, she has become interested in exploring artists’ labour. Madeleine is a member of the Artists’ Union working group and also has worked as a carer, technician and tutor. K ATHLEEN LINN

A Note From the Editor Vipoo Srivilasa is repairing happiness. When I visited his studio, the artist described taking donated broken ceramics, learning the stories of how they came to be damaged, and attempting to fix them. Many of these items, he told me, are deeply personal: precious carriers of identity and family, vessels often holding more weight than they can bear. In the act of mending, Srivilasa is imbuing these objects once again with a sense of joy. It’s an apt project for our current time. After over a year of pandemic upheaval, we’re at the point of sticking ourselves back together, both individually and as a society. We’re all too aware of the visible cracks, the missing pieces, the fragility of our reconstituted forms. But there is beauty in reparation, and the possibility of making something new and unexpected—even joyful—out of the sum of our parts. In this reparative process, voices and stories previously overlooked must move to the fore. Contemporary artists historically labelled as ‘outsider’ are staking their claim by creating art that’s rich, rigorous and skilled; Hilma af Klint, an early 20th-century painter, is only now achieving recognition as a dazzling pioneer of abstraction; and through her trademark fluorescent yellow, Joan Ross is making us face colonisation and greed. An ancient Vietnamese drum once sequestered behind museum glass is making its voice heard again; and, hailing from the remote Central Desert in Western Australia, a group of young Ngaanyatjarra people reveal the cultural richness of their two overlapping worlds. We hope you enjoy the wealth of artistic voices this issue brings together. Anna Dunnill Editor, Art Guide #131 and the Art Guide Australia team

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Previews W R ITERS

Michaela Bear, Tracey Clement, Briony Downes, Anna Dunnill, Kathleen Linn, Tiarney Miekus

Darwin We Eat We Are

Northern Centre for Contemporary Art 30 April—29 May

The unique food culture of the Northern Territory, and the diversity of artwork being created, inspired Sarah Pirrie to curate We Eat We Are. Currently on tour through Artback NT, the exhibition makes its third stop at the Northern Centre for Contemporary Art. We Eat We Are explores food as a social interaction—a kind of Joseph Beuysian social sculpture—that brings people together, builds relationships and community, records and continues culture, and, for Pirrie, allows us to explore “relationships we have with our identity.” The exhibition includes the work of six artists and collectives with significant ties to the Northern Territory. Mulkuṉ Wirrpanda, a senior artist of the Dhuḏi-Djapu clan from Dhuruputjpi, paints her clan’s sacred designs, including plants eaten and used when she was young. She shares her cultural knowledge for recovery and resistance. Taking a different approach, Siying Zhou’s 2018 work Suk My Exotic Fingers uses the symbols of chicken feet and chopsticks to pointedly question national cultural identity and the dynamics of multicultural Australia from her Chinese-Australian vantage point. An installation of painted Jukwarringa (Mud Mussel) shells, by Tiwi artists Kaye Brown, Raelene Lampuwatu Kerinauia, Janice Pungautiji Murray and Michelle Woody, directly references the practice of foraging, feasting Mulkuṉ Wirrpanda, Matarawatj II, earth pigment on and sharing seafood with family and community. It also board. Photographer: Fiona Morrison reflects the ancient shell middens that demonstrate continuous engagement with Country. Through these and other works, We Eat We Are explores food interrelations in the Northern Territory, recognising the region’s varied demographics and proximity to South East Asia. For Pirrie, our shared love for food presents a way of “cutting through the distance, or the language barrier” to engage more deeply with complex social and cultural relations. —K ATHLEEN LINN

Emma Lupin, Rosellas in Hands, 2019, digital print on paper.

Melbourne Remains To Be Seen Georgia Banks Gertrude Glasshouse 23 April—22 May

If you live in Melbourne, you might have passed a billboard with artist Georgia Banks holding a single red rose, an excitedly nervous facial expression, set against a pastel pink sunset with a palm trees and a sandy beach. To her left reads, “Georgia Banks in Remains To Be Seen.” She looks every bit The Bachelor contestant. And while this billboard is advertising a competition, this one isn’t about love: it’s about death. Banks is offering one lucky winner complete control over her funeral and remains. Georgia Banks, Remains To Be Seen, 2021, Based on previous works looking at the absurdity of promotional image. photogr aph: kerry leonard. application processes for appearing on reality television, Banks was curious about the desire to be on these shows, despite their known immorality. “It’s just a really effective way to not be forgotten and not to die,” says Banks. She explains how now with social media, one doesn’t die a social death anymore: all you need is a Facebook profile to be alive forever. From here Banks “came up with this concept to turn my death into a way to avoid dying,” and has created an application process for one person to control the method of her body’s disposal, the obituary, and every detail of her funeral and final resting place. “Applications will be open for the rest of my life, and the winner will be announced the day I die,” she confirms. The only stipulation is that Banks can use the applications, which are based on reality television applications, as creative material. By turning her death into art, Banks agrees she’s “spectacularising death to such a degree that it’s not even about dying anymore.” Then what is it about? “Not dying.” She laughs. “It’s about the lengths we go to to become public property, and what we’re willing to do to be public and have proximity to being known.” — TI A R NEY MIEKUS

Perth Pages, Studies, Notes Jurek Wybraniec Art Collective WA 24 April—22 May

The monochrome is a recurring motif in Jurek Wybraniec’s work. Over three decades of practice, fields of colour—often in process blue, process yellow, and a specific birthday-cake shade of pink—manifest variously as textured paint, pegboard, laser-etched acrylic sheets, Jurek Wybraniec, G on P A1, 2021, pigmented a custom-made inflatable. acrylic ink on watercolour paper, 56 x 76 cm. In his new exhibition Pages, Studies, Notes, Wybraniec has pared his materials back to ink on paper: “Two areas,” he says, “that I haven’t explored before.” Embracing the mobility of this medium, the artist has followed strict parameters, selecting paper in standard A sizes. Placing an A4 sheet of paper on an A3, he “quickly floods the [smaller] sheet of paper with a fairly rough application” of ink, using the larger sheet as a blotter. This process is repeated, each time moving

the smaller sheet around so that the larger paper gradually builds up layers of ink, with “areas of heavy application on the edge and lighter application in the middle.” In contrast to the near-uniform field of colour on the smaller sheet, the larger sheet bears gestural “brush marks, drips and spatters” that reveal the qualities of the medium. Later collaged into different colour combinations, there is something diaristic about these works. “I see them as raw,” Wybraniec explains, “hence the title.” Also exhibited are remnants from the process: larger sheets of paper that served as drying surfaces for wet sheets, catching “remnant ink that collects on the edge of the paper, leaving lines, blobs and blots” in alluring polychromatic grids. This “anchors the work to the studio,” the artist says. For this series, Wybraniec cites as influences still-life painter Giorgio Morandi and German film director Rainer Werner Fassbinder. “Both of those managed to capture something else I was trying to look at,” he says, “which was a stillness: something held in place.” — A NNA DUNNILL

Albury Notes from the Field: Bogong Centre for Sound Culture

Murray Art Museum Albury (MAMA) 26 February—27 June www.field-not.es

In the 10 years since its establishment, Bogong Centre for Sound Culture has earned a justified reputation Bridget Chappell, The Mountain Archetype, across Australia and beyond as an institution devoted to 2021, installation view, Murray Art Museum the theory, politics, aesthetics and technology of sound Albury 2021, ultrasonic sensor, Raspberry Pi, art. However, survey exhibition Notes from the Field is speakers, paper, ink. image courtesy of the artist. photogr aph: jeremy weihr auch. above all a meditation on the Centre’s local landscape: the Bogong High Plains and Kiewa Valley in northeast Victoria, home of the Bidhawal, Dhudhuroa, Gunaikurnai and Nindi-Ngudjam Ngarigu Monero peoples. The exhibition features the work of 15 artists who have undertaken residencies at the Centre in the remote Victorian Alps. “Together they represent a range of responses to the region’s natural, anthropogenic and atmospheric characteristics,” says Phillip Samartzis who, in partnership with Madelynne Cornish, has run the Centre since its inception. Through “field recordings made across the region,” the exhibition’s sonic component captures transformations and habitat loss from climate change, wildfires and “the impact of new hydropower stations on landscape ecology.” In addition to works installed at MAMA, the exhibition includes pieces commissioned for an accompanying website. Both platforms “explore the process of field work and how it is translated into final resolved work,” Samartzis explains, with the website expanding on “artistic processes, observations and field documentation.” Samartzis and Cornish’s own work is exhibited alongside contributions from an international range of practitioners, from Denmark’s Adam Pultz Melbye to the American Shannon Lee Collis. But despite these global flavours, the exhibition remains a distinct expression of locality. “Anyone who visits Notes from the Field will be struck by the way the region has been represented,” says Samartzis. “It reveals the unheard and overlooked, to render the Victorian Alps anew for audiences.” — BA R NA BY SMITH

Adelaide Time Feeling Slippy David Booth Hugo Michell Gallery 20 May—19 June

Time has revealed itself in new ways during the Covid-19 pandemic—and for art-makers, for whom the creative act can involve the slow burn of cogitation and process as well as the flash of illumination or inspiration, it has perhaps been particularly strange. Melbourne-based David Booth [Ghostpatrol], Lake Pedder with artist David Booth, also known as Ghostpatrol, exMy Sister, 2019, gouache and pencil paper cut, plores this recent phenomenon with his new exhibition, 99 x 74 cm. Time Feeling Slippy. “This body of work is a set of busy watercolours and bold colour-block paintings,” says Booth. “The works came to life during the fog of 2020, and are in part a response to conversations I had with my friend and fellow artist Sebastian Moody. We’ve been speaking about time and art and being lost in it all. “As dramatic as it sounds, the lockdown meant I used my drawing and painting time as a giant force-field from the crushing weight of the world. Time has definitely shifted, feeling fast and slow at the same time. It really has felt a little slippy.” While the exhibition may reflect this disorientation, Booth has also taken care to infuse his works with positivity and playfulness—things that have always been with him, going back to his beginnings as a street artist. Since then his work has been exhibited internationally, and acquired by the National Gallery of Australia and the Parliament House Art Collection. As Booth says of this latest work, “I like the cosiness of Hugo Michell Gallery, and I’m hoping I’ve balanced the space so that it’s welcoming. The watercolour trio I’ve made is full of details that I’m hoping will make people want to spend a lot of time with them and smile a lot, while they start building their own version of these works in their mind.” — BA R NA BY SMITH

Brisbane The City of Ladies Zanny Begg and Elise McLeod UQ Art Museum 13 February—19 June

A novel written in 1402 by proto-feminist Christine de Pizan, and a song by a bunch of middle-aged white-male Zanny Begg and Elise McLeod, The City of rockers titled Kiss the Devil, may seem like strange Ladies, 2016–2017. Photographic still by bedfellows. But they come together in the film installation Federique Barraja. image courtesy of the artists. The City of Ladies by Zanny Begg and Elise McLeod. The duo also weave together the past and the present in a story that, thanks to an ingenious algorithm, has 300,000 possible iterations. The City of Ladies takes its name from de Pizan’s book which, written just as the witch trials were gaining momentum in medieval France, dared to imagine what the world might look like if women had equal access to education and positions of power. “We were very interested in the impact of the witch trials on the world we live in now,” Begg explains. “The key theme of Pizan’s book was misogyny, which sadly remains a key issue today.” The city of Paris, its still-vigorous revolutionary spirit and its current affairs, also shaped The City of Ladies. Begg and McLeod both found themselves there in 2016.

The seven French women who speak in their film are self-described feminists and activists from Nuit Debout, a ‘reclaim the night’ protest movement that coalesced in the wake of the 13 November 2015 terrorist attacks in the city. Cue Kiss the Devil, which includes the line “Who will kiss the devil on his tongue?”. This song was being played at the Bataclan Theatre that night in 2015 when 90 people died in a mass shooting. Begg and McLeod have included a cover version in The City of Ladies. “The chief crimes women were executed for during the witch trials were crimes of the tongue. Women were criminalised for their ideas, their opinions, their minds. For me this connected back to Pizan’s concerns with providing women with access to education,” Begg says. “Pizan used the term feminania to describe a pro-female view of the world and I think our film aims to tease out the complexities of what that might mean.” —TR ACEY CLEMENT

Sydney Con la punta de los dedos (With the tips of your fingers) Nadia Hernández STATION 24 April—22 May

Not everyone can spot beauty in a recipe, but Nadia Hernández has the heart of a poet. Known for a multidisciplinary practice that includes huge textile banners emblazoned with words, as well as painting, collage and sculpture, the Sydney-based Venezuelan artist considers poetry to be one of her many materials— and she looks for, and finds, it everywhere. The title of her latest solo show, Con la punta de los dedos (With the tips of your fingers), is taken from an instruction in a recipe written by her mother. For Hernández, the poetry in a list of ingredients quickly became an existential meditation on identity. Reading Nadia Hernández, Pesadilla #1 / Nightmare #1, the phrase ‘butter at room temperature’ set her thinking, 2021, oil on linen, 102 x 84 cm. courtesy of the artist and station. “that is what we are made of . . . Butter at room temperature takes on the form of whatever it touches; it shifts its shape to meet and join that which receives it.” As part of a Venezuelan diaspora—“My family are grains of sand scattered throughout the world,” she says—the construction of identity, the loss of home, and the power of memory and memorialisation are key themes for Hernández. And, as the artist explains, the multidisciplinary nature of her practice helps to underline these concerns. “I find that all the mediums I work across inform one another. Seeing how a story, anecdote or memory can be held across different vessels; it’s an exercise in translation and transmission,” she says. As an artist/poet Hernández uses words as both medium and message. Writing is a way to seek clarity, she points out, adding, “I think that is why text is such a big part of my practice. It’s the curiosity which comes from flipping the switch and changing one’s perception. Seeing a banner with a poem, a love declaration of sorts, is a form of resistance.” — TR ACEY CLEMENT

Hobart Abolish the Olympics Pony Express

Contemporary Art Tasmania 16 June—11 July

The cancellation of the 2020 Olympic Games marked the first time the event had been postponed in its 57-year history. Currently slated to go ahead in Tokyo in July 2021, the Olympics are the catalyst for the latest pseudo-reality performance by Loren Kronemyer and Ian Sinclair, Pony Express, Abolish the Olympics. who together form experimental live art duo Pony Express. Photogr aph: Julian Frichot. Abolish the Olympics transforms the gallery space into a mini arena, with Kronemyer and Sinclair performing shorthand versions of 32 Olympic sports in gridded sections marked out across the floor. Audience participation is encouraged. “It is a one-hour ritualised version,” says Kronemyer. “Ian and I have our team uniforms, lockers, audience seating and all the ingredients of the Olympic village condensed into this extremely tight space. It’s a collage of the Olympics ephemera but with much more of an anarchist spin.” Influenced by the activism of Los Angeles-based group NOlympics, Kronemyer and Sinclair are exploring the immediate spectacle of sporting events and the long-term effects that remain in hosting communities after the Olympics have moved on. “Ian grew up in Sydney and I grew up in LA which are both former and future Olympic cities,” explains Kronemyer. “When the Olympics roll into town they cause enormous housing displacement for low income and minority communities, and they escalate the level of police brutality and privacy incursions.” Offering a safe space to explore and question the ramifications of competitive sports, Abolish the Olympics allows viewers the freedom to come to their own conclusions. As Sinclair puts it, “We are taking a deep dive into both sides. Who are the organisations working with and against the Olympics? What happens to athletes after the games finish and what does excellence really mean? We hold it all up equally.” —BR ION Y DOW NES

Geelong Blanche Tilden—ripple effect: a 25 year survey Geelong Gallery 8 May–1 August

Blanche Tilden, Flow 03 (necklace), 2016, flameworked borosilicate glass and titanium. toowoomba regional art gallery, queensland. photogr aph: gr ant hancock. © blanche tilden.

The human-made qualities of glass and metal have long fascinated contemporary jeweller Blanche Tilden. “My work explores tangible and symbolic aspects of material culture that reflect this time and place by abstracting and translating the visual language and materials of architecture, the built environment, and everyday objects into jewellery,” she explains. Her pieces interrogate the properties of a range of materials—from traditional metals such as gold and silver, to more unconventional industrial materials and objects including borosilicate glass and titanium, glass camera lens components, computer parts, and bicycle chains. As objects worn close to the body, Tilden’s refined pieces become intimately connected to the wearer. These personal qualities are emphasised in a series of

photographs of adorned collectors, featuring in her 25-year survey exhibition. “The portraits bring the jewellery to life,” Tilden says, “and reflect how each piece becomes part of the persona of the wearer once it leaves my jewellery bench and goes out into the world to be worn and enjoyed.” Alongside these photographs are several significant bodies of work, as well as reinterpretations of older pieces that reveal new insights. “This survey provided the opportunity to remake a major piece, Long Conveyor, initially created for my first solo exhibition in 1997,” Tilden says. This re-made work draws parallels between the exhibition’s location and the themes of her practice. “The new fivemetre-long version of this miniature conveyor belt was commissioned by Geelong Gallery, and speaks to the history of Geelong as a major industrial manufacturing centre,” she explains. “Now as factories close, the commissioning of this work reflects the value that is being placed on art, culture and design and Geelong’s 2017 designation as a UNESCO City of Design.” —MICH A ELA BEA R

Canberra Australian Love Stories National Portrait Gallery 20 March—1 August

From the painted miniatures of old to the photo on an iPhone lock screen, “the inextricability of love and portraiture”—as Joanna Gilmour, senior curator of the National Portrait Gallery, puts it—is a tale as old as time. “Though it’s typical to think of portraits as being representations of individuals,” Gilmour says, “every portrait has a relationship at its heart.” As she points out, “the most powerful and enduring portraits” are often those that reveal an intense Olive Cotton, The photographer’s shadow relationship between artist and subject. “These are the (Olive Cotton and Max Dupain), c. 1935. sort of portraits that can reveal what the artist is feeling, where the artist lets their guard down and exposes their innermost self.” Gilmour cites, for example, Richard Larter’s images of his wife, artist Pat Larter, as “vivid, joyous evidence of the love and creativity they inspired in each other over their 40-year partnership. Richard’s portraits of Pat are love writ large.” Australian Love Stories reaches for love in its most expansive form. There’s the bond between parent and child; the intensity and trust of creative partnerships; the affection of deep friendship. There’s the acceptance and love of the LGBTQI+ community in William Yang’s photographs of the Sydney Gay & Lesbian Mardi Gras; Vincent Namatjira’s love for Country and pride in his cultural heritage; Davida Allen’s erotic fantasy drawings of actor Sam Neill (who the artist knew only through Neill’s roles on 1980s television). And there are romantic portraits, too. While some are of people we’d recognise—Nick and Susie Cave; Bob and Blanche Hawke; Joy Hester and Albert Tucker—there are many others, historical and contemporary, whose faces might be unfamiliar but whose stories are intimate, complex and fascinating. The exhibition, Gilmour says, “has very much been shaped by what we’ve lived through over the last 12 months.” A year of socialising via video calls has certainly underlined both the importance of connection and the power of images, but ultimately this is a timeless phenomenon; at the heart of what makes us human. —A NNA DUNNILL

Secret Communion Science, geometry, séances: the extraordinary spirit world of once-forgotten artist Hilma af Klint. W R ITER

Jane O’Sullivan

Commissioned by a spirit guide, Swedish artist Hilma af Klint spent a decade of her life painting 193 works for a spiralling temple. The temple was never built, and when she died in 1944 she entrusted the works to a nephew, instructing that they not be opened for 20 years. It was a protective act. The world, she thought, was not ready for them. These temple works were “far ahead of their time,” says Sue Cramer, the curator of The Secret Paintings, which comes to the Art Gallery of New South Wales (AGNSW) in June. “For a long time, her work was dismissed because it was spiritual, and therefore not art.” It has been a remarkable reappraisal. In 2012, when MoMA staged its canonical exhibition Inventing Abstraction: 1910-1925, her work was not even included. By 2018, the retrospective Hilma af Klint: Paintings for the Future was smashing attendance records at New York’s Guggenheim. Last year, her work was on the cover of the new book Abstract Art: A Global History. Cramer started work on The Secret Paintings in 2017. The Heide Museum of Modern Art curator collaborated with AGNSW’s senior curator of modern and contemporary international art, Nicholas Chambers, on the presentation of the exhibition in Sydney. The Secret Paintings ranges from af Klint’s early to late works, including botanical drawings and notebooks, but the focus is on the paintings she made between 1906 and 1915 for the temple. They are startling and extraordinary works. “They’re so outside the realm of what is expected,” Cramer says, pointing to the creative limitations on women artists at the time. Af Klint graduated from the Royal Academy of Fine Arts in Stockholm in 1887, where she had trained in landscape and portrait painting. She was also a skilled botanical artist. Her path seemed set—but in 1896 she joined a group of women who called themselves De Fem, or The Five,

and a new way of working began to open to her. While The Five held prayer meetings and seances, these events were not about contacting the dead. “It was more to be in touch with the spiritual world,” explains Cramer, “through philosophical and religious ideas relating to Theosophy and Rosicrucianism and other philosophical religions.” In the years since, af Klint has often been described as an outlier, but her interests were part of their times. Scientific discoveries had been prompting a wide awakening to the idea that there might be hidden or invisible aspects to reality. The Five recorded the visions they received in their sessions through automatic writing and drawing. For af Klint, these sessions gave her both the means and confidence to break with the training she had received at the Academy and find “a more abstract way” of expressing her thoughts and feelings, Cramer explains. “One of the spirit guides, Amaliel, commissioned Hilma to take on a task to do a series of paintings on the astral plane. She took on this great task—and she knew that it would be the great task of her life—and prepared herself to do it with many months of vegetarian diet and meditation. And then she started to paint.” Af Klint worked methodically in series, as though picking up ideas and examining them from all angles before moving onto the next. The Secret Paintings includes work from the landmark 1906 series Primordial Chaos. “It was regarded by af Klint as the very first body of work pertaining to this cycle of paintings for the temple, and it also includes her first

Hilma af Klint, The Ten Largest, Group IV, No. 3, Youth, 1907, tempera on paper mounted on canvas, 330 x 248 cm. courtesy of the hilma af klint foundation. photogr aph: the moderna museet, stockholm, sweden.

Hilma af Klint, Altarpiece, No.1, Group X, Altarpieces, 1915, oil and metal leaf on canvas, 237.5 x 179.5 cm. courtesy of the hilma af klint foundation. photogr aph: the moderna museet, stockholm, sweden.

“She took on this great task—and she knew that it would be the great task of her life— and prepared herself to do it with many months of vegetarian diet and meditation. And then she started to paint.” 38

Hilma af Klint, Group 1, No.26, Primordial Chaos, 1906, oil on canvas, 53 x 37 cm. courtesy of the hilma af klint foundation. photogr aph: the moderna museet, stockholm, sweden.

completely abstract paintings,” Chambers says. One is all compressed energy and spiralling lines; another is a more biomorphic shape, like an ear of wheat. The series sets the stage for a body of work about energy, life and psychic potential. “They’re quite small,” notes Chambers. “It’s a matter of months later, the following year, that she’s working on The Ten Largest. The ambition and the confidence that’s associated with making those kinds of leaps is really quite extraordinary.” This series, The Ten Largest, was painted in 1907. Each of the works is over three metres tall. “The scale is quite extraordinary when you think about what else is being produced at that moment in the European art world,” says Chambers. Cramer believes af Klint was inspired by the religious murals that she’d seen in Europe. “She travelled. She wasn’t the recluse that people thought she was,” Cramer says. The paintings in The Ten Largest follow a lifecycle, from childhood and youth to adulthood and old age. It begins exuberantly, with starbursts of colour and wonder. Adulthood is more meditative, and shown in looping, petal-shaped lines. “They’re incredibly enigmatic. The mystery of the paintings is definitely part of their charm,” says Chambers. Other series reveal the artist’s wide-ranging interests across science, maths, geometry and the natural world. The series The Swan, 1914–15, begins with black and white swans which, by the 17th work in the series, have become interlocking concentric circles. The Swan investigates oppositions, dualities and unions—it’s a body of work that is as much about

light as it is the struggles of human relationships. For Chambers, af Klint’s paintings for the temple show a “wonderful confluence of ideas about spirituality, new developments in science, and also an awareness of what’s possible in the world of art. We have these three things coming together.” “It’s really hard to understate the visual impact,” he adds. “They are paintings, particularly The Ten Largest, that speak to an artist with boundless creativity. They’re overflowing with ideas [and] come across as quite wildly experimental but, at the same time, I think they’re paintings that appear to be quite mindful of visual pleasure.” Awareness of af Klint’s work grew slowly once the 20 years had passed. The turning point came in 1986 when her work was included in an exhibition of spiritual art at the Los Angeles County Museum of Art—but this anthropological way of viewing her practice persisted. Then, in 2013, Stockholm’s Moderna Museet staged the first major retrospective of her work, A Pioneer of Abstraction. Critics Julia Voss and Jennifer Higgie, alongside Halina Dyrschka’s 2020 documentary Beyond the Visible, are among others who have helped shift understandings of af Klint’s work, and new research about her life and art continues to come to light. “For too long we’ve had narratives around the history of modern art and how it’s come about. It’s been too male-centred, obviously, but also defined in a certain fashion,” says Cramer. “Artists who are coming from different bodies of knowledge, like Hilma, enrich our story and our story needs to broaden and widen.”

Building a Collective Memory Constantly returning to the architecture of her childhood, Catherine O’Donnell’s remarkable drawings celebrate the everyday of suburbia. W R ITER

Steve Dow

Growing up on a public housing estate built in the 1960s at Green Valley, south-west of Sydney, artist Catherine O’Donnell remembers her family feeling lucky that they lived in their humble fibro bungalow. It had the same layout as many other houses in the neighbourhood—walking into a friend’s home was much like walking into your own. The construction of the houses, the formation of the fibro, and the configuration of the doors and wooden window frames are hallmarks of O’Donnell’s art today. “That architecture is imprinted in my brain,” she laughs. From these beginnings also came O’Donnell’s love for minimalism. Sometimes, her play with shadows—inferring what is not directly represented in the picture—can help her audience impose their own narratives on her art. “There were a lot of young families in those communities,” O’Donnell recalls. “We were disadvantaged in that there was just one bus service that would take us out of there. Not everybody had phones, not everybody had cars. But there were a lot of children to play with. “We didn’t have the infrastructure and a lot of people had to travel a long way to get to work. Yet you had to jump hoops to get in; you had to prove you would be neighbourly. You felt lucky to be in those places.” There was stigma about living in Green Valley, however. “When I was there, you were labelled by your

postcode. We were the ‘valley kids’, the ‘valley girls’. They did say not-nice things about us. But I loved it. I was happy.” O’Donnell’s drawings in compressed charcoal and graphite pencil return constantly to the ordinary suburban landscape of that childhood. Today, living in the Blue Mountains, O’Donnell works from her home studio most weekdays from late morning until about 10pm, particularly prior to her exhibitions, and sometimes on weekends. She also teaches drawing at the National Art School. Despite a lifelong “intuitive” talent for drawing, it was only in 2000 that O’Donnell formally learned to draw by enrolling in a TAFE course. Until then, she had been a laboratory technician, checking quality control, testing raw materials for antibiotics and analgesics, and had also worked in a school science department. “Drawing has always been the core of who I am but I was in the haze of four children growing up, running around after them and taking them to sports. When the last one went to school I thought, ‘There’s my time now to go and do something’. My husband suggested I do something that I really loved.” That something was art. “I loved it. It opened up the world for me. I went to art school not having any expectations. I didn’t think I would be where I am today; I didn’t think I would have travelled the world with my art practice.”

Catherine O’Donnell, Union Street Window #3, 2020, charcoal on paper, framed with museum glass, 76 x 47 cm. courtesy of the artist and dominik mersch gallery, sydney.

Catherine O’Donnell, Another day, 2021, charcoal on paper, triptych, 2 sections 63 x 26.5 cm and central section 63 x 100 cm. courtesy of the artist and dominik mersch gallery, sydney.

“Drawing has always been the core of who I am but I was in the haze of four children growing up . . . When the last one went to school I thought, ‘There’s my time now to go and do something’.” — C AT H E R I N E O’ D ON N E L L

O’Donnell says her work may be “subtly political”, but despite her working-class origins and her focus on mid-century, low-income housing, her intention was never to centre class politics in her art. “My intention was to do something that I loved, and this is what came out,” she says. Having bought her own first home decades ago—a fibro cottage, for $38,000—does she worry about housing affordability today? “I do. My children are going through that at the moment. I don’t know how they do it. A modest home around where we lived is $700,000 to $1 million. That’s phenomenal. They’ve got to have these mortgages and 30, 40, 50 years down the track they’re still going to be paying them off. “It is sad because it is out of the reach of a lot of people. It was the Australian dream, but I don’t know that it is as much as it was. Some of my children are renting, and the renters have had a hard time when

Covid-19 hit and they couldn’t pay their rent.” O’Donnell gets many heartwarming responses to people who look at her art, which celebrates the ordinary of suburbia. Some talk about their memories of living in a similar home, and remembering the crack a venetian blind made when prised open to peep through, or the wooden windows that won’t push up and open as they should. Occasionally, a builder will critique whether she has a certain detail correct. “You get all sorts of responses. That’s why I don’t like to impose anything on the viewer. I put my work out into the world. It is what it is, and it stands on its own. That’s why I won’t put [human figures] in because I want the viewer to engage with their own experiences, their own memories. Then it becomes a collective memory and shared experience.”

Catherine O’Donnell

Bringing the Outside In Australian artists with an intellectual disability have for decades been creating important, rigorous and playful art. Historically these artists have been pushed to the periphery— but not any longer. W R ITER

Tiarney Miekus

Emily Crockford is at the opening of the 2019 Salon des Refusés, a long-running Archibald spin-off for portraits that weren’t selected for the official exhibition. On display is Crockford’s intricately patterned, utterly vivacious portrait of artist Rosie Deacon. “There were so many different colours and creepy creatures, like a koala sitting on a cushion,” recalls Crockford of visiting Deacon. “I saw lots of colours in her studio, like [a] rainbow, and then I painted Rosie on a big canvas.” Titled Funky Jungle Rosie in her Pom Pom Zoo, the painting was hanging beside a podium where a respected member of Australia’s arts media was opening the exhibition. Crockford, who practices from Studio A, a Sydney-based supported studio for artists with an intellectual disability, was standing nearby. Right next to Crockford was Gabrielle Mordy, director at Studio A, who was expecting Crockford to be mentioned as an example of the exhibition’s diversity, especially with bold work ready to be gestured to. Instead, Crockford was asked to stand and wave to the audience. Would this ever happen, Mordy thought, to a neurotypical artist? The opening speaker further positioned the painting as a collaboration between Crockford and Deacon. Like any work submitted to the Archibald, it was painted by Crockford without assistance. Where had this assumption, that it was a collaboration and not Crockford’s own work, come from? There wasn’t any maliciousness, but there was a trademark unawareness of the intersections between intellec-

tual disability and contemporary art. Mordy remembers thinking, “God, we’re still at this point where the challenge is still getting the work into platforms where it can be critiqued against other work.” Despite Crockford being a respected Australian artist and a finalist in the 2020 Archibald Prize, this is one small example of the stigmas that belie artists with an intellectual disability in contemporary art. Yet we shouldn’t confuse this as a melancholic story—Australian artists with an intellectual disability exhibit widely both nationally and internationally, from artist-run spaces to commercial galleries, to major private and public collections. And the recognition goes beyond Australia: The New York Times declared the incredible, distilled pastel works of Melbournebased Julian Martin “a must see”, while renowned art critic Jerry Saltz cited Lisa Reid as a “strong voice of art” for her delicate and emotive works on paper. And yet, despite these achievements, there are still moments in which the legitimacy of the art must be persuaded, ensuring it’s not seen as recreation or art therapy: it’s about having it appreciated as art, in and of itself. This contemporary situation leads back to one historical phrase: ‘outsider art’. Coined in 1972 by art critic Roger Cardinal, it is the English translation of art brut, the French label meaning raw art or rough art, which was first uttered by artist Jean Dubuffet to account for art that happens outside official culture. Over the decades, the term has only served to obscure and degrade the very art it speaks of, pushing

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

PR EV IOUS PAGE: Emily Crockford, Funky Jungle Rosie in her Pom Pom Zoo, 2019, acrylic on canvas, 122 x 152 cm. Image courtesy of Studio A.

Meagan Pelham installing Love Owls and Mermaids Singing in the Rainbow Pop at the Art Gallery of New South Wales, Sydney, 2020. photogr aph: diana panuccio. photo courtesy of the artist, studio a and art gallery of new south wales.

it to the periphery, and revealing the normalising tendencies of the art world. Three of Australia’s most highly-regarded supported studios—Arts Project Australia in Melbourne, Studio A in Sydney and DADAA in Perth—do not use this label. Other small supported studios I spoke to also eschewed the banner. Today, the most neutral phrases are ‘self-taught’ and ‘outlier’ art: these aren’t perfect, but they are viewed as better alternatives to the historic labels of untrained, naïve, folk, art brut, amateur and primitive. While self-taught and outlier can’t account for the singular experience of an artist, the words often refer to creators who did not attend art school, have little to no formal art training, and who, for a variety of reasons pertaining to gender, class, race or age, have been pushed from the mainstream art world. It may also include artists with intellectual disabilities, mental health issues, migrant experiences, or a history of incarceration. And yet, the label outsider art is still popularly used. Mordy believes it’s related to romanticising the idea of artists who live ‘outside’ the world. “I think there’s this notion that artists from supported studios exist outside culture and exist outside influence and that that’s an ideal state, and that they just have this free access to the flow of creativity,” she explains. Such ideas ignore how the artists are influenced by the canons of art history and pop culture, their lived experience and capacity to digest the world, and the aesthetic skills that they hone and develop over decades. Most insidiously, it denotes a conservative desire for an unmediated link between expressiveness and creation—it’s the thinking behind the white male genius artist, ignoring the social context of how art is created. Art, however, is also a business. Sim Luttin, curator and gallery manager at Arts Project Australia, believes the label outsider art is also market-driven; a kind of marketing to sell self-taught art. “With so many recent social changes focusing on diversity and inclusion, to me, there doesn’t seem to be any other logical reason to propagate the term other than economic,” she says. “More and more, artists of all backgrounds and persuasions are being given access to the contemporary art world and, over time, marginalised artists will be given equal standing to their mainstream peers. So, the term outsider art is still a problematic term as it, in its most basic function, reinforces ‘otherness’ and outdated arts hierarchies.” The dismantling of these hierarchies often begins with supported studios. Across Australia, such studios are vital to giving space, resources and support to marginalised artists. Arts Project has over 150 artists attend weekly, while DADAA has 226 artists attend each week. Staff artists work with the attending artists, but they do not teach; the staff artists support, guide, propel, suggest. The talent and skill are within the artists.

While the choice of whether to identify as an artist or as an artist with an intellectual disability is individualised, many artists from supported studios want to be known as artists first and foremost. As Crockford says, “Seeing my work up makes me feel happy and proud, I get to share a space with other artists up on the wall with me.” Ceramicist and painter Mark Smith, who practices from Arts Project, wonders about distancing the artist’s biography from the art they produce. “I don’t know if you should actually merge the two,” he says. Jordan Dymke, who also practices from Arts Project, wants “recognition for my work.” He continues, “I want to really have the same opportunities as everyone else. I know that people sugar coat disability as, ‘Oh, we should give an opportunity to that person because they have a disability.’ I don’t want that.” Supported studios and galleries take such sentiments on board, and the language when communicating to the public is very much the language of contemporary art, not community art—and this is where galleries are crucial. One of the most important curators currently engaging with the history of self-taught art in the United States is Lynne Cooke—an Australian—who in 2018 curated the widely lauded, historically potent exhibition Outliers and American Vanguard Art at the National Gallery of Art in Washington. Outlier and selftaught art, writes Cooke in the catalogue, is a “field whose history has been fundamentally shaped by exhibitions,” with the implied message that curating and exhibiting is fundamental to appreciating outlier art as art. The United States is ahead of Australia in this appreciation. Yet artists with an intellectual disability can have difficulty accessing these platforms, which is why the galleries that accompany supported studios, like those at Arts Project and DADAA, are critical sites where the work is exhibited and made public. The next step is exhibiting at commercial and public galleries and museums. “I think part of the problem is the challenge to get the work into the landscapes where those people are seeing work,” says Mordy. She explains that many institutional curators find emerging talent in artist-run spaces and smaller commercial galleries, and part of Mordy’s mission is to position Studio A artists in these spaces, as well as prizes such as the Archibald. The aim is to have the work critically engaged with, and to be selected alongside neurotypical artists’ work. Arts Project, which is one of the top supported studios in the world, has a similar remit. Arts Project artists exhibit in galleries ranging from local artist-run spaces all the way up to international representation with respected commercial gallerists like Fleisher/Ollman in Philadelphia and Sonia Dutton in New York—as well as showing at spaces such as The Outsider Art Fair in New York, the National Gallery of Victoria (NGV) and National Gallery of

Listen to the FEM-aFFINITY interview series: artguide.com.au/podcasts.

Alan Constable, Not titled, 2020, earthenware; glaze, 13.5 x 23 x 21 cm. image courtesy of arts project australia.

Australia (NGA). In March 2021, Arts Project opened a new gallery space in Melbourne’s art precinct Collingwood Yards—importantly positioning the gallery within contemporary art peers, not solely within disability. Many Arts Project artists have high profiles, such as Alan Constable, who has practiced from Arts Project for 30 years, creating renowned ceramic cameras. He now sells the majority of his work internationally. As NGV curator David Hurlston brilliantly summed up in a video on Constable, “One of the things that sometimes I find grates a little bit is the term ‘outsider art’. I know it’s used quite widely in terms of art-historical speak and the way curators talk, but I think that when we’re looking at people like Alan Constable, his work is the work of a contemporary artist, and I think his work should be seen in that way.” Fostering such relationships with esteemed curators is central, as are wider partnerships for supported studios and galleries. At a practical level this involves government and disability services, but it also involves partnerships with cultural institutions, dedicated philanthropists, art world influencers, curators and neurotypical artists. Some critics have argued that self-taught artists represent a challenge to art institutions and conventional modes of curating. This is somewhat true,

Julian Martin, Not titled, 2020, pastel on paper, 38 x 28 cm. image courtesy of arts project australia.

but it’s also important to remember that self-taught art is often ignored by institutions altogether. In a recent Art Guide podcast series I produced called FEM-aFFINITY, which builds upon an exhibition of the same title that brings together neurodiverse and neurotypical female artists, I spoke with art historian Anne Marsh who concurred that outlier art has been entirely ignored by art institutions and that change, while slow, is also inevitable. David Doyle, director of DADAA, agrees, adding, “There’s a real interest in the diversity that arts and disability practice bring to our broader cultural landscape. Certainly 26 years ago that was a battle, but I think the whole diversity agenda has really helped change that.” It was only in 1986 that Australia first developed the Disability Discrimination Act, and around this time there was mass de-institutionalisation in Australia. “Previous to that there was a huge invisibility for people with a disability in Australia because they were institutionalised and there weren’t those sorts of mechanisms and policies like the National Disability Arts Strategy,” explains Doyle. “There was no funding that an artist with a disability could directly and easily apply for. Policy has played a significant role in the growth of arts and disability in Australia.” This increase in visibility is also tied to media, and writing about self-taught art in critical, profound ways.

DADAA artist mentoring. photogr aph: miles noel photogr aphy, 2020.

“Our challenge has been for the work to be written about at all,” says Mordy. “There’s writing on self-taught art,” she says, “but there’s not necessarily writing on the work itself and how it fits broader cultural themes.” While many self-taught artists may hesitate or be unable to articulate the reasoning behind their works (and this is something neurotypical artists also struggle with), there’s little external discussion on the art-historical value of the work. “That’s more the job of the historian or the critic to help to position it,” says Mordy. When this isn’t happening, it means that an entire field of Australian art is not getting historicised, critiqued and contextualised. Over the decades, a severe lack of critical curating and writing on self-taught art in Australia has pushed entire creative worlds to the periphery. In 2017 the Museum of Old and New Art (Mona) opened The Museum of Everything, an exhibition of self-taught art from across the world. Yet rather than reflecting on what was a highly affective, emotive, diverse exhibition, writers instead gravitated towards the showmanship of James Brett, director of The Museum of Everything. This may be valid, but it also discounted the art, and was likely safer conversation: there is no real critical or affective history of this kind of creating in Australia to draw upon. And when critical writing does take place, it often centres upon the supported studio as a whole, rather than the individual work of an artist (this is a

common exhibiting problem too). A new international digital publishing platform called Art et al is trying to address this. Launching in April 2021, it brings together platforms, writers and curators from the United Kingdom, Europe and Australia to commission critical writing on the work of self-taught and outlier artists in continental camaraderie: all of the aforementioned issues are felt beyond Australia. Yet things are changing. In the last few years major universities have begun undertaking expansive research in this field; there is a growing movement of young, vocal artists looking at agency and intersectionality as it pertains to arts and disability; and curators and institutions are beginning, albeit slowly, to curate self-taught art into high-level exhibitions. This is not merely an art-historical task, but also a moral one: without conjuring new levels of intellectual and emotional engagement to view and understand self-taught art, we risk losing all kinds of aesthetic understandings, thoughts and imaginations.

4 x 4 Artist Solos Rebecca Scibilia, Samraing Chea, Monica Lazzari and James MacSporran Arts Project Australia Gallery (Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC) 15 May—26 June

eX de Medici (with Wei Rong Wu), Calumny, 2020, watercolour, body colour (white) and gold leaf on paper, 114 x 124.5 cm.

“Nothing is singular; hybridisation increases complexity. Worlds run beside each other, crossing, colliding, uncrossing.” 50

Interview

W R ITER

eX de Medici

Tracey Clement

Before she became one of Australia’s most respected artists, eX de Medici was both a punk and a tattooist. The iconoclastic energy of the former, and the technical precision of the latter, can still be seen in the Canberra-based artist’s watercolour paintings, which combine delicate detail with bold social critique.

TR ACEY CLEMENT

You worked as a tattooist for many years. How has this experience shaped your practice as a painter? EX DE MEDICI

It takes years, lifetimes, to learn any medium in depth. Tattooing requires a particular skillset. It is precise, miniature. Mistakes are inexcusable, every millimetre must be attended to, and, importantly, a tattooist works entirely for someone else. I still do some work in the medium with people whose ideas interest me. TC

Your work is so redolent with symbols that it is often compared to Dutch still life painting. Is this a genre you consciously draw on? X DM

The 17th century European still life genre has been a powerful influence. In 1997 I travelled to the Rijksmuseum in Amsterdam to research this tradition. I was enthralled by the impossible surfaces, the precision of masking intent via symbolism—a great achievement also employed by contemporary Iranian artists—and the eternal night of the objects represented. These same qualities draw me to Islamic and European illuminated manuscripts, Tudor portraiture, Holbein’s paintings and woodcuts, and Ferdinand Bauer’s perfections of the natural world. TC

Your work often deals with hybridity—two things combining to make something new. One of the very first pieces I wrote as an art critic was on your Blue (Bower/Bauer) painting, 19982000. I remember noting the symbolism of the broken willow-pattern plate, a classic example

of hybridity… X DM

Blue (Bower/Bauer) was an exploration of the ongoing colonisation project that is Australia. The willow pattern is a classic example of [Western] Empire’s cultural and economic hijacking of tradition—in this case, Chinese ceramics. The broken willow-patterned plate references Thomas Stothard’s depiction of the departure of the women’s convict transport ship, the Lady Julian(a). My parents’ common ancestor, Mary Wade, was an 11-year-old child prisoner aboard this ship. Her death sentence in London was commuted to life in the colony. On arrival in Sydney, she was transferred to the Norfolk Island gulag. Austrian botanical illustrator Ferdinand Bauer produced a large body of work on the island, and I visited in 1996 and 1997, for three weeks each trip, in order to research elements of Blue (Bower/Bauer). TC

Some 20 years later you are still working with hybridity. Your latest solo show, Double Crossed, features impossible creatures: part moth, part weapon. X DM

Nothing is singular; hybridisation increases complexity. Worlds run beside each other, crossing, colliding, uncrossing. Unlikely and unrelated can be cleaved together by persuasion. TC

One of these hybrid moths, titled Covid’s Eyes, has a body made from, or infected with, the distinctive coronavirus shape. X DM

All of the [moth] species group in Double Crossed are

eX de Medici, Covid’s Eyes, 2020, watercolour and body colour (white) on paper, 114 x 119.5 cm.

unclassified but known as a subspecies of the micro Lepidoptera superfamily, Tortricidae. In my mind, I call this subspecies ‘Eyes of Buddha’, as the forewing pattern has a remarkable simulacrum to the Tibetan Thangka painting tradition of depicting the deity’s eyes. This picture was begun at the onset of the national lockdown in early 2020, so I gave the ‘Eyes of Buddha’ a Covid infestation. Aside from Covid isolation, artists have trained all our lives for this moment…I loved the lockdown. It worked. It was great. TC

For some 20 years now you’ve been working with the CSIRO-managed Australian National Insect Collection (ANIC), under the guidance of taxonomists and evolutionists Dr Marianne Horak and Ted Edwards. How did this begin? X DM

I was introduced to them by a mutual friend and artist, Lee Anne Crisp. I was merely looking for a blue species of butterfly endemic to Norfolk Island to add to Blue (Bower/Bauer), and was fascinated with the quiet, obsessive, welcoming and secure atmosphere of the Collection Halls at the Black Mountain CSIRO facility, the internationalist taxonomists and field scientists, and the gigantic world of our fauna (and therefore, our flora). Marianne and Ted welcomed me into their world, so I went on in, taking instruction from my mentors, learning the traditions of natural history painting and picking up some basic scientific language in which to define what I was looking at. The micro-moths are convenient to discuss dual evolutionary pathways of the natural world and human dominance. I have been open to entering unforeseen pathways throughout my working life. TC

Having access to the specialist knowledge of Horak and Edwards has clearly had an impact on your work. What effect do you think having an artist around has had on them? X DM

We have developed a symbiotic relationship. Science and art have vast historical ties. Artists, like scientists, are well trained in two occupational necessities: pattern recognition and curiosity. We are not enemies, as our government would have us believe. Marianne loves seeing the tiny moths she collected as a young Swiss scientist in New Guinea in the early 1970s have their first translation into the world. And I hope that over the years I have worked with

the CSIRO I have been able to make a contribution to a broader understanding of the organisation’s valuable ongoing work in our knowledge of the extraordinary biodiversity and delicacy of our region. TC

In 2019 you travelled to China and made a large collaborative landscape painting, Farmer and Foreigner, with fellow artist Wei Rong Wu. Tell me how this came about, and why you wanted to go to China? X DM

Given the animosity our expert propagandists generate over ever-changing Orwellian enemy/competitor nation states, I am always interested in who is on the list. Iran was on the old list. I have travelled to Iran numerous times and consider it the highlight of my life on the road. China is new on the list. I had never been to China, and Wei Rong was keen to show me her country of birth. I always produce work when I travel, so we decided to make something together, using materials of her choice—a portable 11-metre-long Chinese paper book, ink and brush—as we travelled inland from Shanghai. Wei Rong and I have collaborated again in Double Crossed. She has worked on two of my pictures, and I on two of hers. The joint works act as a language bridge between our simultaneous and separate shows at Beaver Galleries in May. TC

Norfolk Island, Holland, China, Iran: clearly travel plays a large role in your practice. But 2020 has been (for most) a year of not travelling. Canberra, where you are based, is the official seat of national power. How does this affect your conceptual concerns? X DM

Canberra is Ngunnawal land; I have lived here most of my life. I continue to live here by aesthetic choice. The city and its machinations have been a profound influence on my long-held interest in systems and apparatus of power, economics and authority.

Double Crossed eX de Medici

Beaver Galleries (81 Denison St, Deakin ACT) 6 May—30 May

Know My Name: Australian Women Artists 1900 to Now National Gallery of Australia (Parkes Place East, Parkes ACT)

Colouring the World Melding motifs from Chinese culture with Biblical imagery and her own experiences, Louise Zhang’s alluring work reaches far beyond the gallery. W R ITER

Sheridan Hart

National identity circulates from within a country to diasporas near and far. For Sydney-based artist Louise Zhang, Chinese culture flows through the nearness of her parents, travel to China and her art practice. Louise Zhang at the National Gallery of Victoria (NGV Australia) is a mini-retrospective. Comprised of five recent paintings and a sculpture, the exhibition is a collaboration between the NGV and cosmetics retailer MECCA, in which selected works were both adapted for MECCA’s sleek packaging and acquired for the NGV collection. The endorsement of each organisation was significant in different ways. “The support of the NGV was super exciting,” says Zhang. “To acquire work by an emerging Chinese-Australian artist and keep showing it as part of the collection; that isn’t token. It’s long-lasting support.” On the other hand, MECCA took Zhang’s work out of the gallery to a wider audience. “Sometimes art can be inaccessible,” says Zhang. “This project moved past the language barrier. People like my parents, who aren’t art-literate and don’t read English, they understood it straight away. They could bring it home, show friends, and say ‘this was made by my daughter’.” Growing up in Australia with Chinese parents, Zhang initially managed her cultural identity by compartmentalising it. “At home we were Chinese,”

she says, “but being Chinese wasn’t part of my school life. I felt pressure to fit in. I wanted to be a regular Australian, not Asian or even Chinese-Australian. I would get mad at the way we lived at home. My poor mum would make me food that fitted in at school. My lunchbox never had rice in it. I think she felt that pressure too, but expressed it differently.” This feeling was deepened by the Zhang family’s involvement at church: “Much of Chinese culture could not be celebrated or taught to me, because to Christian eyes it was seen as folky, idol-worshipping, or belief in the supernatural.” It was in art school that these partitions dissolved and Zhang’s excitement for Chinese lore was kindled. “Art practice allowed me to move beyond the person-of-colour tale and bring my culture to the forefront,” she says. In multimedia artist Jason Phu, Zhang found a kindred spirit. Phu’s quaint riffs on traditional ink painting acknowledged his culture with sangfroid. “It gave me encouragement to see him go ‘that’s who I am, I’m going to use it’,” remembers Zhang. “I saw that I could do it.” Zhang soon got to express her confidence at scale. Awarded a 2016 exhibition at central Sydney’s Gaffa Gallery, she worked with curator Luke Letourneau to develop New Year Rot!, a polychromatic adventure into the tradition of Nianhua (年画), pictures hung on the door at Lunar New Year. Zhang’s confidence as an

Louise Zhang , You are forgiven (Lotus), 2020, synthetic polymer paint on board, 120 cm diameter. proposed acquisition purchased with funds donated by jo horgan and mecca br ands, 2020. © courtesy of the artist and artereal gallery, sydney. photogr aph: zan wimberley.

Louise Zhang, Scholar mound study #3, 2019, foam clay, polyurethane, synthetic polymer paint, pigment, transparent synthetic polymer resin, wood, glass, flat back pearls, 43 x 36 x 35 cm. proposed acquisition purchased with funds donated by jo horgan and mecca br ands, 2020. © courtesy of the artist and artereal gallery, sydney. photogr aph: silversalt photogr aphy.

“The whimsical colours help to pad and digest the darkness.” 56

Louise Zhang, Devil’s lion, 2019, synthetic polymer paint on board, 120 cm diameter. proposed acquisition purchased with funds donated by jo horgan and mecca br ands, 2020, © courtesy the artist and artereal gallery, sydney. photogr aph: silversalt photogr aphy.

agent of subjective cultural expression was instated, and led to residencies in Beijing and Chongqing. Nianhua emerged in the Tang Dynasty, over 1100 years ago, later adopting the euphoric colour and mass production of communist propaganda. “They show chubby babies hugging fish, and peaches to represent good health and unity,” explains Zhang. “The motifs communicate with everyone, regardless of class or literacy.” Zhang first encountered the kitschy jubilance of Nianhua New Year posters in her aunt’s restaurant on Wenzhou, Qidu Island (涠洲岛), in the South China Sea (her ancestral home). Biannual visits afforded familial comforts: from viewing the grand, hand-printed tome of her father’s 400-year family history to the heart-warming flavour of her grandma’s hand-cut breakfast noodles. “The trips are a time to learn more about my relatives, the beauty of farm life, the land.” In the studio, Zhang meditates on different ways to articulate her life and ideas. Chinese motifs, from rolling cumulus to the flowers of herbal medicine, taught by her mother, trickle from her internal library and coalesce in splashes of cerulean, turquoise, coral, pink and indigo. Colour is important to Zhang. It recalls the peaceful naivete of childhood, and helps approach difficult subject matter; a torch shone into the dark. Sherbet-pink and lavender underpin Devil’s Lion, a 2019 painting based on a Bible verse in which the

devil prowls as a vicious beast. “The whimsical colours help to pad and digest the darkness,” says Zhang.

On History and High-Vis

With myriad references to museum curios, colonial landowners, and lashings of highlighter yellow, the aesthetic of Sydney-based artist Joan Ross is instantly recognisable. Since the late 1980s Ross has worked across video, sculpture, painting, installation and drawing. Responding to the work of colonial-era British painters like Thomas Gainsborough and Joseph Lycett, she is deeply critical of the heavy-handed colonial (and contemporary) approach to ownership and collecting. How these invasive practices have impacted Indigenous history is a primary concern of her work and was explored in Collector’s Paradise, a digital projection recently displayed across the façade of the National Gallery of Australia (NGA) in Canberra. Here, Ross shares the stories behind five recent works.

A R T WOR K B Y

Joan Ross 58

A S T OL D T O

Briony Downes

Joan Ross: Collector’s Paradise, 2021, video projection, National Gallery of Australia, Canberra. Know My Name project/Enlighten Festival.

JOA N ROSS: This video starts with moths being attracted to a flame. For me, moths going to the light are like humans and greed. I’ve used objects from the National Gallery of Australia collection to question how we collect. I’m very excited to have a work projected onto a museum that is essentially about criticising museum collections. There are many underlying themes in this work—consumerism, climate, colonisation. Colonisation is a central idea, but I also see colonisation as encompassing those other things as well. The moths start a series of tremors leading to rain, a flood, and eventually the building smashes down and shuts all the lights off, making way for nature to renew the landscape. Overall, I’m collapsing the colonial mindset. It’s a fun work to watch: it’s heavy with metaphor, it’s really meaningful and there were some beautiful moments in watching the audience.

Oh history, you lied to me, 2017, mixed media painting on paper. winner: 2017 sir john sulman prize, art gallery of new south wales.

JOA N ROSS: I often imbue a sense of emotionality in my work. It is almost what fuels it and allows me to get more pleasure out of it. This work is based on colonial history and museum collections, but it is also relating to a personal experience of someone actually lying to me. There are visual references to Sarah Stone’s late 18th century watercolours of objects in London’s Leverian Museum, a place where the halls and rooms go back and back like infinity. With the high-vis yellow, I started using it soon after 9/11 and insurance premiums were going up. People were being made to sign documents to commit to wearing fluoro colours for safety. It seemed to catch on like wildfire and everybody started wearing it—not just roadworkers and police but plumbers and tradies as well. It’s at a point where there is so much fluoro we no longer see it. People know the intrinsic power of that colour, so it not only holds fear, it holds power. When you are wearing it, you can do anything you want to the land without being questioned.

Fools rush in, 2019, glass, plastic, resin and acrylic paint.

JOA N ROSS: Two friends of mine modeled for these figures. I went to the National Institute of Dramatic Art (NIDA) costume department and borrowed shoes and outfits. I bought wigs and masks online. Really bland masks. We only had 10 minutes to dress up before we went to the University of Technology in Sydney where artist Louis Pratt 3D scanned everything and printed it out as a 3D sculpture. The night before, I made the mountain the figures are holding which I constructed from foam. The original is in my 2018 video I give you a mountain, and has graffiti all over it. The graffiti relates to Indigenous sites in the Wollemi National Park where someone had graffitied over ancient markings. In a broader sense, it’s about tagging and claiming ownership—people graffitiing on something that isn’t their territory. It is a colonial man giving another colonial man a mountain. I don’t think you can give away land that belongs to someone else. This is very clearly an Indigenous country and Indigenous people’s land. There’s no question.

Did you ask the river?, 2019. mordant family virtual reality commission, acmi collection. developed in collabor ation with dr josh harle at tactical space lab, sydney.

JOA N ROSS: When I make a work, I’m aware people want their place in it. My initial experience with virtual reality (VR) was that it was a self-centered space and not an easy place for making art. A few months later, [collaborator] Josh Harle and I were being interviewed by [artist] Giselle Stanborough and she asked a question about the relationship between VR and colonisation. After the interview my head exploded with ideas. Josh and I immediately applied for an Australian Centre for the Moving Image (ACMI) grant and got it done in a couple of hours. In Did you ask the river? you enter the VR as a colonial woman. Whatever you do causes destruction—when you reach for things you accidentally start knocking trees over. Cows come into view and start mooing; you throw hand grenades and factories appear and start to take over the landscape. If you pat the rabbits, they start multiplying. The more you touch them, the more they multiply. You wreck the world even though you didn’t mean to. When we get pleasure from things or feel we have power, we rarely want to stop what we are doing. We are complicit.

USD $379,000, 2019, mixed media on paper.

JOA N ROSS: For me, this work is about my distaste for people placing their value in what they see as rare. I began by looking up the most expensive handbags in the world. It’s like these objects can project the owner into a higher echelon. I find that disturbing. There is no true value in this designer world, it’s a very fake reality. Many of my works contain references to designer objects. In one of my videos I use a Louis Vuitton designer garbage bag, which I think epitomises this. I have a natural disinclination about our obsession with interior design, the social pressures around that kind of stuff—it’s not helpful to our soul. I also don’t like that Hermès is building a crocodile farm in the Northern Territory. I’ve had a big love for animals and insects my whole life. I’ve written poems about mosquitos. When I see trays of dead insects, butterflies, moths and birds, I don’t feel comfortable about it.

Land of the brokenhearted Joan Ross Bett Gallery (Level 1/65 Murray Street, Hobart TAS) 4 June—26 June

Dark Mofo

Narryna Heritage Museum (103 Hampden Road, Battery Point TAS) 16—22 June

Studio

“I can somehow walk the fine balance between the business world and the art world, and also the craft world.” — V I P O O SR I V I L A S A

PHOTOGR A PH Y BY

AS TOLD TO

Jesse Marlow

Anna Dunnill

Ceramicist Vipoo Srivilasa has a penchant for intricate and layered decoration that, he explains, is influenced by the ornate Buddhist temples he encountered growing up in Thailand. With an aesthetic he cheerfully describes as “more is more,” Srivilasa’s distinctive work also draws on European historical figurines and “a healthy dose of contemporary culture”. We chatted over cups of sencha tea in Srivilasa’s clean, bright warehouse studio in the suburb of Cheltenham, in Melbourne’s south-east.

PLACE

I’ve made this space really comfortable because I spend most of my time here, almost seven days a week. I come here about 7:30 in the morning and leave at 3:30 in the afternoon, go home, and do some shopping. Then I work on the computer, like writing or administration, in the evenings. Most of the time I’m just here; I live 10 minutes from here, so it’s really easy. Sometimes I go home for lunch—but I’ve found it kind of distracting, like you go home and it’s hard to come back again. So I bring my own lunch, or I’ll walk around the corner for a Vietnamese lunch. I used to have a studio in St Kilda, a shared studio. But then I bought a kiln and there was no space, so I had to find a place to work. I was looking for someplace near my house and there was nothing for rent—and someone suggested, “Why don’t you buy it?” Because back then, the monthly rent and the mortgage were almost the same; not the same, but close. I thought—I might just do it! Now I work alone, and I can do anything I want to the space. It’s just really, really good. This is my fourth year here. PROCE SS

I do a lot of sketching at home but, more and more, I try to do things here, just to separate the space. I normally use porcelain clay. It fires to 1200 degrees, so I get that real whiteness that goes really well with the blue colour I use. Recently, since the Covid lockdown, I feel like I have to reinvent myself. It’s just the pressure that I put on myself: I feel like now everybody is starting

from zero, and everything depends on how you’re going to emerge from the lockdown, and if you’re going to be just where you are, or you’ve become a butterfly. And I want to be a butterfly! I’ve invested in doing a lot of different things, experimenting. One thing I did is using colour on my work, so now I use less and less blue and white colour, but I use a lot more brighter colours. It actually is really hard because there’s so many choices! The blue and white, when you just have two colours, you just play with the tone, with the texture, with the patterns— but now you have endless choice. I’ve got a lot of projects that were pushed from last year. I’d spread it out really nicely, but everybody had to postpone: the first half of this year, this is the time that they’re free, take it or leave it. So it’s just like, “Okay, I’m doing it.” It’s actually really, really crazy. I was like, “How do I do this?” But I’m very organised, and I plan way in advance. I think I can cope with this. I have five galleries representing me: three in Australia, one in London and one in Bangkok. So that keeps me quite busy as well…but I think planning ahead helps a lot. And I think that’s how I can survive as a full-time artist, because if the one in London doesn’t sell well, then maybe the one in Bangkok will sell really well. It’s not putting all my eggs in one basket—I have five different baskets. I think that has made me understand the business side of art as well. I’m not just making art for art’s sake—it’s my full-time job, it’s how I make a living. I have to balance what I want to make. Luckily, what I

make is kind of what people like! I can somehow walk the fine balance between the business world and the art world, and also the craft world. I somehow navigate through these quite okay. You know, someone told me a long time ago when I first started, “Being an artist—it’s not easy. But if you stay long enough in the field, you will be recognised.” And I just didn’t understand that at all, when I first started. I just thought, like, “Oh, it’s just about how good your work is.” But then after 10, 15 years of being a full-time artist, I realised that is actually true—because when I first started, you know, I saw many ceramic artists that—I wouldn’t say competed, but we entered the same shows, we got shortlisted together, we got selected in these group shows all around the country and we were seeing each other’s work for a while. And then slowly they all kind of dropped away—I just don’t see that work anymore. I slowly realised, “Oh yeah…being a full-time artist is not just making good work.” There’s a lot of other things around it to make you last longer. PROJ EC TS

For the show at Warrnambool Art Gallery (WAG) I’m fixing broken ceramic pieces for people, to repair happiness or ‘re-joy’. We asked the local community to donate objects, and I gave Aaron [Bradbrook, curator of WAG] a task to do: I asked him, “Okay, you have to choose seven particular broken ceramics that affect your emotions, and then bring it to me and tell me why you’ve chosen it. And then I’m going to repair it.”

The objects are all sort of different things that I didn’t think I would get—a pot that has been dug up from the land, figurines, religious objects. I was thinking maybe a cup, a bowl, but actually no. When I saw the work and the stories that come with the pieces I was like, “Oh man, it’s so good that I just said seven pieces!” The work is really elaborate, and the stories that come with the work are really, really meaningful and also quite touching. And now it’s kind of a burden for me! Like, how can I make the work live up to the story that comes with the piece? It is quite stressful, more than I thought it would be—but it will be a fun challenge. I think each piece will be repaired with different processes, depending on the story coming with the piece. Some of the pieces I can see what it is going to be, but some, I just need time to sit with it. I’ve done a lot of community projects before, but not this involved—and not involving the curator as my gatekeeper. Having Aaron involved, it’s really changing the perspective of the whole project and of the objects as well. Aaron said something quite important too. He said, “This project is for people that are in a particular time and space that they are actually ready to let the object go.” So not everybody would come in with the object and let it go. You have to have someone who, at that particular time, is ready to let go of the object; and come to be part of this project.

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COMMENT

Artists United In an industry built on gratitude, is a labour union the missing foundation? W R ITER

Madeleine Thornton-Smith

For several years in my 20s, I played in a small indie band with some friends, playing gigs in local pubs around Collingwood and Fitzroy. The typical deal was about $100 a band plus a rider of beer, or if you were lucky (and could draw a crowd), a cut of the door. Once, we made the mistake of entering one of those ‘Battle of the Bands’ competitions at a venue on Chapel Street. We were encouraged to sell tickets to our friends at $30 a head. There was no rider, and no pay. Out of roughly ten bands playing that day, nine got through to the next round. As one of the organisers grabbed $300 out of my hand and shoved it in the till, I felt the sting of realisation: we’d been had. Exploitation like this is common in the music industry, where conditions are generally accepted as precarious and poorly paid. And yet, it could be argued, in the visual arts they’re even worse. The visual arts is an industry built on gratitude. Gratitude for exposure, gratitude for cultural capital. Artists ‘pay to show’ all the time—in fact for many galleries, it’s their business model. Not-for-profit and government-run institutions routinely pay their artists nominal fees rather than a living wage, if they pay at all. As a result, artists are often trained to consider their art as being separate from life, a trick that benefits those extracting profit from artists’ labour: if art isn’t ‘work’, then it doesn’t have to be remunerated. But why is this happening? Could it be—at least in part—because visual artists, unlike other industries, lack union representation? Some arts professionals such as performers, actors, writers, film-makers and musicians are covered by the Media, Entertainment and Arts Alliance (MEAA). Arts workers employed in state or council institutions may find coverage in the Community and Public Sector Union or the Australian

Services Union; printmakers and textile practitioners in commercial employment can join the Australian Manufacturing Workers Union. And yet freelance visual artists, independent curators, installation technicians and other arts workers fall through the cracks when it comes to union coverage. The solitary nature of art-making proves a challenge to artist collectivisation—but there have been various attempts at incorporating artists into Australian trade unions. In the 1980s, the Victorian branch of the Operative Painters and Decorators Union established an Artworkers Section for visual artists, which later merged with the CFMEU. A great achievement was the introduction of the Percent for Art scheme, requiring building projects to allocate one per cent of their budgets towards commissioning new artworks. In Sydney, artists Ian Burn, Nigel Lendon, Charles Merewether, Ian Milliss and Ann Stephen formed The Artworkers Union in 1979. Formally registered as a union in 1989, The Artworkers Union called for fair contracts, realistic fees for artists exhibiting in publicly funded exhibitions, affirmative action for women in the visual arts, improved conditions in art schools and rights to copyright. The Artworkers Union merged with the MEAA in the 1990s, and representation for the visual arts was eventually phased out. During the 1980s, associations sprang up across Australia to advocate for artworkers’ rights. These included the now-defunct Artworkers Alliance in Brisbane, as well as Artsource in Western Australia, Boomalli Aboriginal Artists Co-operative in Sydney, and the National Association for the Visual Arts (NAVA); the latter operates today as the peak body for the visual arts. However, there are crucial differ-

Illustration by Ben Juers.

ences between advocacy bodies and registered trade unions. NAVA lobbies for change in arts policy and sets recommended rates of pay and conditions, but as these standards are not legally binding, many institutions fail to meet them. And conflict of interest is common—art and craft associations frequently represent employers and galleries alongside artists and artworkers. How have artists overseas collectivised? In New York, W.A.G.E. (Working Artists in the Greater Economy) is a collective that has launched platforms such as the ‘W.A.G.E. Certification Program’, publicly recognising non-profit organisations that demonstrate a commitment to paying artist fees. Artists are then able to self-organise to negotiate fair compensation with not-for-profit institutions. WAGES FOR WAGES AGAINST is a Swiss campaign for the payment of artists by for-profit, not-for-profit and public galleries. This campaign demands full disclosure of gallery budgets, denounces ‘exposure payments’ and fights to reduce financial inequality and discrimination within the art sector. In France, there exists a social security payment for artists and creative professionals called the intermittents du spectacle. Performers, theatre

technicians and other artworkers who work a certain number of hours can receive a welfare payment to cover them in between intermittent contracts. This means, in theory, that arts professionals in France do not have to juggle unrelated jobs between major work engagements and are financially covered for down periods, contributing to greater job security and wellbeing. This initiative also improves societal attitudes towards the arts: culture is regarded as a public necessity, like health or education. In Australia during Covid-19, many artists benefited from JobKeeper or higher JobSeeker rates, and had the financial security to focus on their practices—a system operating almost like a temporary universal basic income. These case studies provide an exciting model for what could be done in Australia to pay artists who enrich the cultural lives of their communities. Artists are often taught that the arts scene is more battleground than community: failings are considered individual rather than structural. In the neoliberal world, artists are brands, and if they fail, the market has decided. Artists need to call for recognition, for better funding, for fair pay, for community. The grant system perpetuates a competitive environment where some artists win the ‘prize’ of getting

Awakening the Voice of the Drum A Bronze Age drum sets the beat for two artists intent on immersing audiences in Vietnamese culture. W R ITER

Giselle Au-Nhien Nguyen

In the West, so many objects of cultural significance from around the world are sequestered into museums and art galleries, put into a cabinet, and flattened to a pithy description of a line or two: name, material, year, function. The inner life of the object is stripped as it becomes an exhibit, frozen in time behind glass. Two Vietnamese-Australian artists are reclaiming life for the Đông So ̛n drum—a Bronze Age instrument with thousands of years of history. Multidisciplinary artist James Nguyen, and artist, archaeologist and composer Victoria Pham, are reanimating the drum in RE:SOUNDING. By allowing its voice to be heard, the artists are defying the exotifying way in which these objects are normally displayed. “This one instrument challenges and unravels this really reductive way of Western thinking,” says Nguyen. “You have to make things complex.” Nguyen and Pham both grew up in Western Sydney knowing stories of the drum through their parents, but often dismissed them—something that Nguyen says reflects the unconscious racist bias that affected him even as a child. “My dad is really into history, but as a kid, you’re like ‘what do you know?’” he says. “It’s this embedded mistrust of your parents’ knowledge because they don’t come from the institutions of worth and value in Australian culture.” While doing their own, separate PhD research on the drum, both Nguyen and Pham found that academic articles only referred to it as an instrument of fertility, when in fact it was historically used for warfare, harvest and much more. “The tendency for young archaeologists is to as-

sign a single cultural function to an object,” says Pham, who’s currently based in the UK. “But if we look at the objects that we use around us every day, they often have three or four functions. Reducing this drum in particular to one single line is such a normal practice that happens in galleries and museums. We’re trying to actively challenge that.” When the two were introduced by a mutual friend, creative sparks flew around their shared interest in the drum. The RE:SOUNDING collaboration began in 2018 as Nguyen and Pham dreamed up the multifaceted project, which has its heart in the Indigenous idea of rematriation—the reclamation of ancestral spirituality and culture, rather than the more physical repatriation. The collaborators worked with Melbourne musicologist Le Tuan Hung to learn more about the drum for the practical side of their research. Without much luck borrowing a drum from institutions to actually play, they bought one of their own at an auction. The pair then worked with percussionists Salina Myat and Adam Cooper-Stanbury to create an open-access library of drum sounds. Pham also composed pieces to be played on the drum, and commissioned musicians and artists from around the world, including Vietnamese experimental rock band Rắn Cạp Đuôi and Indonesian composer and musician Bagus Mazasupa, to create their own compositions using the library. “It was really cool to make this instrument come alive and explore it through ways that were contemporary and musical, and involved actual

James Nguyen and Victoria Pham, RE:SOUNDING. image courtesy of the artists.

“This one instrument challenges and unravels this really reductive way of Western thinking. You have to make things complex.” 74

James Nguyen and Victoria Pham, RE:SOUNDING. image courtesy of the artists.

tactile touching of the instrument,” Pham says. “When you’re trained as an archaeologist or someone who works in the gallery, you get to interact with these objects physically, but to open that door for the public was something that really pulled me into working with James.” RE:SOUNDING also comprises video works and textual responses, inspired by the drum’s sounds and the decorative patterns found on its surface, which depict scenes of Vietnamese life and war. It debuted online in July 2020 as part of BLEED festival, and had a physical iteration at Melbourne’s Footscray Community Arts Centre in January. Though there were originally plans to display the drum alongside the video works, the duo realised that sound had to be the focus. “The moment that we walked into the space at Footscray Arts Centre, the sound was the most important thing,” Nguyen says. “If you keep it minimal and you just let sound occupy the space, people can be in it and there’s a sense of immersion.” The project’s upcoming run at Samstag Museum

of Art in Adelaide will have two video screens showing performances of Pham’s compositions, and text-based information about the drum’s history available via QR code. Nguyen and Pham intend to continue evolving RE:SOUNDING by finding more opportunities to involve modern audiences with the Đông So ̛n drum, as well as opening the possibility for more ancient instruments to be re-sounded. “We’ve had conversations about building a musical archive and getting more musicians involved,” says Pham. “We’d like to involve more galleries and museums, and use this as a model of how we can safely engage with sonic artefacts from other cultures that they happen to have in their collection. This project is a way to talk about changing how collections are approached or accessed.”

RE:SOUNDING James Nguyen & Victoria Pham Samstag Museum of Art (University of South Australia,

Looking Good in Two Worlds How a remote arts organisation uses hairstyling and selfies to keep young people connected to Country. W R ITER

Timmah Ball

Straight Outta Wilurarra is a dynamic exhibition bringing work by Ngaanyatjarra young people from the Central Desert to Fremantle Arts Centre (FAC). The exhibition re-creates projects and workshops run by Wilurarra Creative, including a hair salon and selfie booth, as well as digital collages and photography. Based in Warburton (Mirlirrtjarra), and serving a dozen surrounding Ngaanyatjarra communities, Wilurarra Creative includes a library, internet café, hair salon, music studios and a creative workshop, all aimed at 16-30 year olds. In this very remote town more than 1500 kilometres inland from Perth, and 1000 kilometres from Alice Springs, the arts organisation is much more than just a creative hub: it’s a place for community, where people can connect, learn and share ideas without leaving Country. “People are very focused on the lands and strong language and culture that exist out here,” explains Wilurarra creative director Silvano Giordano. “We create self-directed learning and there are no requirements for people to be part of it seriously.” Through educational activities and employment outcomes—such as the social enterprise hair salon—Wilurarra Creative provides opportunities for Ngaanyatjarra youth without rupturing cultural and family links. With many people preferring to speak in Ngaanyatjarra, staying on Country is essential and allows young people to maintain cultural practices, spending time with family and elders while developing new skills. This framework moves away from creative development and polished outcomes as the primary goal, instead focusing on building strength and confi-

dence within the community. Giordano says that the program also fills a void left by a lack of other programming for young adults. “There’s no TAFE or higher education here,” he says. “There’s nothing really, so the activities that we do are about people getting involved in things like salon services or photography.” This vision and the range of activities available are successfully woven into Straight Outta Wilurarra. Alongside artworks such as self-portraits taken by young Ngaanyatjarra men, the gallery becomes an active space, inviting audiences in to re-creations of the Wilurarra hair salon and selfie booth. First presented as part of Adelaide’s Tarnanthi Festival in 2017, the selfie booth includes vibrant digital collages of desert landscapes, created by Ngaanyatjarra youth, that merge contemporary motifs with the natural environment. Audiences can choose different backgrounds and dress up using clothes from the styling station. The accompanying salon, with hairdressers ready to ‘style people up’, ensures that you are selfie-ready. The booth provides a fun and lively introduction to the unique modes of culture occurring amongst Central Desert communities where new talents connect with ongoing cultural practices. A key component of the exhibition is the launch of Alanya magazine’s second issue. ‘Alanya’ is Ngaanyatjarra slang for ‘looking good’, and the publication is an eclectic showcase of this, drawing boldly from both contemporary and cultural experiences—including fashion shoots, hairstyling,

Angelica McLean, Kunkga Kutju (One Girl).

“People are very focused on the lands and strong language and culture that exist out here.” 77

Kianna West, tjurturarra (Sister).

Keesha Ward, Untitled.

sport, and bush trips with elders. Through young people’s personal stories, the magazine powerfully shifts the stereotypes and prejudices towards remote Aboriginal people that often saturate the media—successfully challenging reductive images of poverty, hardship and incarceration by showing another view. This reckoning parallels the striking photographic self-portraits featured in the exhibition, where strong images of young men reflect who Ngaanyatjarra youth actually are. “My name is Clarabell Kenda Ward,” one young woman shares in Alanya. “I live in Patjarr Community all my life. I was living there before there was any houses. We were playing around and listening to the birds singing. I used to stay home and look at the sunset and all the camels coming in.” Ward describes hearing her Grandmother’s stories about Patjarr, and her love of “going out bush seeing the rock holes and digging for honey ants and goanna.” “Now they made a uniform for us to play softball and football like the other communities,” she says. “We are very small and far away so this is the first time we have had a softball team and we are proud to repre-

sent Patjarr.” Similar stories are featured throughout the magazine, highlighting how the community moves between two worlds, maintaining cultural ties and engaging with contemporary life. “We [Ngaanyatjarra people] live in a society, within a society. Cultural bloc within the Western world,” Derek Harris, chair of the Ngaanyatjarra Council, explains in Alanya. “The old people showing the traditional way of living, hunting for tirnka, marlu, nganurti but in this present day.” An overarching theme of both the exhibition and magazine is the involvement and leadership of participants: choosing images and helping to organise the event empowers them to share their ideas and gain skills. “Telling their own stories is something that they are really proud of,” Giordano says. The unique participatory exhibition invites audiences to experience the thriving culture, creativity and language of Ngaanyatjarra young people. Audiences will be inspired and Ngaanyatjarra youth will grow stronger from it.

Straight Outta Wilurarra Fremantle Arts Centre

Beyond the Beaches Fibreglass, neon, and solid gold: a new home for art on the Gold Coast. W R ITER

Andrew Stephens

HOTA, Home of The Arts, is pronounced “hotter”, which perfectly suits this gallery’s location, enjoying the Surfers Paradise climate. It also suits the calibre of artworks visitors are likely to experience there: having just re-opened, HOTA is not only championing diverse Australian artists, but will present significant international shows from the end of the year. The old HOTA, opened in 1986 as the Gold Coast City Gallery and housed within the Gold Coast Arts Centre, had about 500 square metres of space. Now, in its own purpose-built building costing more than $60 million, HOTA has more than 8000 square metres to play with, making it the largest gallery outside an Australian capital. Director Tracy Cooper-Lavery has been working on no fewer than five separate new shows running concurrently for the opening—not to mention the commissioning of outdoor sculptural pieces by artists Judy Watson and Ramesh Mario Nithiyendran. Cooper-Lavery spent some of her early curatorial career on the Gold Coast before taking up other regional gallery jobs, including at the highly respected Bendigo Art Gallery. Returning to head up HOTA in 2016, she has been impressed with the way the strong visual arts community on the Gold Coast and hinterland has sustained itself and strongly developed since she was there in the 1990s. “After so many years in Bendigo and other

places, coming back and seeing artists who have stayed and continued their careers here has been wonderful,” she says. “But there is also a whole new wave of artists who identify with the Gold Coast and are happy to make it their home and grow the creative culture here.” Cooper-Lavery says the artistic bent of the Gold Coast runs in tandem with an inherited sensitivity to the region’s reputation, where locals continue to question “who we are as a community, and are we just about beaches and theme parks and holidays”. Evidently it’s more than that: the opening shows include Solid Gold, which presents “arts from paradise”, a collection of 19 locals with strong Gold Coast associations, and Hyperaware, taking in 20th-century art stars such as Ben Quilty, Nell and Sally Gabori. Other shows include World Upside Down in the children’s gallery, as well as other shows across three floors drawing on the 4400 works that have been amassing in the Gold Coast City Collection since the 1960s. Cooper-Lavery is also working on international shows, developing relationships with big institutions such as London’s National Portrait Gallery, mindful of the uncertainty the pandemic has instilled around travelling exhibitions. That said, the Contemporary Masters from New York: Art from the Mugrabi Collection show is set to open in November. “Contemporary Masters will be exciting and a

Linde Ivimey, In the Shallows, 2013, acrylic resin, steel, woven vertebrae, dyed cotton, and shellac. donated through the austr alian government’s cultur al gifts progr am by linde ivimey 2015. image courtesy of the artist and martin browne contempor ary, sydney.

Richard Bell, The (Day) Dreamer, 2004, synthetic polymer paint, gravel, and binder on canvas. donated through the austr alian government’s cultur al gifts progr am by gay sands 2017. image courtesy of the artist and milani gallery, brisbane.

“People will go away thinking: ‘I never expected to see that here’.”

Ramesh Mario Nithiyendran, Double-sided avatar with blue figure, 2021. photogr aph: alex chomicz.

no-brainer to be the first international show, with artists such as Andy Warhol, Keith Haring, Jeff Koons and Jean-Michel Basquiat—a lot of names people will recognise. We are ensuring that the exhibitions we develop are really accessible, as undoubtedly we are going to have a lot of new audiences to the gallery. People will go away thinking: ‘I never expected to see that here’.” They’ll think the same about Nithiyendran’s new public art commission, a six-metre-tall sculpture installed at the HOTA entrance that consists of a surprising mix of materials: bronze, fibreglass, concrete and neon, with some of the bronze clearly cast from polystyrene. Nithiyendran describes Double-sided avatar with blue figure, 2021, as being like a guardian figure. While he is certainly used to working on a large scale, for this work the artist decided to toy with the use of materials, the idea of the monumental, and the way outdoor figurative sculptures are perceived, especially given that so many of them in Australian cities are invested with a traditional colonial history and a weight of murky meanings. “Globally with public sculpture, people are thinking more about the framework of multiple, parallel or contested histories,” Nithiyendran says. “Something

lots of artists and those interested in material culture have been scrutinising has been the representation of figures, and especially of idealised historical figures, in public spaces.” Within an Australian context, as the artist says, the sculptures of old use their scale and monumentality to sanction certain values and histories “that aren’t so congruent with plurality and multiculturalism and what contemporary Australia stands for”. Nithiyendran upturns that with the use of his comic-book figurative work, and the way it embraces a smaller figure joyfully wrought in neon; its polystyrene textures and highly chromatic surfaces “make it look like a little model that has been upscaled”. As the artist says, “That’s where we can start being more imaginative with the types of sculpture we put in public spaces.” These interests of Nithiyendran’s mesh wonderfully with the underlying intent of the re-imagined HOTA—to present the unexpected and the challenging in a way that both traditional and casual gallery visitors might not have envisaged experiencing on the Gold Coast. It’s not the place it used to be. HOTA Gallery, Home of the Arts

June 3-22

DRESS CODE:

PATTERN Melanie Cooper, Max Callaghan, Simone Kennedy, Mady Stentiford, Mike Fleming

image: Simone Kennedy, The Visitor

exhibition in association with...

Scammell Auctions Art, Fashion & Design Auction Monday 21 June at 6pm

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28 Aug — 24 Oct 2021

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Ballarat Internation Foto Biennale 2021 Exclusive to Ballarat Linda McCartney Retrospective curated by Sir Paul McCartney, Mary McCartney & Stella McCartney

Major Partner Government Partners Major Venue Partner

Linda McCartney, Jimi Hendrix, London, 1967

Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative.

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+ Be immersed in photography. 60 days of exhibitions & events showcasing works by Australian & international artists in 100+ venues across Ballarat and surrounds.

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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.

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I AM A HEART BEATING IN THE WORLD DIASPORA PAVILION 2

Presented by 4A Centre for Contemporary Asian Art and International Curators Forum in partnership with Campbelltown Arts Centre Artists Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes Curated by Adelaide Bannerman, Mikala Tai and Jessica Taylor Exhibition dates 22 May - 25 July 2021 Venue Campbelltown Arts Centre, New South Wales 1 Art Gallery Rd, Campbelltown NSW 2560 4A.com.au | c-a-c.com.au | internationalcuratorsforum.org

Located on Dharawal land, Campbelltown Arts Centre is proudly owned by the people of Campbelltown. A cultural facility of Campbelltown City Council, assisted by the NSW Government through Create NSW and by the Australian Government through the Australia Council, its arts funding and advisory body. Campbelltown Arts Centre receives support from the Crown Resorts Foundation and the Packer Family Foundation and the Neilson Foundation. Image credit: Zadie Xa, Child of Magohalmi and the Echoes of Creation (2019), video still, commissioned for Art Night London 2019. Image by Benito Mayor Vallejo.

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Campbelltown Arts Centre One Art Gallery Rd Campbelltown Open daily, 10am – 4pm 02 4645 4100 C-A-C.com.au

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

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KEEP INFORMED – CONNECT WITH US

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CUR ATED BY NINA MIAL L

27 MARCH – 11 JULY 2021

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

EXHIBITION SUPPORTERS

MAJOR PARTNERS

PUBLIC PROGRAM SUPPORTER

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Light Gestures: Samara Adamson-Pinczewski TOWN HALL GALLERY SAT 17 APRIL – SAT 3 JULY 2021 boroondara.vic.gov.au/arts

‘Light Gestures: Samara Adamson-Pinczewski’ features works from the artist’s 20-year career alongside new paintings and sculptures commissioned by the Town Hall Gallery. Image: Samara Adamson-Pinczewski, ‘Around the Corner 2’, 2019, acrylic and iridescent acrylic on ABS resin (SLA), 40 x 15 x 38.5cm, private collection, Melbourne, image courtesy of the artist and Charles Nodrum Gallery.

HAWTHORN ARTS CENTRE 360 Burwood Road, Hawthorn, Victoria 03 9278 4770 boroondara.vic.gov.au/arts

Hubert Pareroultja, 2021, Ellery Creek Big Hole, Mparntwe Way, NT, Watercolour on Arches paper, 70 x 100cm

HUBERT PAREROULTJA Tnagkara Nuka Cultural Dreamings

27 May – 5 June, 2021

12 – 14 Meagher Street Chippendale \ NSW \ 2008

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call for entries 10 may—20 june 2021 open to australian visual artists working in any medium $25,000 prize pool exhibition 9 october—18 december 2021 institute of modern art, brisbane

Nabilah Nordin, Anti-Poem, detail, 2020. Image courtesy of the artist.

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PAUL PARTOS: Sgraffito 26 June - 17 July

CHARLES NODRUM GALLERY www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria 3121 Image: Paul Partos, photographed by Merrilyn Partos, New York, 1971 charlesnodrumgallery.com.au

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Incinerator Art Award Art for Social Change Call for Entries 1 May—30 May 2021 Free entry The Incinerator Art Award is the Incinerator Gallery’s annual contemporary art prize inspired by the theme of art for social change. Open to all visual art forms, the award welcomes submissions from artists who interrogate contemporary culture with practices that either overtly engage with activism, or that operate in more subtle ways to advocate for social change. For full terms and conditions, and to apply, visit incineratorgallery.com.au /incineratorgallery

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/incinerator_gallery

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K A R L A M A RC H E S I 2 7 A P R T O 1 5 M AY

WENDY SHARPE 1 8 M AY T O 5 J U N

M I R A N DA S KO C Z E K 8 TO 26 JUN

K Y L I E B A N YA R D & A M B E R W A L L I S 29 JUN TO 17 JUL

S U Z A N N E A RC H E R 20 JUL TO 7 AUG

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BAYSIDE ACQUISITIVE ART PRIZE $15,000 Established in 2015, the Bayside Acquisitive Art Prize at Bayside Gallery is a celebration of contemporary Australian painting. $15,000 Acquisitive Prize $4,000 Local Art Prize $1,000 People’s Choice Award Finalists include Benjamin Aitken, Karima Baadilla, Alec Baker, Max Berry, Alison Binks, David Brian, Magda Cebokli, Ash Coates, Brett Colquhoun, Jarryd Cooper, Emma Coulter, Marcel Cousins, Claudia Damichi, Noni Drew, Emily Ferretti, Martin George, Bob Gibson, Julia Gorman, Simon Grennan, Rose Anna Hamnes, Euan Heng, Kez Hughes, Nancy Nyanyarna Jackson, Tracey Jones, Linda Judge, Dena Kahan, Belem Lett, Travis MacDonald, Tim McMonagle, Patsy Mudgedell, Betty Muffler, Sally M. Nangala Mulda, Ivan Namirrkki, Saffron Newey, David Ralph, Anna Rowbury, Brad Rusbridge, Bryan Spier, Darren Wardle, Alice Wormald, Michelle Zuccolo.

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Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery

@baysidegallery

Image credit: Dani McKenzie, Camp 2019, oil on linen, 61.5 x 87 cm. Bayside City Council Art and Heritage Collection. 2019 Bayside Acquisitive Art Prize Winner.

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Kate Elsey UNSCRIPTED 24 April - 16 May Subiaco Gallery

Kate Elsey, ‘River of Leaves’ 2021, Oil on linen, 135 x 300 cm

Tony Hewitt CONTINUUM 22 May - 13 June Subiaco Gallery

Tony Hewitt, ‘Ebb’ 2021 [detail] ed. 15, Pigment print on fine art paper, 111 x 110 cm

Jo Darvall WANDOO 5 - 27 June West Perth Gallery

Jo Darvall, ‘Mooro Katta’ 2021 [detail] Oil on canvas, 182 x 192 cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au

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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

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creativehealth.org.au 31/03/2021 1:27:45 PM

A–Z Exhibitions

MAY/JUNE 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

mccullochandmcculloch.com.au

VICTORIA

@14 www.at14.com.au 14 Langridge Street, Collingwood, VIC 3066 [Map 3] 03 9088 2222 Tues to Sat 11am–5.30pm. EXHIBITION SPACE FOR HIRE Now taking bookings. Prominently located in the heart of Melbourne’s cultural precinct, metres from the corner of Smith and Gertrude Streets. Floor space of 150 sqm suitable for art exhibitions, product launches, hospitality events, photo shoots etc. Track hanging system and dimmable LED lighting.

Ongoing The Story of the Moving Image From the first projections and optical illusions, to the birth of film and beyond, moving images have the power to spark imagination, share stories and shape history. Discover how inventors, innovators and artists at the turn of the 20th century wielded light, split time and captured motion, heralding a technological revolution that continues today.

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.

Gabriella Hirst, Darling Darling, still, two-channel video installation, digital video, sound. 11 February–30 May Darling Darling Gabriella Hirst

Chris Langlois, Silver Sea 2, oil on linen, 137 x 153 cm. Image courtesy of the artist and Gould Creative.

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.

Mike Parr, Towards an Amazonian Black Square, 2019, performance, Carriageworks, Sydney. Photograph: Mark Pokorny© Mike Parr. Courtesy of the artist and Anna Schwartz Gallery. 1 May—31 July Half Way House Mike Parr

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

Chris Langlois, Sea 11, oil on linen, 168 x 198 cm. Image courtesy of the artist and Gould Creative. 1 May—29 May Gould Creative presents: Deep Blue Sea Chris Langlois

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. Located in the heart of Melbourne’s Fed Square, ACMI (formerly Australian Centre for the Moving Image) celebrates the wonder and power of the world’s most democratic artform – fostering the next generation of makers, players and watchers.

Marc Davis, Sleeping Beauty, 1959, concept art gouache and ink on paper. 13 May–17 October Disney: The Magic of Animation Discover the creativity and innovation of almost 100 years of Disney Animation in ACMI’s latest Melbourne Winter Masterpieces exhibition. Shown in Australia for the very first time, this exhibition contains original sketches and rare artworks from 1928 to the present day, including the latest release Raya and the Last Dragon, exclusive to Melbourne. See over 500 artworks from your favourite animations. Don’t miss the chance to see how animators use colour to express emotions, and the technical skill of crafting character and storytelling. You can even step inside a scene from the Disney classic Snow White and the Seven Dwarfs.

Tjunkaya Tapaya, 2017. Photograph: Angus Lee Forbes. 1 May—18 July Obsessed: Compelled to make An Australian Design Centre (ADC On Tour) national touring exhibition, presented with assistance from the Australian Government Visions of Australia program. 111

CALL FOR ENTRIES

DEAKIN UNIVERSITY CONTEMPORARY SMALL SCULPTURE AWARD 2021 This annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. One outstanding work will be awarded $10,000 and become part of the Deakin University Art Collection. The winner will be announced at the opening of a six week exhibition of finalists’ works.

$10000 ACQUISITIVE SCULPTURE PRIZE

FREE ENTRY FOR MORE INFORMATION VISIT

ENTRIES OPEN

ENTRIES CLOSE

deakin.edu.au/art-collection/ smallsculpture@deakin.edu.au

PHONE

Monday 17 May

Friday 9 July

ARTISTS NOTIFIED

03 9244 5344

Friday 30 July

Deakin University CRICOS Provider Code: 00113B

deakin.edu.au/about-deakin/locations/campuses/melbourne-burwood/art-gallery

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.

One of Australia’s leading photographers takes you into the tantalising world of the still-life. A Monash Gallery of Art (MGA) Travelling exhibition. 27 March–22 August Lindsay Family: Copland Conservation Newly conserved works from the gallery’s collection of works by Lionel, Norman, Ruby and Daryl Lindsay. 1 April–9 May VAMP Collective: NEST The VAMP (Visual Artist Mothers Posse) Collective are alumni and current students of Federation University Arts Academy. A Backspace Gallery exhibition. 3 April–1 August Morris Cohen Intriguing pastel landscapes by Ballaratborn artist Morris Cohen, a forerunner of the Tonalist artists of the 1920s.

22 May–1 August Kait James: Hang us out to dry Wadawurrung artist Kait James uses embroidery to reclaim Aboriginal-themed calendar tea towels. 14 November 2020–30 May Glenn Morgan: Global warming A 10-metre-long painting documenting extremes in weather and natural disasters. Until 12 June Bockas, locks and whiskers A celebration of hair, on the head, face or body. Part of Ballarat Heritage Festival. 24 June–1 August Nyagak Yang Exhibition of works by Ballarat-based South Sudanese - Australian artist Nyagak Yang to coincide with Refugee Week. Backspace exhibition.

1 May–1 August Out of the darkness: A survivor’s journey Works created, collected and commissioned by a survivor of child sexual abuse. Catherine Woo, Corallium, 2020, acrylic and pigment on aluminium, 120 x 120 cm. Image courtesy of the artist and ARC ONE Gallery.

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

20 April—22 May Vibrant Matter Catherine Woo

Carol McGregor, Wreath for Oodgeroo, 2020, possum skins, charcoal, ochre, binder medium, waxed thread. Courtesy of the artist. Photograph: Carl Warner. 4 May–24 July Carol McGregor: Wreath for Oodgeroo

Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 12 noon–5pm. See our website for latest information.

A possum-skin cloak decorated by Brisbane-based Wadawurrung artist Carol McGregor in honour of poet and artist Oodgeroo Noonuccal (Kath Walker). Part of Ballarat Heritage Festival. Guan Wei, Yin yang 0.1, 2020, acrylic on canvas, 101 x 108 cm. Image courtesy of the artist and ARC ONE Gallery. 26 May—26 June The Digital Age Guan Wei

13 May–20 June The Frolic Festival Art Show: Dark rainbow Part of Ballarat’s annual LGBTQI festival. Backspace exhibition.

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. 20 February–16 May Next Gen 2021: VCE art and design The annual exhibition of Year 12 Art and Design students from across Ballarat and region. 27 March–4 July Robyn Stacey: As still as life

Kyoko Imazu, Dandelion, 2020, papercut. 17 April—27 June ArtSpace at Realm: Mayflies and Stars: Kyoko Imazu Margaret Strutt-Davies, Wheels, 1968, detail, linocut on paper. Gift of Mrs M Strutt Davies, 1991. Collection of the Art Gallery of Ballarat. 22 May–1 August Body moving Works from the collection which celebrate activity and making the most of the body.

Kyoko Imazu creates imaginative and fantastical worlds through her intricate and highly masterful paper-cut technique, along with intricate artist books 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 113

ar t g ui d e .c o m . au ArtSpace at Realm continued... stage. Imazu is represented by Australian Galleries, Melbourne and Sydney and Beaver Galleries, Canberra. 12 April—4 June Maroondah Federation Estate Gallery: Light and Shadow: 26th Annual Mayoral Art Exhibition The Annual Mayoral Art Exhibition is a fundraiser for the Croydon Branch of the Bone Marrow Donor Institute and is supported by Maroondah City Council and the Ringwood East/ Heathmont Community Bendigo Bank. The theme for the 26th Annual Mayoral Art Exhibition is Light and Shadow, inviting artists to be inspired by the dynamic qualities of light, shade, chiaroscuro and reflection. This all-inclusive salon exhibition features creative interpretations across a diverse range of media encompassing both contemporary and traditional arts practice.

Arts Project Australia www.gallery@artsproject.org.au Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Tue to Thu 11am–6pm, Sat and Sun 12pm–4pm or by appointment. See our website for latest information. Fuelled by an unwavering belief in our artists, we’re buoyed by the creativity and authenticity that exists in our space and heartened by those who delight in sharing it. We believe that art is serious, but making it can be fun. The individual creativity triumphs over conformity and divergent voices make life much more interesting. That art is about revealing ourselves and creating meaningful connections – between artists, staff artists and art lovers. Our experience will always be shared, our knowledge passed on and our studio, bound by creativity, integrity and generosity in equal measure. We believe in making a mark that matters. We believe in art as it should be.

Samraing Chea, A Semi-trailer Truck with a Tanker Acehieved the Small Town to the Gas Station, 2019. Courtesy of the artist and Arts Project Australia, Melbourne. 15 May—26 June 4 x 4 Artist Solos Rebecca Scibilia, Samraing Chea, Monica Lazzari and James MacSporran. 114

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.

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 is developed by ACCA and IMA directors Max Delany and Liz Nowell working in collaboration with guest curator Lisa Waup and is also showing at the IMA, Brisbane from 17 July–19 September.

The Australian Centre for Contemporary Art (ACCA) plays an inspirational and critical role investing in our artistic and wider communities, leading the cultural conversation and setting the agenda for contemporary art. Our mission is to Do Art Differently – to challenge, connect and resonate – so that ACCA becomes the go-to place to engage with contemporary art now: a platform for artists, and a centre for the exchange of ideas, to reflect and inspire positive change in people and communities. With a long-standing tradition of adventurous, provocative and ambitious programming, ACCA has an outstanding track record propelling artists’ careers, and a significant legacy of major commissions which continue to circulate and influence the understanding, appreciation and recent history of contemporary art. Agostino dei Musi, Apollo and Daphne, 1515, engraving, 23.0 x 17.0 cm. Collection: Art Gallery of New South Wales, purchased 1937. Photograph: AGNSW.

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 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

26 June–29 August A Biography of Daphne Becky Beasley, Erik Bünger, Lauren Burrow, Fabien Giraud and Raphael Siboni, Gabrielle Goliath, Mathew Jones, Jill Magid, Nicholas Mangan, Inge Meijer, Jean-Luc Moulène, Ciprian Muresan, Agostino dei Musi, Ho Tzu Nyen, Jean Painlevé, Roee Rosen, Patrick Staff and Candice Lin, Mona Vatamanu and Florin Tudor, Anthonie Waterloo and Katie West. A Biography of Daphne casts the figure of Daphne, the nymph who turned into a tree to evade Apollo’s assault, in relation to an extended investigation of metamorphosis, hybridity and entanglement in contemporary art, and of the crises separating the ‘figures’ and ‘grounds’ of today’s visual, political and ecological environments. Developed by Guest Curator Mihnea Mircan, A Biography of Daphne seeks to visualise metamorphosis via juxtapositions between newly commissioned and existing contemporary and historical works, in a polyphonic conversation about the integrity and vulnerability of bodies, their performative or prosthetic extensions, about technological becomings, and alliances across species that open identity to the possibility of a radical othering.

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Bayside Gallery → Dani McKenzie, Camp, 2019, oil on linen, 61.5 x 87 cm. Winner of the Bayside Acquisitive Art Prize 2019.

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.

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.

Bayside Gallery www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. 13 March—9 May Sing An immersive and poetic installationby 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

Hayley Millar Baker, I screamed aloud (I Will Survive), 2020. Image: Courtesy of the artist. 9 March—21 May Weaving Futures

Bringing 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.

14 May–4 July Bayside Acquisitive Art Prize 2021 Finalists include: Benjamin Aitken, Karima Baadilla, Alec Baker, Max Berry, Alison Binks, David Brian, Magda Cebokli, Ash Coates, Brett Colquhoun, Jarryd Cooper, Emma Coulter, Marcel Cousins, Claudia Damichi, Noni Drew, Emily Ferretti, Martin George, Bob Gibson, Julia Gorman, Simon Grennan, Rose Anna Hamnes, Euan Heng, Kez Hughes, Nancy Nyanyarna Jackson, Tracey Jones, Linda Judge, Dena Kahan, Belem Lett, Travis MacDonald, Tim McMonagle, Patsy Mudgedell, Betty Muffler, Sally M. Nangala Mulda, Ivan Namirrkki, Carlos Namunjdja, Saffron Newey, David Ralph, Anna Rowbury, Brad Rusbridge, Bryan Spier, Darren Wardle, Alice Wormald, Michelle Zuccolo.

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. 20 March—11 July Mary Quant: Fashion Revolutionary Bendigo is the exclusive Australian venue for this exhibition from the Victoria and Albert Museum, London. The exhibition explores the years between 1955 and 1975, when Mary Quant revolutionised the 115

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VICTORIA 13 May—30 May Iceland Black and White Scott Probst

Bendigo Art Gallery continued...

13 May—30 May DIALOGUE Brianna Fantis 13 May—30 May Walking with Goddesses and Mythical Creatures Mark Thomson

Mary Quant and Vidal Sassoon, 1964. © Trinity Mirror / Mirrorpix / Alamy Stock Photo. high street, harnessing the youthful spirit of the sixties and new mass production techniques to create a new look for women. Drawing on the V&A’s extensive fashion holdings, Dame Mary Quant’s Archive and private collections, the exhibition brings together over 110 garments as well as accessories, cosmetics, sketches, photographs and even Quant’s own line of fashion dolls, known as Daisy dolls, a rival to Barbie.

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. BLINDSIDE provides unique experiences for artists and their development, always striving to expand the sphere of artistic practice and empowering artists to see into fruition bold and spectacular ideas. We provide the opportunity for audiences to see the breadth of contemporary art practice from sculpture, drawing, painting and performance art, through to new media, video, sound, installation and craft. Until 15 May Spawn Rebecca Jensen Until 15 May Momentum: Chappala Nat Grant 19 May—5 June Mira Oosterweghel

Spencer Lai, Untitled, 2016, ice skate blades, Prada Amber pour Homme bottles, dried seahorse. Photograph: Christo Crocker. Courtesy of the artist. 9 June—26 June All Worlds Are Flat Liam Denny, Tara Denny, Lucy Foster, Lou Hubbard, Jasper Jordan-Lang, Spencer Lai, Cezary Poniatowski, Piotr Skiba. Curator Liam Denny.

13 May—30 May In Ancient Times Ellisa Foster Openings Friday 14 May, 6pm–9pm. 3 June—20 June Road of Endurance Caro Liddell 3 June—20 June Liminal Hybridity Bryan Mew and Clarine Wilmar.

9 June—26 June Wandering Amid the Phantasms Ara Dolatian

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. 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 13 May—30 May Hey, my threads baby! Lucas Geor 13 May—30 May Anthropocene Tracie MacVean

Samantha Thompson, Number 15, vintage cotton fabric, thread, ink, filling, 23 x 9 x 7 cm. 3 June—20 June 2 Faces Samantha Thompson 3 June—20 June Your weight in me Maya Irving 3 June—20 June Imagine for a second that it’s not true Joana Partyka 3 June—20 June Looking back/Looking forward Jenny Rütsch Openings Friday 4 June, 6pm–9pm.

Bundoora Homestead Art Centre www.bundoorahomestead.com 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 See our website for latest information.

Pamela Arce, Rehearsal, 2016, digital video, 32min. Courtesy of the artist. 19 May—5 June Rehearsal Pamela Arce

Scott Probst, Myrká district, digital print of film image, 90 x 60 cm.

7 April—26 June Violent Salt Abdul Abdullah, Vernon Ah Kee, Richard Bell, Daniel Boyd, Megan Cope, Karla Dickens, S.J. Norman, Yhonnie Scarce and Jemima Wyman. 117

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VICTORIA Bundoora Homestead continued...

Nick James Archer, Pillow, 2020, copper and lithium.

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.

7 April—26 June Restless Nick James Archer

Anna Dunnill, Prayers to be held on the body, 2019, detail, silk and cotton tapestry, plant dyes. 1 June—3 July Without your mother Madeline Bishop Opening 1 June, 6pm–8pm. 1 June—6 June BUS PROJECTS FUNDRAISER

EO Gill, Cleave, still, 2020, digital video. Photograph: Katie Winten. 7 April—26 June CLEAVE EO Gill

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.

Opening 1 June, 6pm–8pm. John Young, The Big World #2, 2003, digital print and oil on linen, 170 x 140 cm. Courtesy the artist and ARC ONE Gallery, Melbourne. 26 June—12 September John Young: Diaspora Psyche A significant and timely review of senior and respected contemporary Australian artist John Young. Drawing upon an art practice that spans thirty years, the exhibition will engage thematically with ideas of migratory displacement, trauma and benevolence, whilst considering the role of cultural memory and the processes of translation and hybridisation that occur through historic cultural crossings and exchange.

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.

BUS Projects www.busprojects.org.au 35 Johnston Street, Collingwood VIC 3066 [Map 3] 03 9995 8359 Tues to Fri 12noon–6pm, Sat 12noon–4pm . Bus Projects is about relationships with and between artists. We develop a caring context within which artists can come together to create, collaborate, and engage with community.

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

20 April—22 May Notions of Care Kate Tucker, Katie West, Polly Stanton, Arini Byng, Anna Dunnill and Renae Coles (Snapcat) 1 June—3 July Supply Chain Snack Syndicate Opening 1 June, 6pm–8pm.

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. 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. This exhibition comprises six commissions, with projects spanning performat-home mail art, AI-powered digital media, video and installation. 119

William & Winifred Bowness Photography Prize $30 000 Acquisitive first prize Entries open: 12 May – 30 June 2021

Monash Gallery of Art 860 Ferntree Gully Road Wheelers Hill Victoria 3150 Telephone +61 3 8544 0500

Christian THOMPSON Rule of three 2020 from the series Flower walls 2018–20 chromogenic prints 120.0 x 120.0 cm (each) Monash Gallery of Art, City of Monash Collection donated by MGA Foundation 2021 courtesy of the artist, Sarah Scout Presents (Melbourne) and Michael Reid (Sydney + Berlin)

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VICTORIA

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. See our website for latest information.

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

Consider the artist as a surface, possibly solid and flat like marble, or soft and rippled like foam, even a combination of the two. All surfaces resound or echo in some way, perhaps softening or distorting, directly reiterating or if the surface allows there is the potential for total absorption. To resound, unbound explores the possibilities of this resounding, seeing the artist adapt or unbind that which comes to them, molding it to their artistic will, to then resound it back through artistic expression.

Ruby Brown, Longing, 2019–2020, acrylic and silicone on canvas, 101 x 77 cm (variable). Photo courtesy of Matthew Stanton. 16 April—15 May Touch Ruby Brown 21 May—19 June Merryn Lloyd

Emmaline Zanelli, Marinetti's Crash, 2021, cuttlefish ink and glycerine photopolymer print on egg pasta, 14 x 21 cm.

Joy Hester, Lovers , 1948/49, ink wash and watercolour on paper, 31 x 25 cm. 1 May—16 May Single-Owner Collection

Echoing throughout all four exhibition spaces, To resound, unbound presents a series of new commissions and significant works from emerging and established lens-based practitioners from across Australia. This group of eight artists explore themes concerning knowledge, memory, identity, trauma, representation and time, typically found in both societal and cultural structures and narratives.

Counihan Gallery www.moreland.vic.gov.au

Bill Kelly, A Meditation on Human Rights, 2010, charcoal, pencil, pastel, watercolour, gold leaf on paper, 153 x 270 cm.

233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm.

29 May—19 June Can Art Stop a Bullet? Works from Guernica and the Documentary Film Bill Kelly

Photo courtesy of Christopher LG Hill. 25 June—24 July encapsulated Christopher L G Hill An exhibition of paintings, an archive of bags and a group show featuring: Dan Arps, Hugo Bloomley, Nicola Blumenthal, Stella Corkery, Matt Hinkley, Kenji Ide, Carmen - Sibha Keiso, Michael Kennedy, Joel Kirkham, Joshua Minkus, Nao Osada, Conor O’Shea, Jasmine Pickup, Adriana Ramić, Masato Takasaka, Matthew Ware, Alexander Whitehouse, Hee Joon Youn, and maybe more.

26 June—17 July Sgraffito Paul Partos

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—13 June To resound, unbound Hannah Brontë, Hootan Heydari, Callum McGrath, Anne Moffat, Sara Oscar, Sanja Pahoki, Jessica Schwientek and Emmaline Zanelli.

The Air Archive at the CSIRO’s Aspendale Research Laboratory, Victoria, 2020. Photograph: Jessie Boylan. 121

ar t g ui d e .c o m . au Counihan Gallery continued... 17 April—23 May The Smallest Measure Jessie Boylan

Jenna Lee is a mixed race Larrakia, Wardaman and Karajarri woman whose contemporary art practice explores the acts of identity/identification, label/labelling and the relationships formed between language, label and object. Being a Queer, Asian (Japanese, Chinese and Filipino), Anglo Australian, Aboriginal Woman, Lee’s practice is strongly influenced by her overlapping identities, childhood memory as well as maternal teachings of subject and process.

Deakin University Art Gallery at Burwood

Owen Rye, Vessels, 2019, stoneware, glaze. Photograph: Andrew Northover, The View From Here.

Ms Kiri Wicks and Dr Jenny Murray Jones, Connected to Country, a discussion with community. © Image courtesy of the artists.

1 May—12 June The Space of Emptiness Yoko Ozawa, Owen Rye, Lindy McSwan Mikaela Stafford, PROXIMITY II, detail, 2020, digital painting, 106 x 143 cm. Courtesy of the artist. 17 April—23 May Proximity Mikaela Stafford 17 April—30 May The Space We Live, the Air We Breathe Curated by Matthew Perkins and Jan Duffy. Naomi Eller, Raafat Ishak, Louise Paramor, Helga Groves, Taree Mackenzie, Steven Rendall, Leslie Eastman.

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

Jenna Lee, Elemental Forms, pulped copies of a text, linen bookbinding thread. Image courtesy of the artist. 18 May—19 June Elemental Forms Jenna Lee 122

Presenting the work of highly regarded craft-based artists, Yoko Ozawa, Owen Rye and Lindy McSwan, who each capture a sense of vast ancient landscapes in their work. Working across ceramics, metal and paper, each artist’s work has a quiet energy that draws the viewer to contemplate the intricacy of surface texture, the space surrounding each form and the light and shadow of each piece.

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 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, 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.

www.deakin.edu.au/art-collection/ 221 Burwood Highway, Burwood, VIC 3125 03 9244 5344 [Map 4] Tues to Fri 10am–12.30pm and 1.30pm–4pm during exhibitions.

14 April—11 June Grounded in Flux A reflexive exhibition of the NIKERI Institute in collaboration with Deakin University Art Gallery, this exhibition celebrates the research strengths and community engagement of this important Deakin institution. NIKERI (National Indigenous Knowledges, Education, Research and Innovation Institute) grew from the 33 year legacy of IKE (Institute of Koorie Education) and continues to be a leader in the teaching of Aboriginal and Torres Strait Islander People through Deakin’s unique community-based learning model. Grounded in Flux will include a celebration of ‘Wearable Politics’ drawn from the unique collection of Gary Foley, video installations celebrating the Institute and a sandpit installation by Dr Tyson Yunkaporta. Curated by Kiri Wicks, Rebecca Gerrett-Magee and Leanne Willis.

Everywhen Artspace www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Fri to Tue 11am–4pm, Wed and Thur by appointment. 19 May—28 May Garn’giny Not Granite Mabel Juli, Marlene Juli, Atlanta Mercy Umbulgurri. In association with Warmun Art Centre. One of Australia’s most senior and revered artists Mabel Juli, her daughter Marlene Juli and granddaughter Atlanta Mercy Umbulgurri have created a special body of work to demonstrate the importance of their East Kimberley homelands and the Dreaming stories they carry which are currently under threat of destruction by a granite mining company. With a nationwide campaign and 30,000 signatories to a petition objecting this proposal which runs in contravention of

VICTORIA

Atlanta Mercy Umbulgurri, Darrajayin Ngarranggarni, 2021, ochre on canvas, 80 x 80 cm. Courtesy of the artist and Warmun Art Centre.

Mabel Juli, Garn’giny Ngarranggarni, 2021, ochre and charcoal on canvas, 90 x 120 cm. Courtesy of the artist and Warmun Art Centre.

Tony Griffin, Untitled, 2020 acrylic on board, 20 x 20 cm. Courtesy of the artist. 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 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.

Rich palettes and soft hues feature in a wide-ranging exhibition of new Aboriginal art from eight regions. Including lush colour paintings of Country from the APY Lands, Utopia and the Pilbara; water sites from the Western desert; bush medicine and landscapes from the Eastern Desert and barks, ceremony poles Mimih spirits and other figurative sculptures from Arnhem land and the Tiwi Islands. Featuring a selection of Kimberley ochres by Mabel Juli and family from the exhibition Garn’giny Not Granite. ART PARADE Saturday 12 June. Please check website for details.

Federation University www.federation.edu.au/pogallery 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 1pm–5pm, Tues open by appointment. Free admission.

Square is also a reconﬁguration of art practice as collaboration, something that the non-objective artists of the early 20th century aimed at and yet in some ways did not succeed. Rather than as individual celebrity artists for whom possession of the work as both “made object” and as “idea” is complete, selfcontained and completely coherent, square artists accept the four squares as aesthetic providence and respond with their practice to the conversation within the group.

Finkelstein Gallery www.finkelsteingallery.com

Aboriginal Heritage status, this exhibition which features Juli’s evocative Moon Dreaming ochres, is both important and timely. Everywhen at The Lennox, 208 Lennox Street, Richmond, VIC 3121. Opening Tuesday, 18 May, 5.30pm–7pm. To be opened by Colin Golvan, AM. QC. 11 June—13 July Winter Salon Warm Hues and Winter Lights

Pollyxenia Joannou, Tremor #1, 2019, oil on wood, 40 x 40 cm. Image courtesy of the artist.

Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 Open by appointment. See our website for latest information. Elke Varga, Temple Flags, 2021, acrylic on canvas, each work 25 x 25 cm. 17 June—16 July SCOPE21 Federation University’s School of Arts’ important exhibition, showcases accomplished work by Visual Arts lecturers, teachers, Research Associates and Research Fellows and celebrates staff who sustain a dedicated art practice achieved through an ongoing rigorous research process.

Five Walls www.fivewalls.com.au Level 1/119-121 Hopkins Street, Footscray, VIC 3011 0421 706 205 Wed to Sat 12noon–5pm. See our website for latest information. 16 June—3 July Square 2 Artists include: Richard Dunn, Lynne Eastaway, Daniel Hollier, Pollyxenia Joannou, Lisa Jones, Simon Klose, Stephen Little, Tom Loveday, Hilarie Mais, Al Munro and Stuart Smith.

Glennys Briggs, Born on Country, 2020, collagraph and etching on Hahnemuele paper, 74 x 60 cm. 6 May—12 June Introducing Glennys Briggs Glennys Briggs

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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.

Chelsea Gustafsson, Oh Buoy, 2021, oil on board, 60 x 60 cm. 27 April—15 May Not Quite Right Chelsea Gustafsson 18 May—10 June Broadwater Leah Thiessen

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

8 June—19 June Coastline Roma McLaughlin and Kathy Fahey. Papercuts, collage and painting. 22 June—3 July fortyfivedownstairs presents Emerging Artist Award 2021

The Foundry Arts Space 13–17 Murray Esplanade, Echuca, VIC 3564[Map 1] 0417 228 027 Daily 10am–4pm. Find us on Facebook and Instagram @thefoundryartsspace.

Jennifer Jabu and Michelangelo Russo, Larimar |L|, 2021, encaustic on cardboard, rope and paper on wood panel, 123 x 136 cm. 11 May—22 May cCORDA Jennifer Jabu and Michelangelo Russo Encaustic painting and sculpture. Penny Silver, Inside Story, detail, 2021, oil on canvas, 60 x 60 cm.

15 June—10 July Weight of the World Kim Anderson

22 May—20 June INSIDE JOB – Exploring Creativity From Within Group exhibition. Bronwyn Morton, Anne Mawson, Penny Silver and Kerry Williams.

Fox Galleries www.foxgalleries.com.au

James Grant, Williamstown Front Yard, 2020, oil and acrylic on canvas, 122 x 104 cm.

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

25 May—5 June Retreat James Grant Painting. Bronwyn Hill, Delphinium, 2020, oil on canvas, 120 x 90 cm. 15 June—10 July Disconnect Bronwyn Hill

25 May—5 June Greedy Pixiu William Eicholtz Sculpture. 8 June—19 June mɔ.nuˈmɛn̪.t u ̪ m John Mezzini Painting.

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Murray Walker, The Moving Child, 2020, bronze assemblage, 27 x 8 x 30cm. 8 May—2 June Spanning Time Murray Walker

VICTORIA anthology, Stories at the End of the Line. Online Registrations essential or 03 9784 1060.

15 May—6 June Between Hope and Fear: An Australian Landscape Odyssey Hani Isac

GLITCH, (video still) directed by Imogen Adeney. Cube 37 – Studio: 21 May, 6pm to 8pm Lockdown Film Competition Screening

Harold David, To Fall Without Aim, 2021, mixed media on canvas, 122 x 91 cm. 5 June—30 June This and the Edge of the World Harold David

Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Tues to Fri 11am–4pm, Sat 9am–2pm.

Photographer: Jenny Rusby. FAC – Curved Wall Gallery: 13 May—10 July This Time, Last Year Featuring Lisa Atkinson, Jenny Rusby and the Frankston Community. This multidisciplinary exhibition is a time capsule, celebration and memorial – all rolled into one. Take a step back to this time, last year and explore the creative exploits of our very talented community.

Come enjoy a night of short films, created by our community for the 2020 Lockdown Short Film Competition. Entrants were asked to capture the time in our lives where we entered or emerged from shutdown and social isolation; through the medium of film. Online Registrations essential or 03 9784 1060. Cube 37 – Cube Gallery: Change Entries Open Monday 3 May FAC Open Exhibition: The FAC Open Exhibition is a call out for submissions across all visual arts mediums to explore the theme of Change. Inspired by recent pivotal global events, the theme is open to broad artistic interpretation and may be approached from a personal, social, historical, aesthetic or climatic perspective. The winning artist is awarded $1,000 and an FAC Exhibition and opening event opportunity in 2022. Entry $16. Entries close Sunday 11 July. Exhibition: Friday 30 July to Friday 3 September and opening event Friday 30 July 6pm. Online Registrations essential or 03 9784 1060.

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.

Cube 37 – Glass Cube: 13 May—10 July The Iso-Lounge Come out, and hang in our Iso-Lounge! An immersive installation the Glass Cube – our living lounge room will be screening Lockdown Film Festival entries. Pull up a chair and read our Anthology – you never know who you might meet in the Lounge Room. FAC – Curved Wall gallery and Cube 37 Glass Cube Iso Lounge: 14 May, 6pm to 8pm Opening Event and Anthology Launch Celebrate the opening night of This Time, Last Year and the launch of the community

Hani Isac, Dusty Ochre - The Right of Place, detail, 122 x 168 cm.

Elio Sanciolo, Angel in the Garden, detail. 12 June—4 July Disembodied Elio Sanciolo

Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Open daily 10am–5pm. See our website for latest information. 27 February—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 transforms 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 is presented, charting the artist’s practice from early stencil works and street art, to photographs documenting major installations that have transformed abandoned spaces. 8 May—1 August Blanche Tilden—ripple effect: a 25 year survey This 25 year survey of the work of Melbourne-based jeweller and maker Blanche Tilden reveals her remarkable and critically acclaimed practice. Tilden has a unique approach to her materials, in particular, glass, which she explores both as a material for jewellery making and deploys as a metaphor for the connections between making, industry, the wearable object and the body. Her fascination with mechanical devices, fuelled by a desire to understand how things work, continually inspires her work. This first comprehensive survey of Tilden’s career includes historical and contemporary works loaned from numerous public and private collections. Tilden reinterprets previous work to create new forms that expand on her preoccupations with value, mechanical movement, and industrial and 125

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

etched into three-dimensional objects. In this ‘Collection leads’ exhibition they take their inspiration from the Gallery’s 1870 etching based on John Martin’s sublime painting The great day of his wrath (1851– 53), in the Tate Collection, London.

Gertrude Contemporary

22 April— 9 May Connecting Presented by Mariott Support Services. 13 May—6 June Confined 12 Presented by The Torch. 13 May—6 June The Butterflies Project Moongala Women’s Community House.

www.gertrude.org.au 21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 Thu to Sun 12noon–5pm.

Blanche Tilden, Flow 03 (necklace), 2016, borosilicate glass and titanium. Toowoomba Regional Art Gallery, Queensland. Photograph: Grant Hancock. © Blanche Tilden. architectural uses of glass, translating something of the macro immensity of the built and material world to the intimacy of the jewellery object.

Gertrude Glasshouse: 44 Glasshouse Road, Collingwood, VIC 3066 Thu to Sat, 12noon–5pm. Gertrude Contemporary: 10 April—30 May Late Summer Todd McMillan and Sarah Mosca.

This exhibition celebrates the City of Greater Geelong’s designation as a UNESCO City of Design and Blanche Tilden’s remarkable 25 year career at the nexus of art and design.

Penelope Davis, Shelf, 2008, type c print, 100 x 80 cm. Courtesy of the artist and MARS Gallery.

Marco Fusinato, This is not my world, 2019, installation view at Anna Schwartz Gallery, Melbourne. 12 June—08 August Octopus 2021: Future Anterior Curated by Nik Papas Penny Byrne, Juan Davila, Marco Fusinato, Karrabing Film Collective, Eugenia Lim, Arash Kamali Sarvestani & Behrouz 0Boochani, Santiago Sierra and Paul Yore. Gertrude Glasshouse: 23 April—22 May Remains To Be Seen Georgia Banks 28 May—26 June Mikala Dwyer

Zilverster (Goodwin & Hanenbergh), Under his hat (HQ), 2017/2018, ink and pencil on Arches paper, hand-engraved custom frame and glass. Courtesy of the artists and Sarah Scout Presents, Melbourne. Photograph: Christian Capurro. 22 May—12 September Collection leads: Zilverster (Goodwin & Hanenbergh)—Amator Sharon Goodwin and Irene Hanenbergh bring aspects of their distinctive individual practices together in their collaborative project Zilverster. The artists’ shared interest in art history, fantasy, cult iconography, alchemy and supernatural phenomena informs their collaborative drawings and imagery 126

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat 1pm–5pm and Sun 10am–5pm. 22 April— 9 May Life, devotion and death in Tbilisi Nathan Miller 22 April— 9 May Colour and Light Donald Kenner

Tai Snaith, The Unseen Art Scene, 2019, porcelain and paper collage on found paperback book. Courtesy of the artist. 11 June—18 July Telling Tales This exhibition investigates literary themes and storytelling in contemporary practice. Artists featured include Chris Bond, Penelope Davis, Prudence Flint, Nicholas Jones, Victoria Reichelt, Tai Snaith, Charlie Sofo and Deborah Walker. Curated by Diane Soumilas.

VICTORIA

Gippsland Art Gallery www.gippslandartgallery.com

the George Gray Centre Inc. which helps artists to develop individual expression and creativity in a variety of mediums.

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.

claim that while flowers are generally seen as being both a safe and a trivial theme, the perennial can reveal a pertinent idea with considerably wide scope for relevance and meaning. Memento Moribana asks us to reflect upon our relationship with our mortality, to embrace the inevitability of the human condition and offers an invitation to immerse ourselves in the wonder of everyday entropy.

Hearth Galleries

5 October 2020—26 September Stories from the Collection

www.christinejoycuration.com

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.

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

25 January—25 July The Art of Annemieke Mein A permanent, evolving showcase of works from Australia’s favourite textile wildlife artist. 6 March—23 May Play Play presents a cross-section of artworks selected from the Gallery’s permanent collection to explore the idea of play in all its forms.

Jock Clutterbuck, Pool, 1971, etching and colour stencil on paper (edition 5/15), 74.8 x 49.5cm (platemark); 98 x 74.8 cm (sheet). Collection Gippsland Art Gallery. Purchased, 1972. 22 May—1 August Wisdom Journey Jock Clutterbuck Wisdom Journey examines the years between 1967 and 1972 within Clutterbuck’s extensive oeuvre. Jock Clutterbuck is represented by Australian Galleries, Melbourne.

Grau Projekt www.grauprojekt.com

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. 13 March—16 May In My Life Rodney Forbes

Grau Projekt, Level 1, 2–12 Alexandra Parade, Clifton Hill, VIC 3068 [Map 5] Mon to Wed by appointment, Thurs to Sat 12noon–5pm. See our website for latest information.

1 March—31 May Seven Sisters - Kungkarangkalpa and Napaljarri-warnu Jukurrpa - Tricks and Transformation.

A showcase of Forbes’ colourful and characteristic practice from 1983 to 2020 celebrating his unique style of storytelling and painting. Rodney Forbes is represented by Australian Galleries, Melbourne.

Athena Nangala Granites and Priscilla Napurrurla Herbert from Warlukurlangu Artists.

20 March—23 May Entrancing Others Representing a cross section of established and emerging practitioners from around Australia the artists in this exhibition were asked to create a new work exploring the theme of the endlessly fascinating animal (human and/or non-human), through the medium of printmaking. 8 May—6 June Equus – George Gray Centre Studio Artists Exploring the relationship between humans and horses. The group of artists featured in this exhibition are participating in a facilitated Studio Art program at

Athena Nangala Granites, Yanjirlpirri or Napaljarri-warnu Jukurrpa (Star or Seven Sisters Dreaming), synthetic polymers on Belgian linen, 122 x 76 cm.

Heide Museum of Modern Art www.heide.com.au

Matt Blax, Memento Moribana. 22 April—12 June Memento Moribana Matt Blax Matt Bax’s latest collection of paintings puts preconceptions of the floral motif in contemporary art to the test and stakes a

7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. 20 February—20 June Agniezska Polska: The New Sun 27 February—23 May Blue Over Time: Robert Owen—A Survey 127

2021 Banyule Award for Works on Paper NATIONAL CALL FOR ENTRIES Entries Open: 1 May - 16 July 2021 banyule.vic.gov.au/WorksOnPaper

Artwork Credit: detail from Banyule (2020), by Wesley Fuller banyule.vic.gov.au/worksonpaper

VICTORIA Heide Museum of Modern Art continued... 20 March—15 August Cry of the Land 20 March—20 June Stanislava Pinchuk: Terra Data 1 May—31 October House of Ideas: Modern Women

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.

Sam Leach, All Coorte, 2020, oil on wood, 50 x 50 cm. Courtesy of the artist and Sullivan+Strumpf, Sydney. Sam Leach, Mali Moir, John PastorizaPiñol, Darren Wardle, Jud Wimhurst, Michael Zavros. Working across painting, sculpture and photography, these artists present new and recent work with varying approaches that expand and enrich the concept of still life. Known for their passion for realism and their desire to experiment and push boundaries, the artists present their own interpretation of the long-standing vanitas tradition of still life, how it reflects on the transience of life, and its relevance today. A Horsham Regional Art Gallery exhibition.

Ivanhoe Library and Cultural Hub

Phuong Ngo, Lost in the Aftermath, 2018, detail. artist Phuong Ngo, reconfigured and reimagined to consider the complex and complicated narratives of loss, survival, and the totality of war. Opening Friday 11 June, 6pm–8pm. 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.

www.banyule.vic.gov.au/ILCH

Jeremiah Bonson, Jinang/Marung peoples, Warrah Bun Bun, 2010, synthetic polymer paint on wood. National Gallery of Australia, Canberra, Purchased 2010, © Jeremiah Bonson, licenced by Elcho Island Arts. 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 we identify: what we believe in, how we look, how we feel and how we see ourselves in society.” Kelli Cole, Curator. 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.

275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information. 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. The works in this exhibition ponder connections and conflicts regarding relationships with the natural environment. 4 June—25 July Art Gallery 275: Adrift from the Fall Phuong Ngo

29 May—23 August Still Now

The events that precede us will inevitably inform who we are, in ways that cannot be comprehended. The fall of Saigon in 1975 triggered such a wave, one that would displace countless people, killing countless more, and forever embed a sense of loss in a diaspora that spans the globe.

Susannah Blaxill, Jane Burton, Dianne Emery, Juan Ford, Asuka Hishiki,

Adrift from the Fall, brings together key works by Vietnamese-Australian

Avan Anwar, The Value of Identity, 2020, installation with tree, soil, plaster. 11 June—11 July Loft 275: Place Curated by Sha Sarwari Place—we inhabit it, need it, and create it. We carry memories of a place within us when we move to a new place, but what does this word mean? In particular, what does place mean for migrants and refugees? This exhibition will explore the notion of place through the perspectives of several artists with migrant and refugee experiences. Opening Friday 11 June, 6pm–8pm. 129

29.05.21 – 29.08.21

mga.org.au

STAGES

Monash Gallery of Art

Photography through the pandemic

Cherine FAHD Gilda 2021

from the series Held 2021 video still returned with supplied changes courtesy of the artist ll be deemed to be correct.

Presented by

Please also remember to check your current online details. To doFahd, this, please Jane Burton, Cherine Isobelvisit Knowles + artguide.com.au/whats-on and search for your gallery. If you would like to include Van Sowerwine, Phuong Ngo, James Tylor any images or extra copy etc, then please send to graham@artguide.com.au.

mga.org.au

THE DISTORTED FRAME 16 Elizabeth Street, Red Hill South, Mornington Peninsula, VIC Open Saturday 11am–4.30pm. All other days by appointment. Contact Adrian Dyson: 0423 673 858 thedistortedframe.com.au Adrian Dyson, Orange Aphrodite, 2020, foam, resin, wood, auto paint, 105 x 73 cm.

thedistortedframe.com.au

thealchemist.net.au

VICTORIA Ivanhoe Library continued... 1 May—16 July 2021 Banyule Award for Works on Paper National Call for Entries The Banyule Award for Works on Paper is awarded biennially to an outstanding contemporary work on paper. This is a prestigious national art prize, with the winning artwork entered into the Banyule Art Collection. In 2019, Banyule Council acquired an additional 10 artworks from the finalists’ exhibition, making a significant investment in the arts, supporting Australian artists and raising the profile of this prize. Make sure to get your entries in to be considered for this amazing award.

and fresh perspectives on contemporary art and life. Incinerator exhibition entry and many of the programs are free. 9 April—16 May Shadowlands Aylsa McHugh Curated by Jake Treacy.

The theme this year is “Community” – we invite artists to interpret this theme, and look forward to seeing all the responses! Sam Harrison, Butterfly Effect, 2019, acrylic on MDF board.

Entries close: Friday 16 July, 2021. Online applications only. www.banyule.vic.gov.au/ WorksOnPaper.

9 April —6 June (False)-Relationality Dean Cross, Aunty Cynthia Hardie, Sam Harrison, Nikau Hindin, Michael Tuhanuku, and Jenna Rain Warwick. Curated by Moorina Bonini and Tyson Campbell.

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. Incinerator Gallery is your community gallery located by the scenic Maribyrnong River. We have a diverse offering of solo and group exhibitions, which will delight and challenge our audiences as we explore new

21_18031_304071 Priya Namana Curated by.Jake Treacy. Aylsa McHugh, Figure (Oread), 2020, archival pigment print. 28 May—6 June Silent Witness Uncle Jim Berg Curated by Richard Ennis.

Priya Namana is a multidisciplinary contemporary artist from India, living and working on the unceded lands of the people of the Kulin Nations in Naarm. Her work is research-based and grounded in the politics of the present, incongruous temporalities whilst existing within the framework of affirmative ethics.

Jewish Museum of Australia → MIRKA exhibition detail. Photograph by Sarah Walker. 131

galleryelysium.com.au

VICTORIA

Jacob Hoerner Galleries www.jacobhoernergalleries.com 0412 243 818 See our website for latest information. 5 May—22 May Farbräume Petra Kleinherne 26 May–12 June Ka-Bloom! Gillian Warden

Museum of Modern Art, MIRKA offers the most comprehensive picture of the artist’s life and 70-year-long career. A story of survival and migration, interspersed with a generous dose of family, art, food and love, this special exhibition gives fresh insight into Mirka’s remarkable creativity, resilience and legacy.

21 May—19 June Moments of Reflection The Granary Lane Artists

Kingston Arts

They are highly-proficient in their chosen styles having trained with Clive Sinclair for many years, both in the studio and en plein air. They have held five prior successful exhibitions and after the chaos of 2020 have re-grouped for this new show, which features fine examples of figurative, impressionist and abstract works ranging across watercolour, acrylics and oils. Opening Thursday 20 May, 6pm–8pm.

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. 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.

David Palliser, Boiling Dimensions, 2020, oil on canvas, 138 x 122 cm. 16 June–3 July Subjects In Orbit David Palliser

Jewish Museum of Australia www.jewishmuseum.com.au 26 Alma Road, St Kilda, VIC 3182 [Map 6] 03 8534 3600 Tues to Fri 10am–5pm, Sun 10am–5pm. (closed on Jewish holidays) See our website for latest information.

Kingston Arts galleries are located across two venues at the Kingston Arts Centre in Moorabbin and Shirley Burke Theatre in Parkdale. The annual visual arts program includes a series of curated contemporary art exhibitions, artist floor talks, workshops and events and provides opportunities for local artists and arts organisations to exhibit. G3 Artspace: 16 April—15 May 2020 Shelter in Place 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.

The Granary Lane Artists are a collective of Melbourne artists including Sue Blackburn, Valerie Conboy, Penny Cowie, Rick Graham, Colin Heymann, Vicki Jans, Steve Jarrold, Alan Jenkins, Kathie Mathes, Judy Thompson, Daryl Flynn and David Webster.

Christina Darras, Oneself, too many (safety blanket), 2020, linocut on canvas, 80 x 100 cm. Documentation of Fertile Ground, 2019, by Art Documentation Melbourne. 25 June–24 July Oneself, too many Christina Darras Kingston Arts Grant recipient, Christina Darras, presents Oneself, too many, a community art project exploring the changing role of personal identity. Through facilitating printmaking workshops at Kingston Arts Centre, Darras has brought participants together to create a figurative safety blanket, symbolising the feeling of safety that one’s own sense of identity can provide. Opening Thursday 24 June, 6pm–8pm. Kingston Arts Centre Galleries: 11 June—21 August (Don’t say I never warned you) When your train gets lost Curated by Michael Vale Featuring artists Simon Perry, Juan Ford, Gerry Ball, Kara Baldwin, Kez Hughes, Amélie Scaleric, Nicholas Ives and Michael Vale, this group exhibition takes its title from the Bob Dylan record, It Takes a Lot to Laugh, It Takes a Train to Cry, 1965, as perfect metaphor for absurdism. Through subtle humour, wit and visual conundrum, all eight artists offer a playful meditation on the theory of absurdism, aimed to entertain rather than explain the ways of the universe. Opening Thursday 10 June, 6pm–8pm.

Mirka Mora, Family Gathering in Dream Park, detail, 2008. © Estate of Mirka Mora, courtesy William Mora Galleries. Until 19 December MIRKA Mirka Mora Featuring more than 200 never-displayed works from the private collections of the Mora family and Mirka’s studio and archives, alongside pieces from Heide

Colin Heymann, 2020. 133

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VICTORIA 22 May—22 August To Feed your Oracle Ruth Höflich

Koorie Heritage Trust www.koorieheritagetrust.com.au

Natasha Bieniek

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

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

John Dent, Jeune Femme, oil on canvas, 66 x 51 cm. From May John Dent: Between Two Countries

Pitcha Makin Fellas, 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

The exhibition focuses on paintings from the earlier period of John Dent’s career, dividing his time between Australia and France. The paintings of France, particularly Paris, depict many strange contrasts of Parisian life. The series of still-life works relate to a large painting by Dent in the NGV collection, Le Déjeuner and culminating with his magnum opus, the triptych Natura Morta - Marta, as featured in this exhibition.

Established in 1971, Latrobe Regional Gallery is one of the largest public galleries in eastern Victoria, with seven gallery spaces and a changing exhibition program that offers a blend of unique local perspectives, curated exhibitions of note and artworks from our collection. 15 May—1 August Speculative Realms – Small Town Fetish 15 May—1 August Our New Home Lauren Murphy

Linden New Art www.lindenarts.org

Lauraine Diggins Fine Art www.diggins.com.au 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment. Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.

John Dent, Proteas, oil on canvas, 48 x 53 cm.

26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun for a limited number of visitors 11am–4pm. 13 February—16 May Duallity Ash Keating Sonder Troy Emery

Bec Vandyk, Untitled, 2019, direct-drawn monotype, Coal Hole Project workshop Latrobe Regional Gallery, Morwell, 2019. 76 x 56 cm. Courtesy Negative Press.

Burn Down the House Nicholas Folland

22 May—8 August From Australia – An Accumulation

Vipoo Srivilasa, Wellness Deity, 2020. Image courtesy of the artist and Scott Livesey Galleries, Melbourne. Photograph by Simon Strong.

Joyce Hinterding, The Portals (Montpellier), photographic series 2017-2021, Courtesy the artists and Sarah Cottier Gallery, Sydney.

22 May—22 August Wellness Deity Vipoo Srivilasa

29 May—8 August Cloud Machines David Haines and Joyce Hinterding. 135

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VICTORIA

LON Gallery www.longallery.com 136a Bridge Road, Richmond VIC 3121 [Map 6] 0400 983 604 Thu to Sat 12noon–5pm.

Isabelle Menin, Only In Your Heart. 1 May—15 May Flower Power Isabelle Menin It is immediately apparent that Isabelle Menin’s artistic background is in painting. Her bright colours and invigorating, fanciful manipulation of texture and materiality have enthralled the art community. Menin’s works are like vortexes, pulling viewers in deeper and deeper. Menin describes her compositions as “Inland photographs and disordered landscapes”, as a means of drawing parallels between the complexity of the human character and that of nature. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers. 16 May—31 May Zero Gravity Jirko Bannas

Casey Jeffery, Telling the same stories over and over again, 2020, acrylic and oil on pine, 65 x 91 cm. 25 May—29 May Casey Jeffery

Jirko Bannas reinterprets the medium of collage and its possibilities. He tears pieces of images, takes them out of their context, and puts them together, creating new surreal realities. The artist and designer’s Space Series reflects upon the weightlessness of outer space and is based upon the astronaut’s movement through it. While it was initially meant to provide scientific insight, he ultimately created a cunning depiction of the laws of physics, where jump ropes and hula hoops are reallocated and used to scale movement through the cosmos. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers.

Tom Hegen, Salt Works II. to examine our influence on the planet. Taking to the sky in hot air balloons, helicopters, and prop planes, or using a drone he constructed to suit his photographic needs, Hegen shows us the world from above. Receive a free small floral artwork (13 x 13cm) 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.

1 June—15 June Urban Perspectives Armand Dijcks

Sarah CrowEST, l’Aubette #4, 2021, overdubbed version-excursion, acrylic on wood panel, 60 x 40 cm. 9 June—3 July Sarah CrowEST

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.

In his work, Dijcks loves to play with time. Photographs freeze a moment, but Dijcks uses video montages and computer generated effects to produce pieces that convey movement – despite being still. He describes his work as “living moments caught in time.” Dijcks often presents his work on oversized, high-definition screens to give the viewer a highly immersive experience. We sink into his work, losing track of reality. The artificial dream world defies logic, and yet we never doubt the authenticity of what we are seeing. Receive a free small floral artwork (13 x 13cm) with any purchase at LUMAS. Offer only redeemable for Art Guide Australia readers. 16 June—30 June The View From Above Tom Hegen Round salt ponds, mighty dams, and furrowed forests—the relationship between man and nature is at the heart of Tom Hegen’s work. He entrances us with harmonious symmetry and captivating colours, while using a unique perspective

Paul Handley, Pillars, 2021, wallpaper pigment print, 240 x 360 cm. 13 April—15 May Pillars of Déplacement Paul Handley Artist Paul Handley’s Pillars of Déplacement traces his journey through the migrant settlement camps of Europe to the island shores of Lesbos, variously between 2016 and 2019, a period of social and political flux for the region. Geopolitical tensions and conflict at this time in countries including Syria and Afghanistan led to the displacement of thousands of people who were forced to seek refuge in foreign lands. 137

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McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Wed to Sun 10am–5pm. 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.

Llewellyn Skye, Untitled, 2021, acrylic and oil on canvas, 122 x 182 cm. 4 May—22 May: Hue to Hold Llewellyn Skye An exhibition of recent paintings and installation-based works by Llewellyn Skye. 25 May—12 June Louis Pratt An exhibition of new sculpture and etchings on glass by Louis Pratt. Christine Johnson, Riverbank, Red Cliffs, Victoria, 2021, archival pigment print, edition: 1 of 3. 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. Soundscape Christine Johnson and Angus Craig

Ron Mueck, Wild man, 2005, fibreglass resin, silicone, nylon, synthetic thread, plastic, metal, wood, 285 x 162 x 108 cm. Collection of McClelland Sculpture Park+Gallery. Purchased by the Elisabeth Murdoch Sculpture Foundation and The Balnaves Foundation, 2007. Photograph: Mark Ashkanasy. 15 May—15 August The McClelland Collection: 50 Years of Spatial Practice Augustine Dall’Ava, Richard Giblett, Stephen Haley, Inge King, Janet Lawrence, Akio Makigawa, Fiona McMonagle, Sanné Mestrom, Ron Mueck, Patricia Piccinini, Ken Reinhard, Tim Silver, Kylie Stillman, Colin Suggett, Simon Terrill, George Tjungarrayi, Lisa Waup.

Metro Gallery

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 John Olsen, The Edge of the World— Lake Eyre, 2012, mixed media on paper, 160 x 121 cm. From 15 June 20th ANNIVERSARY EXHIBITION A curated exhibition in celebration of the gallery’s 20th Anniversary, featuring paintings, works on paper, graphics, and sculpture by John Olsen, Michael Johnson, Dean Home, Jim Thalassoudis, Dianne Gall, and other selected represented and invited artists.

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.

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.

Nik Pantazopoulos, to unfurl IV (A6007550), 2017, pigment print, Tasmanian oak, acrylic paint, Perspex, and grey enamel, Dibond. Courtesy of the artist and Kalli Rolfe Contemporary Art, Melbourne © the artist. Photo by Christo Crocker.

Until 2 May Consequence Tom Gerrard

6 February—2 May Soundscape and Landscape An installation by Christine Johnson inspired by The Troopships of Anzac, a poem by Eileen Ramsay, née Couve.

An exhibition of recent paintings by Tom Gerrard.

Visual artist: Christine Johnson Sound artist: Angus Craig

5 March—9 May Great Movements of Feeling Megan Cope (Quandamooka), Helen Grogan (Australia), Nik Pantazopoulos, Stuart Ringholt (Australia), Sriwhana Spong (New Zealand / United Kingdom) and Sue Williamson (South Africa).

www.metrogallery.com.au 1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tue to Fri 10am–5pm, Sat 11am–5pm.

VICTORIA A NETS Victoria touring exhibition, curated by Zara Sigglekow. Great Movements of Feeling is a multidisciplinary project that explores emotion as a cognitive and bodily force. Originally developed for the 2018 Next Wave Festival through the Gertrude Contemporary Emerging Curators Program, the exhibition considers emotion through personal and historical lenses; as a flowing drive that occurs between people, concepts and objects.

Missing Persons www.missingpersons.me 411–12, 37 Swanston Street, (Nicholas Building), [Map 2] Melbourne, VIC 3000 Thu to Sat 12noon–6pm .

5 June–19 June Papier-mâché Rachel Ang, Fergus Binns, Matilda Davis, Jason Hamilton, Brendan Huntley, Maddison Kitching, Alasdair McLuckie, Nabilah Nordin, Samantha O’Farrell, The Ryan Sisters and Isadora Vaughan. Curated by Maddison Kitching and Louise Klerks. Opening Friday 4 June, 6pm–8pm.

Monash Gallery of Art 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.

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 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission. See our website for latest information.

Kate Harding, Tribute to Women—Past, Present and Future, 2019, textile and appliqué, 171 x 160 cm. Courtesy of the artist. Photograph: Carl Warner. Nabilah Nordin, Potatoes, 2020, wood, plaster bandage, plaster, paper pulp, paint, potatoes, chives and sour cream, 84 x 44 x 30 cm. Image courtesy of the artist. 8 May, 6pm–8pm Please Do Not Eat The Sculptures Nabilah Nordin, curated by Nabilah Nordin and Sophie Prince. Bookings essential via the gallery website.

Dana Lixenberg, Spider, 1993, from the series Imperial Courts 1993–2015, courtesy of the artist and GRIMM, Amsterdam and New York. 17 February—16 May Not standing still: new approaches in documentary photography Mathieu Asselin (FR/VE), Broomberg and Chanarin (ZA/UK), Cristina De Middel (ES), Laura El-Tantawy (UK/EG), Yoshikatsu Fiji (JP), Ashley Gilbertson (AU), Gauri Gill and Rajesh Vangad (IN/IN), Zhang Kechun (CN) Dana Lixenberg (NL), Max Pinckers (BE), Raphaela Rosella (AU), Alec Soth (US) and James Tylor (AU) .

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

Maddison Kitching, Mini Giant Koala, 2020, papier-mâché, acrylic paint and chicken wire, 28 x 18 x 18 cm. Image: Aaron Claringbold.

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

28 April—26 June Through a Lens of Visitation Dale Harding A descendant of the Bidjara, Ghungalu and Garingbal peoples of central Queensland, Dale Harding’s multilayered practice is poetic and political in its materiality and process, and has a strong focus on community, family and place. His works give visual expression to the complex and often painful histories of discrimination enacted against Aboriginal communities, while paying particular homage to matrilineal female figures in his family—engaging and bringing forth their stories.

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. 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 139

Sofi's Lounge, Level 1

Louise Paramor The Parallel Universe 2 June—19 September 2021 The Parallel Universe series comprises glass-boxed dioramas and ink-jet prints derived from the dioramas. In the series I have combined miniature human figures with my assemblage work to create tiny worlds that offer colourful and whimsical architectural propositions. Exhibition supported by the City of Melbourne Arts Grants. Louise Paramor is represented by Finkelstein Gallery, Prahran.

Louise Paramor, Tourists, 2020, Inkjet print, 125 x 85cm.

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

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VICTORIA Mornington Peninsula Regional Gallery continued...

creativity and knowledge which has developed into Baluk Arts—an Aboriginal Art Centre based in Mornington.

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.

www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open Daily 10am–5pm.

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.

National Gallery of Victoria – The Ian Potter Centre NGV Australia

Until Aug 2021 Louise Zhang 12 March—October Big Weather Rosie Weiss, Coupling A/P, 1985, detail, lithograph, printed by the artist at the Australian Print Workshop. MPRG Collection. Acquired by the Friends of MPRG with assistance from the Robert Salzer Foundation, 2020. Image copyright and courtesy of the artist.

26 March—11 July Top Arts 2021

29 May—22 August Rosie Weiss – Collected works MPRG collection focus Rosie Weiss is a Mornington Peninsulabased artist who makes work about our relationship with the natural world.

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.

Tom Roberts, She-oak and sunlight, 1889, oil on wood panel, 30.4 x 30.1 cm. 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. 2 April—22 August She-Oak and Sunlight: Australian Impressionism 7 May—19 September We Change the World

Christian Thompson AO, Dead As A Doornail, 2009, detail, c-type print on Fuji Pearl Metallic Paper. Courtesy of the artist, Sarah Scout Presents, Melbourne and Michael Reid Gallery, Sydney. Image © the artist. 29 May—22 August Surreal Landscapes Curated by Danny Lacy and Rosie Weiss. Surreal Landscapes is a group exhibition that explores the way artists position subtle and strange, absurd and dreamlike interventions within the landscape, abstracting and shifting our reading of the landscape. Features: Nadine Christensen, Peta Clancy, Emily Ferretti, Tara Gilbee, Philip Hunter, Raafat Ishak, James Newitt, Emma Phillips, Christian Thompson AO. 29 May—22 August Then Now 10+1 (Baluk Arts) Nerdudara Djumi Nerdudara/Djumi (Then/Now) 10+1 is a retrospective reflection of the history of grass roots beginnings to incorporation of Aboriginal and Torres Strait Islander

Steven Rendall, Planet Moon, 2021, oil on linen, 76 x 66 cm. Photography courtesy of Christo Crocker, Melbourne. 12 May—29 May Fragments, Excerpts and Categories Steven Rendall

Maree Clarke, Mutti Mutti/Wamba Wamba/Yorta Yorta/Boonwurrung born 1961, Desiree Clarke, 2012, inkjet print, 58 x 58 cm (image), 70 x 70 cm (sheet). National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2018, © Maree Clarke. 11 June—3 October Maree Clarke: Ancestral Memories 141

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

Claude Monet, Meadow with poplars, c. 1875, oil on canvas, 54.6 x 65.4 cm. Museum of Fine Arts, Boston Bequest of David P. Kimball in memory of his wife Clara Bertram Kimball, Photography © Museum of Fine Arts, Boston. All Rights Reserved. 4 June—3 October French Impressionism from the Museum of fine arts, Boston 18 June—3 October Plans for the Planet: Olaf Breuning For kids 18 June—24 October Camille Henrot: Is Today Tomorrow

Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 Wed to Sat 11am–5pm. See our website for latest information. 27 April—15 May Karla Marchesi

15 June—27 June (Internal) Rivers Kayleigh Heydon

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.

Sebastian Erard and Pierre Erard, London (makers), Orchestral Harp, 1835, detail. Grainger Museum Collection, University of Melbourne.

Wendy Sharpe, The Witches, 2016, oil on linen, 160 x 146 cm. 18 May—5 June Wendy Sharpe 8 June—26 June Miranda Skoczek

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

25 March—17 July Multivocal Celebrating 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, the objects in the exhibition provide a platform for contemporary responses to a long history of musical activity in this place, in the form of new commissions and performance-based events. This exhibition ranges across a spectrum of engagement in music, including academically-driven formal musical education in performance, therapy, research and innovative compositional practice, to student-led musical societies, and encompassing musical traditions and contemporary practice across Indigenous and international music. Multivocal opens windows onto the great diversity of ways in which music has enriched the lives of people in the University community and beyond. Curated by Dr Heather Gaunt, curatorial assistant Dr Sarah Kirby.

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

Francisco Goya, The sleep of reason produces monsters, plate 43 from Los Caprichos, 1797-98, published 1799, etching and aquatint printed in sepia ink, 18.3 x 12.2 cm (image), 21.5 x 15.1 cm (plate), 24.2 x 16.7 cm (sheet). Felton Bequest, 1976, National Gallery of Victoria. 25 June—3 October Goya: Drawings from the Prado Museum Francisco Goya 142

20 May—3 June Twenty-plus Things Phil Day Kayleigh Heydon, The Fog Lifted And The Gold Rushed To My Fingertips, 81.3 x 101.5 cm, acrylic on canvas.

“The subject of Twenty-plus things is basically a ‘secret’ thought or memory of mine. I say ‘secret’ because I doubt

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PG Gallery → Phil Day, Four panels from Twenty Things, 2019, oil on canvas.

of these thought-memory-things more fun.” Phil Day. 4 June—18 June Manufactured Landscape Andrew Clapham

Andrew Clapham, Circles Tile Prints, 2019, acrylic screen-print on 350gsm box-board. my thought-memory is not conveyed to others in the paintings. I’m not trying to hide anything—I just reckon these thought-memories would be dull for others to know, but I find them stirring …. Not wanting to sound flippant; I really don’t know what I’m trying to do. I’m just a bit bored by things, and I find doing paintings

This exhibition looks at current research that engages the urbanized landscape and its influences on modernism, minimalism, labor, and the role of art and design in our society. The material-driven printmaking allows the critique of the arts’ classical traditions to repurpose them through traditional mediums and a technologically driven lens. Juxtaposing with prints heritage to commercial and processes also traditionally used for advertising purpose. Altogether, this series looks at the role humans play in the environment, mainly through urban space. It is a critique of the beauty and destructions we have on the altered landscape.

Sofitel Melbourne on Collins www.sofitel-melbourne.com Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000

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.

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. 143

ar t g ui d e .c o m . au Sofitel Melbourne continued... 18 February—31 May FRESH!2019-20: Cascade Duncan Young 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.

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

28 April—15 May May Day Curated by Stephen Wickham. 28 April—15 May Phil Edwards

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

Theo Strasser, Untitled, 2021, mixed media, 120 x 100 cm. 19 May—5 June Theo Strasser

Miss Bernie Kaye, Daisy Fields, 2019. 2 June—3 October Atrium Gallery, Level 35: Rapture Images by Melbourne rural and suburban urbex photographer Miss Bernie Kaye. This exhibition is a photographic journey across three states of Australia seeking out the varied degrees of decay and abandonment the artist encounters.

STATION

Mark Rodda, Marble Lattice #10, 2021, synthetic polymer on wood panel, 18 x 23 cm. 8 May—20 June Don’t Say I Never Warned You, When Your Train Gets Lost Kara Baldwin, Gerry Bell, Juan Ford, Kez Hughes, Nicholas Ives, Simon Perry, Amélie Scalercio and Michael Vale. Curated By Michael Vale Gossamer Trail Mark Rodda Smoke Signals Alichia van Rhijn

Lindy Patterson, Untitled, 2021, acrylic on board, 60 x 90 cm. 9 June—26 June Lindy Patterson

www.stationgallery.com.au

Sutton Gallery

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.

www.suttongallery.com.au Sutton Gallery: 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Tue to Sat 11am–5pm. Charles Lemire, Orbites, 2020, video still 8mm film, looped, 3 minutes and 8 seconds. 8 May—20 June In Suspense, There Is No Time Or Space Charles Lemire

Nell, I SAW the LIGHT, 2020, acrylic and Japanese pigment on linen, 125.4 x 172.5 cm. Courtesy of the artist and STATION. 8 May—5 June I SAW the LIGHT Nell 12 June—10 July 10 year anniversary show 144

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 appt.

Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat & Sun 10am–4pm. 19 March—9 May Earth Canvas This exhibiton explores the creative experiences of both the regenerative farmer and the artist, their respective

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Tinning Street Presents → Marlaina Read, My house was swept away by the sea, 2019, natural dyes, etching, performance. Documentation: Fabric. engagement with the land and their vision for a healthier world. The exhibition features works by Ros Atkins, Jenny Bell, Jo Davenport, Janet Laurence, Tony Nott, Idris Murphy and John Wolseley.

etchings and a growing body of ceramic work. Artback NT in association with the University gallery presents Nerida Stockley: A Secular View.

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.

Jacobus Capone, Daniel Crooks, Megan Cope, George Egerton-Warburton, Nicole Foreshew and P. Thomas Boorljoonngali, Caitlin Franzmann, James Geurts, Michaela Gleave, Jonathan Jones with Aunty Joy Murphy Wandin AO, Noŋgirrŋa Marawili, Brian Martin, Raquel Ormella, Mandy Quadrio, Yasmin Smith, Grant Stevens, and Oliver Wagner.

Tinning Street Presents www.tinningstreetpresents.com 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thu to Sun 11am–5pm. 30 April—16 May Fish Wife (Marrying the Baltic Sea) Marlaina Read

Neridah Stockley, Camp ground trees, 2015, oil on board, 30 x 20 cm. 14 May—11 July Neridah Stockley: A Secular View A Secular View is an exhibition spanning 25 years of sustained practice by Northern Territory based artist Neridah Stockley and is curated by Gillean Shaw, Art Curator, University Gallery, the University of Newcastle. Whist Stockley is best known as a painter, this survey reveals the diversity of her practice including drawings, collage, dry point

Jacobus Capone, Sincerity and Symbiosis, 2019, video still, detail. Courtesy of the artist and Moore Contemporary. 27 March—11 July TarraWarra Biennial 2021: Slow Moving Waters Curated by Nina Miall. Robert Andrew, Jeremy Bakker, Lucy Bleach, Lauren Brincat, Louisa Bufardeci, Sundari Carmody, Christian Capurro,

I made a wedding dress and married the Baltic Sea. Now I make a marriage house. The bones of my house are iron bars, shrouded by textiles decorated with oceanic stitching, tapestry and etching. This ceremonial ecosystem reflects my ancestry and ecological self—from sea to spit to island. How Many Bones in the World Adam Boyd An exhibition of recent paintings, set in a world glinting between blues and reds. Populated with fiends and foes, they take their resolve from a story about the power of numbers and the dream of describing the world with patterns. An endless succession of figures and forms. 145

Gallery & Stockroom Gallery & Stockroom Level 1 &1 2, Brunswick Street Level & 322 2, 322 Brunswick Street Wurundjeri Country, Fitzroy VIC VIC 30653065 Wurundjeri Country, Fitzroy www.brunswickstreetgallery.com.au www.brunswickstreetgallery.com.au Image: Get Enough Of You, Marion Abraham, Oil on 70x60cm Image:I Can’t I Can’t Get Enough Of You, Marion Abraham, Oilboard, on board, 70x60cm

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VICTORIA Tinning Street continued... 21 May—6 June Action & Mismatch Chris Evans “The most efficient search of any unmapped territory takes the form of a random walk” George Dyson, Turing’s Cathedral.

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

Emergent forms and branching patterns. A mash up of disjointed, pseudo random, replicated symbols and gestures in a constant state of disorder and error correction. These paintings become approximations of an urban ontology.

studio-based installations explore ambiguous spatial readings created through the use of reflective materials, fragmented abstract forms and oblique linear structures. Illustrating the artist’s mastery of paint technology and colour theory, Light Gestures: Samara Adamson-Pinczewski features works from her 20-year career alongside new paintings and sculptures commissioned by the Town Hall Gallery.

Luminä Caterina Leone My exhibition features a series of selfportraits inspired by a residency in Finland. Working in silverpoint, I place myself naked in the snowy landscape, slowly dissolving as the works progress. The solid figures interact least with the scenery, initiating questions of our place in nature; the reality as well as the possibly futile desire for change.

Jackie Winkelman, Desolate, 2019, photographic print, 88 x 143.5 cm. Image courtesy of the artist. 13 April—22 May Community Exhibition: Natural Constructs

Brendan Huntley, Untitled, 2020, stoneware, glaze and slip , 54 x 38 x 8 cm. 17 April—15 May Brendan Huntley

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

Matthew Schiavello, Fold, 2021, digital print. 11 June—27 June Southcott x Schiavello Beverley Southcott and Matthew Schiavello This is an exhibition that resonates as a whole where Southcott x Schiavello consider their own photographic practices, as they collaboratively re-imagine, each other’s work. Matthew re-cuts and re-assembles the images, forming harmonious and balanced compositions. Beverley uses a detailed layering process to add an ethereal beauty to the works. 11 June—27 June Urban Brood Jess McCaughey Urban Brood is celebration of all things feathered, fluffy and flying that grace our Melbourne landscape. 27 of our commonly found bird species in felt, wool, embroidery and needle felting take center stage and highlight that they are anything but ordinary.

This group exhibition highlights the beauty found in natural and man-made environments. Through the urban photography of Jon Saroglu and Jackie Winkelman, we admire the constructed elements of freeways, shipping containers, historical buildings and the architecture of Boroondara. In contrast, the organic forms of flowers and beautiful riverscapes have been depicted through the paintings of Shani Alexander, Tim Lane and Justine Siedle. Natural Constructs identifies synergies in colour, pattern and form across our built environment and natural surroundings. 4 May—12 June Community Exhibition: Residential by D.M. Ross D.M. Ross presents an exhibition of large scale paintings inspired by a love of colour and geometry, depicting the urban landscape, its domestic interiors and their repetitions. Ross is the winner of the 2020 Boroondara Arts Encouragement Award.

The Victorian Artists Society www.victorianartistssociety.com.au

Samara Adamson-Pinczewski, Around the Corner 2, 2019, acrylic and iridescent acrylic on ABS resin (SLA), 40 x 15 x 38.5cm. Private collection, Melbourne, image courtesy of the artist and Charles Nodrum Gallery, Melbourne. 17 April—3 July Light Gestures: Samara Adamson-Pinczewski Samara Adamson-Pinczewski’s practice focuses on the relationship between geometric abstract art, architecture and urban space. Her boldly coloured paintings, constructions, sculptures, drawings and

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. Eileen Mackley Members Room: 1 May—6 May Back to Arkaba Ray Hewitt 2 June—15 June Mandy Bell 12 June—29 June The Saturday Painters 147

Horsham Regional Art Gallery

Image: Sam LEACH All Coorte 2020, oil on wood. Courtesy the artist and Sullivan+Strumpf, Sydney

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

Walker Street Gallery and Arts Centre

Ray Hewitt, Creek Bed Flinders Ranges, 2021.

www.greaterdandenong.vic.gov.au/arts

An exhibition of plein air paintings by the VAS Saturday group.

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

16 June—29 June Rob Candy and Lisa Wang Hammond, Frater, McCubbin Gallery: 7 May—1 June VAS Autumn Select Exhbition VAS is pleased to present the Autumn Select exhibition. The winning painting is awarded the President’s prize of $2000. The VAS Council sculpture prize is awarded $250. 2 June—15 June Protean Vistas Pauline Mathrick These works are the outcome of an enduring interest in the landscape of central Victoria, characterised by it’s amazing rock formations around Tooboroc. 10 June—15 June Sculpture Association of Victoria

6 May—28 May Fantastic, Yes Exhibition by the Get Out! studio artists. Supported by Arts Access Victoria. Andy Pye, Gully View, Mansfield, 2020, oil on canvas, 153 x 153 cm. Image courtesy of the artist and Boom Gallery. 13 March—30 May Contemporary Landscape Perspectives: A Group Show Max Berry, Holly Greenwood, Dan Kyle, Bronte Leighton- Dore and Andy Pye Five contemporary Australian landscape painters exploring individual perspectives of elements of the Australian bush: the terrain, landscape and key symbolism of trees and flora in their immediate environment. 6 April—16 May Therese Shanley: From Tullamore to Finch Street 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.

Chris White, Track from the Beach, 2019. 16 June—29 June VAS Winter Select Exhibition VAS is pleased to present an exhibition of original artworks by Victoria’s emerging and established artists. The winning painting will be awarded $1000 worth of art materials sponsored by Senior Art Supplies. Cato Gallery: 1 May—11 May John Daniels Solo exhibition. 1 May—25 May Gen Ackland

from across Australia. Wangaratta has a long and prominent history of textiles, both in manufacturing and as a craft form. Wangaratta Art Gallery builds upon this unique tradition through the presentation of this outstanding award which continues to recognise the high calibre practice that Australian artists provide to the national and international textile tableau.

18 artists from the Get Out! studio exhibit their chosen highlights from the past two years of studio practice. Experience exciting offerings from a broad range of art forms including sculpture, painting, performance, sound, and, of course, a little Elvis Presley. 6 May—28 May Jîyan bé te nina Leila Lois and Patrick Rose Jîyan bê te nina is an interdisciplinary and immersive installation expressed through poetry, movement, sound and image. The exhibition invites audiences to fill in gaps of the stories with their own experience. This multi-sensory exhibition brings attention to current global crises such as war trauma, environmental violence and disconnection to nature. Experience the story, music, dance and lore which remind us of our true origins and callings.

22 May—27 June Beth Peters: Drawn Work Beth Peters’ exhibition Drawn Work references a method of needlework which is created by removing threads from the warp and/or the weft of a piece of evenweave fabric with the remaining portions, gathered and threaded together to form new intricate lace-like patterns. This series of drawings on paper respond to the obsessive quality of the stitched thread with the repetitive drawn graphite line.

Zakiria Tahirian, Untitled, ink on paper. 3 June—26 June Invisibility Zakiria Tahirian

The Wangaratta Contemporary Textile Award is a biennial acquisitive award and exhibition celebrating the diversity and strength of Australia’s textile artistry.

Every community has invisible problems. This series of work is about refugees who have left everything behind and come to Australia, seeking a safe and peaceful place. All they want is safety, but there are many hidden feelings that aren’t being shared more widely with society. Many are struggling with memories and finding the right place to share their stories.

This biennial nationally significant award has been presented by Wangaratta Art Gallery since 2009, and will again be a showcase of textile artistry and talent

This exhibition will use both coloured and invisible ink to uncover the feelings that many refugees grapple with, but are unable to find a place to express.

5 June—15 August Wangaratta Contemporary Textile Award 2021

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VICTORIA Walker Street Gallery continued...

West End Art Space www.westendartspace.com.au 112 Adderley Street, West Melbourne, VIC 3003 [Map 6] 0415 243 917 Wed to Sat 11am–4pm. All other times by appointment only. See our website for latest information.

27 April—17 May Portal Adrian Corke Opening 6 May, 6pm–8pm. 24 May—7 June Vital Signs (an interpretive exposition of the seen) Mike Rutherford Opening 27 May, 6pm–8pm.

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.

Callum Jackson, Untitled (Journal Entry), watercolour paint and Biro on paper 2020. 3 June—26 June Gone to Carolina in my mind Callum Jackson Jackson’s exhibition, Gone to Carolina in my mind, is a response to the Covid-19 pandemic. This exhibition conveys optimism and hope during such an uncertain time through printmaking, drawing, painting and photography. The exhibition focuses on an individual’s productive and constructive use of time, even when faced with pandemic.

15 April—5 June Exit & Return Simon Grennan

Adrian Corke, Window, 2020, acrylic on wood, 60 x 30 cm.

Responding to the landscape of Box Hill and surrounds, Grennan reconsiders the 19th century narrative of being “lost” in the Australian bush, as epitomised in McCubbin’s painting Lost, 1886. His work will be exhibited alongside heritage impressionist works form the Whitehorse Art Collection.

West End Arts Space → Mike Rutherford, Cows of the Apocalypse, inkjet on arches, 40 x 60 cm. Winner of gold award SAN Fran Bay International 2020. 151

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www.e-artstore.net www.e-artstore.net 409 Gore Street, Fitzroy VIC 3065 Fitzroy VIC 3065 t 03409 9419Gore 5949Street, e sales@e-artstore.net t 03 9419 5949 e sales@e-artstore.net facebook & instagram @neils.art.store facebook & instagram @neils.art.store e-artstore.net

VICTORIA Whitehorse Artspace continued...

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. A selection of outdoor sculptures are also on display in the gardens and on the Sculpture Terrace overlooking the Yarra Ranges. Amala Groom, Copywrong, Winner Wyndham Art Prize 2020.

Nick Wellman, Quarantine Castles, Richard and Isabelle, 2020. © the artist. 10 June—24 July Quarantine Castles Nick Wellman A photographic capture of two lockdowns, Quarantine Castles is a social portrait of residents isolating at home during the Covid-19 pandemic restrictions of 2020.

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. 13 May—27 June Wyndham Art Prize 2021 Featuring work by Nicholas AloisioShearer, Fae Ballingall, Elaine Batton, Ashlee Becks, Tanya Beehre, Lynn Berry & Margaret Knight, Peter Burke, Fiona Cabassi, Ann Capling, Yu Fang Chi, Glen Clarke, Muthi.Tidda, Madison Connors,

Sal Cooper, Jenna Corcoran, Payel Dasgupta, Yask Desai, Emily Dober, Alice Duncan, Merrin Eirth, Pony Express (Ian Sinclair and Loren Kronemyer), Liss Fenwick, Sai-Wai Foo, Katherine Gailer (AKA Katira), maddison gibbs, Brad Gunn, Safak Gurboga, Anni Hagberg, Aisha Hara, Gail Harradine, Sammy Hawker, Angela Hickey, Chris Humphries, Suresh Jeanel, Tracey Jones, Ayman Kaake, Duain Kelaart, Dominika Keller, Marketa Kemp, Soyoun Kim, Zai Kuang, Jo Lane, Julee Latimer, Ryan Andrew Lee, Janet Leith, Xiang Li, Cally Lotz, Kera Lukies, Catherine Mackay, Jasmine Mansbridge, Bethany Mansfield, John Mashar, Donna Marcus, John Mathet, Cathy Yarwood-Mahy, Liza McCosh, Kirsty McIntyre, Amy Meng, Nunzio Miano, Eva Nolan, brenda page, Raj Panda, Kirsten Perry, Mu Naw Poe, Shirley Ploog, Lorna Quinn, Jack Danger, Jaymi Rowarth, Carol Rowlands, Natalie Ryan, Pip Ryan, Johny Salama, Arun Kumar Sharma, Lily Soga, Linda Sok, Paul Snell, Shuklay Tahpo, Jill Velinos, Danny Lee, Simon Welsh, Sally West, Timothy White, Gideon Wilonja.

Kate Baker, The Yearning, silver gelatin print, 84 x 84 cm. 12 April—23 May The Dance Photography by Kate Baker. Sculpture by Emmy Mavroidis.

Gala Opening 13 May 6.30pm–8.30pm.

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

Mark Wotherspoon, Hinterland Landscape, oil on panel, 90 x 120 cm. 26 May—4 July Paintings by Mark Wotherspoon.

Wyndham Art Gallery → wāni, Final Solution, Winner LEAP 2020. 153

A–Z Exhibitions

MAY/JUNE 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

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16albermarle → Dick Roughsey, Dancers of the Rainbow Serpent, 1971, acrylic on board, 60 x 90 cm.

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.

to support the Civil Disobedience Movement (CDM) since the military coup of 1 February 2021. Presented in partnership with Myanm/art, a contemporary art space in Yangon, the exhibition is a multifaceted social art project showing and distributing protest posters and other visual responses made by Myanm/ art artists and others involved in the struggles. The exhibition includes work by Bart Was Not Here, Kaung Su, Ko Latt, Mayco Naing, Richie Htet, Soe Yu Nwe, Ku Kue, Sawangwongse Yawnghwe and Emily Phyo calling for the reinstatement of the democratically elected leaders who were forcibly detained in the coup d’état in early February 2021. This exhibition addresses the critical relationship between art, culture and democracy.

was also the first chair of the Aboriginal Arts Board and the first Aboriginal person to write an autobiography.

4A Centre for Contemporary Asian Art www.4a.com.au 113–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9212 0380 Thur to Sat 10am–4pm. See our website for latest information.

19 June—17 July Exhibition #8: Goobalathaldin Dick Roughsey

Richie Htet, Bitch Better Have My Democracy, 2021, gouache on paper. 8 May—22 May Exhibition #7: Myanmar: Everything will be OK An exhibition in solidarity with the artists and arts workers of Myanmar as they have worked online and on the streets

The first survey exhibition in Sydney of Lardil painter Dick Roughsey (c1920-1985) from Mornington Island. He was a well known and successful artist from the mid1960s whose work was a significant connection between Albert Namatjira and the Hermannsburg School from the 1940s and 50s and Papunya Tula Artists from 1971. The exhibition tells the story of his development as artist - beginning as a bark painter, he graduated to acrylic on board after meeting bush pilot and artist Percy Trezise, and accompanied Percy and his friend Ray Crooke on many painting expeditions in FNQ. Realist in style, his works are deeply felt and respectful depictions of Lardil life and ceremony. By the time of his death in 1985 he was a celebrated artist and author who had exhibited around Australia. He

Andrea Srisurapon, Covid Clean, photographic print, 2021; photo: courtesy the artist. 155

ar t g ui d e .c o m . au 4a Centre for Contemporary Art continued... 15 April—15 May Acute Actions: Responses to I Am Not A Virus Sophia Cai, Sai-Wai Foo, Jin Hien Lau, Nathan Liow, Zachary Lopez, Joe Lui & Deborah Ong, Andrea Srisurapon, Sweet and Sour Group, Jayanto Tan, Amy Zhang and MaggZ.

Archibald Prize, celebrates its 100th year in 2021. Along with the Wynne and Sulman Prizes this is an annual exhibition eagerly anticipated by artists and audiences alike.

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. See website for extended open hours. 19 May—30 May Mothers Korean Women’s Art Society in Sydney

Presented by 4A Centre for Contemporary Asian Art and Diversity Arts Australia.

This exhibition features artists who explore the influential nature of mothers and the impact these women have on our lives. Sharing personal memories and experiences of motherhood, these artists reflect on the importance of maternity.

Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm. See our website for latest information. 6 March—22 August Longing for Home Six Aboriginal artists explore yearning, distance, time and space and their emotional connection to Country.

Hilma af Klint, The Ten Largest, Group IV, No. 3, Youth, 1907, tempera on paper mounted on canvas, 330 x 248 cm. Courtesy of the Hilma af Klint Foundation. Photograph: The Moderna Museet, Stockholm, Sweden. 12 June—19 September Hilma af Klint: The Secret Paintings More than a century after she painted her most celebrated works, Swedish artist Hilma af Klint is taking centre stage as her art captivates audiences around the world.

Artspace

Bruce Daniel, Rock platform, Forresters Beach, 2020, oil on canvas. 2 June—13 June Coastal Exposure: rocks from deep time Bruce Daniel Coastal Exposure is an exhibition of contemporary landscape paintings which explore the jagged coastal edge of our continent where the crust is exposed by the sea. Bruce Daniel’s aim is to connect with the spiritual power of landscape.

www.artspace.org.au

Betty Muffler and Maringka Burton, Ngangkari ngura (Healing Country), 2020. Courtesy of the artists and Iwantja Arts © the artists. 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. Until 2022 The Way We Eat Explores how what we eat and drink, and the way that we do so, defines our times and our lives. 5 June—26 September Archie 100: A Century of the Archibald Prize A landmark exhibition celebrating 100 years of Australia’s most prestigious portrait prize. 5 June—26 September Archibald, Wynne and Sulman Prizes 2021 Australia’s favourite art award, the 156

43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] Mon to Fri 11am–5pm, Sat and Sun 10am–5pm.

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

Geoffrey Adams, Mangrove Galaxy, 2020, oil on canvas. 16 June—27 June The Ripple Effect Geoff Adams Adams’ mangrove-based landscape paintings use multiple layers of pigment, and often run across the canvas in different directions. He frequently paints while the canvas is flat on the ground, dripping pigments from different heights. The canvas is then lifted and turned as the liquid paint forms random patterns and colour combinations. Birds hide in the leaves and twisted stems of the mangroves, obscured by random dribbles, drips and trickles of pigment. This experimental process can be quite random, but produces unexpected and highly distinctive works that are almost impossible to replicate.

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Australian Galleries www.australiangalleries.com.au 15 Roylston Street, Paddington, NSW 2021 [Map 10] 02 9360 5177 Open 7 days 10am–6pm. See our website for latest information.

Sydney Craft Week. Object Shop is our retail space selling the work of over 100 local makers. 25 March—13 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. The artists include: Jane Bodnaruk, Carolyn Cabena, Pam de Groot, Jennifer Florey, Desdemona Foster, Cathie Griffith, Fiona Hammond, Margo-Lynne Lee, Catherine Lees, Denise Lithgow, Brenda Livermore, Helen MacRitchie, Mandy McAlister, Robyn McGrath, Samantha Tannous, Kirry Toose, Judith Wilson and Elaine Witton.

20 May—7 July Endangered + Extinct: Natalie Rosin Architectural ceramic sculptures depict buildings that have either been demolished or are under threat of demolition despite human protest.

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 and Sun 10am–1pm. See our website for latest information. We care for and develop our permanent collection and currently hold the most significant collection of Aboriginal paintings in regional NSW.

Andrew Antoniou, Lead actor (and the whole damn town), 2020, charcoal on paper, 100 x 149 cm.

25 January—7 May 100 Years: Landscapes from the Collection

27 April—16 May Andrew Antoniou 27 April—16 May Michelle Hiscock

Explore 100 Years: Landscapes from the Collection as we draw on works from the BAMM collection. Experience a range of artworks dealing with realist, abstract and urban styles from both Indigenous and non-Indigenous artists. The exhibition features artworks from BAMM’s join collection, owned by the Moree Plains Shire Council and Moree Cultural Art Foundation art collections.

25 May—13 June Janet Luxton 25 May—13 June Michael Fitzjames

Pennie Jagiello, What we leave behind: heirlooms of the Anthropocene #4 and What we leave behind: heirlooms of the Anthropocene #5, 2019-20. Photograph: Ruby Aitchison. 20 May—7 July Made/Worn: Australian Contemporary Jewellery Jennifer Keeler-Milne, Autumn leaf III, 2020-21, oil on linen, 41 x 51 cm. 22 June—11 July Jennifer Keeler-Milne

This ADC On Tour exhibition of outstanding work by 22 contemporary jewellery artists explores the act of making and the creation of meaning for the wearer.

Australian Design Centre

Lionel Lindsay, Syrian goat & Rhododendrons, 1933, detail, wood engraving, printed in black in on paper, 17 x 15.3 cm. Maitland Regional Art Gallery Collection.

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. The Australian Design Centre is an independent organisation connecting people with good design, contemporary making and creative experiences. Working with makers and designers, we produce exhibitions for presentation in Sydney and across Australia and more than 100 events each year, along with a city-wide festival

7 May—19 June Lionel’s Place: Lionel Lindsay from the Maitland Regional Art Gallery Collection

Natalie Rosin, Turanga Demolished and Matavai, 2019. Photograph courtesy of the artist.

Experience Australia’s most internationally successful printmaker. Touring from the Maitland Regional Art Gallery, Lionel’s Place consists of 136 framed art works and features Lindsay’s finest etchings, wood engravings and watercolours. Depicting scenes from abroad and closer to home, exotic and domestic animals and birds, these work on paper demonstrate Lindsay’s attention to detail and texture. 157

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Bega Valley Regional Gallery → Kyoko Hashimoto and Guy Keulemans , Large Prayer Beads (Daijuzu), detail, 2018, concrete, steel rebar, 75 x 6000 cm. Photograph: Kyoko Hashimoto .

Bathurst Regional Art Gallery www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm, public holidays 11am–2pm.

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 within different mediums. Steven, a photographer, and Wendy, an acclaimed painter, respectively observe light with an emotional intensity and a fascination of the visual play of light and dark referred to as Chiaroscuro. Here BRAG will be transformed as a culmination of two exhibitions that become one in this collaboration of individual artistic expression and investigation that extends beyond the frame. A BRAG exhibition.

Wendy Sharpe, Self portrait with ghosts, oil on linen, 154 x 122 cm. Courtesy of the artist and King Street Gallery on William, Sydney. 158

Catherine O’Donnell, Kellie O’Dempsey and Todd Fuller, Hardenvale–our home in Absurdia, 2019, detail, installation. Courtesy of the artists. 10 April—30 May Hardenvale: Our Home in Absurdia

Catherine O’Donnell, Kellie O’Dempsey and Todd Fuller. Hardenvale is a large-scale immersive environment created by three leading contemporary drawing practitioners. 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. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body and with support from Create NSW, an agency of the New South Wales Government. In its development phase, Hardenvale was also supported by the The NSW Artists’ Grant which is administered by the National Association for the Visual Arts (NAVA). This project was also supported by the Parramatta Artist Studios and Bundanon Trust Artist in Residence program. Re.construction Peter Spilsbury Blue Mountains-based multi-discipline artist Peter Spilsbury works with sculpture, drawing, installation and video. The works featured in Re.construction are

NEW S OUTH WALES made entirely of recycled materials, mostly found in and around his large garden. A BRAG Foyer Exhibition. 5 June—25 July Etched in Fire Chester Nealie

within the Australian arts sector. 365 days later, the Future-Proof showcase is their unique interpretation of the many facets of life as new Australian artists. The Future-Proof showcase will be a month-long, multi-artform experience for audiences.

A survey of the works of master potter Chester Nealie charting six decades of his career. A BRAG Exhibition.

22 May—19 June Drawing Blacktown Leanne Mulgo Watson, Peter Rush

Stirring the ash Euan Macleod and Andrew Merry.

Drawing Blacktown invites visitors to draw directly on the walls of The Leo Kelly Blacktown Arts Centre. Artist and Darug knowledge holder Leanne Mulgo Watson and artist Pete Rush have researched and documented song lines and sites of significance from across Blacktown and transferred outlines onto the gallery walls. Visitors, including families with children of all ages, can colour in or contribute their own drawings of local sites. The result will be a collaborative representation of Blacktown City that speaks to the complex layers of history and memory held within the area. Free and open to all.

A creative collaboration between painter Euan Macleod and photographer Andrew Merry, taking Napoleon Reef, near Bathurst, and sites further afield as the starting point for a poetic response to the elemental force of fire and its legacy. A BRAG Exhibition.

Naomi Hobson, Road Play: “She told mum she was taking me for a ride down the road but she not.” Laine, 2019, digital print, (detail), 81 x 110 cm. Courtesy of the artist. Bega Valley Regional Gallery Collection.

Winter Paintings Angela Malone

17 April—17 September Nhawandyi / Nanda Beeyaa : I see you, killer whale. Tony Albert (Bindal and Wulgurukaba), Lee Cruse (Yuin), Karla Dickens (Wiradjuri), Gunyibi Gunambarr (Yolgnu), Naomi Hobson (Kaantju and Umpila), Lorna Napanangka (Pintupi), Margaret Rarru (Galiwin’ku and Laŋarra and Yurrwi), Yannima Tommy Watson (Pitjantjatjara), The Yarrabah Artists (Gunggandji). First Nations works from the BVRG collection.

Over the last ten years, Orange-based artist and poet Angela Malone has been drawn to a friend’s orchard to paint. Her recent paintings are an attempt to coalesce the landscape’s fleeting external reality with her own emotional and inner world by working vigorously and quickly, often abstracting elements of the landscape through the process of reduction. A BRAG exhibition.

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. BVRG: Port, Eden Welcome Centre Weecoon Street, Eden NSW 2551 BVRG: TARAC, Merimbula Airport, Departure Lounge, Arthur Kaine Drive, Merimbula NSW 2548.

Port Eden:

Merimbula Airport: Local Photographer Showcase Phil Small

Blacktown Arts

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.

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

Bega Valley: 6 April—18 June CONCRETE: Art Design Architecture 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. 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 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.

Future Proof. 9 April—8 May Future Proof Emmanuel Asante, Maher Al Khoury, Mariam Abbas, Mahnaz Giahparvar, Payam Gouya, Elham Marvi, Mehrdad Mehraeen and Raneen Shamon, Najmeh Shoara. The year was 2020, and the Australian arts sector was still struggling to understand the real meaning of diversity. Refugee voices in mainstream arts were almost non-existent, and little did we know, a pandemic would turn the world upside-down. Despite this challenging scenario, nine artists embarked on an immersive and artistic professional development program exploring their refugee experiences. Their goal—to maximise opportunities

Eddie Abd, work in progress, 2021. Courtesy of the artist. 8 May—20 June This changes everything A creative response to the events that occurred in 2020. The 2019-2020 Australian summer of catastrophic bushfires was immediately followed by the global pandemic that unfolded over the remainder of 2020. The artists in this exhibition explore the devastation, grief, frustration and anxiety of adjusting to the constant changes to restrictions as well as playfully engaging with our new normal. Blue Mountains City Art Gallery exhibition curated by Rilka Oakley. 8 May—20 June Oceans from Here Chris Bennie, Dean Cross, Julia Davis, Emma Hamilton, Honey Long and Prue 159

This is not a mineral mall This is not a mineral mall

Art Guide_Full Page_Dale Collier.indd 1

John Hart John Hart Sample Broken Hill Regional Art Gallery

Sample

30Hill April - 4 July Art 2021 Broken Regional Gallery www.bhartgallery.com.au 30 April - 4 July 2021

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

20 November 2020 - 21 February 2021 Broken Hill Regional Art Gallery WWW.BHARTGALLERY.COM.AU 20 November 2020 - 21 February 2021 WWW.BHARTGALLERY.COM.AU

Dale Collier, This is not a mineral mall, 2019-20 video still Dale Collier, This is not a mineral mall, 2019-20 video still

bhartgallery.com.au

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NEW S OUTH WALES Blue Mountains City Art Gallery continued...

Campbelltown Arts Centre

24 April—27 June George Gittoes: on being there Curated by Rod Pattenden.

www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm, Tue to Sat 10am–5pm. Jagath Dheerasekara, Bungarusa panthera: a hybrid, 2021, video still. Courtesy of the artist.

Kai Wasikowski, realtree #4, pure pigment print on archival paper, 90 x 115 cm. Courtesy of the artist.

24 April—27 June LOSS 15 May—13 June Kerry Toomey

Stent, Izabela Pluta, Grant Stevens, Kai Wasikowski, John Young Zerunge. Oceans From Here explores the aesthetics of water, from mountain glaciers to the open seas, as it ebbs and flows as a global life force. This simple and abundant compound has the power to define planetary geography, etching the landscape and separating the continents. Oceans from Here is an Australian Centre for Photography touring exhibition.

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

Chalk Horse www.chalkhorse.com.au Zadie Xa, Child of Magohalmi and the Echoes of Creation, 2019, video still, commissioned for Art Night London 2019. Image by Benito Mayor Vallejo. 22 May—25 July I am a heart beating in the world: Diaspora Pavilion 2 Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes . Curated by: Adelaide Bannerman, Mikala Tai and Jessica Taylor.

167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm.

Presented by 4A Centre for Contemporary Asian Art and International Curators Forum in partnership with Campbelltown Arts Centre.

Casula Powerhouse Arts Centre

Alicia Mozqueira, Landscape 03, oil on canvas, 122 x 152 cm. 7 May—5 June Alicia Mozqueira

www.casulapowerhouse.com

Dale Collier, This Is Not A Mineral Mall, 2019, video still.

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 Mon to Thu 9am–5pm, Fri and Sat 9am–9pm. Closed pub hols. Until 9 May Bush, Country, Voices Curated by Western Sydney Parklands, Casula Powerhouse and City People.

Jonathan McBurnie, Little Messages. 30 April—4 July This is not a mineral mall Dale Collier The Garden Jonathan McBurnie Where To Begin Ryan O’Callaghan Wirtu’wirtulinya (Three Sisters) Taya Biggs, Jade Cicak and Elisha Mangal.

George Gittoes, Two Worlds in Harmony - Sufi, 2018, oil on canvas, 153 x 197.5 cm. Courtesy of the artist.

Beverly Burton, Ngayuku ngura, 2021, acrylic on belgium linen, 91 x 122 cm. 7 May—5 June Beverly Burton and Nita Williamson 161

theq.net.au/whats-on/exhibitions

Introducing

Melony Smirniotis Melony Smirniotis, Hydrangea Happiness, mixed media on canvas, 46 x 46 cm. Signed and stamped verso.

78B Charles Street, Putney, NSW 2112 phone: 02 9808 2118 See our website for our latest opening hours. brendacolahanfineart.com 162

brendacolahanfineart.com

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

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.

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. Until 9 May John Gollings: The 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.

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 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.

John Gollings: The History of the Built World is the first major survey of Gollings’s photographic practice. 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. Gollings has developed a distinctive visual style. Rather than documenting buildings in a way that reproduces the impersonal elevation plans of an architectural diagram, this style typically conveys a personal or physical connection with the structure being photographed, embedding the viewer in dramatic face-to-face encounters with built environments. Using a range of compositional techniques and visual effects to invest architecture with personality, he portrays buildings as lively habitats rather than static monuments. John Gollings: The History of the Built World is a Monash Gallery Of Art (MGA) travelling exhibition made possible with the support of Monash Council, Creative Victoria, the Bowness Family Foundation, the Gordon Darling Foundation and the Vizard Foundation. 20 May—12 June The Lachlan Valley Biennial Art Awards 2021

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

Presented by the Cowra Art Group Inc and hosted by the Cowra Regional Art Gallery. The LVBAA is non-acquisitive and open to artists living within 100 km from Cowra including Young, Boorowa, Grenfell, Parkes, Forbes, Bathurst, Orange and Canowindra. Entries are open to two dimensional artworks in any style or subject including painting, drawing and watercolour (no photography).

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

20 June—1 August ARTEXPRESS 2021 ARTEXPRESS 2021 features a selection of outstanding student artworks developed

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

Amani Al-Baghdadi, Progression of the Wind-Swept, sculpture, Strathfield Girls High School. for the art-making component of the HSC examination in Visual Arts in 2020—a challenging year—and provides insight into students’ creativity and the issues important to them. The exhibition encompasses a broad range of approaches and expressive forms, including ceramics, collection of works, documented forms, drawing, graphic design, painting, photomedia, printmaking, sculpture, textiles and fibre, and time-based forms. The elegant and highly resolved bodies of work in the exhibition demonstrate a creativity, resilience and sustained investigation of the very complex world and times in which we live. 23 June—24 July Operation Art Coinciding with ARTEXPRESS, the Gallery is presenting Operation Art, the premier state-wide visual arts exhibition for students from Kindergarten to Year 10. It is a unique contemporary children’s exhibition which encourages students to create artworks for children in hospital. Operation Art focuses on creating a positive environment to aid the healing and recovery process of young patients. (A Gallery outreach community project in collaboration with the Cowra Library).

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. 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.

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. 163

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26 May—17 June Peter Godwin

1 May—5 June Brick Veneer Belvedere. (Savour Labour)

Opening Sunday 23 May, 11am–2pm.

Savour Labour is a new, multi-perspectival spatial environment or Hebi-tat by the artist Gary Carsley and the architect Renjie Teoh. Developed principally around the historical collection of the relics of the rituals and ceremonies of organised labour, held by Trades Hall in Sydney. Savour Labour also includes several of the Arthitect’s new sculptures and a shaped draguetteotype as reference points for their object specific spatial illusion. Savour Labour is accompanied by a soundscape from composer Louise Loh and a plurality of contextualising wall notes by writer, broadcaster and sound artist Daniel Browning and, the fanners of the flames of intergenerational memory, Pirie and Neale Towart. Savour Labour continues the Arthitect’s commitment to collaboration as a way to build new communities and to ceremony and ritual as unpoliced sites of resistance to the inequalities produced by the transactional economy.

Darren Knight Gallery www.darrenknightgallery.com

Eden and the Willow www.edenandthewillow.com.au

Alan Constable, Not titled, 2020, glaze, earthenware, 13.5 x 23 x 21 cm. 19 June—17 July Ceramics Alan Constable

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey. Wed to Sat 11am–5pm. See our website for latest information.

16 King Street Newtown NSW 2042 [Map 9] 0431 231 981 Tue and Thu 11am–7.30pm, Wed and Fri 11am—6pm, Sat 11am–5pm. See our website for latest information. 13 April—8 May Suzanna Vangelov “My practice is an exploration of perceived reality. I take the ‘negative’ space and make it visible. Inverting the dominance of the perceived form. Bringing to light the invisible, the overlooked or undervalued. Rejecting the traditional support of the frame as a patriarchal and social construct, my work becomes the wall in a raw and exposed fashion, no bulky stretcher or hidden edges.” — Suzanna Vangelov.

28 April—20 May The Rituals of the Herd Charmaine Pike

840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm. See our website for latest information. 17 April—15 May A cuddle is understood universally Rob McHaffie

Renato Colangelo, Hyphae 3, 2021, fiber-base gelatin silver print, 70 x 94 cm. 11 May—5 June Hyphae Renato Colangelo “While rummaging through the studio archive, I discovered a lost roll of water damaged film. The original content was all lost, and the silver nitrate had morphed into an entirely new form. The well defined rectangular frame, which usually delineated each shot, disappeared and blurred into one continuous and seamless narrative. Tiny concentric lines appeared like roots rearranging and re-inscribing the content according to its own laws of governed by the material itself.” — Renato Colangelo. Clara Hali, Tribanga VI, 1/6, 2012, bronze 39 x 12 x 12 cm. 28 April—20 May Selected Works from 1995–2020 Clara Hali

Tim Woodward, SPM (Pretzels), 2020, polyester acoustic panel, aluminium composite panel, stainless steel business card holders, pretzels, 62 x 25 x 4 cm. 19 June—17 July Z Tim Woodward 164

Rmsina Daniel, ‫ܐ‬ ݇ ‫[ ܐ ܹ̈ܫܵܢ‬næːʃeɪ], 2020, steel, 62 components, overall 230 x 450 x 3 cm. Photo: Peter Morgan. Peter Godwin, Studio Interior, 2021, tempera emulsion on linen.

8 June—3 July Rmsina Daniel

NEW S OUTH WALES

Gaffa Gallery → Emma Varker, Me Too Caeusescu, 2020, video still. 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.

29 April—10 May In Good Company BARKA/APOCALYPSE Alex Byrne I’m Ok (and other lies I tell myself) Noah Spivak 13 May—24 May RE-INFLECTION? Mateus Brandao, Thomas Sandberg Ivan Emma Varker

and 20 contributing artists from Ireland and Australia.

Galerie pompom www.galeriepompom.com 2/39 Abercrombie Street, Chippendale, NSW 2008 [Map 9] 0430 318 438

Unfolding Trish Yates, Megan Edwards and Celia Woods Dreams, Faces and Lines Bella Layone 27 May—7 June Lockdown Showdown Alejandra Sieder, Allen Lucini, Amy Rei Na, Andrea Srisurapon, Anna Tago , Anonymous Photographers, Bec Litvan, Daniella Pilla, Freya Jobbins, Jonathon Pui, Lauren Mccartney, Lisa Myeong, Mark Du Poiters, Peter Mclean, Rat Bedlington, Rosemary Lee, Samuel Luke, Sarah Catania, Somanatha Mae, Ziyun. Gaffa curated Group Show. Unidentified Terrain Angela Tam Within the facade Jordan Davies 10 June—21June Metamors Daniella Paradiso JoJoFinity : A JoJo’s Bizarre Adventure Fan Art Show Alvin Zhong 24 June—5July Walking with Intent Molly Wagner

Andrea Srisurapon, Covid Clean, 2021, photographic print 100 x 100 cm.

Postcards from the edges Josephine Duffy (project curator, artist)

Louise Gresswell, Untitled (Yellow), 2020, oil on board, 33.5 x 27 cm. Photograph: by Clare Rae. 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 & Installs, ‘entries & exit points’, New works (20 / 21) Jesse Hogan 165

O F M A N A N D N AT U R E T H E D I V E R S E J O U R N E Y O F G U Y WA R R E N

29 APRIL - 29 MAY 2021

Image: Guy Warren, Cave (detail), 1997, acrylic and oil on canvas, 152x183cm. Photo by Colin Husband.

Gallery Lane Cove + Creative Studios Upper Level, 164 Longueville Road Lane Cove Nsw 2066 www.gallerylanecove.com.au

Proudly sponsored by Lane Cove Council, Lane Cove Rotary, and Hazel McNamara, Senior Sales Agent, Raine and Horne Lane Cove.

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pieces are extensively exhibited in the US but rarely so in Australia, this exhibition seeks to change that. The works are compelling and approachable, with strong designs belied by the soft textile and intricate quilting. The quilters represented in this exhibition showcase some of the most exciting Australian artists working in the modern quilt movement today.

Guy Warren, Cave, (1997), acrylic and oil on canvas. Photo by Colin Husband. Curated by Rachael Kiang, Of Man and Nature: The Diverse Journey of Guy Warren captures his spirit of stylistic experimentation which sets him apart from his peers. It features paintings over eight decades, including recent works in the last year by the celebrated, prolific artist.

Scott Gardiner, Hollow Headlands no.5, 2021, synthetic polymer paint on canvas, 101 x 91 cm. 26 May—27 June Scott Gardiner

Of Man and Nature: The Diverse Journey of Guy Warren is proudly sponsored by Lane Cove Council with additional support from Lane Cove Rotary and Hazel McNamara, Senior Sales Agent, Raine and Horne, Lane Cove. Curated by Rachael Kiang.

26 May—27 June Ali Noble 30 June—1 August Jess Bradford 30 June—1 August Emily Galicek

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.

Margaret Lee, Harmony. 3 June—1 July Enchanting Silk Margaret Lee Adelaide based artist Margaret Lee is considered a Master of Chinese ‘Su’ Embroidery which uses delicate silk shading to create hyper realistic portraits of the natural world. Lee grew up in a traditional Chinese family where she was taught embroidery by her mother and grandmother. Since then, she has gone on to gain a teaching accreditation in both Chinese and Japanese embroidery and will be teaching classes throughout her exhibition. These enchanting scenes are truly spellbinding, a doorway into another world.

Gallery Lane Cove www.gallerylanecove.com.au

Kim Simpson, Neuralgia. 1 May—30 May Toward Abstraction Tara Glastonbury, Caroline Hadley, Lorena Uriarte, Diana Vandeyar, Kate Henderson, Jeanne Treleaven, Kim Simpson, Sandra Dorse, Ann Richardson, Jess Wheelahan. In the same way modern art signalled a move away from realism and the narrative toward abstraction, modern quilting represents a move away from traditional aesthetics, patterns and fabrics – instead favouring bold, graphic design and a willingness to experiment. Modern quilt

Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm, (except for the Guy Warren Survey, extended hours until 4.30pm) 29 April—29 May Of Man and Nature: The Diverse Journey of Guy Warren This centenary 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.

Anna Warren, Herbarium, monotype print assemblage. Courtesy of the artist. 2 June—26 June 50 Years of Inky Fingers Celebrating 50 years of the Print Circle, a group of women printmakers established in 1970. The exhibition shows work shown with the group during the last 50 years by current and past members. The group had a reputation for experimental printmaking from the beginning, and this continues today. Opening reception Saturday 6 June, 11am–1pm. RSVP essential. 30 June—24 July Misconceptions Arts network Bellingen Collective. Elisa Hall, Julie Hutchinson, Jackie Lee, Shelley O’Keefe, Philip Senior, Kathy Taylor. Reflecting contemporary social issues and personal narratives, the exhibition provokes reflection on gender, identity and existence. At the heart of it we all share the human experience. Misconceptions brings together rural artists from the Arts network Bellingen Collective who sought to work outside of individual ‘silos’; the process of discussion, critique and encouragement was integral in the development of this exhibition. Featuring sculpture, graphics/drawing, digital works, mixed media and painting. 167

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

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.

Emma Walker, Ātma (Essence, Self), 2021, fire, charcoal, ink, wax on marine ply. 8 May—11 July Distillations Emma Walker An exhibition developed as part of the Glasshouse Regional Gallery’s ‘artist in residence program’, Distillations is an exploration of mindfulness, process and healing. Reflective in its minimal use of colour, Walkers work emerges slowly and intuitively through a range of experimental processes. Carving, sanding, grinding and applying numerous layers of paint onto plywood, the artist creates unique hybrid works that traverse the media of sculpture and painting. The exhibition also includes an immersive video work made in collaboration with digital media artist Grayson Cooke. Emma Walker is represented by Arthouse Gallery, Sydney and Gallerysmith in Melbourne. 24 April—4 July Landescapes Inspired by the water and the natural environment: Water and the natural landscape are close to our heart in the Port Macquarie-Hastings region. Glimpses of water, the sound of crash waves, the dappled bush light and the raw beauty of the lush hinterland are the undercurrent of everyday. Escape into the landscapes of the Port Macquarie-Hastings Council Art Collection. The Port Macquarie-Hastings Council Art Collection comprises over 200 donated and acquired artworks reflecting its major themes: Abstraction and Landscape. The Port Macquarie-Hastings Council Art Collection is housed in Council buildings around the Hastings. Many of the works can be seen in the foyer areas of the main Council Building and the Library. The Council first started acquiring the early works from an art competition held annually in Port Macquarie. 168

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

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. 15 May—5 June In Stopping by the Colour Wheel A fabulation of three artists – Nuha Saad, Sherna Teperson and Elefteria Vlavianos delight in exploring the vibrational and sensate relationships between their works. The artists play with the syntax and colour relationships arising through both considered juxtaposition and play, revealing surprising relationships between colour and form, as they also consider the material/immaterial porous boundaries within this exhibition.

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: by Zan Wimberley. 16 April—12 June Centre of the Centre Mel O’Callaghan A major new commission by Australianborn, Paris based contemporary artist Mel O’Callaghan that traces the origins of life and its regenerative forces, iterated through video, performance and sculpture. Centre of the Centre plunges audiences 4km below the surface in the Pacific Ocean to encounter fascinating lifeforms in extreme environments, pushes the material boundaries of glass, and reveals how breath can create both calm and excitement through the depth and rapidity of inhalation and exhalation. Goulburn Regional Art Gallery is delighted to be the launch venue for this touring initiative. 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.

Details of work by Nuha Saad, Sherna Teperson and Elefteria Vlavianos. 26 June—31 July (re)arrangements Louise Allerton, Laura Badertscher, Sarah Edmondson, Ian Greig, Blake Griffiths, Kirtika Kain, Heidi Melamed, Rebecca Shanahan, Stuart Smith and Tom Yousif. Artists rearrange, repurpose, reuse, recycle and reinterpret photographic imagery, freely adapting material/mediums available from a myriad of sources.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029

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.

Chun Yin Rainbow Chan, Moth Cape: Big Crybaby. Photograph: Zan Wimberley. 14 May—4 July A link, a loop, a circle Curated by Talia Smith.

NEW S OUTH WALES This group exhibition brings together contemporary artists from Australia and New Zealand to explore the ways in which the medium of textiles is woven throughout their varying practices. Each artist uses textiles to share their own point of view on the world and how we connect and interact with each other, community, culture and history.

Artists include: Esme Timbery, Marilyn Russell, Phyllis Stewart, Suzanne Stewart, Deanna Schreiber, Annette Webb, Caitlin Trindall, Amy Hill, Dolly Brown, Gemma Brown, Julie Freeman, Markeeta Freeman, Tracie McNally, Merindah Funnell, Kerry Toomey and Strong Sisters: Aboriginal girls from Endeavour Sports High.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG

Selina Ershadi and Azita Chegini, Amator, 2019, still. 18 February—9 May The Past is the Present is the Future Curated by Talia Smith.

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.

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

One of Australia’s most prominent and influential artists, Fiona Hall, presents an outdoor art installation at Hyde Park Barracks. Who goes here? centres on the many people who lived and worked at the Barracks from 1819 to 1887: convicts, immigrants and asylum inmates and the officials who controlled their lives. A broad-ranging, emotional selection of these people will be represented by a series of painted wooden signposts profiling each individual’s story and the distance travelled from their ‘home’ to come to this place. Entry is free.

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

For non-Western cultures time is not linear but rather a spiral or a cycle, in the present tense we become the embodiment of both our ancestral histories and our projected futures. This group exhibition brings together photographic and moving image practices to explore the way in which time is ever present and how it is woven throughout our connections to culture, people and place.

Hazelhurst Arts Centre

3 April—30 May Who goes here? Fiona Hall

5 May—23 May Beyond Matter Fiona Adie, Alyson Bell, Cassia Bundock, Victoria Lobregat, Marisa Pasicznik Ross, Hirofumi Uchino and Myra Wizer. The Australian women’s track relay team with their gold medals at the 1956 Olympic Games in Melbourne. From left: Fleur Mellor, Norma Croker, Betty Cuthbert and Shirley Strickland. 8 May—18 July Striving for gold: Olympians of St George In the lead up to the Tokyo Summer Olympic Games, Striving for gold portrays Olympians of the St George area. Their stories and memorabilia provide a personal insight into past Olympic Games, reflecting on social and sporting history from the early 1900s to present day.

Curated by Cassia Bundock, Beyond Matter is an immersive art installation generated by sound, video projection, painting, collage, drawing, print, sculpture and aromas. It seeks to simulate a sentient environment which explores the possibility of immaterial phenomena and the existence of non-physical realms within Nature.

Hyde Park Barracks www.hydeparkbarracks.sydneylivingmuseums.com.au

Suzanne Stewart, Jewellery Box, 2009 (left) and Phyllis Stewart, Shelled Box, 2015, (right), shell, fabric, cardboard. Wollongong Art Gallery Collection.

Queens Square, Macquarie Street, Sydney, NSW 2000 [Map 8] 02 8239 2311 Thur to Sun 10am–5pm, See our website for latest information.

17 April—14 June Wuliwulawala Dharawal Women Sharing Stories Wuliwulawala (women) celebrates the resilience and creativity of First Nations women in the Dharawal nation of southern Sydney. Featuring historical content, interviews and contemporary art this exhibition focusses on the importance of sharing stories, knowledge and oral histories across generations, while recognising the perspectives of women connected to our local and national history.

Fiona Hall, Who goes here? (concept, detail), 2021. Photo © Joshua Morris for Sydney Living Museums. Artwork © Fiona Hall.

Peter Finlay, Harbour foreshore, 2021, oil on linen. 26 May—13 June Water’s Edge Peter Finlay Finlay paints from the remembered landscape he carries in his memory. Drawing from fragments of nature and pieces of foreshores, Finlay’s paintings are carefully layered over several weeks. In this way, the works in Water’s Edge are transformed into an emotional and expressive abstract landscape style. 16 June—4 July Hold Everything Dear More Than Ever Michelle Belgiorno, Deborah Burdett, Mandy Burgess, Michelle Connolly, Renuka Fernando, Tilly Lees and Ro Murray. This exhibition reflects on the concept of change through the work of seven artists. 169

art 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

gcsgallery.com.au

NEW S OUTH WALES Incinerator Art Space continued...

carvers in Japan, plus netsuke created by contemporary artists such as Izumi Kato. It also includes wooden netsuke that visitors may touch. Through this exhibition, visitors will appreciate the sophisticated skills and playful minds behind contemporary netsuke as well as its formal beauty and contemporaneity.

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

Michelle Connolly, Untitled, 2020, oil on canvas. The artists’ approaches vary from performance, printmaking, assemblage, drawing and sculptural installations. The variety of art practices and non-traditional approaches in this group exhibition reflects the breadth of contemporary art.

The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 4 June—27 June Contemporary Wood-Carved Netsuke This exhibition showcases contemporary netsuke carved of wood by living netsuke

Kōtaro Imada, Edogawa-ku Tokiwa-yu, 2019. © the artist. 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 importance of its preservation and the future of Japanese communal bathing culture. Through a diverse selection of works including historical artefacts, retro-pop

Ken Done, Cadmium coral head, 2021, oil on linen, 152 x 122 cm. 25 March—12 May New Works Ken Done

The Japan Foundation Gallery → Zanmai Onosato, A Tengu’s Nose, 2017. 171

flindersstreetgallery.com

NEW S OUTH WALES

King Street Gallery on William

Macquarie University Art Gallery

www.kingstreetgallery.com.au

www.artgallery.mq.edu.au

177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm. See our website for latest information. Australian soldiers in the battle of Kapyong. Copyright AWM 147350.

Luke Sciberras, Sheila’s crop, Ilford, 2021, oil on board, 120 x 160 cm. 13 April—8 May Close to home Luke Sciberras 11 May—5 June John Turier and Nicola Hensel

Hill of Kapyong in 1952 and in 2021. Copyright Kapyong County. the battles of Kapyong and Maryang San will be displayed in the exhibition with the support of the Anzac Memorial in Sydney. It will be a good opportunity to strengthen the friendship between Korea and Australia and introduce the sacrifice of Australian soldiers and the significance of the Korean War.

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Mon to Fri 10am–5pm. Group bookings must be made in advance. See our website for latest information.

Marryanne Christodoulou, Hydra, 2020, from 2 minutes to midnight series, 2019–2021, cyanotype/photogram on cotton paper, 45 x 62 cm, ed 1/1. Collection of the artist.

The Lock-Up www.thelockup.org.au

Idris Murphy, Shadowed reflection, 2020, acrylic on aluminium, 141 x 151 cm. 8 June—3 July The Abundance Idris Murphy

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

3 May—18 June ΦΩΤΟΓΡΆΦΟΙ 5 PHOTOGRAPHERS 5

Korean Cultural Centre Australia

Effy Alexakis, Marryanne Christodoulou, Irena Conomos, Yiannis Dramitinos, Tom Psomotragos. Curator: Leonard Janiszewski.

www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. See our website for latest information. 23 April—25 June 1951, the critical year of the Korean War Celebrating the 70th anniversary of the Battle of Kapyong, 1951, the critical year of the Korean War highlights the contributions of Australian soldiers who died in major battles during the Korean War. Alongside the interview film with veterans, a selection of objects and images from

Irena Conomos, FLAT, 2021, digital print on Hahnemuhle paper, 30 x 28 cm. Collection of the artist.

Alison Bennett and Una Rey, Elands Co-op, 2020, detail. 16 April—30 May Inside Elands Alison Bennett, Una Rey, Rilka Oakley, Juliet Lamont, and Leigh Redhead. Curated by Una Rey. 5 June—27 June COLLECT Featuring an incredible line up of 80+ artists, COLLECT is your chance to see and invest in work by some of the best artists in the Hunter.

First used in the 1830s, the word ‘photography’ derives from the Greek φωτός (phōto’s), a genitive of φῶς (phōs), ‘light’ and γραφή (graphé) ‘a representation by means of lines’ or ‘drawing’: ‘drawing with light’ Here, five photographers draw on and with light to reveal hidden truths, often inconvenient discourses, epiphanies of experience and experimentation, and a beguiling diversity of both physical and metaphysical aesthetics, to underscore the tangible and intangible of the human condition. Works are intriguingly and assertively intertwined, through powerful formalist qualities, social-cultural realism, political intent and critical discourses, all collectively demonstrating a humanist reverence. 173

From our Stockroom Works by: B Whiteley, M Olley, T Storrier, J Coburn, D Boyd, R Crooke, J Olsen, G Proud, T Irving, R Harvey, M Winch, S West, M Woodward and many others.

Brett Whiteley, Bird & Wave, screenprint & lithograph printed in 3 colours, 79 x 85 cm. Ed:60.

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 fmelasgallery.com.au

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Manly Art Gallery → Peter Sharp, Fowlers Gap, 2015, (detail), oil on wood, 30x40 cm.

Maitland Regional Art Gallery www.mrag.org.au

Karla Dickens, Richard Lewer, Michael Willson, Nigel Milson, Keri Glastonbury, Fiona McMonagle, Bianca ‘Bam Bam’ Elmir, David Matthews, Blak Douglas.

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.

13 March—6 June Saturday: When Commercial Artists Go Rogue Andy Gallagher, Alex Morris, Carlo Delos Santos, Sophie Elinor, Melissa So, Zoe Lonergan.

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. Paula Jenkins, The Descent I (into the gorge), 2020, Apsley Gorge, 153 x 153 cm, oil on canvas. 5 June—29 August Impressions of a Journey: landscapes between Walcha and Paterson Paula Jenkins

Hoda Afshar, Dog’s Breakfast, 2011, archival inkjet print, 61 x 88.9 cm. Courtesy of the artist.

20 February—23 May An Ending Shadow: Works Exploring Dementia Ann Cape, Sophie Cape

8 May—1 August Just Not Australian

27 February—30 May ARTEXPRESS

5 June—8 August Shadow Boxer

Maitland International Salon of Photography

14 May—20 June Ceramix An exhibition in which ceramic artists worked in collaboration with invited artists of their choice (working in other mediums), to create new works. By pairing ceramics with non-ceramics practices, Ceramix explores the potential outcomes from cross-disciplinary collaboration and dialogue with a focus on experimentation. Moving beyond medium-specificity, it focuses on the open possibilities of clay as a starting point for making work. A Manly Art Gallery & Museum and The Australian Ceramics Association partnership exhibition with guest curator Sophia Cai. 175

Idris Murphy Idris Murphy The Abundance The Abundance 8 June – 3 July 2021 8 June – 3 July 2021

kingstreetgallery.com.au kingstreetgallery.com.au T: 61 2 9360 9727

art@kingstreetgallery.com

T: 61 2 9360 art@kingstreetgallery.com Wetlands 2020 acrylic9727 & collage on aluminium 151x141cm Wetlands 2020 acrylic & collage on aluminium 151x141cm

kingstreetgallery.com.au

NEW S OUTH WALES Manly Art Gallery continued...

Neil Frazer, Blue Curtain, 2021, acrylic on canvas, 137 x 137 cm. 29 April—23 May Falling Water Neil Frazer Sassy Park and Mara Schwerdtfeger, Sailor Pete, 2020, film still Kings Cross. 25 June—1 August To The Edges: 60 Years of Sydney Printmakers By co-opting non-traditional media and processes to interrogate the medium of printmaking, Sydney Printmakers artists present series, multiples, objects, books, installations, projections, animation, and 3D work. From one of the most established art collectives in NSW comes an exhibition that extends their practices beyond what they customarily do in order to produce work which is innovative and unconventional. The exhibition will include with in-depth programming, demonstrations and music. Presented in partnership with Sydney Printmakers.

Lucas Grogan, A LOVE STORY, 2021, wool and velvet, 110 x 100 cm.

25 June—1 August Accidental Tourist Peter Sharp

29 April—23 May A Short Sharp Thread Lucas Grogan

Acclaimed Sydney painter, sculptor and educator at UNSW Art & Design, Peter Sharp presents an exhibition of forty small plein-air paintings from his practice of the past thirty years.

27 May—20 June Rise and fall in stillness Bronte Leighton-Dore

They reflect his painting trips around Australia and have become part of his ‘toolkit’ for larger abstract works. Painting locations included those from Fowlers Gap Broken Hill, Dog Fence near Tibooburra, Darling River in Western NSW, Royal National Park, Yeppoon in Northern Queensland, Bay of Fires in Tasmania and the NSW North and South Coasts. This exhibition will tour to Shoalhaven Regional Gallery.

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.

Mosman Art Gallery www.mosmanartgallery.org.au 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. 10 April—13 June Theatre of the Grotto Kate Dorrough This experimental installation is a playful contemporary interpretation of ancient river cave formations; consisting of shells, rocks, statuary and water. Grottoes are associated with the underworld, a meeting place between the human and the divine, and an original source of water representing life. Throughout history, the grotto has been reinterpreted generating a tension

Kate Dorrough, Calligraphic scrolls, 2020, detail, fabric paper, stitching, ink, acrylic paint, 260 x 100 cm. Courtesy of the artist and Arthouse Gallery. between the artificial and the real. This constructed hybrid incorporates artificial rockery in vivid colours in contrast to a series of projected videos into real water, accompanied by narrated texts. The grotto becomes a theatre, the sculptures actors within this dramatic stage setting.

Leyla Stevens, Their Sea is Always Hungry, installation detail, UTS Gallery, 2019. Photograph: Zan Wimberley. 19 June—29 August Labour for Colour Leyla Stevens Labours for Colour is a new moving image installation by Australian-Balinese artist Leyla Stevens, engaging with narratives surrounding plant dyes in Indonesian textile production. Additionally, the exhibition weaves in a larger reflection on the diasporic condition of cultural artefacts, as they are moved around the world through collection practices.

Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. 26 February—27 June Bogong Centre for Sound Culture: Notes From the Field 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), 177

Corner Bridge & William, Muswellbrook | Mon to Sat 10am - 4pm | arts.centre@muswellbrook.nsw.gov.au | muswellbrookartscentre.com .au

muswellbrookartscentre.com.au

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

try and objects. DIWIL brings together significant works from the past ten years set within the premiere of GARUU NGAAY NGINDUUGIRR, a major new installation commissioned by MAMA.

Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au Daniela d’Arielli, Acqua Aurea, 2020, colour inkjet prints on 200gsm gold paper. MAMA installation view, Notes From the Field: Bogong Centre for Sound Culture, 2021. Image courtesy of the artist. Photograph: Jeremy Weihrauch. Philip Samartzis (AU), Sabine Vogel (DE), Shannon Leah Collis (CAN).

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

Notes from the Field presents 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.

Danie Mellor, A time of the world’s making, 2019, detail. Collection of the artist. © Danie Mellor.

11 June—29 August Love From Here Salote Tawale

15 May—18 July REAL WORLDS: Dobell Australian Drawing Biennial 2020

Love from here is a new solo exhibition by Salote Tawale. This video installation acts as a self-portrait and relates to her ongoing exploration into cultural identity in particular, the diaspora experience and the realities of being from a mixed heritage. Each element of the installation, from video work to cut-out paintings, explores the coalescence of her Fijian heritage with everyday life living in contemporary Australia.

Presenting the work of eight contemporary Australian artists who create extraordinary new worlds in drawings of great complexity and invention. With drawing as the principal medium, the exhibited works evoke distinctive ways of seeing and making sense of the world. For some, it recreates a physical environment, grounded in a deep connection to place or Country. For others, it is an invention that springs forth from history, memory and the imagination. The exhibiting artists are Martin Bell (Victoria), Matt Coyle (Tasmania), Nathan Hawkes (NSW), Danie Mellor (NSW), Peter Mungkuri (South Australia), Becc Ország (Victoria), Jack Stahel (NSW) and Helen Wright (Tasmania). This exhibition is supported by the Sir William Dobell Art Foundation.

12 March—4 October DIWIL 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 artist’s relationship with history, coun-

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.

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 .

Brook Garru Andrew, DIWIL, MAMA installation view 2021. Image courtesy of the artist. Photo: Jeremy Weihrauch.

Kate Just, Anonymous was a woman, detail, 2019–21, yarn, timber, canvas. installation view, The National 2021: New Australian Art, Museum of Contemporary Art Australia, Sydney. Image courtesy of and © the artist. Photograph: Anna  Kučera.

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.

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.

Rosemary Laing, brumby mound #5, 2003, detail, chromogenic print, framed. Museum of Contemporary Art, gift of Galerie Lelong and anonymous donor, 2005. Image courtesy of and © the artist. 26 February—4 September 2022 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.

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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

P r e s e n te d by

S u p p o r te d by

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 jpf.org.au

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Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William Streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Mon to Sat 10am–4pm.

Zen-like arrangements of boulder, coastal grass and woody debris. For Sally, who has long resided by the coast, the response is closer to one of memory and feeling. Contemplative and reflective, Coast – The Edge is an invitation to allow yourself to be drawn to the ocean.

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

10 May—26 June Mountain Songs: Rebecca Rath The Broken Back Range in the New South Wales Hunter Region is a subject that has often been captured by Rath; a mountain range standing proud over the valley. In creating the body of work for her exhibition Mountain Songs, Rath has made her way up onto the mountain itself, allowing herself and her work to become immersed in the ridges, flora, fauna and vistas of the Range. Mountain Songs is an intuitive, personal expression of the deep, emotional connection Rath feels to this landscape. Rath seeks influence from the traditions of impressionism and expressionism, coupling these together in a contemporary practice. A traditional dark-to-light oil painting technique is merged with a dynamic, expressive painting style. In the spirit of en plein air, the work is layered, free and expressive with loose marks and rich in colour. Thick application of paint imbues a flesh-like quality, the tactile sensation an intention in the work. 10 May—26 June Coast – The Edge Ian Skinner, Sally Burnside and Roger Skinner The allure of the coast is ever-present, the ocean’s meditative qualities acting as a magnetic pull. It evokes both peace and awe in equal measures. Artists and siblings Ian Skinner, Sally Burnside and Roger Skinner explore this affinity we have with the ocean in their first joint exhibition – Coast – The Edge. For Ian and Roger, both ‘land-locked’ in the regions, the chance to experience and observe the coast ensues a measured response, exploring forms from tortured rock, gnawed and sculptured by the sea, to

Kathrin Longhurst, Productive Work, 2021, oil on linen, 182 x 182 cm. 13 May—22 May Indoctrinated Kathrin Longhurst

26 March—22 May Dobell Drawing Prize #22 The Dobell Drawing Prize is the leading drawing exhibition in Australia and an unparalleled celebration of drawing innovation. Presented in partnership with the Sir William Dobell Art Foundation, the biennial prize explores the enduring importance of drawing within contemporary art practice. 17 April—22 May From the Mountain to the Sky: Guy Warren Drawings The National Art School is proud to launch its new Drawing Gallery with an exhibition of drawings and works on paper by Guy Warren AM, NAS Alumnus, Fellow and esteemed artist.

John Olsen, Granada, 1959, oil on canvas, 99.4 x 118.6 cm. Courtesy National Gallery of Victoria. 11 June—7 August John Olsen: Goya’s Dog Curated by Steven Alderton and William Wright (posthumously). Goya’s Dog is a powerful exploration of an extraordinary Australian artist, who created light from darkness.

Newcastle Art Gallery www.nag.org.au

Hubert Pareroultja, Ellery Creek Big Hole, Mparntwe Way, NT, 2021, watercolour on Arches paper, 70 x 100 cm. 17 May—5 June Hubert Pareroultja New Works 10 June—19 June Dee Smart New Works

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.

24 June—4 July Paul Ryan & Les Rice New Works

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sat 11am–5pm.

Rachel Milne, Construction, 2020, oil on board, 80 x 100 cm. Les Renfrew Bequest 2020 Newcastle Art Gallery collection, courtesy of the artist. 181

NEW RELEASE KEN DONE: ART DESIGN LIFE ‘A comprehensive and extensively illustrated monograph on the art and design of Ken Done, celebrating the man, his life's work and his legacy.’ By Amber Creswell Bell with Ken Done. Thames and Hudson, Australia.

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

kendone.com

NEW S OUTH WALES Newcastle Art Gallery continued... 15 May—1 August Nest Rachel Milne The first major solo exhibition at Newcastle Art Gallery by local Newcastle artist Rachel Milne. Focusing on the beauty in the everyday, Milne produces intimate paintings and portraits set in her home and studio, as well as plein air landscapes of iconic places in Newcastle laden with social history. Milne was awarded winner of the Singleton Portraiture Prize in 2013, has been a finalist in the Kilgour Prize at Newcastle Art Gallery in 2014, 2016 and 2018, as well as the prestigious Wynne Prize in 2017 and 2018 at the Art Gallery of NSW.

The New England Regional Art Museum (NERAM) is a living museum of national significance located in Armidale in the heart of the New England North West region of New South Wales. NERAM is a leading cultural and arts tourism destination in regional Australia, and home to one of the nation’s most significant art collections outside the capital cities, holding a collection of over 5000 works of historical, modern and contemporary art. NERAM presents a dynamic program of exhibitions, educational and public events. 19 March—6 June Quick and Dirty Jo Breneger

9 April—4 July War and Peace Harold Abbott, Richard Ashton, Ernest Buckmaster, A. Henry Fullwood, Sali Herman, Nora Heysen, George Lambert, Fred Leist, Arthur Murch, H. Septimus Power and Arthur Streeton. War and Peace highlights works in the collection by official war artists alongside an example of their war commissions, loaned from the Australian War Memorial. The exhibition aims to create an interesting dialogue and possibly reveal insights into how the artists were affected or changed by their war experience.

OLSEN www.olsengallery.com 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.

Toby Cedar, Op Nor Beizam (Shark Mask) White, 2018, bamboo cane, twine, raffia, pearl shell, acrylic paint, feather object, 80 x 56 x 31 cm. Les Renfrew Bequest 2019, Newcastle Art Gallery collection, courtesy of the artist. 29 May—22 August WARWAR: The Art of Torres Strait Group exhibition Landmark exhibition WARWAR: The Art of Torres Strait to open at Newcastle Art Gallery in May 2021. The exhibition showcases the evolution and strength of Torres Strait Islander tradition and society through arts practitioners from the 19th century to the emergence of the contemporary art traditions of today. Developed in collaboration with highlyawarded artist and curator Brian Robinson; this exhibition brings together over 130 works of art drawn from Newcastle Art Gallery’s collection, as well as galleries, museums and private collections from across Australia—with some works never previously seen outside of the Torres Strait.

Jackson Moir, Portraits of 3 Musicians, 2020, detail, Inverell High School. 9 April—6 June ARTEXPRESS ARTEXPRESS showcases the considerable creative talent and technical skills of 2020’s Higher School Certificate Visual Arts students from schools in NSW. The diverse bodies of work by students from schools across the state explore the young artists’ many interests and concerns, including issues of equality, the environment, references to film and pop culture, identity, technological advances, family and friendship, as well as the experiences of their life in 2020.

James McGrath, Cloud Flora #3, 2019, oil on canvas board, 100 x 124 cm. 12 May—29 May James McGrath 12 May—29 May Stephen Bird 2 June—19 June Alan Jones

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.

Amanda Marburg, You’ll have to love someone else, 2019, oil on linen, 61.5 x 82 cm. Fred Leist, Wings, 1938, oil on board. Gift of Howard Hinton, 1940. The Howard Hinton Collection.

2 June—19 June Amanda Marburg

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Parramatta Artists’ Studios 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. The energetic home for creative production in the centre of Western Sydney, Parramatta Artists’ Studios (PAS) has supported hundreds of artists since opening in 2006. PAS provides a supportive studio environment for artists to develop their practices, whilst also connecting them with a community of peers and arts professionals.

2021 Rydalmere Studio Artists Tarik Ahlip, Linda Brescia, Felicity Castagna, Chris Dolman, Heath Franco, Paul Greedy, Nadia Odlum.

17 June—4 July Cosimo Casoni

Roslyn Oxley9 Gallery 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. PIERMARQ* provides a hub wherein high-quality Australian artists are showcased alongside unique international talent, reflecting the cross-boarder collecting activity in today’s art market.

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. Established in Sydney in 1982, Roslyn Oxley9 Gallery has a rich history of supporting contemporary art, having fostered the careers of some of the most influential Australian artists working today, including Tracey Moffatt, David Noonan, Fiona Hall, Patricia Piccinini, Bill Henson and Dale Frank. 9 April—8 May Linger Tom Polo 9 April—8 May A Constructed World An Eel in the Devil’s Haystack

PAS Parramatta Studio Artist Lill Colgan, courtesy of Parramatta Artists’ Studios. Photograph: Jacquie Manning.

Yvonne Robert, La Vie En Rose, 2020, acrylic on canvas, 250 x 200 cm. 6 May—23 May Pinky Promise Yvonne Robert 27 May—13 June Maximilian Daniels Kathy Temin, Mothering Garden (in progress), 2021, synthetic fur, synthetic filling. 14 May—12 June Kathy Temin

PAS Rydalmere Studio Artist Felicity Castagna, courtesy of Parramatta Artists’ Studios. Photograph: Jacquie Manning. 1 May—30 June 2020 Parramatta Studio Artists

Kaylene Whiskey, Seven Sistas Party at Iwantja, 2020, acrylic on linen, 67 x 91 cm.

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, Justine Youssef.

14 May—12 June Kaylene Whiskey Cosimo Casoni, Dirty Ice Creams, 2020, mural paint, acrylic, spray paint, marker, skateboard marks, bitumen, dirt from the studio on canvas, 220 x 170 cm. 185

wentworthgalleries.com.au

20 May until 20 June We Shall Not Be Moved Frances Feasey Frances Feasey, Regrowth Forest 1, 58 x 81 cm, acrylic on board.

Weswal Gallery 186

weswalgallery.com.au 192 Brisbane Street, East Tamworth, NSW

weswalgallery.com.au

02 6766 5847 Thursay & Friday 10am–4pm, Saturday & Sunday 10am–2pm.

NEW S OUTH WALES

Rusten House Art Centre www.qprc.nsw.gov.au/Community/ Culture-and-Arts 87 Collett Street, Queanbeyan NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. See our website for latest information. Rusten House Art Centre is an 1861 NSW Heritage listed building, renovated for reuse as a gallery and workshop facility. Opening for the first time to the public as a community art centre and gallery from mid April 2021, it is owned and operated by Queanbeyan-Palerang Regional Council. 15 April—June Reading Room Cheryl Hodges Botanical artist and illustrator Hodges particularly enjoys painting Australian native plants and insects, and more recently has been focusing on threatened and endangered species.

the complexity of her immediate landscape in the Braidwood region. 8 May—29 May Vision 2020 A travelling exhibition of textile works interpreting the theme of vision—the power of sight, the art of seeing. Organised by independent curator Brenda Gael Smith this project features work from 40 Australian and international textile artists. 9 June—26 June Youth Arts Exhibition Culmination of a 12-month mentorship program for teens by teens and curated by our teen artists. This exhibition promises an insight into current youth driven artistic approaches and creativity.

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.

Nicholas Harding, Wilpena Wattle and Eucalypts (Sliding Rock), 2019-2020, oil on linen, 176 x 400 cm. Private Collection. 10 April–30 May Tree of Life: a testament of endurance

Linda Dening, Striated Pardalote,2019. ink, charcoal, watercolour, 86 x 67 cm. 15 April—June Gallery Shop Linda Dening Mixed media artist Dening works from things seen, felt and gathered, interpreting

Curated by Gavin Wilson the exhibition features work by indigenous and non-indigenous Australian artists concerned for the environment and natural world, who understand the deep spiritual and physical associations that connect all forms of life. Exhibiting artists include from the APY Lands, Adelaide Studio Women’s Collective—Josephine Mick, Rhoda Tjitayi, Katie Curley, Barbara Baker, Margot Brown, Inawintji Williamson and Margaret Richards—together with Allana Beltran, GW Bot, Nicholas Blowers, Nici Cumpston, Tamara Dean, Rachel Ellis, Louise Fowler-Smith, Richard Goodwin, Nicholas Harding, Janet Laurence, Idris Murphy, Andrew Merry, Euan Macleod, William Robinson, Shane Smithers, Mary Tonkin, Emma Walker, John R. Walker and Joshua Yeldham.

Evert Ploeg, Unheroic Materialism - little harmless fragments of memory and association - a portrait of Angus Trumble, oil on linen, 96.5 x 137 cm. hundreds of works entered in both prizes but not chosen for the official award exhibition. The exhibition gallery has established an excellent reputation that rivals the selections in the ‘official’ exhibition, with works selected for quality, diversity, humour and experimentation, and which examine contemporary art practices, different approaches to portraiture and responses to the landscape. Principal Sponsor: Holding Redlich.

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. 12 May—23 May Mungo to Mutawintji - Interior habitat Ochre Lawson 26 May—6 June Britt Neech and Lucy Anderson

5 June—15 August Salon Des Refusés

Diane Firth, Cataract, 2020, viscose felt, cotton and polyester thread, 50 x 50 cm.

The Salon des Refusés is the S.H. Ervin Gallery’s ‘alternative’ selection from works entered into the annual Archibald and Wynne Prizes. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales, to select an exhibition from the many

Indivi Sutton, LUSTRE, pigment powder on linen. 36 x 31 cm. Image courtesy of the artist. 187

FRIDAY 7 MAY – SUNDAY 6 JUNE 2021

WESTERN SYDNEY UNIVERSITY

SCULPTURE AWARD Western Sydney University is proud to present its ninth Sculpture Award & Exhibition. The exhibition will be on display to the public 7 May - 6 June 2021, in the grounds of the Campbelltown campus, off Narellan Road. 2020/21 Finalists Mark Booth, Jennifer Cochrane, Chris Edwards, Merran Esson, Harrie Fasher, John Fitzmaurice, Jim Flook, Martin George, Akira Kamada, Bec Litvan, Ludwig Mlcek, Ingrid Morley, Vlasé Nikoleski, Denese Oates, John Petrie, Kirsteen Pieterse, Louis Pratt, Sasha Reid, Samantha Stephenson, Jayanto Tan, and Arthur Wicks. For more information or group and school bookings contact: Monica McMahon (02) 4620 3450 or monica.mcmahon@westernsydney.edu.au Visit the website: westernsydney.edu.au/wsusculpture Follow us on Facebook and Instagram!

@wsusculpture

Images reproduced courtesy of artists. TOP: Winner of 2018 Western Sydney University Acquisitive Sculpture Award, Dan Lorrimer, Fault Sector, 2016. MIDDLE: Winner of 2018 Janice Reid Site Specific Sculpture Award, Robert Barnstone, Body Shells, 2016. BOTTOM: Winner of 2018 Lancom People’s Choice Award, Michael Purdy, Gimme Shelter, 2018. Photographs by Monica Pronk.

westernsydney.edu.au/wsusculpture

NEW S OUTH WALES Saint Cloche continued... 9 June—20 June PRESENCE Indivi Sutton

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.

15 April—8 May saplings Anna May Kirk, Catriona Secker, Rebecca Selleck, Tamara Marrington and Chrystal Rimmer. Curated by Emma Pinsent. 13 May—29 May Is it black and white... Claire Welch, Emma Pinsent, Meredith Cravey, Sian Kelly. 3 June—26 June My Mother Said Toni Messiter

Sullivan+Strumpf www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. 15 April—8 May Glenn Barkley

Katie Daniels, All that falls, 122 x 102 cm, oil paint on linen, Australian hardwood frame. Courtesy of the artist.

15 April—8 May Sanné Mestrom

23 June—4 July Katie Daniels

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. See our website for latest information.

Dimity Kidston, Tapestry Boxes. 11 April—23 May Biogenesis Mercy Jo Sumner, Nettie Sumner, Libby Hobbs and Dimity Kidston. Mothers and daughters explore their shared and separate creativity.

Maria Fernanda Cardoso, X and + Intensely rigged Eucalyptus youngiana Star, (detail), 2020-21, woody gum nut and metal pin, 48 x 48 x 5 cm.

Fiona Hiscock, Vessels. 30 May—25 July Drawn from the Garden Julie Ryder, Sharon Peoples, Fiona Hiscock Three artists connect with their environment creating textiles and ceramics inspired by their discoveries. Nadia Hernández, Pesadilla #1 / Nightmare #1, 2021, oil on linen, 102 x 84 cm. Courtesy of the artist and STATION. 24 April—22 May Con la punta de los dedos… Nadia Hernández 29 May—26 June Nilotic Tony Clark

Stanley Street Gallery www.stanleystreetgallery.com.au 1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Thurs to Sat 11am–6pm, or by appointment.

20 May—5 June Gum Nuts and Sandstone Maria Fernanda Cardoso 10 June—3 July Yang Yongliang 10 June—3 July Jeremy Sharma

Tamworth Regional Gallery www.tamworthregionalgallery.com.au 466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am–4pm, Sun 10am–4pm. 189

CALL FOR ENTRIES

CALLEEN

2O21

ART AWARD

$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 Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794

2020

20 years

ADMISSION FREE Hours: Tuesday–Saturday 1Oam–4pm, Sunday 2pm–4pm (Mondays closed) T: (O2) 634O 219O E: cowraartgallery@cowra.nsw.gov.au The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council

cowra.nsw.gov.au

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Thienny Lee Gallery

Tweed Regional Gallery

www.thiennyleegallery.com

www.artgallery.tweed.nsw.gov.au

176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Tue to Fri 10am–4pm, Sat 11am–4pm. See our website for latest information. 22 April—11 May Liminal Moments Phillipa Butters and Paul Williams.

Catherine Stewart, Saplings, oil on linen, 125 x 125 cm. 13 May—1 June Resurgence Catherine Stewart

2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun 10am–5pm. The Gallery is housed in a large, modern, architecturally award-winning building with views to Wollumbin/Mount Warning. The Gallery was relocated to this site in 2004 and extended in 2006. The Margaret Olley Art Centre opened as a purpose-built extension in 2014.

Void, curated by Emily McDaniel, installation view at UTS Gallery, 2018. Pictured: James Tylor, (Deleted Scenes) From an Untouched Landscape #7 Knocklofty Reserve, West Hobart, Palawa Land, 2013. Photo: Campbell Henderson. 7 May—4 July VOID

Resurgence is the latest exhibition from acclaimed artist Catherine Stewart, exploring and celebrating the transformative and adaptive power of the environment. In this series of works, vivacious colours swirl like a storm in bold brushstrokes, creating a wild and untameable terrain that is filled with life and ferocity. The intensity of the palette and the tenacity of the strokes embody the strength of the environment, persisting against destruction. Being born and raised in rural Australia, Stewart instinctively highlights the perpetuity and resilience of Australian landscape in her work.

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. See our website for latest information.

Sam Smith, Capture, 2021, production still. Courtesy of the artist and 3+1 Arte Contemporânea, Lisboa. 7 May—31 July Capture Sam Smith The first comprehensive survey of Australian artist and filmmaker Sam Smith, bringing together moving image projects from the past decade alongside a major new commission. 7 May—31 July The Return Kirsten Coelho New and recent works from ceramicist Kirsten Coelho inspired by Grecian and Roman artefacts and architectural remnants.

3 June—22 June lora Abunda Australis Ishbel Morag Miller Artist Ishbel Morag Miller continues her love of painting from life. This series of work features predominantly her still life paintings focusing on the play of light and colour in addition to reflections and shadows. She deliberately employs glass bottles, vases, ceramics and drapery to create an interaction of translucent colourful reflections. Dedication is drawn to the beauty of Australia’s unique flora and fauna in many of her still life works through the selection of native flowers such as Banksia and Grevillea. Her delicate response to light is a unifying element in her collection of works creating an intimate poetic atmosphere, to which she fervently gives expression.

Kyoko Hashimoto, Coal Necklace, 2020. Coal, oxidised sterling silver. Image courtesy of the artist and Gallery Sally Dan-Cuthbert, Sydney. Michelle Dawson, The Blooming Victorians, 2020, graphite and watercolour on paper, 150 x 100 cm. Courtesy the artist. 7 May—11 July Figura subcinctus Michelle Dawson In Quiet Amelia Reid 14 May—31 October Treasure Island Darren Sylvester A life in art Margaret Olley

7 May—31 July Bioregional Bodies Kyoko Hashimoto Contemporary jeweller Kyoko Hashimoto presents new and recent works made from sandstone, oyster shells and coal sourced from the Sydney Basin bioregion. 7 May—31 July To companion a companion Fernando do Campo New paintings, video and performance lecture that propose the human as the companion species to birds.

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The University Gallery

Western Plains Cultural Centre

www.newcastle.edu.au/campus-life/newcastle/callaghan/spaces-and-places/the-university-gallery

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.

GS Building, University of Newcastle, University Drive, Callaghan, NSW 2308 [Map 12] See our website for latest information.

Ongoing Animal in Art: The Collection Sally Coppard. 19 June—30 July Retrospective Sally Coppard An exhibition of sixteen surrealist paintings.

Wallarobba Arts and Cultural Centre Charlie Sheard, Pure Painting 5, (detail) 20018–2021, oil and acrylic on linen, 198 x 214 cm. 14 April—16 May Abstraction A solo exhibition by Charlie Sheard.

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. From oils to printmaking, installations to digital media, the WPCC’s collection features surprising and engaging works from some of Australia’s best artists.

www.hornsby.nsw.gov.au/remagine 25 Edgeworth David Avenue, Hornsby, NSW 2077 [Map 11] Tue to Sun 10am–4pm.

Charlie Sheard is one of Australia’s most well known and respected abstract painters. Sheard had seven exhibitions and two six month studio residencies scheduled for China and Germany in 2020 and 2021, in addition to being invited to a guest lectureship at Peking University for 2020-21. These projects were shelved due to the pandemic and Sheard had already given up his studio. After loosing his way for a while, during the second half of 2020 Sheard started painting with renewed vigour and a very different direction in his small, Sydney home studio. Sheard’s new work will be heading to China later this year for an exhibition organised by Peking Art Associates in Beijing, with a Catalogue Raisonné of his practice from the last forty years. The University Gallery is delighted to exhibit Sheard’s new paintings and drawings in Australia prior to their exhibition in China.

Velvet Buzzsaw Gallery 59 Keppel Street, Bathurst, NSW 2795 [Map 12] 0450 948 588 Mon to Sat 11am–5pm. Closed Sundays and public holidays. 30 April—11 June Retrospective Jim Turner Abstract expressionism, landscape, abstract wood sculpture and illustrative watercolour.

Coral Dolan, Həːst(ə)ri1, 2020, detail, wax, organic material, cyanotype print, eco printed cotton, linen fabric, charcoal, gold leaf, thread. Image © artist. 13 February—16 May Herstory: Coral Dolan

Rick Bull, Taste the Consumer, 2019, digital art. 4 June—20 June Remagine Art Prize 2021

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. The celebrated and longest running student gallery in Australia, Watt Space Gallery continues to excite audiences through its diverse and dynamic calendar. Located in the heart of Newcastle in the award winning re-purposed Northumberland House, designed by our esteemed University alumnus Andrew Donaldson, Watt Space remains a centre for contemporary ideas.

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. 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. 13 March—16 May 2020 Jacaranda Acquisitive Drawing Award Jacaranda Acquisitive Drawing Award (JADA) is Grafton Regional Gallery’s flagship art prize, sponsored by the Friends of the Gallery. Established in 1988 the JADA celebrates drawing in all its splendour from hyper-realism to the expressive and abstract, each evokes a poetic and emotional response to the human 193

ar t g ui d e .c o m . au Western Plains Cultural Centre continued...

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.

EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216. 02 9685 9943 Mon to Friday 10am–3pm. 11 May—23 July The Lives An exhibition featuring the works of Zhao Dalu.

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.

Teo Treloar, This is Impermanence, 2019, graphite pencil on paper, 56 x 76 cm, unframed. Courtesy of the Artist and Andrew Baker Art Dealer. condition and our environment. Many of the works question and challenge the notion of traditional drawing; while others provide a contemporary perspective and reinvigorate those traditions. In 2020 the $35,000 prize received a record 659 entries from 521 artists throughout Australia with 56 finalists selected for the exhibition and subsequent tour. 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, The Silent Summer, oil impasto on canvas, 121 x 121 cm. 29 April—12 May Wish You Were Here Emily Persson

Hope Butterfly Project, Sydney Distance Education High School - Hope Butterflies. 5 June—9 July HOPE Butterfly Installation Created by 80 schools across New South Wales. A Nick Baldas Initiative.

www.whitlam.org/events/beyondthe-blind-spot

22 May—1 August Lindy Lee: Moon In A Dew Drop Moon in a Dew Drop is an exhibition of the work of influential Australian Chinese artist Lindy Lee. Lee’s shimmering, meditative and thought-provoking works feature in this major national touring exhibition, which draws on her experience of living between two cultures. Using a spectacular array of processes which include flinging molten bronze, burning paper and allowing the rain to transform surfaces, Lee draws on her Australian and Chinese heritage to develop works that engage with the history of art, cultural authenticity, personal identity and the cosmos. Key influences are the philosophies of Daoism and Ch’an (Zen) Buddhism, which explore the connections between humanity and nature. Curated by MCA Director, Elizabeth Ann Macgregor OBE. Exhibition organised and toured by the Museum of Contemporary Art Australia. This project has been assisted by the Australian Government’s Visions of Australia program. 194

Ken Strong, Lightfall, 2019, oil on canvas, 120 x 80 cm. 3 June—13 June The Magic of Movement in Landscape Ken Strong

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.

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

Belinda Mason, Frozen, Candice, Australia, 2015, from the Silent Tears series, 67 x 100 cm, photograph.

NEW S OUTH WALES

White Rabbit Contemporary Chinese Art Collection → Yao Chung Han, DZDZ4,2015, electronics, lamps, 500 x 152 x 313 cm. 1 April—18 June Beyond the Blind Spot Belinda Mason, Denise Beckwith, and Dieter Knierim (Blur Projects). Curated by Dr Alasdair Foster.

www.westernsydney.edu.au/wsusculture Campbelltown Campus, Narellan Road or Gilchrist Drive, Campbelltown, NSW 02 4620 3450 Mon to Sun 10am–4pm.

15 April—16 May Low Key House Proud Scott Owen 15 April—16 May Portraits and Possessions Erika Sorby 20 May—20 June Ceramics Maryke Henderson

Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Tue to Fri 10am–5pm, Sat & Sun 12pm–4pm. See our website for latest information.

Outdoor sculpture exhibition.

Weswal Gallery 192 Brisbane Street, East Tamworth, NSW 2340 [Map 12] 02 6766 5847 Thur and Fri 10am–4pm, Sat & Sun 10am–2pm.

Frances Feasey, Regrowth Forest, acrylic on board, 58 x 81 cm. 20 May—20 June We Shall Not Be Moved Frances Feasey

White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.

Maryke Henderson, soda fired ceramic vessel. Photograph: Andrew Sikorsky.

Wollongong Art Gallery www.wollongongartgallery.com

6 May—6 June Ninth Western Sydney Sculpture Award and Exhibition

www.weswalgallery.com.au

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.

6 March—2 August Lumen From the blindingly brilliant to the dim and diffused, White Rabbit’s upcoming exhibition looks to the light to reveal the overlooked and intangible. With

Wollongong Art Gallery, managed by Wollongong City Council, is one of the largest regional art museums in Australia. Our aim is to enhance the understanding and enjoyment of the visual arts for the people of the Illawarra and visitors to the region. 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. 6 May—30 May Operation Art A selection of 50 artworks chosen from over 500 works exhibited in 2020 at The Armory Gallery, Sydney Olympic Park. This exhibition will tour regional galleries before being gifted to The Children’s Hospital at Westmead as part of their permanent art collection. 195

ar t g ui d e .c o m . au Wollongong Art Gallery continued... 22 May—15 August Agnieszka Golda, Martin Johnson And Jo Law: Alchemical Worlds Local artists Agnieszka Golda, Martin Johnson and Jo Law bring us in close

proximity to bio-archivists of climate change: corals and trees through philosophies of alchemy and materials transformation. The works in this exhibition entangle textile art with creative technologies, and contemporary art with climate and materials sciences to offer a space for mindful and ecological awareness. 6 March—6 June WOW! What Stories We Tell Circus WOW is 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. 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. 12 June—5 September Illawarra Association For The Visual Arts (IAVA):LORE

Saxon Reynolds, Aberration, 2020, mixed media assemblage, 55 x 25 x 25 cm. Photograph: Bernie Fischer.

In this exhibition, artists from the Illawarra Association for the Visual Arts (IAVA) take on the intangibility of lore by exploring perception, memory, knowledge and the lure of place. Alannah Dreise, Angela Forrest, Deborah Redwood, Jennifer Jackson, Karen Hook, Kate Stehr, Penny

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Alannah Dreise, Cry Fowl I, 2020, collagraph on velin arches, 70 x 50 cm. Hulbert, Peter Hewitt, Sue Smalkowski, Virginia Settre. 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.

A–Z Exhibitions

MAY/JUNE 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

Seaside Sculptures

ephemera

TOWNSVILLE

17-25 JULY

image: Amanda Parer Intrude #intrude #parerstudio #amandaparer

ephemera-tsv.com.au ephemera-tsv.com.au

QUEENSLAND of their collaborative practice, from the first montage work created in 1999 to the latest in 2015.

Andrew Baker Art Dealer

Montages: The Full Cut, 1999–2015 was curated and developed by Artspace, Sydney and is touring nationally in partnership with Museums & Galleries of NSW. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

www.andrew-baker.com 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.

Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 [Map 13] 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays. Sam Bullock, Breaking out of the autistic box, 2020, acrylic on canvas, 100 x 130 cm. 5 May–5 June Autistic spectrum: Darkness and light Sam Bullock

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

Dylan Mooney, Away from country, 2020, lithography and watercolour, 111.5 x 77 cm. Image courtesy of the artist. 21 May—7 July Iterate/Elaborate Leigh Shoenheimer 21 May—25 July Continuum Donna Maree Robinson and David Pyke. 28 May—18 July Tension(s) 2020 Tamworth Textile Triennial.

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.

Scott Redford, A painting by Ritchey Sealy No 8, 2008, oil on board, 44 x 71 cm. Courtesy of the Sunshine Coast Art Collection. Gift of the artist through the Australian Government’s Cultural Gifts Program, 2009. 7 May—20 June Coastal Connections: beach culture past to present Vernon Ah Kee, Hope O’Chin, Scott Redford, Anne Zahalka Beach culture is embedded in our nation’s identity, shaping our lifestyle, fashion and art. The exhibition contemplates the significance of the coast to the Australian psyche, delving into our love affair with the sea, sand and surf.

FireWorks Gallery www.fireworksgallery.com.au

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. 19 February—16 May A Changing Ecology Danie Mellor, Fiona Foley, Archie Moore 16 February—12 May The Wall Dylan Mooney 26 February—16 May In Search of Arcadia Ron McBurnie

9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. Tracey Moffatt & Gary Hillberg, Other, still, 2010, 7 minutes, looped video, sound. Courtesy of the artist, Roslyn Oxley9 Gallery and Tyler Rollins Fine Art, New York. 17 April—19 June Montages: The Full Cut, 1999–2015 This exhibition presents the full suite of eight montage films by artist Tracey Moffatt and her long-time collaborator Gary Hillberg. Exhibited all together for the first time, these works span 16 years

FireWorks Gallery projects include facilitating and coordinating public and private commissions, developing collaborative projects, publishing limitededition print folios from the Estates of Lin Onus and Vincent Serico and, more recently, commissioning limited-edition sculptures. Large, dynamic open stockrooms throughout the gallery house numerous works including paintings, sculpture, installations, works on paper and new media. 199

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HOTA → Nell, Let There Be Robe, detail, 2012, Zen robe, t-shirts, beads, badges, mannequin, socks, Converse All-Stars, guitar picks, paintbrushes, drumsticks, scissors, pencils, screwdrivers, chopsticks, variable dimensions. Collection, Gallery at HOTA. Gifted by the citizens of the Gold Coast to future generations 2017. © Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

Gallery 48 www.gallery48thestrandtownsville.com

Sat to Thu 10am–5pm, Fri 10am–8pm. See our website for latest information.

2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed, Fri and Sat 12noon–5pm.

31 July—3 October Lyrical Landscapes: The Art of William Robinson 12 November—27 February 2022 Contemporary Masters from New York City: Art from the Mugrabi Collection Andy Warhol, Jean-Michel Basquiat, Keith Haring, Richard Prince , Jeff Koons.

Institute of Modern Art www.ima.org.au Hiromi Tango, Hiromi Hotel – Brain Flower, Splendour in the Grass. Image courtesy of Steve Mardon. 8 May—4 July Solid Gold: Artists from Paradise CJ Anderson, Mary Elizabeth Barron, Elliot Bastianon, Ali Bezer, Kirsty Bruce, Michael Candy, Aaron Chapman, Abbey McCulloch, Mimi Dennett, Claudia De Salvo, Erica Gray, Jason Haggerty, Libby Harward, JIL Studio, Samuel Leighton-Dore, Nicola Moss, Lisa Sorbie Martin, Hiromi Tango, Whatu Manawa Collective Janet Fountain, COVID Drawing, Cottonwood Bark, June 2020, pen on off-white paper, 21 x 16 cm.

8 May—10 October World Upside Down Lowana-Sky Davies, Alinta Krauth

1 May—30 June COVID Drawings Janet Fountain

From 8 May Australia’s Playground: Art on the Gold Coast HOTA permanent collection.

HOTA

From 8 May Hyper Aware: 21st Century Highlights from the Collection HOTA permanent collection.

www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] 200

Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm.

From 8 May Pride and Passion: Highlights from HOTA’s Collection HOTA permanent collection.

Khadim Ali, Sermon on the Mount, detail, 2020, tapestry, embroidery and acrylic, 553 x 400 cm. Photo: Carl Warner. Image courtesy of the artist and Milani Gallery. 10 April–5 June Invisible Border Khadim Ali In his largest Australian solo exhibition

QUEENSLAND 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.

Logan Art Gallery

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.

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.

Metro Arts @ West Village 111 Boundary Street, West End [Map 15] 07 3002 7100 Mon 10am–4pm, Tues to Sun 10am–7pm.

The Logan Art Gallery opened in 1995. It celebrates the diverse work of visual artists, craft workers and designers. It presents dynamic exhibitions for residents and visitors.

Within Metro Arts’ multiple venues, there are artists taking risks, creating, developing, experimenting, and presenting ambitious contemporary art. In addition to the artistic program Metro Arts supports the wider artistic community with low cost short and long term venue hire.

www.logan.qld.gov.au/artgallery

Metro Arts www.metroarts.com.au

Tay Haggarty, How to Right An Upturned Caravan, 2019, video still. Courtesy of the artist. 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 foster this culture and practice of care, and apply the same attention to bodies, gender and difference as we go about our daily lives.

Image courtesy of the artist, Anthem ARI. 5 June—26 June Old Haunts Anthem ARI

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. 13 April—1 May This is a love song Jacqueline Hennessy

Born out of a desire to extend tenderness, elevation and appreciation to culturally diverse voices, Anthem ARI aims to provide a dedicated platform to celebrate the practices of First Nations, diasporic, and LGBTQI+ identifying artists of colour in Australia. Colleen Sam, Creations painting, 2020, acrylic on canvas. 23 April—5 June The warp and weft of the forest Laila Bjornsson My story: the unbroken spirit of the Kalkadoons Colleen Sam

Co-founders Lucy Nguyên-Hunt, Reina Takeuchi, Rhanjell Villanueva, Ruaa Al-Rikabi and Keemon Williams will transform the gallery into a simulated museum space, exorcising the sordid histories of institutional race representation and intergenerational trauma embedded within the experiences of the artists.

Are you having a good night? Michelle Hamer Mini miners - finding ghost Colleen Sam

13 April—1 May Grotesque grotto Laura Patterson 15 April—15 May Jan Murphy Gallery at Hugo Michell Gallery Adelaide 4 May—22 May Bonafides Linde Ivimey 4 May—22 May Petrichor Lara Merrett 25 May—12 June Peter Drew 15 June—10 July Iluwanti Ken 15 June—10 July Leith Maguire

Katayoun Javan, Subtitle Iran. Yu Chao Du, The sinking doll boat No. 1 & No. 2, 2020, acrylic and ink on paper. 11 June—28 July Onto your wall from outerspace Chris Maddox Doll park Yu Chao Du Unsilenced Kyra Mancktelow Elders’ choice: Highlights from the Logan Art Collection.

5 June—26 June Subtitle Iran Katayoun Javan Iranian Australian photographer and video artist Katayoun Javan draws on personal and public stories to present notions of family, home, memory, displacement and the Iranian Diaspora. Subtitle Iran is a research-based photo series that explores the ways Western film and television has perceived Iran for the past several decades, mainly before and after the Iranian Revolution of 1979. 201

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Museum of Brisbane www.museumofbrisbane.com.au Level 3, City Hall, Brisbane QLD 07 3339 0800 [Map 18] Tues to Sun 10am–5pm, Free entry. See our website for latest information.

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.

Peta Clancy, Undercurrent, 2018-19, inkjet pigment print, 150 x 106 cm. Courtesy of the artist and Dominik Mersch Gallery. 26 March—16 May Undercurrent Peta Clancy 26 March—16 May Unvanished Kent Morris

Bronze casting in open studio at Perides Art Foundry. Photograph: Joe Ruckli. 7 May—30 May Brisbane Art Design (BAD) 2021 Commencing Friday 7 May– Sunday 30 May, Brisbane’s city, fringe areas and suburbs will be activated across four jam packed weekends featuring more than 60 venues and shining a spotlight on the best of Brisbane’s Art and Design. With the lens fixed firmly on four distinct parts of Brisbane (City, Valley, Northside, Southside), BAD 2021 unpacks what makes each BAD neighbourhood unique with tours, public art events, contemporary art exhibitions, performances, projections and open-studios across the fashion, photography, local artisans, furniture, street art and commercial arts sectors.

RMX Big Bang Workshop, 2007. Photograph: Steve Alexander. 7 May—30 May RMXTV Experience a live art remix as a group of artists test their creative agility this May at Museum of Brisbane. Over the course of three weeks, participants will draw and paint on a large purpose-built environment guided by a series of prompts delivered via the big screen. Day after day the artists will layer their efforts over the last, creating an ever-changing artwork. RMXTV is the latest in the RMX series of collaborative art projects exploring the creative potential of chaos and chance. RMXTV will be a highlight event as part of Brisbane Art Design (BAD), from 7-30 May 2021. RMXTV is a Museum of Brisbane Artist in Residence project, supported by Tim Fairfax AC. 202

Donna Davis, Displaced [TransPLANT IV], 2021, animation still, single channel video installation. Image courtesy of the artist. 7 May—19 June When a Tree Falls Donna Davis

26 March—16 May Ochre Energetic Activation! Ocher Bee 21 May—11 July Flame Path Woodfired Ceramics Group exhibition.

Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Tues to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. Online: 4 May—4 June Australian Knockoffs Ruth Cho

Kate Robinson, URAIWO-PANGO, 2018, digital print on 200gsm rag paper. Image courtesy of the artist. 10 April—12 June KUNA SIUWAI POKONG (Medicinal plants from Siwai) Kate Robinson

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.

Cho’s first online exhibition with Onespace Gallery, Australian Knockoffs, challenges the dominant Eurocentric representations in Australian art history, despite our longstanding cultural diversity. Cho appropriates very familiar compositions from iconic Australian art images— including Down on His Luck by Frederick McCubbin; Spring Frost by Elioth Gruner; Shearing the Rams by Tom Roberts and Charles Meere’s Australian Beach Pattern. This online exhibition comprises a series of sparingly coloured linocut prints that question the exclusivity of predominantly white Australian identity but also evoking the stylistic language of traditional and modern Chinese woodcuts in order to create new hybrid compositions. 7 May—12 June Evidence Arone Meeks May 2021 sees the launch of Evidence, a solo exhibition by Cairns-based artist, Arone Meeks. Known for creating works that speak of cross cultural interaction, relationships, gender, spirituality and his environment—these new works by Meeks also explore notions of anthropological fetishisation of First Nations people. Paintings and prints punctuated by an intense ultramarine blue signal this recent suite of

QUEENSLAND 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.

Kathy Ellem, Hearts as Big as the Sky, 2019, Major Award Winner of the 2020 John Villiers Outback Art Prize. Generously sponsored by The John Villiers Trust. Finalist 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. Most life on this planet lives— thrives— in the tropics, and so too does it inevitably die, fulfilling its function in a greater scheme, its nutrients and energy passing along the chain to sustain new life. With the natural world in tumult, and the increasingly unpredictability of life, is our own existence any different? Murray examines such questions in an artistic voice which alternates between the sobering and bleakly humorous; an accurate and symbolic reflection of life.

Arone Meeks, Evidence, 2021, detail, mixed media on canvas. Photograph: Michael Marzik. Courtesy of the artist and Onespace Gallery. works and draw as much on his heritage and narratives as a Kuku Miidiji man from Cape York, as his ongoing personal quest of discovery. From his considerable domestic and international success in Europe and the USA from the 1980’s onward, Meeks has continued exploring contemporary issues facing an ancient culture—but a bridging point between his past and most recent work was catalysed by the discovery that his great grandfather was the renowned English ornithologist/entomologist, Albert Meek. 18 June—31 July PIVOT II Across June and July, Onespace Gallery presents its second iteration of PIVOT – a group exhibition dedicated to the exploration of the ‘artist book’, but more specifically the ‘hinge’, which shifts an artist’s work from an unencumbered public encounter, to a more intimate insight into their practice. PIVOT II sees a focus on the complexities surrounding where 2D works stop and 3D forms begin. Viewers will explore this oscillation as they navigate a wide range of mediums and practices exhibited throughout the space.

Atkins vineyard, Roma, c.1897. May—June Living Colour A touring exhibition developed by Queensland State Archives.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

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. 13 March—7 May 2021 John Villiers Outback Art Prize

Hannah Murray, A mantle of attainment, 2020, detail, acrylic on Arches Aquarelle watercolour paper, 83 x 115 cm. Photograph: Michael Marzik. 6 April—13 June Entropicana Hannah Murray

Damian Dillon, (Dis)integration #5, 2019, unique c-type print on alupanel, 100 x 90 cm. Courtesy of the artist. 16 April—13 June (Dis)Location Carolyn McKenzie 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. 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. 203

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Philip Bacon Galleries → William Robinson, Sunlit courtyard, 2018, oil on Belgian linen, 138 x 183 cm.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm.

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. A local treasure, this dynamic gallery hosts a diverse program of exhibitions. From solo shows and large collaborative events, to beginner’s workshops and masterclasses, this gallery has something for everyone. 1 May—17 July IDEN-DEFY

William Robinson, Poppies with fruit, 2018, oil on Belgian linen, 92 x 62 cm.

This exhibition brings together a collection of portraits by First Nation artists that engage in the discourse around individual and communal identity. Portraits of Australian Aboriginal and Torres Strait Islander people are inherently political, the act of identifying as such defies the last 200 years of forced assimilation and asserts the living continuum of blood lines of the Traditional Owners of our continent. IDEN-DEFY explores the threads that connect us to our ancestors, to country, to history and to inherited responsibilities. Together they represent the diverse community discourse around defining what modern indigenous identities are.

11 May—5 June William Robinson

Exhibition curated by Sam Harrison as part of Connecting Stories an initiative

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Bianca Beetson, Warrior Woman - Martuchi (Maroochy), 2016, digital photograph. USC Art Collection, acquired 2017. Courtesy of the artist. of Creative Arts Alliance as part of the Regional Arts Services Network and is presented in partnership with Blaklash Creative and the SEQN Regional Gallery Network. This project is supported by the Regional Arts Development Fund, a partnership between the Queensland Government and Moreton Bay Regional Council to support local arts and culture in regional Queensland.

QUEENSLAND

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.

27 March—22 August Queensland Art Gallery (QAG): Seeing and Being Seen William Yang 12 June—17 October Gallery of Modern Art (GOMA): European Masterpieces: From The Metropolitan Museum of Art, New York

QUT Art Museum www.artmuseum.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat 12noon–4pm, Sun 10am–3pm.

Ian Smith, The Meaning Beyond the Sign – The Truth Behind the Ad, 2002, oil and synthetic polymer paint on canvas, 107 x 144 cm. Purchased from Heiser Gallery, 2011. City of Townsville Art Collection. Courtesy of the artist.

The QUT Art Collection was founded on the desire to foster the visual arts within the community – both as a teaching resource and part of the institution’s civic responsibilities. The Collection expounds an adventurous commitment to contemporary art with many works dating from the 1960s onwards.

30 April—13 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 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. Graphic Tendencies includes works by Davida Allen, Garry Andrews, Vincent Bray, George Baldessin, Barbara Cheshire, John Firth-Smith, Christian Flynn, George Gittoes, Robert Jacks, Scott Redford, Margaret Wilson and many more. 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

Dean Cross, This Placed (almost but not quite), 2018, pure pigment print on cotton rag. Courtesy the artist and Yavuz Gallery, Sydney. 27 March—6 June On Earth On Earth traces conceptions of landscape and the environment as it is expressed and represented through the poetic devices of art. The exhibition examines the ways landscape manifests through culture, or personhood, and attempts to bring the two together, rather than separating them. Artists: Robert Andrew, Ray Beattie, Ian Burn, Michael Cook, Dean Cross, Nici Cumpston, Bonita Ely, Emma Fielden, Greg Forsyth, Mirdidingkingathi Juwarnda Sally Gabori, Kinly Grey, Dale Harding, Isaac Walter Jenner, Jillian Namatjira, Claude Pannka, Toni Robertson, Joe Rootsey, Kate Shaw, Sancintya Mohini Simpson, Yasmin Smith, Warraba Weatherall, Keemon Williams, Women’s Domestic Needlework Group and two historical works by artists once known. Curated by Sarah Werkmeister.

Redcliffe Art Gallery www.moretonbay.qld.gov.au/redcliffe-art-gallery William Yang, Australia, 1943 -, Ben Law. Arncliffe, 2016/2020, Inkjet print on Ilford Galerie smooth cotton rag. Image courtesy of the artist © William Yang.

1 Irene Street, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 Mon to Sat 10am–4pm.

Discover an outstanding public gallery with high quality local and touring exhibitions, that offer a unique perspective on the Redcliffe Peninsula and the Moreton Bay Region. 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. 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. 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.

Jenny Cope, Russell Island, 2020, found natural materials. Courtesy of the artist. 22 May—14 August Plant-blind: We only see things that look like us Plant-blindness is a term used to refers to people’s inability to see or identify the trees and shrubs that surround them. It is a phenomenon that is becoming more common as greater numbers of people live in urban areas and disengage from the natural environment. Redcliffe-based artist collective, Carte Blanche, have reconnected with nature, drawing attention to the diversity of trees that are found in the Moreton Bay Region. Through collaborative and individual works these artists reflect upon the importance of the natural environment, and how it connects us all. 205

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Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 20 March—18 May Sheer Light Helle Cook

walkers travel through time, touching on Ludwig Leichhardt’s 1844 traverse of his 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.

22 May—13 July Baltic Mini Textile

edland Art Gallery, R Cleveland

A Grafton Regional Gallery touring exhibition.

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. 28 March—9 May Recent Acquisitions: Works from the RAG Collection

Umbrella Studio Contemporary Arts www.umbrella.org.au

28 March—9 May Singing Up Spirit of the Land

Eszter Bornemisza, Matter of Time, 2019, canvas, self-made paper pulp, concrete, newspaper, dye, paint, threads, 178 x 145 cm. Winner - Art Textile Biennale 2020. © Eszter Bornemisza.

16 May—18 July Response: Carol McGregor

6 April—30 May Art Textile Biennale 2020

16 May—18 July Fragments: A Printed Environment – Tamika Grant-Iramu

Fibre Arts Australia showcase contemporary art textile practice in their inaugural biennial award, Art Textile Biennale 2020. Featuring the works of 29 finalists from 16 countries, including Australia, the selected pieces expand upon traditional applications of textiles and fibre. Works on display explore the dialogue about what it is to be a textile artist in the 21st century. From intimate reflections to global environmental issues, the works vary in concepts, techniques, material and presentation. Yet running through this award is the common thread of innovation, experimentation and the unexpected and conceptual potential of the medium.

Toowoomba Regional Art Gallery 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.

Gallery, the JADA is Grafton Regional Gallery’s flagship art prize. Established in 1988 the JADA celebrates drawing in all its splendour from hyper-realism that is beyond belief to the expressive and abstract, evoking the poetic and emotional response to the human condition and our environment. Many of the works question and challenge the notion of the traditional drawing; while others provide a contemporary perspective and reinvigorate those traditions. The 2020 JADA received a record 659 entries from 521 artists throughout Australia with 56 finalists being selected for the exhibition and subsequent tour. The winner of the $35,000 acquisitive prize was judged by Peter McKay, Curatorial Manager of Australian Art at Queensland Art Gallery and Gallery of Modern Art.

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.

Lynn Scott-Cumming, Cracked Moon, 2020, unique state print, 19 x 33 cm. 16 April—23 May Moon Phase: Chasing Transcendence Lynn Scott-Cumming

The Art Textile Biennale is produced and managed by Fibre Arts 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. 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 bush206

Teo Treloar, This is impermanence, 2019, graphite pencil on paper, 56 x 76 cm unframed, Winner 2020 JADA. Courtesy of the artist and Andrew Baker Art Dealer. 5 June—25 July 2020 Jacaranda Acquisitive Drawing Award (JADA) Supported by The Friends of the Grafton

Donna Beningfield, Mike Butler: The Guardian of My Utopia, 2020, acrylic and charcoal on canvas, 100 x 76 cm.

QUEENSLAND This latest body of work by Lynn Scott-Cumming is comprised of uniquestate prints and written texts. Employing colour, abstract shapes and symbols, the artist explores the mystery, divinity and allure of the moon. 28 May—4 July A Question of Counterpoint Donna Beningfield Donna Beningfield pushes her exploration into portraiture by working with her sitters to develop emotional responses to their past and present lives. Beningfield transposes the marks of the sitters onto canvas, layered with her own process of mark making.

The City of Ladies Zanny Begg and Elise McLeod.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Fri 10am–4pm, Sat 11am–3pm. Closed Sunday and public holidays.

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.

USC Art Gallery www.usc.edu.au/art-gallery USC Sunshine Coast, 90 Sippy Downs Drive, Sippy Downs QLD 4556 [Map 13] Mon to Fri 10am–4pm, Sat 10am–1pm. See our website for more information.

Andreas Angelidakis, DEMOS (Sandstone), 2020, foam, vinyl, fifty parts. Installation view. Reproduced courtesy of the artist. Photo: Simon Woods. 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. 13 February—19 June Occurrent Affair proppaNOW: Vernon Ah Kee, Tony Albert, Richard Bell, Megan Cope, Jennifer Herd, Gordon Hookey, and Laurie Nilsen.

3 August 2020—19 June DEMOS Andreas Angelidakis Athens-based artist and architect Andreas Angelidakis’ ongoing project DEMOS is an installation of 50 foam modules that have been commissioned for UQ Art Museum. The formation of these lightweight blocks will change throughout the exhibition run - the structures may form a seat, a stage, a study space, a wall, a monument, an archway, or even a ruin.

Esther Giles Nampitjinpa, Untitled, 2012. Synthetic polymer paint on Belgian linen, 183 x 244cm. USC Art Collection, acquired 2016. Donated through the Australian Government’s Cultural Gift Program by Craig Edwards, in recognition of the tireless efforts of Jan Edwards, teacher and mother. © Esther Giles Nampitjinpa/Aboriginal Artists Agency Ltd. Photo: Carl Warner. 7 May–31 July Country In Mind The art of Australian Aboriginal and Torres Strait Islander people is a modern vibrant expression of many Indigenous nations. Representation of Country is full of associative information connecting the past, present and future which always begins with Country In Mind. The exhibition focuses on work from the central desert, the Kimberley to the northwest, Arnhem Land and the offshore islands in the far north and explores the continuum among communities who make work about Country while also delving into the idiosyncrasies of individual artistic expression. Curated by Christopher Bassi, this project is part of Connecting Stories, an initiative of Creative Arts Alliance as part of the Regional Arts Services Network and is presented in partnership with Blaklash Creative and the SEQN Regional Gallery Network.

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A–Z Exhibitions

MAY/JUNE 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.

Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.

3 June—20 June Bush Cove Judith White Paintings. Intersect Erin Conron Studio glass.

Canberra Glassworks www.canberraglassworks.com

Australian National Capital Artists (ANCA) Gallery

11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

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.

Albert Namatjira. May Dali Month with signed lithographs. June Sons of Namatjira and Hermannsburg.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm.

Megan Cope, work in progress at Canberra Glassworks, 2020, cast glass. Courtesy of the artists and Milani Gallery, Brisbane. 20 May—18 July Megan Cope Megan Cope is a Quandamooka woman from North Stradbroke Island in South East Queensland. Her site-specific sculptural installations, video work and paintings explore the myths and methods of colonisation. In 2020 Cope, while in residence at Canberra Glassworks, worked with traditional shield forms made from three colours of blown glass which the artist has then engraved and cut back to reveal patterns and colours of the underlying glass layers.

Riley Beaumont, International Playboy, 2019-20, acrylic and oils on canvas, 180 x 120 cm. Photograph: Riley Beaumont. 5 May—23 May One or Two Paintings Peter Alwast, Joel Arthur, Riley Beaumont, Rowan Kane and Dionisia Salas.

eX de Medici, VE Gas, 2020, watercolour, body colour (white) and gold leaf on paper, 114 x 124.5 cm. 6 May—30 May Double Crossed eX de Medici Paintings. Glimpses Wei Rong Wu Works on paper.

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. 29 April–16 May Transmission Liam Fallon From There To Here, In-Between Places, I Am Many Thoughts. Gerald Jones

Tess Horwitz, Liam, 2020, charcoal on 3 sheets Arches watercolour paper, 180 x 65 cm. Photograph: Tess Horwitz.

29 April—16 May Still Ellen Shields

2 June—20 June Dusk Tess Horwitz Judith White, Rocks and Sand, acrylic and collage on canvas, 80 x 115 cm.

20 May—6 June Connections Canberra PhotoConnect 209

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AUSTRALIAN CAPITAL TERRITORY M16 Artspace continued...

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.

Peter Brew-Bevan, Rachel Ward and Bryan Brown, 2006 (printed 2020).

Liam Fallon, -ETS (After Hopper), 2020. oil on board, 40.5 x 60.5 cm. Image courtesy of the artist. 20 May—6 June Illuminations Colin Grant and Felicity Green Vincent van Gogh. Sunflowers, 1888. © The National Gallery, London.

(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.

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

Sally Mumford, In Plight, installation detail, acrylic on found ceramic plates, dimensions variable. 20 May—6 June In Plight Sally Mumford Scratch The Surface The Tin Shed Art Group: Jenny Adams, Noelle Bell, Julie Delves, Eva van Gorsel, Manuel Pfeiffer, Alan Pomeroy, Peggy Spratt and Delene White. Curated by Manuel Pfeiffer. 10 June—27 June Locale: Creative Encounters with Place Kerry Johns, Lynne Flemons and Alison Ford. Fold/Unfold Wendy Dawes Trees Like Humans Susanne Ilschner, Lani Shea-An and John Pratt.

National Gallery of Australia www.nga.gov.au 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

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 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.

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. 20 March—1 August Australian Love Stories Reconnect and reflect with our new major exhibition, Australian Love Stories

Harriet Schwarzrock, spaces between movement and stillness, detail, 2021. Until 1 August spaces between movement and stillness Harriet Schwarzrock

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. 8 April—8 May Building Blocks Sarah Annand Annand is a textile designer linking photography, painting and digital design to create patterns for interiors. Her works dissect our built environment through 211

2021 ENTRIES OPEN NOW

$45,000 PRIZE POOL Prize Categories Open Prize First Nations Prize for Aboriginal and Torres Strait Islander artists Landscape Prize Student Prize nationalcapitalartprize.com.au 212

nationalcapitalartprize.com.au

AUSTRALIAN CAPITAL TERRITORY PhotoAccess continued... a sculptural aesthetic which draws on distinctive modernist and brutalist architectural styles. 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. 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. 13 May—15 June Hot/Cold PhotoAccess Member Exhibition Responding to the theme of Hot and Cold, the PhotoAccess 2021 Member Exhibition complements the concurrent exhibitions by Ben Kopilow and Sari Sutton addressing the recent climate extremes in the Australian environment. Black Summer 2020 – The Aftermath Ben Kopilow Kopilow explores the environmental damage done by the unprecedented 2020 bushfire season. However, instead of depicting horrible destruction, this exhibition celebrates the rare and haunting beauty found in the changes to the landscape that the fire has wrought, namely, the beautiful signs of hope and recovery. Avalanche Sari Sutton This exhibition presents the shock of disruption of the earth’s systems in the 21st century. Fuelled by human excess, the pursuit of hedonism, convenience and short-term priorities, tensions between the present and the future in the Snowy Mountain region are witnessed in Sutton’s works.

10 June—10 July Portrait Melita Dahl Portrait by Melita Dahl investigates fine-art portraiture, the photographic image and 21st century face expression recognition (FER) technologies that challenges assumptions around machine autonomy, within the broader context of a surveillance capitalist culture. A Surrounded Beauty Sarah Rhodes A Surrounded Beauty is an investigation into the capacity of the photographic portrait to explore concepts of place. Using the camera to reveal what is not easily seen with the eye, the work seeks to capture a person’s aura to reflect the atmosphere of islandness in Tasmania. The photographs are an emotional response to place as told through a collaboration between sitter and artist. Canberra Re-Seen Multiple artists

TextaQueen, Eve of the Apocalypses, 2016, indian ink marker, watercolour, coloured pencil and synthetic polymer paint on cotton paper, 112 x 77 cm.

Presenting a group show of 30 artists who together explored some of the ACT’s landmark photographers featured in Seeing Canberra at the Canberra Museum and Gallery. These new works are inspired by the many diverse interpretations of the city of Canberra.

Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. 9 April—5 June After Dylan Mooney and Charlotte Allingham. 9 April—5 June Deqolonise: The Erotic as Power TextaQueen, Dr Léuli Eshrāghi, Sione Monu, Malcom Fortaleza, Jazz Money, Laniyuk, Roshan Ramesh, Basjia.

Rebecca Mayo, A Cure for Plant Blindness, 2017, detail, mordant screen print, linen, silk, cotton, hemp, natural dyes, variable dimensions, overall 300 x 600 cm. Photograph: Matthew Stanton. 19 June—7 August Embracing the Familiar Rebecca Mayo

PhotoAccess → Melita Dahl, Portrait #3, 2019. 213

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A–Z Exhibitions

MAY/JUNE 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

27 April—10 May Michael Muruste Minna Road

Devonport Regional Gallery www.paranapleartscentre.com.au

Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm.

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.

Donna Lougher, Kunanyi at Dawn, 2021, synthetic polymer on canvas, 87 x 137 cm. 11 May—31 May Some Kind of Peace Donna Lougher

Dave mangenner Gough, Ten Days on the Island, 2019, installation. Image: Kelly Slater. Judith Pungarta Inkamala, Sundown at Lyitjarra Outstation, terracotta and underglazes, 45 x 35 cm.

10 April—29 May Constrained – Reclaimed Vicki West and David mangenner Gough.

7 May—29 May Pmara Nurnaka, Yia Nurnaka: Our Country, Our Stories Hermannsburg Potters and Iltja Ntjarra/ Many Hands.

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.

Glen Preece, The Jetty, 2021, oil on board, 37 x 43 cm. 8 June—28 June Song for the River Glen Preece 29 June—12 July New Works Joshua Andree

Contemporary Art Tasmania www.contemporaryarttasmania.org Caroline Rannersberger, Bruny moraine dark, 2021, detail of triptych, oil on linen, 112 x 168 cm. 7 May—29 May Melt Caroline Rannersberger

27 Tasma Street, North Hobart, TAS 7000 [Map 17] 03 6231 0445 Wed to Sun 12noon–5pm. See our website for latest information.

8 May—19 June Grass/Lands Karen Hall and Patrick Sutczak This exhibition will be an installation evoking the Midlands landscape, bringing together stone, earth, wood, sound and grasses. The use of these materials reflects displacement, regeneration and conservation. 12 December—25 September Little Gallery Emerging Artist Program The Little Gallery is named in honour of Jean Thomas, who set up the first public gallery on the north-west coast in 1966 and named it The Little Gallery. Jean Thomas’ vision for the Gallery was as a centre for community arts and activities that promoted the work of emerging and

4 June—26 June Land of the broken hearted Joan Ross 4 June—26 June New(ish) Work Sally Rees

Colville Gallery www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. 216

Alex Davern, BURNOUT, 2021, still from single channel video, HD stock footage (looped, colour, stereo sound) 25:58 minutes. Courtesy of the artist and Bett Gallery, Hobart. 30 April—23 May Shotgun 9: The clouds have cameras Alex Davern

The Designers’ Guide: Easton Pearson Archive 2018. Photograph: 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.

TASMANIA established Tasmanian artists alongside national and international artists. The Little Gallery Emerging Artist Program supports emerging and early career Tasmanian artists who demonstrate a strong vision in their practice. 2020 selected Artists: Sam Beckman 20 March—1 May, Brian Sollors 8 May–19 June, Travis Bell 26 June—7 August, Liam Fallon 14 August—25 September.

30 April—17 May Heidi Woodhead New paintings.

14 May—7 June No questions asked Rona Green

21 May—7 June Jonathan Partridge New prints.

11 June—30 June New works Andy Pye

Museum of Old and New Art (Mona)

12 June—17 July Pattern & Print: Easton Pearson Archive

www.mona.net.au

Brisbane fashion house Easton Pearson was at the avantgarde of international fashion between 1998 and 2016. The label’s success hinged on the creative relationship between Pamela Easton and Lydia Pearson, whose unique ways of working fostered inventive designs and lasting collaborations while supporting ethical manufacture. Pattern and Print: Easton Pearson Archive presents the fantastical world of Easton Pearson, where both simplicity and detail shine, and artistry triumphs. It features a collection of Easton Pearson’s most vibrant designs, highlighting the staggering variety of patterns, colours and materials the label employed. 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 AM, a Brisbane-based philanthropist and patron of contemporary art and design. Donated through the Australian Government’s Cultural Gifts Program. The Archive is complemented by supporting materials gifted by Pamela Easton and Lydia Pearson. The Archive consists of more than 3,300 garments. It is supported by more than 5,000 accessories, spec sheets, range plans, look books, photographs and other supporting materials donated by Pamela Easton and Lydia Pearson. 26 June—25 September Emerging Curator Program Devonport Regional Gallery Permanent Collection

655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. 18 June—1 November Sally Rees: Crone

Bethany Van Rijswijk, The Ethnobotany of Eden, 2020, archival print of hand-cut collage on paper, edition of 10, 80 x 60 cm. 11 June—28 June Bethany Van Rijswijk featuring jewellery by Emma Bugg New prints.

Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. 21 April—11 May Frequently infrequent Erin Smith

A flock of crones will descend on Mona in June 2021 as part of Crone, by Hobart-based artist Sally Rees. This new exhibition features a body of work centred around the folkloric character of the ‘crone’, through which Rees challenges the perceived invisibility of ageing women in society. She seeks to redefine the female elder as a powerful, wise and transgressive figure. Curated by Nicole Durling. The exhibition was commissioned by Mona, as part of Suspended Moment: The Katthy Cavaliere Fellowship, made possible with funds from the Estate of Katthy Cavaliere in partnership with Carriageworks and the Australian Centre for Contemporary Art (ACCA).

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 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.

The curator has the opportunity to engage and work with the City of Devonport’s Permanent Art Collection, which consists of approximately two thousand 2D and 3D objects. The curator will be given access to the collection for their research and to produce an exhibition of their choosing based on their impression of this rich material.

Handmark 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.

Rona Green, M-M-Michel, 2020, hand coloured linocut, 108 x 76 cm.

Anne Zahalka, Lost Landscapes. Image: Rob Burnett. 217

ar t g ui d e .c o m . au Queen Victoria Museum continued... 5 December 2020—24 October Queen Victoria Art Gallery, Royal Park: Lost Landscapes Anne Zahalka 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 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. 5 December 2020—22 May 2022 Queen Victoria Art Gallery, Royal Park: 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.

stories of refugees to the centre page through handmade books and video animation in Looking for Paradise.

personal and vulnerable perspectives on the theme, challenging notions of agency and representation, surveillance and exile.

10 April—27 June Queen Victoria Museum, Inveresk:

5 April—23 January 2022 Ecology Studies (Adrift Lab)

Ten Objects, Ten Stories Arts Tasmania’s Roving Curators, Veronica Macno and Melissa Smith.

A long-term performance in which Tasmanian artist Lucienne Rickard will attend each day to the task of drawing feathers from the flesh-footed shearwater. She will draw one feather for each recorded loss of an individual in the seabirds of Lord Howe Island, estimated across her lifespan. It is a progression from Extinction Studies—Lucienne’s 2019-21 performative artwork that drew attention to species we have lost—and continues her expression of urgent concern for the natural world and our impacts on it.

10 selected objects and their accompanying stories from various small museums and collections around Tasmania. 13 March—19 May Queen Victoria Museum, Inveresk: For Country, for Nation For Country, for Nation is a touring exhibition exhibition dedicated to exploring Aboriginal and Torres Strait Islander stories of military service from the Australian War Memorial.

Tasmanian Museum and Art Gallery

Ecology Studies (Adrift Lab) is commissioned by Detached Cultural Organisation who have an ongoing research project on Lord Howe Island.

www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tues to Sun 10am–4pm. Free entry. 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. Thomas Griffiths Wainewright (17941847), Henry Foss, c. 1818, oil on canvas. Collection: Tasmanian Museum and Art Gallery. 11 June—30 September Paradise Lost: Thomas Griffiths Wainewright

Wrapped in Culture. Image courtesy of 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. 13 March—19 May Queen Victoria Museum, Inveresk: Looking for Paradise Nathalie Hartog-Gautier + Broken Yellow Nathalie Hartog-Gautier brings the 218

Jacob Leary, It needs to grow, 2020, mixed media. 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

Romanticism, lust, murder, forgery and incarceration collide in the life of the London critic and renowned convict artist Thomas Griffiths Wainewright (1794–1847). Paradise Lost: Thomas Griffiths Wainewright is a richly layered exhibition that combines the luscious world of European Romanticism, Tasmania’s oppressive convict history, and Wainewright’s intriguing paintings, portraits and narrative sketches. It is the first major exhibition dedicated to Wainewright as an artist. This is regardless of the long-term acknowledgement that he was one of the most accomplished of the colonial Australian artists, the numerous biographical accounts that have been written about him, and his infamy as a poisoner. Ten of his portraits are in the TMAG collection, and by bringing these together with other artworks by Wainewright and his circle from collections in Australia and overseas, this exhibition presents a new perspective on this passionate, talented and enigmatic artist. Presented by Dark Mofo and TMAG.

A–Z Exhibitions

MAY/JUNE 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

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

ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm. 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. 14 May—3 July Sidney McMahon: Of Sorrow and Release Sidney McMahon and Sam Petersen.

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. 27 February—16 May Clarice Beckett: The present moment The Art Gallery of South Australia’s major exhibition Clarice Beckett: The present moment takes you on a 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. 22 May—22 August Ramsay Art Prize 2021 Held every two years, the $100,000 acquisitive Ramsay Art Prize invites submissions from Australian artists under 40 working in any medium. Finalist works are selected by an eminent panel of judges and shown in a major exhibition at the Art Gallery of South Australia. The finalist exhibition also includes a People’s Choice Prize supported by sponsor Lipman Karas. 19 June—12 September Dušan and Voitre Marek: Surrealists at sea This is the first major survey of the art of Czech-Australian brothers Dušan and Voitre Marek. From their arrival in Adelaide in 1948, Dušan and Voitre set into motion a surge of new ideas and controversies that challenged the conventions of Australian art. Highlights include the artists’ voyage paintings created during their long sea journey from Europe to Australia and Dušan’s pioneering surrealist films.

Flinders University Museum of Art www.flinders.edu.au/museum-of-art Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5.

27 April—2 July Looking Glass: Judy Watson and Yhonnie Scarce An important and timely exhibition which brings together two of Australia’s most acclaimed contemporary First Nations artists. 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. Developed by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria.

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. JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets. 7 May—18 July JamFactory Adelaide: Living Treasures: Masters of Australian Craft Prue Venables Venables presents an outstanding body of work by one of Australia’s greatest artists working in clay. Prue Venables is the ninth artist in the Australian Design Centre’s Living Treasures: Masters of Australian Craft, a series of solo exhibitions which honours eminent and highly respected craftspeople, celebrating their mastery of skill, their achievements, their contribution to Australian craft, and the unique place they occupy in the national design culture.

Voitre Marek, Australia, 1919-1999, My Gibraltar, 1948, on board SS Charlton Sovereign, oil on wood, 29 x 20.5 cm. d’Auvergne Boxall Bequest Fund 1996, Art Gallery of South Australia, Adelaide, © the estate of Voitre Marek.

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Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, acrylic and graphite on canvas, © courtesy of the artist and Milani Gallery, Brisbane, Photo: Carl Warner.

7 May—18 July JamFactory Adelaide: Crafted Technology Jane Bamford (TAS), Bin Dixon-Ward (VIC), Leah Heiss (VIC), Zhu Ohmu (VIC) and Jess Taylor (SA).

S OUTH AUSTRALIA

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. 15 May—13 June Murray Bridge Rotary Art Show Jess Taylor, Bust (Hold you in my heart), 2021. Image: the artist. Crafted Technology brings together a juxtaposed group of contemporary craft and design practitioners who utilise digital processes in their practices in order to explore the complex ways in which the technological evolution has impacted both their craft-making and their role as designers/makers. 20 March—29 August JamFactory at Adelaide Railway Station: Launching in March 2021, JamFactory presents a series of solo exhibitions presented in partnership with Renewal SA. These exhibitions will be displayed within the historic phone booths found at the northern end of the Adelaide Railway Station concourse. The first exhibitions in this exciting new space will be by renowned glass artists Tom Moore and Gerry Wedd.

This year’s prize judge is Lauren Mustillo, Visual Arts Program Manager, Country Arts SA. Categories are 2D (paintings & works on paper), 3D (sculpture, ceramics, glass), Photography and Digital Art (including moving image). 14 July—9 July Gallery closed for minor upgrades and maintenance.

experiences in this unprecedented environment, and are brought together by curator Jonathan Kim despite now being isolated in different countries. East Wind presents a vision for the South Australian visual arts accelerating the momentum of the development of emerging artists from East Asia.

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, Thu 9am–7pm, Sat 9am–4pm, Sun Closed.

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.

20 March—30 May Tom Moore 5 June—29 August Gerry Wedd

Mark Niehus, Breast Cancer, acrylic on plywood, 86 x 61 cm. 9 April—8 May Backbone Mark Niehus From the Artist’s imagination, an array

Ebony Russell, Sad Face: Cloy, 2020. Photo: Simon Hewson. 1 May—11 July JamFactory at Seppelstfield: Ceramica Maxima Ryan Hancock, Claire Johnson, Tessy King, James Lemon, Bruce Nuske, Luke Ryan O’Connor, Kirsten Perry, Nadia Robertson and Ebony Russell. Ceramica Maxima is a flamboyant showcase of colour, shape, form, pattern and texture as explored by contemporary Australian ceramic artists through their pottery and paintings. Heavily decorated, haphazardly glazed and layered with colour, the artworks in this exhibition celebrate the painterly aesthetic and underscore the unusual beauty that can be found in decorative maximalism and deliberate imperfection.

Fang-Yi Kuang, 2021. Image courtesy of the artist. 27 May – 2 July 東風_East Wind Truc Truong, Seiichi Kobayashi, Fang-Yi Kuang, Meng Zhang, Bin Bai and Jonathan Kim. Curated by Jonathan Kim. 東風_East Wind is a group exhibition of six East Asian artists, curated by Jonathan Kim. These emerging artists, studying and developing in South Australia, are striving to survive in the impoverished environment created during the COVID-19 pandemic. The artists, whose cultural backgrounds are in Korea, China, Japan, Vietnam, and Mongolia, have developed new work based on their personal

Caroline Walker-Grime, Weed Creep, clay impressed with industrial material and weeds. 221

ar t g ui d e .c o m . au Newmarch Gallery continued... of characters find themselves in diverse situations in this collection of projections, penned elucidations and blindly knowing markings on plywood. 14 May—12 June Local Schools Art Exhibition Featuring the work of students from City of Prospect’s primary and priory schools. 18 June—17 July They Paved Paradise Caroline Walker-Grime My local area is vibrant and exciting, but this has come at a cost. Demolition and development has had a detrimental effect on local wildlife, old native plant filled gardens and removal of character homes.

praxis ARTSPACE

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. 13 May—11 June relative weakness Edwina Cooper relative weakness is an exhibition of new work by Edwina Cooper, investigating our relationship with the vessels we use to navigate inhospitable water spaces. The works specifically engage with our resulting human inadequacies and inferiority in the face of oceanic immensity.

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.

Jess Mara, Bundle, 2021, oil on linen on board, 62 x 44 cm. Courtesy of the artist. 13 May—11 June Bundle Jess Mara 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.

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Bundle is an exhibition exploring the many loads carried in day to day life. Through a series of reflective paintings and sculptures Mara utilises concealed items to portray both physical and emotional states.

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. 22 May—4 July FEM-aFFINITY Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack,

Eden Menta & Janelle Low, Eden and the Gorge, 2019, inkjet print. Courtesy of the artists; Eden Menta is represented by Arts Project Australia, Melbourne. 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 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.

Nicholas Folland, Other Homes and Gardens (version 2), 2021, mixed media installation. Courtesy of Nicholas Folland and Tolarno Galleries Melbourne. 22 May—4 July Other Homes and Gardens Nicholas Folland Other Homes and Gardens presents your home and garden, but not as you know it. In this monumental animated installation, Nicholas Folland’s absurd interior design sensibility sees the home in a state of flux—forever anxious in its arrangement, as furniture slides, slams and screeches in a choreographed dance of perpetual destruction.

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.

S OUTH AUSTRALIA

Sauerbier House culture exchange → Emiko Artemis, Fjord and swamp, 2020, digital print, 40 x 30 cm. Image courtesy of the artist.

26 June—31 July Walking between Worlds Emiko Artemis

Elyas Alavi, Where is Homeland?, 2019, neon, 25 x 70 cm. Image courtesy of the artist. 8 May—19 June [GRAFTd] exhibition: FIELD NOTES Online arts magazine fine print presents FIELD NOTES—an exhibition of new works reflecting on, and reanimating, the fine print archive and the heritage site of Sauerbier House in Port Noarlunga. Featuring work by Elyas Alavi, Leuli Eshrāgi, Raqs Media Collective and Grace Marlow. Curated by fine print. Supported by Australia Council, Department of the Premier and Cabinet, SA. 26 June—31 July Artist in residence exhibitions: Memory Palaces Wes Maselli Inspired by Lynne Kelly’s book, Memory Craft, Maselli returns to 2D to create a ‘local landmark’ memory palace of fundamentally visualised spaces montaging digital drawing and photography.

Artemis examines the intersection of bodily movement and space through photography and video installation. Walking between Worlds presents, through a gendered lens, Artemis’s experiences of the local river, forest, scrub and wetlands incorporating costumes and props to share stories and to present her lived encounters.

Samstag Museum of Art

Alex Martinis Roe, For the joy of being together, they didn’t have to agree, film still of a photograph courtesy of Ca la dona, Barcelona, 2016. present who have built communities in Europe and Australia.

www.unisa.edu.au/samstagmuseum 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. 23 April—24 September To Become Two Alex Martinis Roe A film installation that stems from the artists’ engagement with international feminist communities and their political practices. To Become Two traces the stories of six different, yet connected, feminist groups from the 1970s to the

James Nguyen and Victoria Pham, RE:SOUNDING, 2020. 23 April—17 July Re: Sounding James Nguyen and Victoria Pham. An exploration of one cultural object’s changing meanings over time and across cultures by two Vietnamese-Australian artists in collaboration. 223

A–Z Exhibitions

MAY/JUNE 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,

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.

to unearth imagery of ancient ranges and abandoned mines in north Western Australia, in a new series of dramatic and brooding artworks that echo geological processes. The moving of mountains through the extraction of resources is also revealed to be in a perpetual state of flux; the cycles of ‘boom and bust’ attest to a tenuous reliance on the oldest landscape on Earth. Dimond Gorge Vanessa Russ Country and cultural memory are the expansive territories traversed by Vanessa Russ’ meandering ink drawings, that powerfully connect her back to her place of birth in Western Australia’s Kimberley region. In this new body of work she revisits these ongoing connections, based on a camping trip with her father and brother at Dimond Gorge on the Gibb River Road.

Jurek Wybraniec, G on P A1, 2021, pigmented acrylic ink on watercolour paper, 56 x 76 cm. 24 April–22 May Pages, Studies, Notes Jurek Wybraniec Wybraniec explores a formal response to the light, colour and space experienced in architecture and film in this new work. Through patient, repeated and improvised acts of mark making and composition, his studio-based studies evolve over time. Marks which highlight the subjective properties of colour meld with the intrinsic qualities of the materials used, paradoxically resulting in a casual, almost flippant, aura.

Galliano Fardin, White Noise, 2020, detail, oil on canvas, 101 x 101 cm. 24 April–22 May Ponderings Galliano Fardin

8 May—30 August Pulse Perspectives WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in. The selected works provide a window into young people’s private, social and artistic concerns. It is in turns an inspiring, rewarding and insightful look at the world through the minds of our most talented young artists. This year’s exhibition features 30 works by 2020 Year 12 Visual Arts graduates from 21 schools across Western Australia. Spanning a variety of subject matter and media, from painting and drawing to sculpture, digital moving image and textiles. Human impact on the environment, identity and family are prominent themes and issues explored in this year’s exhibition.

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. See our website for latest information. On Display Balancing Act Our story is not one story, but many stories to share 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 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. Balancing Act features the work of Aboriginal and Torres Strait Islander artists living and working across the State and Australia. Works of art by local Noongar artists such as Revel Cooper (dec.), Sandra Hill, Dianne Jones and Shane Pickett (dec.) sit loud-and-proud among those by Richard Bell, Karla Dickens, Julie Dowling and Brian Robinson to name a few of the many stellar artists in the show.

Ayano Yoshizumi, ICON #2010, 2020, mould blowing, hot sculpting, enamelling, cold painting, various dimensions. © Yoshizumi. Photographer, Pippy Mount. From May Tom Malone Prize 2021 A highly respected national event within the Australian glass arts community and it has played an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists working in this art form. The 2021 Prize features the work of: Kate Baker (NSW), Clare Belfrage (SA), Hannah Gason (ACT), Marcel Hoogstad Hay (SA), Rita Kellaway (SA), Gerry King (SA), Jennifer Kemarre Martiniello (ACT), Peter Kovacsy (WA), Jeremy Lepisto (NSW), Madeline Prowd (SA), Kirstie Rea (NSW), Ayano Yoshizumi (SA) and Madisyn Zabel (ACT).

Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787, 0418 900 954 See our website for latest information.

A new painting series by Galliano Fardin 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. 28 May–25 June Golden State Tony Windberg Windberg makes connections to the landscape through the innovative use of materials and techniques. Layers of earth pigments are methodically ‘eroded’

Michelle Edward, Louis in suburbia I, II III, 2020, detail, oil on canvas, three parts: two at 29.5 x 29.5 cm; 60 x 90.3 cm. St Mary’s Anglican Girls’ School.

Rita Watson 122 x 122 cm. Courtesy of Ninuku Arts. 225

83 BUSSELL HIGHWAY MARGARET RIVER WA 6285 WWW.JAHROC.COM.AU | 08 9758 7200 83 BUSSELL HIGHWAY MARGARET RIVER WA 6285 WWW.JAHROC.COM.AU | 08 9758 7200

HELEN NORTON NORTON HELEN LIFE’S CONTENTS LIFE’S CONTENTS 5th June – 27th June

5th June – 27th June Featured Artwork - “A Random Man In A Garden” Featured Artwork “A Random In A Garden” 122cm x- 122cm oil onMan canvas 122cm x 122cm oil on canvas jahroc.com.au

WESTERN AUSTRALIA The Bowling Alley brings together three early career artists: Charlie Paganin, Trinity Williams and Declan White, in a showcase of new directions and practices from DADAA’s next generation of artists. Moving worlds, unique figuration, intensive patterning and brilliant colour set these artists apart. At times abstract as well as deeply personal, this collection of works offers a momentary glimpse into the dynamic, confident and energetic practices of artists working from DADAA’s studios.

Artitja Fine Art Gallery continued... 4 June—27 June MINYMA TJUTJA WIRUNYA | All the Lovely Ladies Exhibition to be held at 330 South Terrace, South Fremantle . Minimya Tjutja Wirunya is a celebration of the art and stories of three generations of Ninuku women living in Tompkinson Ranges of South and Western Australia.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm, Tue to Sat 10am–5pm. See our website for latest information.

Fremantle Arts Centre Megan Shaw, Slode and Yellow. 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.

www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission.

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. 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. This exhibition is proudly supported by the City of Bunbury, Dept of LGSCI, Geographe Wine Region and Vukelic Group.

DADAA Gallery www.dadaa.org.au Elisa Markes Young, Against The Passing Of Time. 23 January—11 April Saudade Elisa Markes-Young 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 Markes-Young’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. 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,

92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat, 10am–4pm. See our website for latest information.

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. 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. 26 March—23 May Straight Outta Wilurarra

Declan White, The Bowling Alley, 2018, ink on paper, 56 x 76.5 cm. Courtesy of the artist. 21 May—17 July The Bowling Alley Charlie Paganin, Trinity Williams and Declan White

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 Ngaanyatjarra young adults to explore and express personal and collective identity, capturing the songs, stories, styles, 227

INN OMI NAT E

kamilegallery.com

S I O U X T EM P ES T T 29 May - 25 June | Civic Hotel Inglewood, Perth | siouxtempestt.com

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Supported By

WESTERN AUSTRALIA Fremantle Arts Centre continued...

Travis Lane, Self-portrait, 2020, photographic print. Image courtesy of the artist. 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. 29 May—18 July Fremantle Arts Centre Print Award

George Haynes, At the End of the Day, 2020–21. Courtesy and copyright of the artist. Britta Sorensen, The Pause, pen on toilet paper, wool stitching on linen cloth, 2021, 12 x 24 cm x 13 rolls. approaches to creating books of art and art-of-books. Presented by Gallery East. 27 May ONO–Or Nearest Offer The annual fundraising auction staged by the photography students is a chance to snap up high quality work at low brow prices.

Australia’s most prestigious, longest running print prize. Now in its 45th year, the FAC Print Award presents a diverse selection of prints and artist books from emerging, established and cross-disciplinary artists, offering a true picture of the state of contemporary Australian printmaking. The winner takes home $16,000 with their work acquired for the City of Fremantle Art Collection.

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. 30 April–21 May Between The Sheets–Artists Books Printmakers, photographers, wordsmiths, painters, sculptors, textile and digital artists challenge notions of the book, with both traditional and contemporary

George Haynes 2020–21 George Haynes is a well-established and highly influential Western Australian artist. His artwork aspires to the quality of music and delights in smouldering sunsets, light dappled hills, soft pastel tones accompanied by intense hues and a grip on realism veering towards abstraction. He has an exquisite mastery of technical challenges in painting. He demonstrates a fine grasp of colour knowledge and perspective theory. He often draws directly from nature, closely observing the many nuances of nature and the physical world. He is endlessly expanding his conceptual and technical skills to communicate ideas and questions about visual experience and perception.

JahRoc Galleries www.jahroc.com.au

Object of the Game Deanna Hitti Object of the Game presents the 2018 Fremantle Arts Centre Print Awardwinning artist’s book Towla by Deanna Hitti, a Melbourne based artist with Lebanese heritage. Towla is a multipage two-colour book printed by the artist that sets out the rules of Backgammon phonetically in both Arabic and Latin alphabet. The Arabic text spell the instructions in Latin and the Latin spell the instructions in Arabic. Object of the Game includes new work, an interpretive animated video projection narrated by the artist and a public program involving Backgammon tuition and demonstrations.

23 May—19 September Holmes à Court Gallery at Vasse Felix:

Neda Bahremand, Untitled, plaster, acrylic paint, varnish, 27 x 30 x 29 cm. Photograph: Lameh Bahremand. 8 June—25 June Yaar (Beloved)

83 Bussell Highway, Margaret River, WA 6285 08 9758 7200 Open daily 10am–5pm. See our website for latest information.

An exhibition of artists of Iranian background includes WA based Fatemah Boroujeni Hafshejani, Layli Rakhsha, Nastaran Ghadiri, Elham Eshraghian, Neda Bahremand, Kianoosh Kavoshi plus more. Relocation and a sense of a home far away is a common theme for these 9 artists/ makers of Persian extraction. Each draws upon a rich cultural heritage, alongside the experience of living in Australia. Whether it be politics, longing for a lost past or a tribute to Iranian culture, these artists create works that cross the divide between art/craft/life.

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.

Helen Norton, A Random Man In A Garden, oil on canvas 122 x 122 cm. 5 June—27 June Life’s Contents Helen Norton What have our lives become? The new guiding principal, the internet of things, has whipped up a frenzied world of emotionally charged lunatic ideas through indignant holograms and magic tricks mostly delivered via social media, streaming into our pockets or handbags 229

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

KAMILĖ GALLERY www.kamilegallery.com

every minute of the day and night with our permission—attacking our sanity and concentration not unlike water torture … drip, drip. It’s getting harder to dodge the nonsense of these unreal robotic times, with all the panic and chaos it can create through ‘thin air’ so quickly, but if you turn it off it just stops! Being recalcitrant and earthy, and living a sensual life is important in the face of the current nonsense that has gripped the world. Eat well, walk, run, love, laugh, paint, write, kiss dogs on the face, sleep with your cat, read real paper books, grow veggies and chooks, eat meat if you want, and burn wood in a fire place, with your phone turned off, inserted in a zip lock bag, buried deep in the freezer. – Helen Norton, 2021.

Cathedral Square, 3 Pier Street, Perth WA 6000 [Map 19] 0414 210 209 See our website for latest information.

Kurun Warun, Yidarki, acrylic on linen, 179 x 120 cm. environment, how they lived in their country and managed its resources. Kurun Warun refers to his work as recording “living culture—our story”.

John Curtin Gallery Curtin University www.jcg.curtin.edu.au

Japingka Gallery www.JapingkaAboriginalArt.com 47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information.

Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sun 12noon–4pm. Ross Potter, Envy The Raven. 1 May—29 May Pretty Bird Ross Potter 4 June—26 June The Future Is Us Rich Valentine

John Bilbijy. 14 May—30 July The Alternative Archive Rover Thomas, Lingurr, ochre pigments on board, 120 x 70 cm. 14 May–30 June Gallery 1: Landscapes in Ochre Major Kimberley Artists Major East Kimberley artists Rover Thomas, Jack Britten and Queenie McKenzie created ochre artworks that set the benchmark for a new generation of painters to understand and aspire to. This senior group of artists also include Shirley Purdie, Beerbee Mungnari, Henry Wambini and Freddie Timms. Rover Thomas evokes the raw experience of the Kimberley with 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. 14 May–30 June Gallery 2: Recent Works Kurun Warun Warun captures the dry landscape of the Australian Bush using markings and colours that identify the land with Indigenous culture. The artist continues the great Aboriginal tradition of telling stories of the people and their 230

The John Curtin Gallery will showcase work by 40 contemporary regional artists, including 16 Indigenous artists, living in communities throughout WA for the Alternative Archive exhibition. Co-curated by Chris Malcolm (Director, John Curtin Gallery) and Anna Louise Richardson (Independent curator), the exhibition is the culmination of an ambitious project which presented a series of 13 regional exhibitions, bearing the Alternative Archive name, between February and October 2019. The artists are: Craig Allsop, Agnes Yamboong Armstrong, Gabrielle Butler, Debbie Carmody, Tina Carmody, Catherine Kgukgi Noble, Chan Dalgarno, Annette Davis, Mary-Lou Divilli, June Djiagween, Alana Grant, Charmaine Green and Mark Smith, Jan Goongaja Griffiths, Peggy Madig Griffiths, Naomie Hatherley, Pansy Hicks, Maitland Hill, Jason Holmes, Karen McClurkin, Serena McLauchlan, Jeanne Melville, Sarah Mills, Claudette Mountjoy, Brenda Mingen Ningarmara, Lyn Nixon, Ellen Norrish, Marianne Penberthy, Deidre Robb, Loreen Samson, Violet Samson, Michelle Slarke, Gary Smith, Tania Spencer, Louise Tasker, Casey Thornton, Monique Tippett, Lizzie Troup, James Walker and Ben Galmirrl Ward.

Rich Valentine is multi-cultural art collective paving the way to the future by delivering innovative, sustainable and influential collection of contemporary music, video and fashion.

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

Olga Cironis, Echo, 2021, still from single-channel digital video with sound, duration 3:55 min, ed. 1/5. Courtesy of the artist and Art Collective WA. This project has been made possible with the support of the Minderoo Foundation. 27 February–5 June Dislocation Olga Cironis Presented in association with Perth Festival.

WESTERN AUSTRALIA 6 June—27 June West Perth Gallery: Wandoo Jo Darvall

Kate Elsey, Words in the Sky, 2021, oil on canvas, 135 x 300 cm. Kate Elsey’s work is at once greatly sensitive and overwhelming. Through emphatic gestures of a metal blade putting paint onto canvas, she captures the primordial conditions of our planet, embedding the rhythms of nature and translating the universal language of our fragile environment.

Darvall selected Eucalyptus Wandoo because of its stunning silky white bark, red leaking sap and gnarly form; it also has an Aboriginal name, Wandoo. In Noongar Wandoo means tree. The Wandoo tree has a very hard wood and was used to make wooden nails for boat building. An accomplished artist who specialises in watercolours, oil painting and printmaking, Darvall completed a Bachelor of Fine Art in Melbourne in 1989.

Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm.

TextaQueen, Me (Arlene TextaQueen), 2001, fibre tipped pen on cotton paper, 100 x 70 cm. Cruthers Collection of Women’s Art, The University of Western Australia. The collection includes work by women and non-binary artists. © the artist. 27 February–5 June Paper Cut An exhibition of works on paper from the University of Western Australia’s Cruthers Collection of Women’s Art by artists Jude Adams, Barbara Brash, Joy Hester, Mary MacQueen, Rosella Namok, Ann Newmarch, TextaQueen and Lesbia Thorpe, among many others. Creatures: Ochred, Pokered, Carved and Twined A diverse menagerie of animal representations from across Indigenous Australia from the collection of the Berndt Museum of Anthropology.

Linton & Kay Galleries www.lintonandkay.com.au 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. 24 April—16 May Subiaco Gallery: Unscripted Kate Elsey

Tony Hewitt, Spatium, detail, 2021, ed. 15, pigment print on fine art paper, 149 x 109 cm. 22 May—13 June Subiaco Gallery: Continuum Tony Hewitt Photographer Tony Hewitt continues to explore beauty found in the spaces between passing moments that remind him of nature’s inherent aptitude for balance and design, recognising that this sometimes occurs in partnership with man. Light, liquid and timing conspire to reveal new perspectives, each born of coincidence.

Jo Darvall, Wandoo, 2021, 102 x 66 cm, watercolour. Photograph: Miles Noel Photography.

Tom Freeman, Limited movements, internal paths, 2020, detail, acrylic on paper, 56 x 76 cm each (16 panels). 8 May—17 July Critical Time Tom Freeman, Andre Lipscombe, Joana Partyka and Gemma Watson.

Dylan Madurun, Blue Heeler Puppy, 2020, acrylic and paint pen on canvas, 76 x 51 cm. 231

ar t g ui d e .c o m . au 1 May—30 May All These Mountains Will Melt At Dawn Paul Kaptein

Midland Junction continued... Time passes quickly, drags on, accelerates. Time is punctuated by momentous events. Time languishes in archives. Critical Time brings together artists who keep time, waste time, or chronicle time, charting tempos through meditative, accumulating, and reflective practices. 8 May—17 July DADAA Tactile Art Project Beth Wilcox, Brittney Coutts, Betty Hemsley, Jen Rouke, Katelyn Murphy, Mark Landon, Oliver-Max Taylor and Sarah Jansen. A showcase of tactile and multi-sensory artworks intended to be touched, seen, heard and smelt. 8 May—17 July Artist in Focus Dylan Madurun An installation by emerging artist Dylan Madurun, whose arts practice connects a variety of subject matter with his favourite colour, blue.

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.

All These Mountains Will Melt At Dawn features ten life-size figurative sculptures by Paul Kaptein.

Sarah Thornton-Smith, Dis|Connected, 2020, detail, gouache on paper, framed, 31 x 31 x 4 cm (each). 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. 5 June—1 August Urban Michelle Campbell

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm.

A response to the conflict between development and community wellbeing, Michelle Campbell’s solo exhibition investigates the psychological impact of the changing urban landscape. Through painting Campbell explores personal connections to homes and suburbs as extensions to a sense of self. 5 June—1 August Food for Thought Showcasing the result of skill sharing workshops between master artists and the local community as part of the Food for Thought project which saw the local community share food, skills and conversations about food culture.

OCH Gallery www.paulkaptein.com 8 Phillimore Street, Fremantle, WA 6160 Weds to Sun 10am–5pm, Mon to Tues by appointment.

Holly Yoshida, Laundry, 2020, oil on board, 60 x 80 cm. Courtesy of the Artist and MOORE CONTEMPORARY. 5 May—5 June Offerings Holly Yoshida

Mundaring Arts Centre www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. 27 March—30 May Safe Keeping Amanda Alderson, Iain Dean, Bethamy Linton, Philippa O’Brien, Ric Burkitt and Sarah Thornton-Smith. 232

Paul Kaptein, All These Mountains Will Melt At Dawn, 2020, industrial plaster, foam, steel, 169 x 63 x 30 cm. Photographer: Eva Fernandez.

Yul Scarf, HomeBuilder Scheme (new build or renovate), 2020. Photograph: Peter Morgan. 8 May—11 July Hatched: National Graduate Show 2021 In 2021, PICA celebrates 30 years of supporting the work of Australia’s leading artists at the earliest stages of their careers through the iconic Hatched: National Graduate Show, the only national exhibition of its kind. This anniversary offers an opportunity to share and understand the impact and importance of the exhibition that forms a cornerstone of PICA’s annual program. Through an exciting program of events, artist talks, digital engagement and professional development opportunities, PICA invites you to reflect and celebrate the value of this beloved exhibition, both in the past and into the future. Opening night: Friday 7 May. Alicia Butt (SA), Dean De Landre (VIC), Stephanie Doddridge (SA), Hannah Foley (TAS), Shanti Gelmi (WA), Michael Guisanga Tuhanuku (VIC), Nicholas Hanisch (SA), Anna Jalanski (VIC), Bradley Kickett (WA), Renee Kire (QLD), Kate Land (QLD), Alexa Malizon (ACT), Beth Maslen (VIC), Lisa Myeong-Joo (NSW), Natasha Nielsen (WA), Michella Nudelman (VIC), Joshua Ophel (ACT), Natalie Quan Yau Tso (NSW), Harrison Riekie (WA), Yul Scarf (NSW), Grace Ware (VIC), Eli Waters (NSW), Elle Wickens (NSW) and Hope Yates (NSW).

A–Z Exhibitions

MAY/JUNE 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

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

Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. 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. 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 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. 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.

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. 30 April—29 May We Eat We Are This exhibition curated by Sarah Pirrie presents audiences with a visually

immersive and interactive exhibition experience as it tours through the Northern Territory. Celebrating food as a form of social sculpture that unites, nourishes, and renews. We Eat We Are explores the relational experience of food as a cultural determinant, as a sacred language, and as a vital environmental resource at the heart of the community. Sarah Pirrie, SPARK NT Curator said “the exhibition celebrates social cohesion through food and food culture, and in doing so encourages community engagement and reflection”.

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. Until 15 May Adrian Robertson 21 May—12 June Walpa Warringku Warranyi Papunya Tjupi, group show.

Jimmy Donegan, Wati Kutjara Wanampi, 2021, acrylic on linen, 122 x 122 cm. 18 June—10 July Yanytjari Jimmy Donegan 234

raftartspace.com.au

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OLSEN Piermarq* Roslyn Oxley9 Gallery Saint Cloche Sarah Cottier Gallery STATION Gallery Thienny Lee Gallery UNSW Galleries Wagner Contemporary

243

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

CRONULLA

BARGO

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 30 31 244

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 Rusten House Art Centre Shoalhaven Art Gallery Suki & Hugh Gallery Tamworth Regional Gallery Tweed Regional Gallery Velvet Buzzsaw Gallery Wagga Wagga Art Gallery Western Plains Cultural Centre Weswal Gallery

BY R O N 27 B AY 12

C O F FS HARBOUR

MOREE

BOURKE

31 20 26 COBAR

BROKEN HILL

DUBBO

New South Wales

MILDURA

18 14

21 2 C E N T R A L C OA ST 28

9 23 25 7

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 18

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 University of the Sunshine Coast Redcliffe Regional Gallery Redland Art Gallery Stanthorpe Regional Art Gallery Toowoomba Regional Gallery

4 SUNSHINE C OA ST

12 8

11 14 3

Brisbane 18

TO OWO O M B A

2 15

13 9

16 10 6 1 9 5

GOLD C OA ST

17 STA N T H O R P E

6 CAIRNS

TOW N SV I L L E

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

245

M A P 15 BRISBANE

RE ST

B EE

Fortitude Valley O

ST R E E

DA R Y

BOUN

17 10

8 9

ED W A

R D

ST R EE T

22 19

16 13 M

South Bank

Brisbane CBD

AL IV

1 2 3 4 5 6 7 8 9 10 11

246

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

YD RIV

12 24

Acton

10 9

21 PA R K E

S WAY

AV E

Russell

18 20

16 KIN

ID E

E AV

Barton

AV E

8 14

LA ADE

EN E AV

Deakin G

CAN W

BER

RA A VE

1 2 3 4 5 6 7 8 9 10

Aarwun Gallery ANU Drill Hall Gallery ANU School of Art Gallery Australian National Capital Artists (ANCA) Gallery Australian War Memorial Beaver Galleries Belconnen Arts Centre Canberra Glassworks Canberra Museum and Gallery Craft ACT

11 12 13 14 15 16 17 18 19 20 21

Hadfield Gallery Kyeema Gallery at Capital Wines M16 Artspace Megalo Print Studio Nancy Sever Gallery National Archives of Australia National Gallery of Australia National Library of Australia National Museum of Australia National Portrait Gallery Nishi Gallery

22 PhotoAccess 23 Tuggeranong Arts Centre 24 Watson Arts Centre

247

M A P 17 & 18 H O B A RT & A D E L A I D E

1 3

Bett Gallery Colville Gallery Contemporary Art Tasmania Despard Gallery Handmark Gallery Penny Contemporary Plimsoll Gallery Salamanca Arts Centre Tasmanian Museum and Art Gallery

D AV

A G Y E

T EY S

L S T

1 2 3 4 5 6 7 8 9

Hobart EL

RA Y

SAL AM ANC A PL

FRO

NORTH TCE

8 20 7

23 22

EAST TCE

Y RD

HA CK NE

18 1 14

Adelaide

248

PULTENEY ST

ACE Open Adelaide Central Gallery Art Gallery of South Australia Bearded Dragon Gallery BMGArt Collective Haunt Flinders University Art Museum Gallery M Greenaway Art Gallery Hahndorf Academy Hill Smith Gallery Hugo Michell Gallery JamFactory Nexus Arts Newmarch Gallery Praxis Artspace Royal SA Society of Arts Samstag Museum of Art SA School of Art Gallery Sauerbier House Cultural Exchange South Australia Museum Tandanya National Aboriginal Cultural Institute 23 Urban Cow

KING WILLIAM RD

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

10 2

12 6

M A P 19 & 2 0 P E RT H & F R E M A N T L E

15 NE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

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

ES T

ING

NS T

Perth

13 2

10 TH

EE SPL A

11 EL

A I D7 ET E

6 RR

3 4 OR

T DS

Artitja Fine Art David Giles Gallery / Studio Eleven Fremantle Arts Centre Gallows Gallery Japingka Gallery Moores Building Contemporary Art PS Art Space

Fremantle

MA ST

7 5

1 2 3 4 5 6 7

HIG

T HS

1 249

@14 (VIC) 37, 107

Bus Projects (VIC) 115

Gallery Central (WA) 225

16albermarle (NSW) 151

Buxton Contemporary (VIC) 115

Gallery Elysium (VIC) 121, 128

4A Centre (NSW) 151

Gallery Lane Cove (NSW) 162, 163

Caboolture Regional Art Gallery (QLD) 195

Geelong Gallery (VIC)

Caloundra Regional Gallery (QLD) 195

Gertrude Contemporary (VIC) 122

Aarwun Gallery (ACT) 205

Campbelltown Arts Centre (NSW) 23, 157

Gippsland Art Gallery (VIC) 34, 123

ACE Open (SA)

Canberra Glassworks (ACT)

Glasshouse Port

510 Collective 136 A 216

205, 210

7, 121

ACMI (VIC) 6, 107

Casula Powerhouse

The Alchemist (VIC) 126

Arts Centre (NSW) 157

Glen Eira City Council Gallery (VIC) 122

Andrew Baker Art Dealer (QLD)

CAVES (VIC) 117

Goulburn Regional Gallery (NSW) 164

Centre for Contemporary

Gould Creative (VIC) 39

Ararat Gallery TAMA 107

Grace Cossington Smith (NSW) 164, 166

ARC ONE Gallery (VIC) 17, 109

Centre for Creative Health 44

Granville Centre Art Gallery (NSW)

Art Van Go 170

Chalk Horse (NSW)

157

Grau Projekt (VIC) 123

Artists Shed (ACT) 205

Chau Chak Wing Museum (NSW)

159

GAGPROJECTS /

Artitja (WA) 221

Charles Nodrum Gallery (VIC)

Artspace (NSW) 152

The Churchie Emerging Art

Artspace Mackay (QLD) 195

Handmark Gallery (TAS) 213

Art Collective WA (WA) 221

Colville Gallery (TAS) 212

Hazelhurst Regional Gallery (NSW) 165

Art Space on The Concourse (NSW) 152

Contemporary Art Tasmania (TAS) 212

Hearth Galleries (VIC)

123

ArtSpace REALM/Maroondah (VIC) 109

Counihan Gallery (VIC) 117

Heide Museum of Modern Art (VIC)

123

Art Gallery of Ballarat (VIC) 109

Cowra Regional Art Gallery (NSW) 159, 186

Holmes à Court Gallery

Art Gallery of New South

Craft Victoria (VIC) 10, 118

The Cross Art Projects (NSW) 159

Horsham Regional Gallery (VIC) 125, 144

195

Anna Schwartz Gallery (VIC)

1, 107

Wales (NSW)

152

Art Gallery of South Australia (SA) 216

Photography (VIC) 117

Prize (QLD)

117

Macquarie (NSW) 164

164

Greenaway Art Gallery (SA) 216 H

at Vasse Felix (WA) 225

Home of the Arts (HOTA) (QLD)

8,9, 196

Art Gallery of Western Australia (WA) 221

DADAA Gallery (WA) 223

Hurstville Museum (NSW) 165

Arts Project Australia (VIC)

Hyde Park Barracks (NSW)

27, 110

Darren Knight Gallery (NSW)

Australian Design Centre (NSW) 2, 153

Deakin University Art Gallery

Australian Centre for Contemporary Art

at Burwood 108, 118

Immigration Museum (VIC) 26

15, 110

Defiance Gallery (NSW) 159

Incinerator Art Space (NSW) 165

153

Devonport Regional Gallery (TAS) 212

Incinerator Gallery (VIC) 38, 127

Australian Museum (NSW) 12

The Distorted Frame (VIC) 126

Institute of Modern Art (QLD) 32, 196

Australian National Capital Artists

The Dax Centre (VIC) 118

Ivanhoe Library and Cultural Hub (VIC) 125

(ACCA) (VIC)

Australian Galleries (NSW)

(ANCA) Gallery (ACT) 205, 206

Australian Tapestry Workshop (VIC)

111

B Bank Art Museum Moree

159

165

Eden and the Willow (NSW) 159

Jacob Hoerner Galleries 28, 129

End Space (SA) 45

JahRoc Galleries (WA)

Everywhen Artspace (VIC) 106, 118

John Curtin Gallery

(BAMM) (NSW) 153

222, 225

Curtin University (WA)

226

Banyule Award for Works on Paper 124

Federation University (VIC) 119

JamFactory (SA)

216

Bathurst Regional Art Gallery (NSW)

Fellia Melas (NSW) 170

Jan Murphy Gallery (QLD)

197

Finkelstein Gallery (VIC)

11, 119

The Japan Foundation

FireWorks Gallery (QLD)

195

Bayside Gallery (VIC)

154 41, 111

Ballarat Internation Foto

Biennale (VIC)

Beaver Gallery (ACT)

20 13, 205

Gallery (NSW)

5, 167, 176

Five Walls Gallery (VIC) 119

Japingka Aboriginal Art

Flinders Lane Gallery (VIC)

Jewish Museum of Australia (VIC)

120

226 19, 129

Bega Valley Regional Gallery (NSW) 155, 180

Flinders Street Gallery (NSW) 168

Johnston Collection (VIC)

Bendigo Art Gallery (VIC)

Flinders University Museum

Jinwen Gallery Australia (NSW)

29, 111

Bett Gallery (TAS) 212

Blacktown Arts (NSW) 155

fortyfivedownstairs (VIC)

120

KAMILĖ GALLERY (WA)

BLINDSIDE (VIC)

The Foundry Arts Space (VIC)

120

Ken Done Gallery (NSW)

167, 178

Fox Galleries (VIC) 120

Kingston Arts (VIC)

129, 132

Frankston Arts Centre (VIC) 121

King Street Gallery (NSW)

169, 172

Fremantle Arts Centre (WA) 223

Koorie Heritage Trust (VIC)

113

Blue Mountains City

Art Gallery (NSW) 155

Brenda Colahan Fine Art (NSW)

158

Broken Hill Regional Gallery (NSW) 156, 157 Brunswick Street Gallery (VIC) Bunbury Regional Art Gallery (WA) Bundoora Homestead (VIC) Bunjil Place (VIC)

250

113, 142

of Art (SA) 216

G Gaffa Gallery (NSW)

K 224, 226

131

Korean Cultural Centre Australia (NSW) 169 161

223

Galerie pompom (NSW) 161

Latrobe Regional Art Gallery (VIC) 131

113

Gallery 48 (QLD) 196

Lauraine Diggins Fine Art (VIC)

43, 115

Gallery 76 (NSW) 163

Lawrence Wilson Gallery (WA) 226

131

INDEX

The Lester Prize 136

NGV International (VIC)

IBC, 138

Samstag Museum of Art (SA)

Lethbridge Gallery (QLD) 203

National Capital Art Prize 208

Sauerbier House

Leonard Joel

The National New Australian

Linden New Art (VIC)

131

22, 219

Culture Exchange (SA)

218

S.H. Ervin Gallery (NSW) 183

42, 227

National Portrait Gallery (ACT) 207

Sioux Tempestt 146

169

Neil Wallace Printmaking Supplies (VIC) 148

Sofitel Melbourne On Collins (VIC) 126, 139

Logan Art Gallery (QLD) 197

New England Art Museum (NSW)

Stanley Street Gallery (NSW) 185

LON Gallery (VIC) 133

Newcastle Art Gallery (NSW)

LUMAS Gallery (VIC) 133

Newmarch Gallery (SA) 217

Stephen McLaughlan Gallery (VIC) 140

Nexus Arts Gallery (SA)

Stockroom Gallery (VIC)

Linton & Kay Galleries (WA) The Lock-Up (NSW)

Art Prize (NSW)

179 177, 188 217

STATION (VIC, NSW)

140, 185 140

M16 (ACT) 205

Niagara Galleries (VIC) 137

Sturt Gallery (NSW) 185

MAC Museum of Art and Culture

Nicholas Thompson Gallery (VIC) 40, 138

Sullivan & Strumpf (NSW) 185

No Vacancy Gallery (VIC)

138

Sutton Gallery (VIC) 140

Macquarie University Art

Noosa Regional Gallery (QLD)

198

Swan Hill Regional Gallery (VIC)

140

Northern Centre of Contemporary

Sydney Living Museums (NSW)

Lake Macquarie (NSW) 175 Gallery (NSW) 169

Maitland Regional Art Gallery (NSW) 171

Manly Art Gallery (NSW)

NorthSite Contemporary Arts (QLD)

171

Manningham Art Gallery (VIC) 133

Art (NCCA) (NT) 230 198

Tamworth Regional Gallery (NSW)

185

TarraWarra Museum of Art (VIC)

25, 141

Martin Browne Contemporary (NSW) 173

OCH Gallery (WA) 228

Tasmanian Museum (TAS) 214

McClelland Sculpture

Old Quad (VIC)

138

Thienny Lee Gallery (NSW) 187

OLSEN (NSW) 177

Tinning Street Presents (VIC) 141

Melbourne Etching Supplies (VIC) 148

Omnus Framing (VIC)

148

Tolarno Galleries (VIC) 143

Melbourne Symphony Orchestra (VIC) 18

Onespace (QLD) 198

Toorak Village Sculpture Exhibition (VIC) 130

Metro Arts (QLD) 197

Outback Regional Gallery,

Toowoomba Regional Gallery (QLD) 202

Metro Gallery (VIC) 134

Winton (QLD) 199

Town Hall Gallery (VIC)

Tuggeranong Arts Centre (ACT) 209

Park + Gallery (VIC)

14, 134

Midland Junction Arts Centre (WA) 227

30, 143

Mildura Arts Centre (VIC) 134

Parramatta Artists Studios (NSW) 177

Missing Persons (VIC) 135

Penny Contemporary (TAS) 213

Mission to Seafarers (VIC) 114

Perc Tucker Regional Gallery (QLD) 194, 199

Umbrella Studio (QLD) 202

MOORE CONTEMPORARY (WA)

Perth Instiutute of Contemporary

The University Gallery (NSW) 189

University of Sunshine Coast (QLD)

Monash Gallery of Art (VIC)

228 116, 136

Arts (PICA) (WA) 228

Tweed Regional Gallery (NSW) 187 U

203

Monash University MADA

PG Gallery (VIC) 138

UNSW Galleries (NSW) 187

Philip Bacon Galleries (QLD) 200

UQ Art Museum (QLD)

Gallery (VIC) 135

Monash University Museum

PhotoAccess Huw Davies

of Art (VIC) 135

Mornington Peninsula Regional

Gallery (ACT) 207

Piermarq* Gallery (NSW) 181

Gallery (VIC)

203

V Victorian Artists’ Society (VIC)

143, 146

Velvet Buzzsaw Gallery (NSW) 189

135

Pinnacles Gallery (QLD) 201

Mosman Art Gallery (NSW) 173

Pine Rivers Art Gallery (QLD) 200

Walker Street Gallery (VIC) 145

Mundaring Arts Centre (WA) 228

praxis ARTSPACE (SA)

Wallarobba Arts and Cultural Centre (NSW) 189

Murray Art Museum Albury

218

Wangaratta Art Gallery (VIC) 36, 145

(MAMA) (NSW)

173

QPRC Art Awards (NSW) 156

Watt Space Gallery (NSW) 189

Murray Bridge Regional

Queensland Art Gallery/Gallery

West End Art Space (VIC) 147

Western Plains Cultural Centre (NSW) 189

Gallery (SA) 217

of Modern Art (GOMA) (QLD) 201

Museum & Art Gallery of Northern

Queen Victoria Museum and

Western Sydney University

Territory (NT) 230

Museum of Brisbane (QLD) 198 Museum of Contemporary Art (NSW) 176 Museum of Old and New Art

(MONA) (TAS)

Muswellbrook Regional (NSW)

Art Gallery (TAS) 213

QUT Art Museum (QLD) 201

Weswal Gallery (NSW) 182, 191

R RAFT artspace (NT) 230

Whitehorse Artspace (VIC) 147

213

Redcliffe City Gallery (QLD) 201

White Rabbit Collection (NSW) 191

174, 177

Redland Art Gallery (QLD) 202

Wollongong Art Gallery (NSW) 191

The Review Board 186

Wyndham Art Gallery (VIC)

N Nanda\Hobbs (NSW) 31, 177

Riddoch Art Gallery (SA) 218

National Art School Gallery (NSW) 16, 177

Rochfort Gallery (NSW) 181

National Gallery of Australia (ACT)

Roslyn Oxley9 Gallery (NSW)

207

National Gallery of Victoria

The Ian Potter Centre (VIC)

National Gallery of Victoria -

Art Galleries (NSW) 184, 190

Wentworth Galleries (NSW) 182, 190

Rusten House Art Centre (NSW) 137

149

Y Yering Station Art Gallery (VIC) 112, 149

IFC, 181 183

S Saint Cloche (NSW) 183

251

“My family are grains of sand scattered throughout the world.” — N A D I A H E R N Á N D E Z , A R T I S T, P. 5 4

“The inner life of the object is stripped as it becomes an exhibit, frozen in time behind glass.” — G I S E L L E AU - N H I E N N G U Y E N , P.9 4

“If you pat the rabbits, they start multiplying. The more you touch them, the more they multiply. You wreck the world even though you didn’t mean to.” — J OA N R O S S , A R T I S T, P. 8 4

Claude Monet Grainstack (snow effect) 1891 (detail) Museum of Fine Arts, Boston. Gift of Miss Aimée and Miss Rosamond Lamb in memory of Mr. and Mrs. Horatio Appleton Lamb (1970.253) Photography © Museum of Fine Arts, Boston. All Rights Reserved PRESENTING PARTNER

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