Art Guide Australia — May/June 2022 by Art Guide Australia

May/June

2022

EDITOR AND PODCAST PRODUCER

Tiarney Miekus

EDITORIAL

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Autumn Royal Minna Gilligan

GRAPHIC DESIGNER

Jack Loel

DESIGN ASSISTANTS

Dylan Reilly Girivarshan Balasubramanian CONTRIBUTORS ISSUE #137

Andy Butler, Rex Butler, Oslo Davis, Steve Dow, Briony Downes, Louise Martin-Chew, Zali Matthews, Tiarney Miekus, Giselle Au-Nhien Nguyen, Leah Jing McIntosh, Diego Ramirez, Barnaby Smith, Andrew Stephens.

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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. www.artguide.com.au

Cover artist: Sally Smart

front Sally Smart, The Artist’s Ballet (ASSEMBLAGE),

2021-22, synthetic polymer on fabric with collage, 213 x 125 cm. image courtesy of the artist and gallery sally dan-cuthbert, sydney.

back Sally Smart, P.A.R.A.D.E. (Modern Drama and

The Artist’s Ballet), 2021-2022, synthetic polymer paint on canvas and linen with various collage textile elements, 270 x 407 cm (triptych each 270 x 135 cm). image courtesy of the artist and gallery sally dancuthbert, sydney. photogr aph: andrew curtis.

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

Gay Hawkes: The House of Longing Pliable Planes Karla Marchesi: Desire Path Stefanie Schulte: Vivaldi’s Seasons Helmut Newton: In Focus Steve Lopes: Encountered The Data Imaginary: Fears and Fantasies Richard Blackwell: Climbing the Plane Belynda Henry Frank Morris: Rock, Paper, Scissors, Sigh F E AT U R E

David Noonan: Stage Art Karla Dickens: Crisis Situation Interview: Sally Smart Pablo Picasso: An Embracing Tussle S T U DIO

David Sequeira F E AT U R E

20 Questions: Elizabeth Willing Nuha Saad: Structures of Colour Jeff Gibson: Screen Generations I L LUS T R AT ION

Oslo Davis: Everyone’s a Critic F E AT U R E

Jasper Johns and Robert Rauschenberg: Ends of Art Tracking the Pilbara

ELIZABETH WILLING tolarnogalleries.com tolarnogalleries.com

WARWICK THORNTON METH KELLY

Presented by PHOTO 2022 and Anna Schwartz Gallery May 185 Flinders Lane Melbourne 3000 mail@annaschwartzgallery.com www.annaschwartzgallery.com

annaschwartzgallery.com

On Ngunnawal and Ngambri Country, Kamberri/Canberra

4th National Indigenous Art Triennial

STRATEGIC PARTNER

National Gallery 26 Mar – 31 Jul 2022

INDIGENOUS ART PARTNER

PRINCIPAL PARTNER

PRINCIPAL PATRON

NATIONAL GALLERY FOUNDATION

nga.gov.au

FUNDING PARTNER

Ceremony design by Paul Girrawah House, NgambriNgunnawal people © the artist

Roslyn Oxley9 Gallery ArtGuide_Issue63_2022_Frank.indd 1

roslynoxley9.com.au

Zac ‘Ginger’ and Roberto (detail), 2022, colour pigments in epoxyglass, epoxyglass, on perspex, 200 x 200 cm

Dale Frank 3 – 25 June 2022

5/4/2022 3:03

Exhibition entry is free biennaleofsydney.art Follow @biennalesydney

MAJOR GOVERNMENT PARTNERS

PRINCIPAL PATRON

PRINCIPAL PARTNER

MAJOR STRATEGIC PARTNER

biennaleofsydney.art

DANIEL BOYD

Holding a lens to history 4 Jun 2022 — 29 Jan 2023 Free entry

TREASURE ISLAND

Major partner

top: Untitled (TSNSOTBEB) 2019 Private collection, Melbourne. Image: courtesy the artist and Station Gallery, Melbourne; bottom: We call them pirates out here 2006. Museum of Contemporary Art Australia, Tallawoladah/ The Rocks, Sydney, purchased with funds provided by the Coe and Mordant families 2006. Image: AGNSW, Jenni Carter

artgallery.nsw.gov.au

acmi.net.au

Independent animation from Japan and Australia

Feb 18 – July 2 2022

The Japan Foundation Gallery

Curators

Artists

Deborah Szapiro Honami Yano

Cynthia Burke Jonathan Daw Jake Duczynski Simon Japanangka Fisher (Jr.) Mizuki Kiyama Anthony Lawrence PAW Media Ryotaro Miyajima Jilli Rose Jelena Sinik

Presented by

Shinobu Soejima Nicholas Tory Tjanpi Desert Weavers Shane Jupurrurla White Jason Japaljarri Woods Kōji Yamamura Honami Yano Steffie Yee Song Yungsung

Suppor ted by

jpf.org.au

acca.melbourne

A major survey exhibition by influential artist Lindy Lee. The artist’s meditative and thoughtprovoking works explore art history, cultural authenticity, identity and the cosmos.

3 June – 28 August 2022

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.

Building 200A, Kent St, Bentley, Western Australia. 08 9266 4155 jcg.curtin.edu.au

Lindy Lee, Palace of Sunlight (detail), 2017, flung bronze, image courtesy the artist and Sullivan+Strumpf, Sydney and Singapore, © the artist

jcg.curtin.edu.au

Speak the Wind Hoda Afshar

Monash Gallery of Art 2 April – 26 June 2022

SPEAK THE WIND HODA AFSHAR Presented by

Supported by

Official exhibition

The Luminaries

mga.org.au

Hoda AFSHAR Untitled (detail) 2015 – 20 from the series Speak the Wind courtesy of the artist and Milani Gallery (Brisbane)

mga.org.au

SIXTY The Journal of Australian Ceramics 60th Anniversary 1962—2022

Jeffery Mincham, Gales of the Equinox, 2021. Photo: Grant Hancock

An ADC On Tour national touring exhibition

Australian Design Centre 31 March – 25 May 2022 australiandesigncentre.com

australiandesigncentre.com/sixty

tmag.tas.gov.au

IMAGE: DEBRA KEENAHAN ‘SMASHING’ (STILL), 2022. HD VIDEO.

WHAT’S ON AT CASULA POWERHOUSE ARTS CENTRE

BEING DIFFERENT: A CREATIVE HAPPENING DEBRA KEENAHAN

Debra Keenahan’s solo exhibition BEING DIFFERENT invites viewers to see, feel, hear and think about the physical and social world from the perspective of a person with dwarfism. 1 Powerhouse Rd Casula NSW 2170 (Enter via Shepherd St) Tel (02) 8711 7123 • www.casulapowerhouse.com • Free entry Open Tues-Sun • Next to Casula train station • Free parking available casulapowerhouse.com

30 APRIL – 24 JULY ‘22

SADIE CHANDLER B u ild in g s & I nf rastru ctu re 30 April - 21 May

CHARLES NODRUM GALLERY

www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria 3121 Buildings and Infrastructure, 2022, acrylic on paper, oil on canvas

charlesnodrumgallery.com.au

MECHELLE BOUNPRASEUTH “My parents didn’t cross the Mekong River so I could shit in a hole” APR 14 - MAY 7

CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU

chalkhorse.com.au

artsproject.org.au

A Geelong Gallery exhibition

Exhibition partners Anonymous donor Ruth Fagg Foundation Trust Creative Futures Design Fund

This is a Geelong Design Week exhibition

Sally Smart The Violet Ballet 2019 film (still) Performers: Deanne Butterworth, Brooke Stamp and Lillian Steiner Photographer: J. Wright © Sally Smart

geelonggallery.org.au

19 March to 3 July 2022

bendigoartgallery.com.au

Issue 137 Contributors is an artist, writer and curator based in Narrm/Melbourne. His arts criticism has appeared in The Saturday Paper, The Monthly, and frieze. R EX BUTLER teaches art history at Monash University and is one of the editors of the online weekly art review website Memo Review. OSLO DAV IS is an illustrator, cartoonist and artist who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and State Library Victoria, among many others. Oslo’s latest book is Overheard – The Art of Eavesdropping. 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. LOUISE M A RTIN- CHEW is a freelance writer. Her most recent book is a biography of Fiona Foley, titled Fiona Foley Provocateur: An Art Life, published by QUT Art Museum in 2021, and she has a forthcoming book, Margot McKinney: World of Wonder, to be published by Museum of Brisbane in June 2022. A NDY BUTLER

ZA LI M ATTHEWS is a curator, arts writer and arts

worker based in Meanjin (Brisbane). She is interested in Australian contemporary art, and in art which blurs boundaries between digital and physical experiences in a postInternet age. Zali completed a Bachelor of Advanced Humanities (Honours Class I) with an extended major in Art History at the University of Queensland. LEA H JING MCINTOSH is a critic, researcher, and the founding editor of LIMINAL magazine. TI A R NEY MIEKUS is editor of Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, Sydney Review of Books, 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. V ICTOR I A PER IN is currently completing her PhD at the University of Melbourne. She is a regular reviewer for Memo Review. DIEGO R A MIR EZ is an artist, writer and arts worker. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.

A Note From the Editor

In our visit to David Sequeira’s home studio—a beautiful space where Naminapu Maymuru-White hangs beside Cindy Sherman—he mentions that “I am interested in the inseparability between art and life—having a home studio is living amongst and with it.” Cleaning the kitchen bench while appraising a recent sculpture on the dining room table is a foundational convergence of art and life—at once practical, psychological and nearspiritual. And this necessary collapse is mirrored throughout this issue. Our cover artist Sally Smart has been visualising the constructions of gender and identity for three decades through her exquisite assemblages, but this isn’t a merely theoretical endeavour: as she explains, it comes from her own lived experience, leading to advocating for structural change and gender parity in the arts. Sometimes life has its own intrusions—our profile on Karla Dickens captures her during a crisis situation in the Lismore floods, but life and art had already met before that through Dickens’s interrogations of colonialism, gender and sexuality. Intimacy and art is the entwined foundation between American artists Jasper Johns and Robert Rauschenberg, who together changed late20th century art—and before them came Pablo Picasso, an artist whose life and art is increasingly cojoined and juxtaposed. Here, five artists— Eleanor Louise Butt, Yvette Coppersmith, Euan Heng, Wendy Sharpe, and John Wolseley—each reflect on Picasso’s work. Then there are moments when art enters all our day-to-day lives: Oslo Davis takes a humourous look at how—no matter the mundanity of the activity—everyone is capable of taking on the posture of an art critic. In that divide (or non-divide) between art and life each artist has their own answer—and you’ll encounter these in our May/June issue. Tiarney Miekus Editor, Art Guide Australia

“In that divide (or non-divide) between art and life each artist has their own answer . . .” 25

Previews W R ITERS

Briony Downes, Louise Martin-Chew, Zali Matthews, Giselle AuNhien Nguyen, Barnaby Smith, and Andrew Stephens.

Hobart The House of Longing Gay Hawkes

Tasmanian Museum and Art Gallery 18 March—28 August In 2013, Tasmanian furniture maker and artist Gay Hawkes lost her home and art studio in the Dunalley bushfires, along with a significant personal collection of work spanning four decades. “Gay furnished her home with her own furniture,” explains principal curator at the Tasmanian Museum and Art Gallery, Jane Stewart. “The mats on the floor were painted canvases. She painted the curtains too. Nearly all of the furniture in her home was of her own making.” For the past nine years, Hawkes has slowly been rebuilding new pieces for the future home she hopes to occupy. The House of Longing brings a selection of these hand-crafted cabinets, altar pieces, crucifixes and paintings together with pieces loaned from private collections, Gay Hawkes, The Singing Cupboard, 2014-15, to create a space Stewart describes as “domestic and recycled pallets and plywood. collection: gay hawkes. photogr aph: peter whyte. suggestive of a home”. Influenced by Australian pioneering bush crafts and multiple artist residencies, a distinctive part of Hawkes’s practice is her use of found and salvaged materials. Often collected directly from her immediate surrounds, Hawkes’s furniture and objects are constructed from driftwood and shells found along the coastline, fallen branches and animal pelts. “Salvaged materials are vital to Gay’s practice and it’s something she’s really proud of,” says Stewart. Reflecting changes in the environment, driftwood is less common in Hawkes’s new pieces as it has become harder to find. Instead, palings from shipping pallets and crates make up works like The Singing Cupboard, 2014-2015. Also screening in the gallery is a film about Hawkes by Roger Scholes containing video footage and photos compiled from the last few decades, including views of her former home in Dunalley. Much has been lost but as Stewart points out, “The works in the show are quite poignant, yet humorous as well . . . There is immense sadness and loss, but you also get this wonderful sense of resilience and humour.” —BR ION Y DOW NES

Gay Hawkes, Marchweil chair, 2014-15, wood (eucalyptus, horizontal scrub and recycled pallets), with spotted quoll fur, leather from cane toads and chicken feet. collection: gay hawkes. photogr aph: peter whyte.

Sydney Pliable Planes

UNSW Galleries 29 April—17 July

Porcelain and sound waves do not immediately come to mind when thinking about textiles, yet these are the materials used by artists Janet Fieldhouse and Akira Akira to produce their textile-based work. Casting a wide net for Pliable Planes, co-curators Karen Hall and Catherine Woolley specifically looked for artists whose practice expanded the creative parameters of contemporary textiles. “The 12 artists we have chosen don’t always use fabric, but they are working with the processes of textiles, like weaving,” says Woolley. “We are really interested in approaches that challenge what people think textiles John Nixon and Jacqueline Stojanović, Untitled, 2019, wool and enamel on wood, on metal mesh. look like.” Seven artists were commissioned to create private collection. courtesy of the estate of new work for the exhibition, including Anne-Marie May, john nixon and sar ah cottier gallery, sydney. Kate Scardifield, Lucia Dohrmann, Paul Knight and Katie photogr aph: sar ah cottier gallery, sydney. West. In addition is further work from Mikala Dwyer, Teelah George and Sarah Contos. A commissioned collaboration between the late painter John Nixon and Melbourne-based artist Jacqueline Stojanović looks at the formal connections between abstract painting and loom weaving. Using rulers and wool to create the central visual elements, Nixon and Stojanović each completed a portion of the work before handing it back to the other. Nixon completed his part before he passed away in late 2020. “Without context it doesn’t look like a textile work at all, it’s using the parquetry of rulers,” says Hall. “They were thinking about the significance of the ruler in geometric abstraction as Jacqueline often uses the ruler as a stand-in for the loom.” For Woolley and Hall, textiles touch nearly all aspects of our lives and their presence in art making is keenly felt. “It’s a practice that is part of our everyday life,” says Woolley. “It nourishes us, sustains us and clothes us—it has an interesting history we are following up on.” —BR ION Y DOW NES

Brisbane Desire Path Karla Marchesi

Jan Manton Gallery 8 June—26 June

Karla Marchesi, The Wedding Party, 2022, 145 x 135 cm.

Karla Marchesi is taking her exploration of still life even further. While her earlier work probed sociocultural conditions which define our age, using dramatic chiaroscuro, her latest paintings are a contrast of her floral forms, both in tone and colour. Rather than being cloaked in darkness, they are expressed directly, as though under glaring fluorescent light. Residing in Berlin since 2012, Marchesi frames her solo at Jan Manton Gallery through the Greek goddess Baubo. Known for her liberated sexuality and bawdy humour, the Baubo empowers female agency; the ability

of the vagina to critique power, identity and relationships. “The key to this work is a metaphor of violence and vulnerability,” says Marchesi. “Last year my feelings were stirred up by Australian politics and the female reckoning that continues to unfold. Drawing on my own experience, a quiet rage started gestating in the work.” In Marchesi’s art, real flowers and succulents reassemble human anatomy, featuring genitalia, lips, eyes and orifices. In her painting Swingers, Marchesi appropriates a figure from French artist Jean-Honoré Fragonard’s 18th-century painting, The Swing. Here the figure is depicted playfully, “full frontal and pantless”, echoing the open legs of the Baubo goddess, with phallic cactuses emerging from flowers and gumnuts growing points like nipples. Lips sit between organic forms, and human hair moves amid each arrangement, all crowding forward on the picture plane. For Marchesi, these works evoke the “power of a female body to be embodied with agency, joy and self-possessed humour, without being coded by a male gaze. The collection tragicomically plays on modern relationships, pitfalls of contemporary dating, with sexual and gender thematics upending tropes of Romanticism.” Also at work here is the zeitgeist: years of pandemic-enforced isolation, and increasing global political instability. Marchesi paints her “impossible bouquets”, each delivered on target. —LOUISE M A RTIN- CHEW

Canberra Vivaldi’s Seasons Stefanie Schulte

Australian National Capital Artists (ANCA) 25 May—19 June

Working in her Canberra studio, German-born artist Stefanie Schulte listens to music. Many artists do that Stefanie Schulte, Beneath the Blazing Sun’s while working, but Schulte’s listening is different: she sees Relentless Heat, 2021, acrylic on canvas, music as much as she hears it, and that faculty is appar76.2 x 121.9 cm. ent in her latest suite of paintings, Vivaldi’s Seasons. Schulte does not use an easel when painting. She lays her support flat, directly on to a work table, and works from all angles, embroiled in an intuitive response that translates music into layered lozenges of rich colour that evoke colour field theory more than the Baroque. “I like to move around and see them a bit like maps, creating this two-dimensional architecture,” Schulte says. “Once I sent a painting to a collector in the UK and said, ‘There is no up and down or left and right—I recommend hanging it this way, but it is also up to you’.” Schulte’s first investigations into Antonio Vivaldi’s famous violin concertos known as The Four Seasons, created between 1718-20, revealed the composer may have been inspired by the paintings of Italian 16th-century painter Marco Ricci. Schulte was also intrigued by the sonnets Vivaldi produced to accompany his music, which she listened to constantly while making her paintings. The work comprises four sets of three to reflect the season-themed compositions. At ANCA, they will be hung on opposite walls: two seasons directly facing the other two seasons. “Seasons can be very different in various parts of the world,” Schulte says. “In my own country in summer—if there is a summer—we are very happy about it! But in Venice it’s more a lot of heat and thunderstorms; and Vivaldi’s summer movement is quite dark and sad. I can see why he has written it like that.” — A NDR EW STEPHENS

Melbourne Helmut Newton: In Focus

Jewish Museum of Australia: Gandel Centre of Judaica (As part of PHOTO 2022) 29 April—29 January 2023

While the overarching theme of the PHOTO 2022 International Festival of Photography is expansive—“being human”—the headline Helmut Newton exhibition is an intimate look at the artist’s life and trajectory. Festival artistic director Elias Redstone, like many, was very familiar with Newton’s most circulated works—the elegant, sexy fashion images of the 1950s—but has discovered new perspectives through In Focus. From 200 exhibition items, there are not only 78 original photos (many from Berlin’s Helmut Newton Foundation) but also objects such as first-edition magazines featuring Newton’s work, his cameras, his passport stamped with a “J” for Jew, and other ephemera loaned from institutions, private collectors and libraries. Helmet Newton, Viviane F., Hotel Volney, New York, “I am personally excited to see a real exploration of 1972. copyright helmut newton estate, courtesy his work, charting his life back to the time he spent in helmut newton foundation. Australia, and in Melbourne in particular,” Redstone says. Those beginnings include Newton’s Jewish roots and life in Berlin (he was born Helmut Neustädter), his escape from Germany at the outbreak of World War II, his 1940 internment at Tatura in regional Victoria as an “enemy alien”, and his joining the Australian Army in 1942. It will also cover his post-war life and marriage to actress, artist and photographer June Newton, who worked under the pseudonym ‘Alice Springs’. “With a great artist of any kind, we tend to know the work they are most famous for and I always think it is interesting to understand how they got to that point and how they defined their ideas, aesthetic or approach,” Redstone says. “That period includes 1946, the year he opened his photographic studio in Flinders Lane, Melbourne. He was working prolifically until French Vogue headhunted him and he moved back to Europe in 1961.” —andrew stephens

Orange Encountered Steve Lopes

Orange Regional Gallery 21 May—17 July

Steve Lopes, Barefoot Figure - Darwin, 2020, oil on board, 40 x 40 cm.

Steve Lopes’s ongoing preoccupation with how the human figure interacts with landscape can be put down to his upbringing. The son of Italian migrants, Lopes explores how cultural and psychological identity can evolve and expand in an Australian environment, with its “intensity of colour and light”, as he puts it. “My interest in these ideas most probably stems from my ethnic background and growing up in a multicultural environment, which provided me with strong subject matter and, I guess, a sense of the outsider,”

says Sydney-born and based Lopes. “My paintings touch on aspects associated with assimilation into new territories, community, and the individual adapting and coping with the constantly changing world.” Encountered is an all-encompassing survey that covers Lopes’s work between 1997 and 2021. As well as his elegant and mysterious paintings, the show features drawings, prints, collages, diaries and more. Reflecting his devotion to those “new territories”, recent works such as Uncommon Figures and Dogs of the Neighbourhood, both 2020, were created after he spent time in urban and remote regions of the Northern Territory. “They’re inspired by stories of discovery, new and old histories, and the ideas that develop from the melting pot of disparate peoples, communities and languages within our own land.” Lopes speaks of the influence of the “sharpness of delineation” in Sidney Nolan’s work, as well as the “immediacy” of Euan Macleod’s paintings. His aesthetic, though, is distinctively his own: with Encountered there is a deeply felt meditation on the human occupation of place and space, in all its diversity and drama. “I’m always trying to explore and investigate the strangeness of space—and the idea of ‘otherness’. Place a figure in a landscape and you instantly start a narrative and begin to describe the ways we see each other.” —BA R NA BY SMITH

Adelaide The Data Imaginary: Fears and Fantasies Flinders University Museum of Art 26 April—8 July

Data is often described as the ‘new oil’ of the 21st century. Referring variously to numbers, archives, scientific methods and Internet cookies, data is a sought-after asset in our hyper-connected world, and a longstanding instrument of Western colonialism. The Data Imaginary unearths the ugly history of Tali Weinberg, What Color Was the Water? (1 & 2), data and imagines its uncertain future. Against the 2017, two weavings: 137 years of annual average backdrop of global conversations about data that largely temperature for the world’s oceans, hand-woven neglect the perspectives of marginalised groups, the organic cotton dyed with plant and insect-derived show foregrounds First Nations voices. Originally at dyes and mineral mordants. courtesy of the artist. Griffith Museum of Art in 2021, museum director and show co-curator Angela Goddard explains how data can turn into a reparative force sustaining non-Western histories and systems of knowledge. “Together these works repurpose data,” says Goddard, “to tell stories about the radical imaginary, and open up data as a medium for creative exploration.” Featuring Lola Greeno, Tali Weinberg, Andrew Gall, Judy Watson, and Silvio Carta (among others), The Data Imaginary focuses on the reclamation of colonial archives and First Nations systems of knowledge, as well as climate data and personal online data security. Each of the 16 participating artists and artist collectives reframe data in new ways, through video, sculpture, weavings and websites. Some reclaim colonial archives listing massacre sites, body measurements, and Aboriginal place names, while others reveal the relentless extraction of online user data for profit. Highlights of the show are several long, glittering necklaces traditional to Tasmania’s Palawa people, made by Lola Greeno and Andrew Gall, which record an enduring cultural knowledge and the threat of climate change. “We hope that visitors will come away with a better understanding of how information is collected and presented,” says Goddard, “but also with a sense of how artists and designers can shift the ways we think about global challenges in playful and creative ways.” —ZA LI M ATTHEWS 31

Melbourne Climbing the Plane Richard Blackwell

Flinders Lane Gallery 10—28 May

In Climbing the Plane, print media and sculptures collide. A continuation of the ideas from Richard Blackwell’s 2016 show Doubling the Cube, the artist is exploring the places where the real and unreal intersect in our increasingly digitised world. “It’s about the kind of augmented world Richard Blackwell, Start Again, 2022, plywood, we’re moving towards, and trying to approach the junclaminate etching ink, 162 x 119 x 3 cm. tion between physical and virtual,” the Sydney-based artist says. Blackwell’s modular pieces range from colour prints to aluminium geological forms, modelled after rock climbing grips, as well as robotically engraved designs rubbed and buffed with etching ink to create a distorted sense of depth. The pieces, some of which are reconfigured from previous projects, will be spread across the gallery space to create a physical manifestation of the Cartesian grid. “These works are fragmented and abstracted, and show a document of both our society and life in virtual reality, as well as trying to capture a sense of the overwhelming scale of the virtual world as the metaverse takes shape as a result of the pandemic and the pace of technology,” Blackwell says. “The plane is an analogy for that endless virtual world, and climbing it is the task we seem to be in.” Particularly in the context of the pandemic, Blackwell’s work highlights the increasingly ubiquitous feeling of unreality, or life as simulation. “For me, there’s a bit more of a futility to this show because of the post-Covid context that we’re in, and the infinite nature of this space that I’m creating,” he says. “While it’s intended to allude mostly to the idea of virtual reality, I think it’s also highlighting the repetitive nature of the last three years.” —GISELLE AU-NHIEN NGU Y EN

Brisbane Belynda Henry

Edwina Corlette Gallery 17 May—4 June Belynda Henry has never lived in the city. Solitude is a habit and, as an artist, immersion in the landscape drives her paintings. Her works distil imagery which is vested in place, conveying its many moods and experiences, but also the way in which place shapes Henry’s own emotions. In her latest show at Edwina Corlette Gallery, landscapes on large canvases are increasingly abstracted. Henry relates that she was inspired by American artist Helen Frankenthaler, who is known for her use of staining and influence on colour field painting. In Henry’s case, embedding her own work in her Belynda Henry, June VIII, 117 x 117 cm. environment in the Dooralong Valley north of Sydney represented “a new starting point”. She uses dam water to stain raw primed canvases, before building the surface with wax and oil paint. “I love how the paint can soak in—it is a spontaneous, magical technique,” she says.

“My big dam never settles—it has a clay oxide colour to it. Using its water is a lovely connection to the place I am in.” In Reflections of a songbird, 2022, blurry shapes evoke low light near an inland stream, taking the viewer into a place where atmospheric greens, lines of trunks, and reflected colours, create a sensory experience of quiet enclosure. “My landscapes respond to place, but express a more emotional [rather] than literal connection,” explains Henry. “It is my escape—using colour and energy I can create calm at the toughest of times.” A Wynne and Archibald prize finalist, Henry’s art continues her exploration of the Australian landscape. Her work abstracts and responds to her immediate environment, mediated by her experiences. In these paintings, she says, “I am reacting to a beautiful place on planet Earth.” —LOUISE M A RTIN- CHEW

Perth Rock, Paper, Scissors, Sigh Frank Morris Art Collective WA 20 May—18 June

Frank Morris’s paintings in Rock, Paper, Scissors, Sigh are an exercise in formal innovation, to the point that ‘paintings’ may not be quite the right descriptor. These alluring and colourful abstract works, made largely from plaster, acrylic and oil on oriented strand board (OSB), are designed to be viewed from any physical angle. As a result, they approach a form of sculpture. The intention is, for Morris, to allow the viewer to construct interpretation however they wish. There is also a creative decision to be made for the curator or installer. “The idea of choice is operational,” says Fremantle-based Morris, “with all works able to be positioned through 360 degrees.” Morris says that his pieces are informed by Frank Morris, Rock, Paper, Scissors and Sigh 3, “ideas of landscape and country” as well as “modernist 2021, plaster, acrylic and oil on OSB, 180 x 100 cm. icons”, adding that “both are prone to erosion”. But again, the importance of these influences falls away against Morris’s wish for his art to be open to multiple, perhaps endless, meanings. “Whatever the references operating [in creation], there is no presumption that those references are carried to the viewer. Where it goes belongs to them,” he says. “Painting is complex and complicated. Literal, figurative and metaphorical conversations overlap and inform.” Morris also starts many of his works by reappropriating waste materials. “The paintings are a continuation of my previous work in that their beginnings were provided by litter and redundant cardboard packaging.” The exhibition’s title, meanwhile, represents Morris’s aesthetic intentions, as well as a more prosaic reference point. “Rock, paper, scissors alludes to oscillating relationships and a methodology for decisions,” says Morris. “It is also the name of a hairdressing salon which I pass on my way to the studio. “And ‘sigh’? Well, a sigh, is a sigh, is a sigh.” —BA R NA BY SMITH

Stage Art Ballarat-born now London-based artist David Noonan has a major new Australian exhibition, inspired by defining moments of mise-en-scéne W R ITER

Steve Dow

David Noonan, Mnemosyne, 2021, film still, 16mm film. courtesy of the artist and modern art, london.

David Noonan, Mnemosyne, 2021, installation view, TarraWarra Museum of Art, 2022. photogr aph: christian capurro. courtesy of the artist and modern art, london.

Highly stylised European-centric and Japanese theatre have long influenced Ballarat-born artist David Noonan’s film, collage and sculpture making, in which his figures are often presented in liminal states, positioned somewhere between lacking self-consciousness and performing for display. Despite basing himself since 2005 in London, one of the great theatre cities in the world, Noonan rarely sees contemporary stage productions, instead naming long bygone productions of expat Melbourne opera director Barrie Kosky, as well as opera based on American composer Philip Glass’s music, as formative artistic provocations. Moving between representation and abstraction, Noonan’s art relies more on his memories of such theatre artists’ mise-en-scéne: “I don’t know whether the [avant-garde] theatre I’m interested in is really available any more,” he says during a short visit to Australia to unveil his latest exhibition at TarraWarra Museum of Art. “I’m not that interested in conventional theatre; it’s more the aesthetics of it. In the 1960s and 70s, there was a period of amazing experimentation, particularly in set design. The imagery left over from such theatre has a science fiction quality, constructing a world that exists outside our own: props and a DIY construction environment.” Noonan went through a period of being interested in Japanese stage traditions of butoh and noh, which combine theatre and dance techniques. The title of his new show, Only when it’s cloudless, is bor-

rowed from the writings of the 14th century Japanese Buddhist monk Yoshida Kenko; its inherent suggestion is to be mindful of the present, but also to reflect upon the less obvious. The show includes a new 16mm film, scored by musician Warren Ellis—a childhood friend from his Ballarat days—which utilises some of Noonan’s accumulated imagery from Eastern and Western theatrical traditions as well as fragments from popular subcultures and social media sites. Only when it’s cloudless includes a major new sculptural installation that looks like a stage set.There are new tapestries, as well as tapestries previously seen at the 2020 Adelaide Biennial, plus collages on linen, some new and some from 2012 not previously seen in Australia. Together, the components of the exhibition were conceived as a unified installation. “The aesthetic of the show is very tight: nothing was put in that didn’t fit,” he explains. “It’s very particular, in terms of the palette.” Born in Ballarat in 1969, Noonan held his first exhibition in his student apartment in 1987, featuring paintings from his second year of art school at Ballarat University College. He worked part-time at local cafe and record store L’espresso, and the northern hemisphere music he liked was a siren call: Sex Pistols, The Damned, David Bowie, Lou Reed, Siouxsie Sioux, The Slits, Steve Strange, Adam and the Ants. “In Ballarat, if you were into any kind of alternative lifestyle, you just did not fit in,” he recalls. “It was so rough and tough—and myself and the friends I made,

“I’m more interested in creating a set of conditions to experience an artwork.” — DAV I D NO ON A N

David Noonan, Mask, 2015, silkscreen on dyed linen collage, steel tray frame, 203 x 287 cm. collection of the art gallery of ballar at. purchased with funds from the art gallery of ballar at foundation, 2018. courtesy of the artist and roslyn oxley9 gallery, sydney.

we were just complete outsiders, on the peripheries. “We had to make our own culture in Ballarat, which is what we did. I wasn’t a musician, I was one of the only visual artists in that group, but there were a lot of bands. There was a lot of dressing up and acting out stuff, and we made our own films. We made a lot out of being in a pretty grim situation in some ways.” Noonan initially moved to London in 1995 on a two-year visa, around the time the young British artists’ movement was taking flight. He moved back to London a decade later, after living in New York and doing various residencies. “When I went to London in the 90s, I did it tough, it was hard. No one had any money. It was a very different London to what it is now, but I found it really exciting. I worked in Soho at a restaurant and at the Tate Gallery bookshop, so I met a lot of artists there. “The art I was into was coming over from the [European] continent and being shown, mostly from Germany and Italy, in smaller galleries. That really influenced my own practice; I was not really interested in the young British artists at all: it was just too mainstream.”

Noonan says the 16mm film format he has now returned to for the first time since the 1990s is intrinsically beautiful. “I could have shot it on video quite easily. It’s a clockwork camera, an old Bolex from 1956, and you wind it up. It runs for 30 seconds, and then that’s it; you have to rewind it.” Beauty also lies in Noonan using a difficult process to transform and manipulate space, thereby enabling his audiences to easily project personal meditations onto his images. “I’m more interested in creating a set of conditions to experience an artwork,” he says, “rather than the viewer having to unpack it in a certain way.”

Only when it’s cloudless David Noonan

TarraWarra Museum of Art (Healesville VIC) Until 10 July

Crisis Situation Although Karla Dickens’s home was spared in the recent Lismore floods, she’s attentively focused on the collective community of the town—and she’s also creating new art. W R ITER

Andy Butler

“I’ve never been able to conquer my fear of tsunamis and floods,” Karla Dickens tells me, “so I’ve always lived on top of hills.” Dickens has been living in the Northern Rivers region for 18 years. She’s calling me from her house in Lismore—it was spared in the recent catastrophic floods. It’s devastation in the town. Inconceivable, as Dickens puts it—beyond what those on the outside could imagine. There are people who have absolutely nothing except the clothes on their backs. “I’ve been on washing and cooking duty,” she says. Dickens has a roof over her head, a functioning kitchen, and a washing machine. It’s more than many. We stick to the positives amongst the catastrophe. Just a week before the floods, as the arts community was coming back together after Covid closures, Dickens was at an opening at Elevator ARI, an essential organisation for the artists in the town. “There’s so much love for Lismore and for each other. Before the floods we were coming back from Covid to support one another. I was at an opening here and it felt so special, the feeling was ‘How incredible is this town?’ Literally a week later that love was put into action.” Everyone has been hit hard. Elevator ARI has gone under, as has fellow artist Megan Cope’s studio. Lismore Regional Gallery is in crisis. GoFundMe campaigns have popped up everywhere. “Koorie Mail [newspaper written and owned by Indigenous Australians] was so quick to get going on the ground,” says Dickens, “make sure you mention them.”

Dickens is pragmatic as she explains the situation there—it sounds dire. She was on the ground with others when the rains hit, doing a head count, making sure everyone was safe. It was hugs and an overwhelming sense of community once they got through the initial disaster. “And then you know, a week passed, and now the dysfunction is slipping out the sides. There’s a lot of anger,” she says. “If there’s anything that anyone can do to help, the artists here need support. We need healing for mental health and stuff.” There’s a resilience that comes through in the way that Dickens describes the situation. “I was born in a crisis,” she says, “so I run well and fast in crisis situations.” Just before the initial Covid outbreak in 2020, Dickens had a big year. She was the star of the show in both the 2020 Adelaide Biennial and the Biennale of Sydney: A Dickensian Circus and A Dickensian Sideshow at Adelaide and Sydney respectively. It was a breakout moment, although Dickens had been making art for three decades. The seed of the idea for her Dickensian series is an old Lismore local, Con Colleano. An AngloAboriginal boxer, he performed in boxing tents that travelled around Australia. It was a form of freedom to make their own money, while navigating the structures of colonialism. It’s those on the out, the misfits, and those who carry scars of resilience that Dickens is drawn to as an artist. In the precursor to her Dickensian series, Ready, Willing and Able, r ight Karla Dickens. photogr aph: natalie grono.

Karla Dickens, Ms Ready and Mr Willing, 2019, inkjet print, 180 x 120 cm, edition of 3 plus 2 artist's proofs, and 120 x 80 cm, edition of 8 plus 2 artist's proofs. image courtesy of the artist and sullivan+strumpf.

“I was born in a crisis, so I run well and fast in crisis situations.” — K A R L A DICK E NS

Karla Dickens, Eight in One Night, 2020, mixed media, 64 x 64 cm. image courtesy of the artist and sullivan+strumpf.

she worked with two friends, Jeff and Cindy, who were cast as “Mr Willing” and “Ms Ready” respectively. Both Koories, Cindy lives around the corner from Dickens in Lismore, and the artist met Jeff at a Telstra shop when they were both complaining about bills—he’s also a boxer. For Dickens, Jeff and Cindy epitomise the resilience needed to navigate the colony. They both feature in studio portraiture shots, Jeff as a boxer, Cindy in a sparkling diamante dress with the Australian flag—representative of the “leg tents” that followed the boxing tents. In the vestibule of Art Gallery of New South Wales for the Biennale of Sydney, larger-thanlife portraits of Mr Willing and Ms Ready were the first thing audiences saw, and they were a significant element of Dickens’s Adelaide Biennial work. Dickens recalls the photoshoot with Jeff and Cindy at the Lismore showgrounds, that it left them with a feeling of hope. “It was a ‘fuck you’ to the colony—but also, you know, the power of the ancestors that stand behind every wayward blackfella in this country is rock solid.” Now Dickens is having her inaugural solo show

with Sullivan+Strumpf. It will be a selection of works, some from the Dickensian series, others from Return to Sender originally shown at Carriageworks, and a new series made with old book covers. It’s a strange time to be making art in the middle of a catastrophe, but Dickens is excited to show a selection of newer artworks alongside pieces from the past few years. “My work, it’s like a chapter in a book. It’s all related.” In between working with her local community to rebuild Lismore, she’ll be putting the next part of her story out into the public.

Cover Up Karla Dickens

Sullivan+Strumpf 23 June—16 July

Wonder Cupboards Karla Dickens

Murray Art Museum Albury Until 31 July

Sally Smart, The Artist’s Ballet (ASSEMBLAGE), 2021-22, synthetic polymer on fabric with collage, 213 x 125 cm. image courtesy of the artist and gallery sally dan-cuthbert, sydney.

Interview

W R ITER

Sally Smart

Tiarney Miekus

Cutting and reconstructing: for over three decades Sally Smart has gifted us her astounding assemblages, known particularly for her large-scale installations that simultaneously deliver an image that is clear yet fragmented, defying any easy narrative. It’s the visual core of not only image construction, but constructions of identity and gender. Smart talks about the inherent violence and restoration of her work, why structural change is needed for gender equity in the arts, and how her latest solo at Geelong Gallery is inspired by the Ballets Russes.

TI A R NEY MIEKUS

You’ve created works questioning gender and identity since the 1990s, a moment when identity politics really entered contemporary art. Does it feel different thinking about those questions today? SA LLY SM A RT

No, not really. I think because I’m different and because the early practice was when I was a student, so it was more theoretical in study. But previous to that was the 70s second generation of feminism and I followed after. Maybe I’d see the difference being greater between the 70s and 90s, than [the 90s] to now. So I’ve lived through [feminist movements] and while the work has changed, I’ve always been very certain that I didn’t need to be making work that had to look like ‘something particular’ to be a feminist. Somebody was reminding me of my early work the other day going, “You were [making overtly feminist works]!” It didn’t seem to me that they were more radical then, than they are now. It seems it’s the same in that the issues are the same: the life lived as a woman are the same demands. Also, I think it was much more theoretical to me then, and now the politics are informed through lived experience— but also in art. There’s more confidence. TM

I was reading about your great aunt Bessie Davidson, a painter who had small fame in the first half of the 20th century, and how she influenced your choice to be an artist. But that doesn’t seem to answer why you became an artist?

She didn’t encourage me directly because I was a small child when she died, but my mother had been in her studio six years before I was born. I grew up in the far north of South Australia and it was quite isolated. But I was always wanting to be an artist from a really young age. And with Davidson, there was the idea that you could be a woman artist and you could be, in my thinking, a really famous artist. Because I grew up on the Heysen Trail there were a lot of people making landscape paintings, plein air, but I didn’t want to do that. I had a different idea about what art was—I didn’t know what, but it was not looking at a landscape the way they were. It seemed more complex, cerebral. TM

What were the women around you like growing up? SS

I was the eldest daughter of four girls and we would do things on our family property. My mother was active in the home but also in the community. There was a lot of work on the property, so we did that: rode horses, motorbikes, drove sheep and cattle. We were young women doing that, until I went to boarding school— and in between I was always wanting to get more paint and brushes, and make more art. TM

Having now thought and created so much on gender and identity, was there a moment when you realised the construction of these things?

“And the humanity of it, you know? Women seem to take—when things get difficult— women take the load a lot.” — S A LLY SM A R T

Sally Smart, P.A.R.A.D.E., (detail), 2018, installation view, Honold Fine Art, Biasa, Ubud, Bali, Indonesia, 2018. courtesy of the artist, sar ah scout presents, melbourne, and gallery sally dan-cuthbert, sydney. © sally smart.

It was at the VCA (Victorian College of the Arts) in my post-graduate year that I looked to literature as a way to progress my thinking, and make works determined to look at constructions of identity—and to make that my project. I created a series of works called X-Ray Vanitas and they were personages of women, with the details of their identity represented through painted, collage like elements. I was working both technically and conceptually to reinforce the cultural constructs. Then I went on to making collage cut-outs and using medical metaphors as ways to view these ideas with representations of the body, like using The Anatomy Lesson [an early 1995 collage work], drawing on art history and women’s participation in science and life drawing too. TM

When you’re making your assemblages, the acting of cutting is inherently quite violent. SS

Oh, it’s brutal. TM

But then there’s the reassembling. The image is complicated because both aspects are there. How conscious is it to have the violence and the restoration? SS

Totally conscious. I’ve developed this work over a long period of time about cutting and my interest in cutting; how conceptually the metaphors of cutting would show in a psychological sense as well. There’s the investigation of ‘delicate cutting’, the so-called term of cutting the body—self harm—and also the scarification and making marks on the human body. I am interested in cutting in art movements. I often refer to this as ‘the politics of cutting’. That’s really coming out of Dada, but when you cut something, the act of cutting is decisive. And I always wanted to show that I’ve cut—that it’s not seamless because I wanted to show the cut as a sign to alter, to change, to shift. It’s also to reconstruct. I did a series of work that was all about darning, and darning as a sign of repair. You show the marks of repair with darning. You see the wound that was there. You don’t lose it. It is very psychological—as an artist I am aware of making meaning in these cuts. Like an unconscious wish revealing and concealing simultaneously. Sometimes it’s to show a history, sometimes it’s to show an aesthetic decision around the cut. And all of the textiles and photographic elements I use are conceptual: directing, in terms of their individual meaning, an identity that comes together in the overall accumulated assemblage.

When you’re making a new work, do you have an image in mind and you use fragments to construct that image, or it begins with fragments? SS

It depends. It’s a combination really. Like when I was conceiving The Exquisite Pirate [a series started in 2004 on female pirates], I imagine the ship. And then I take the ship apart, if you like, in my mind, and then study the ship and begin ship building. I make all the elements that would go into the ship. I make drawings, but the building happens on the wall with pinned elements. It’s the elements that are constructed individually of printed textiles of wooden panels; elements of painted felt, printed metallic, skeletal shapes, ropes and so on. The whole ship is assembled with pins and these elements. They evolve over time as multiple works are created, and they’re often site specific. I have an attitude of improvisation in this approach. That’s why I’m really interested in dance. There are many connections: the improvised work coming from the process of the work and the place. I move things around with elements. It’s dynamic for me, it’s connected to my own body in the physicality of making: I operate within that liminal space between the element, the space between me and the wall, and the pinning [of the fragments of images], and the movement. There are concerns, aesthetic and conceptual, about movements, gesture and balance, and then there is the psychological: “Why that way, not that way?” And thinking, “What is really being revealed here in this time, in this place?” TM

Your current show at Geelong Gallery is influenced by the Ballets Russes—a famous, French ballet company active between 1909 and 1929, known also for their brilliant costumes and set designs. What captivated you about that? SS

I was aware of the Ballets Russes as a young artist and about the collection of costumes in the National Gallery of Australia. I was interested in them as artefacts of performance. It was the performing objects of the Dada artists that had interested me, especially as there were a lot of women artists involved in early 20th century avant-garde performance. It’s why I was attracted to that period, and their cross-disciplinary practices as well. I began a decade ago to combine performance and dance content in my work, also being influenced by Martha Graham [an American dancer and choreographer]. The intersection of dance and visual artists in the 20th century, and of course the Ballets Russes with their unique combination of art, fashion

Sally Smart, Sally Smart—P.A.R.A.D.E., installation view, Geelong Gallery, 2022, with P.A.R.A.D.E. (Modern Drama and The Artist’s Ballet), 2021–22. © sally smart. photogr aph: andrew curtis.

Sally Smart, Sally Smart—P.A.R.A.D.E.,installation view, Geelong Gallery, 2022, with P.A.R.A.D.E. and The Goat Dance, 2019–22, P.A.R.A.D.E. Curtain #1 & #2, 2019. © sally smart. photogr aph: andrew curtis.

and staging, have become increasingly influential in my work. I had been thinking about an idea that had started years before with a question I had posed to [NGA director] James Mollison, because he had acquired Ballets Russes costumes for the National Gallery collection. I asked, “Did you ever find in a costume, a fragment of a Picasso costume with an element of a Sonia Delaunay designed costume, like remnants of the two together?” Of course I was thinking of collage like I always do. And he said, “No, they didn’t.” But sometimes they found different elements for sizing, and I’ve since learnt lots more about what layers and labels they found in the costumes. When I went back to my studio I wrote down our conversation as a small document, on a piece of paper, an idea that I kept with me for a really long time. I thought, “Oh, one day I’m going to work on this somehow.” It took about 12 years. Through the combination of an introduction to Indonesian artisans and making digital collages, I experimented with fragments of original costume documentation—to use as the source to collage disparate elements of Picasso with Delaunay. I also created new combinations based on many of the original costume images through this process. When the finished embroideries were made I was very interested to see if they could be performed. This was the beginning of years of new work. The Geelong Gallery work is based on reimagining the Ballets Russes Parade [1917] designed by Picasso with music by Erik Satie. It was more a play than a dance work, the hybridised and interdisciplinary approach they began 100 years ago interested me. It was also made during a time of global social and cultural upheaval, through war and pandemic—while anticipating and creating new models of making performance, and [thinking about] relationships between the body, thought and cultural histories. There are parallels with our present moment.

I’ve got one final question: you’re currently on the board of the National Gallery of Australia (NGA) and you previously held an artist trustee position at the National Gallery of Victoria, and you’ve commented publicly on increasing the visibility of women artists, but also that there has to be structural change alongside things like NGA’s Know My Name exhibition. SS

There’s got to be structural change. TM

Do you see that happening? SS

Yes I do. Certainly a lot more things are happening; there’s more critical awareness, cultural awareness. We’ve been through many waves of change before, but this feels different. There is increasing alignment with social and economic awareness of gender equity issues. In visual art museums the work of women artists must be there to be seen: they have to be exhibited, to be collected, to have texts and books that research and document their work. They have to have their share of the front banners in a museum; the care, the visibility; there should be as many exhibitions [as their male counterparts]. It’s not just that they’re in a group show; they have to have solo exhibitions that represent them in depth and reveal cultural significance. There has been much discussion at the National Gallery of Australia about the need to do this. We’ve done exhibitions, yes, and other projects, but now there is the consideration of structural change that insists on change into the future. And the humanity of it, you know? Women seem to take—when things get difficult—women take the load a lot. It’s a big concern actually with all the latest catastrophes in the world, how it’ll affect women. So that’s why structurally there has to be change to ensure this commitment to supporting gender equity.

P.A.R.A.D.E. Sally Smart

Geelong Gallery (Geelong VIC) Until 3 July

An Embracing Tussle

Many artists are charged with changing the course of art— for Pablo Picasso, it’s almost an understatement. Born in 1881, the Spanish painter (and sculptor, printmaker, ceramicist and theatre designer) was at the forefront of Cubism, creating famous works that continue to captivate in their formal audacity, and their complicated personal and political resonances. For more than 70 of his 91 years, Picasso contributed to— and changed—20th century art. Ahead of the National Gallery of Victoria’s The Picasso Century, which features over 70 works by Picasso and another 100 by creatives he was in dialogue with, we asked five artists—Eleanor Louise Butt, Yvette Coppersmith, Euan Heng, Wendy Sharpe, and John Wolseley—to each reflect on one Picasso painting in the exhibition.

Eleanor Louise Butt, Yvette Coppersmith, Euan Heng, Wendy Sharpe, and John Wolseley 48

Pablo Picasso, Figures by the sea (Figures au bord dela mer), 12 January 1931, oil on canvas, 130 x 195 cm. musée national picassoparis, donated in lieu of ta x, 1979 © succession picasso/copyright agency, 2022 photo © rmn-gr and palais (musée national picasso-paris) / mathieu r abeau.

Yvette Coppersmith:

Figures by the sea is both intimate and civilisational. It is a painting where edges meet. Sand, sea, sky, skin, teeth. It seems unambiguously ‘sex on the beach’, but veiled by the stylisation of forms. Its monumentality is akin to public sculpture—Bondi would be proud. It’s of the moment, and alludes to a precarious future where land mass is reshaped by sea. The balance of bodily structures is in tension between desire and aggression, accentuated by the sparring tongues. The duality of masculine and feminine in Picasso’s figures is hard to discern; the psyche embodies this duality rather than two separate beings. The human is a monolith, the species that has shaped the evolution of the planet, and yet perched on the edge of pleasure, procreation and self-destruction. Picasso, the giant avant-garde modernist, picturing an embracing tussle. The relationship of an artist with Picasso’s work is fraught, in being influenced by his oeuvre and maintaining their own language. I experienced this as I navigated the path from realism to a modernist sensibility several years ago. With the critical evolutionary moment we are in, there’s a need to relinquish the individual hero to one of collective creativity.

Pablo Picasso, The violin (Le violon), 1914, oil on canvas, 81 x 75 cm (92.7 x 87 cm, framed). centre pompidou, paris, musée national d’art moderne-centre de création industrielle. gift of m. r aoul la roche, 1953 © succession picasso/copyright agency, 2022 photo © centre pompidou, mnamcci/audrey laur ans/dist. rmn-gp.

John Wolseley:

In 2008, in a forest on the side of Mont Saint-Victoire, I could see down into the garden where Picasso is buried in the grounds of his enormous, bleak chateau at Vauvenargues in Southern France. A work I did at that time, Pinson des Arbres Singing above Picasso’s Grave, Vauvenargues, hints at the mixed feelings I had about Picasso as I stood on the mountain so beloved by his precursor, Paul Cézanne. In the time that Picasso lived at the chateau, his paintings suggest he was curiously oblivious to the natural world around him, repeating himself, prodigiously talented but self-indulgent and disconnected. So different from the experimental period which produced Le violon. Le violon harks back to my favourite of Picasso’s works—the paper collages that he (and Georges Braque and Juan Gris) produced from 1912 to 1914, which made such inventive use of everyday materials such as newspaper, tickets and commercial lettering. The playful use of different types of graphic representation emphasises the interactions which exist between things rather than presenting them as separate objects in the fixed space of the painting. A world of fragments and flux which strongly appeals to my own interest in the dynamic interconnection between all things. As the poet Paul-Jean Toulet said, “Artists are those people who pass their time putting together the broken pieces of the world.”

Pablo Picasso, Weeping woman, 1937, oil on canvas, 55.2 x 46.2 cm. national gallery of victoria purchased by donors of the art foundation of victoria, with the assistance of the jack and genia liberman family, founder benefactor, 1986 © succession picasso/copyright agency, 2022 photogr aph: ngv.

Wendy Sharpe:

Purchased in 1985 by the National Gallery of Victoria, this painting was, at the time, the most expensive work ever acquired by an Australian gallery. The following year it was stolen by a group calling themselves the ‘Australian Cultural Terrorists’, who would return the painting only if the state government increased arts funding. Later, it was returned anonymously in a train station locker—luckily unharmed! The painting is a universal image of suffering and despair with obvious links to Guernica, a painting Picasso had recently finished. Weeping Woman is one of 36 works on this theme, and is also said to reflect Picasso’s stormy relationship with Dora Maar—one of his lovers. It’s incredibly powerful and emotive. The splintered, jagged forms and bilious green are highly charged against the stark black, white and grey. Picasso’s inventiveness, daring and extraordinary audacity never cease to amaze. I have an artist studio/apartment in Paris where I spend part of every year. I regularly visit the fabulous Picasso museum in Paris: it is always an enriching experience. I was shocked when, close to my studio, I accidentally came across a plaque outside a grand building on Rue des Grands-Augustins near the Seine. The plaque stated: “This is where Picasso lived and worked from 1936 to 1955, and painted Guernica in 1937” . . . So fascinating to imagine!

Pablo Picasso, The studio at La Californie (L’Atelier de La Californie), 30 March 1956, oil on canvas, 114 x 146 cm. musée national picasso-paris donated in lieu of ta x, 1979 © succession picasso/copyright agency, 2022 photo © rmn-gr and palais (musée national picasso-paris) / mathieu r abeau.

Eleanor Louise Butt:

Painted 16 months after Henri Matisse’s death, Picasso’s L’Atelier de La Californie feels shrouded in Matisse’s presence. Picasso’s own studio has become his subject, depicting the opulent 19th-century interior situated on the ground floor of his Cannes villa. Decorative walls, floor, ceiling and furniture are painted with vigorous energy in shades of grey and brown, in contrast to the white light and green trees of the surrounding garden, framed by the Art Nouveau window. Matisse’s open-windowed interiors were similarly filled, with no detail left unnoticed. Picasso has not depicted himself within this scene—we are seeing the studio through his eyes. The central blank canvas on the easel cries out for attention, its painterly surroundings threatening to slide onto its surface, creating tension between the perception of this scene as a two-dimensional painting and as a space we as the viewer are inhabiting. Paintings propped throughout the room suggest the vast number of works which would eventually fill this space. This painting makes me want to rush into my own studio. A photo of Picasso’s Fruitbowl and Guitar (11/02/1932) is pinned to my wall and I have borrowed from its palette for many paintings, which has greatly opened the work up for me.

Pablo Picasso, Woman in an armchair (Femme dans un fauteuil), summer 1927, oil on canvas 130 x 97 cm. musée national picasso-paris donated in lieu of ta x, 1979 © succession picasso/copyright agency, 2022 photo © rmn-gr and palais (musée national picasso-paris) / adrien didierjean.

Euan Heng:

Woman in an armchair is distinguished by its abstractness, its sudden colours, and, combined with an ‘incomplete completeness’, results in a compelling and persuasive painting. The directness of this work camouflages the complex thinking of Picasso and his methodology of making. To examine this period of Picasso’s work, and, in particular, his pictorial transformations of standing and sitting women, is to reveal further evidence of his exceptional curiosity and creative agility. In 1994 I completed a work titled Hombre: the last great western. Central to this work of collaged quotations is a large bull, portrayed resting in a Fernand Léger landscape. Astride this bull, a dapper young man raises his hat in a salute to another. As an artist, Léger explored the future and located it in his industrial present, whereas Picasso drew upon art history’s past and relocated it in 20th century modernism. However, it took Picasso’s brilliance to discover and invent the painterly means to accomplish this. Writing about Hombre: the last great western, art critic for The Age, Gary Catalano, speculated that while I may be subservient to Léger, my belief, like many others at that time was that the Frenchman was subservient to another hombre, the somewhat tougher Spaniard, Pablo Picasso—the last great Western artist.

The Picasso Century

National Gallery of Victoria (Melbourne VIC) 11 June—9 October

Studio

David Sequeira

“There’s something so convenient about having a home studio. I am interested in the inseparability between art and life—having a home studio is living amongst and with it.” — DAV I D SE QU EI R A

PHOTOGR A PH Y BY

AS TOLD TO

Leah Jing McIntosh

Giselle Au-Nhien Nguyen

An artist, curator and academic, David Sequeira’s multidisciplinary practice, including painting, textiles and installation, has spanned over three decades, with colour as its driving force. From his home studio in West Melbourne—where he creates across his house—he discusses his all-encompassing approach to art making, as well as his bold exhibition, All the things I should have said that I never said, and its relationship to his Indian background.

PLACE

We’ve lived in this house since 2015. My partner is an actor, so our garage is his studio. I have the little front room, but we think about the whole house as a studio. I like the dog walking in. I like the phone ringing. I like being able to wake up at two in the morning and walk downstairs and start painting. There’s something so convenient about having a home studio. I am interested in the inseparability between art and life— having a home studio is living amongst and with it. You need to actually come downstairs and go, “Oh, no, that doesn’t work. I’m moving that now.” That kind of thinking is not always done in your studio time. There’s the time that you’re dedicated to your practice, but there’s also the time where you’re just wiping down the bench, looking across at something that you’ve made. It’s important for me to live with other people’s work. Even in that tiny little room downstairs, the wardrobes are full of other people’s art. I’m not just interested in what art looks like—I’m way more interested in the possibility of art. DAV ID SEQUEIR A:

PROCESS

DAV ID SEQUEIR A: I work full-time as an academic,

but I work on my own practice every day. It’s a really important part of who I am. I do my best thinking through making. My limit in my studio is three hours at a time. In the same way that I make time to do a nineto-five job, you’ve got to make time for your practice. Sometimes it is two in the morning, and I’m quite happy to paint from two to five and then go to bed for a couple of hours.

I would say that my medium is colour. There’s an understanding of colour in India that is just not here in Eurocentric Australia. In India, colour is treated like a thing. It’s a relationship to colour that’s energetic, that matters. That’s a very important part of my studio and curatorial practice. I’m thinking about what colour is doing, and what it’s doing to me. I find that a very Indian philosophical approach. When I’m planning, I’m cutting into colour. When I’m arranging vases on shelves, I don’t even think about them as vases—I think about them as pieces of colour, where every shade is different. There’s a reality about colour that’s deeply personalised. Next year is the 30th anniversary of my first show, and I’ve never moved past that idea of the reality of colour, and all the subtleties that come out of that. Just distinguishing a relationship with colour, and what colour can do. It’s fundamental to my process. PROJECTS

DAV ID SEQUEIR A: There are three bodies of work. One

is called Untitled India. The kurta is a long, loose shirt that men in India wear. I’m working on a suite of 56 of them, and 20 will be digitally printed with images that collectively form a very personal history of India. One is from 1947—it’s two refugees from partition [when British India was divided into two independent dominions, with 10 million people displaced]. There’s a guy in a hazmat outfit at Covid’s peak in Mumbai. There’s Lord Curzon and his wife—he was the viceroy of India, that photograph is from 1903 and they’ve just shot that tiger. And there’s a soldier with a rifle standing outside the Taj Hotel when there was a terrorist attack [in 2008]. I do a lot of thinking about infinity

and colour, and the endless possibilities of combining colours. I wanted to place this history within the context of infinity. I’m interested in an understanding of India that’s complex. In the studio downstairs, there are little geometric paintings on music manuscript. That’s a project called the Song Series. I’ve done about 400 or 500 now. I really generated some momentum with them during lockdown—they became a very beautiful, meditative part of my day. I think about them as little contemplative energy diagrams. I don’t think about them as being colourful—I think about them as being intensely coloured, but there’s this tiny amount of colour on a much bigger white page. It’s the intensity of that colour combination and the infinite number of combinations. That’s a very exciting space that’s sustained me for many, many years. History and Infinity includes paintings by other people, plus about 1000 vases. In India, in the palaces and some of the mosques, the walls are decorated with vas-

es. I remember being really struck by this idea that a piece of decorative art was a witness to whatever went on in that room. I’m interested in blurring high art and low art—a lot of them were originally from places like Kmart. There are a couple that have become iconic pieces of design since, but most of them are op shop finds—mass-produced objects. And yet the process of selection and display transforms them into something much bigger. I think of myself as orchestrating these big, epic symphonies of colour via discarded objects. When I insert other people’s paintings, those two objects wouldn’t necessarily be in the same room, but you can connect cultures, art forms and histories via these decorative objects.

All the things I should have said that I never said David Sequeira

Bunjil Place Gallery (Melbourne VIC) 7 May—21 August

W R ITER

Tiarney Miekus

20 Questions

with Elizabeth Willing Elizabeth Willing has transformed the way we think about food and contemporary art, where food is both the medium and the subject. Through sculpture, participatory events, performance, collages and installation, Willing has used materials from marzipan to sherbet to liquorice. The Brisbane-based artist has posed thoughtful, often humourous, questions on eating, taste, sense, consumption, sustainability and foraging, alongside thinking about the cultural rituals and understandings of food. Ahead of her upcoming exhibition at Tolarno Galleries, we asked Willing 20 quick questions.

Who was your first art love?

Organisation or chaos?

What was the first food item you used as a medium?

For a 2019 work Licks you made these package-like sculptures from Little Bellies, which is a corn-based snack for babies—but to attach all of the Little Bellies together in a larger piece, you licked each one. How many Little Bellies would you have stuck together for that work?

Louise Bourgeois.

Toffee.

You often use industrial food products as opposed to ‘fresher’ food products. Why so?

On the one hand they last longer. Fresh foods decay in the gallery, whereas processed foods offer visitors a similar viewing or participatory experience at the beginning or end of the exhibition. Processed foods contain so many mysterious ingredients and undergo so many different levels of processing. It is unimaginable that the body can even absorb any nourishment from it. I also think they can distil some facets of a food culture or society. Processed foods are joyful, colourful design objects—a good example are the tubes of sherbet used in my work Moviprep showing at Tolarno.

Best time of day to create?

Office in the morning, studio in the afternoon and evening.

Your worst art faux pas?

Trying to unearth my worst is painful, revealing it in print—dreadful.

How often are you in the studio each week?

I need to touch base with the studio at least once a day—this is easy as I have a home studio. My newest body of work has been extremely laborious and requires between two and six hours of stitching per day, so I have had to find even more time than usual among the demands of administration, teaching, and family.

The most interesting thing someone has said to you about your work?

In relation to my participatory work, a mentor once asked me to consider if audiences can ‘think and do’ at the same time. I carry that question with me, and I still think about it often, and although I do not try to answer it directly, it influences my research.

Organisation.

Though I did not keep track, I am sure after making those three sculptures it was in the thousands.

When audiences encounter something like Licks, or art made from food, what are you hoping to prompt in the viewer?

I hope that familiarity with the materials functions as a platform for engagement, to consider the processes that the materials have gone through, and to begin a conversation with or for the object. At the best of times art can be a conduit for empathy and poetry; food and hospitality are two of my favoured catalysts for those effects.

If you could collaborate with any artist, dead or alive, who would it be?

Grant Achatz, an American chef and restaurateur.

It feels like the multi-sensory aspects of food isn’t something that you see much in contemporary art. Why do you think that is? My reasons for using food are personal and specific. I don’t think an artist would use it long-term unless they had a good reason. While the sensory aspects of working with food and hospitality are enticing, the practical considerations are extremely challenging. Many of my artworks are problem-solving activities in which I am exploiting the multi-sensory, but also disabling the unstable and unpredictable qualities of food materials. There are obstacles to working with volatile materials in larger institutions. Works using food or other organic materials are a challenge to conserve, or to continue restaging, so they are expensive and time consuming for artists and collectors. I think that there are plenty of artists who begin their careers exploring challenging methods and materials, but they move away from it, possibly in part because of the difficulties I’ve flagged.

Elizabeth Willing, Collections cast, 2019, framed dark and milk chocolate, 60 x 60 x 3cm. caloundr a regional gallery. photogr aph: carl warner.

Elizabeth Willing, 2000 Licks, 2014, Maiswürmer (Corn worms) connected with saliva. 45 x 30 x 30 and 40 x 35 x 25 cm.

Elizabeth Willing, Surfaced (no.2), 2019, giclée print on cotton paper, 120 x 100 cm.

What are your signature dishes when cooking?

I mostly bake, I like classic Women’s Weekly-style recipes.

In your work certain histories of food, whether cultural, gendered, colonial or Indigenous, are often subtly evoked—how much research goes into your work?

My research begins in everyday life. I continually feed my curiosity with all kinds of provocations, and I regularly document my thoughts and ideas in diaries. My methods for maturing ideas are diverse and include reading, conversations, tests, drawing, Sketchup models, and online searches. I also draw heavily from books and documentaries about chefs. All of my works are snapshots of my thoughts and research at that point in time; I try not to force an idea, or to mature it before it is ready. Most importantly I trust my instinct to make the connections between ideas, processes, materials, forms or patterns. Research without instinct or play is too dry for my work, I need to make connections that I don’t understand at the time so I can learn about the work as it develops and as it is exposed to the public—exhibition and storage is also research.

Classic ‘Elizabeth Willing’ drink order at the bar? Gluten free beer.

Quick advice for young artists?

Surround yourself with supportive and positive colleagues. Work on your writing. Be organised.

An art experience that’s stuck with you?

American artist Liza Lou’s Solid / Divide exhibition at White Cube in London in 2014, and dinner at Osteria Francescana Modena, a three-Michelin-star restaurant in Modena, Italy.

You often give space for audience participation—what do you like about having the viewer involved?

It’s my way to prompt a type of hospitality, and to therefore engage audiences in the complex relationships and roles inherent in hospitality: the guest, the host, and the parasite. Participants generate new forms by bringing their own methods of making to the work; by handing over some creative agency they become the new hosts. I am very often surprised— sometimes I don’t enjoy it, which is okay.

Best colour to create with?

Various shades of raw linen. And pink, which has a synesthetic relationship to enhancing sweetness.

What will we see in your Tolarno show?

Hand-printed and embroidered linens accompanied by a large multi-sensory installation made with sherbet.

Forced Rhubarb Elizabeth Willing

Tolarno Galleries (Melbourne VIC) 28 May—18 June

Structures of Colour Nuha Saad’s kaleidoscopically colourful art is a tandem exploration of the ornamental and decorative, while also delicately drawing upon her Lebanese and Australian heritage. W R ITER

Briony Downes

On a recent visit to a historic submarine base, Nuha Saad learnt about the Razzle Dazzle military technique used in World War I. Initially developed by artist Norman Wilkinson while he was serving in the Royal Naval Volunteer Reserve in 1917, Razzle Dazzle was a type of camouflage paint scheme that covered war ships in bright colours and bold geometric patterns. The idea was to make it difficult for enemies to decipher the size and speed of a ship, and the result yielded fleets of vessels that looked like floating Cubist paintings. As an artist whose aesthetic is dominated by kaleidoscopic colour and sinuous patterns, this experience prompted Saad to base her latest exhibition at James Makin Gallery on a similar technique. “Through the use of colourful patterning, I see my works as types of decoys aimed at obscuring forms and confusing the viewer, to draw them into the work so they are able to better view and experience my sculptures up close.” Along with colour and pattern, a defining feature of Saad’s work is her use of Victorian and Federation turned wood trims. Finials, cornices and ceiling roses are common visual elements in her sculptural forms and are often cut and glued together to create tall structures flushed with candy-like colour. An unusual and visually striking material to use, the Sydneybased artist was initially drawn to wooden trims while working towards her Master of Visual Arts at the Sydney College of the Arts. Nearby was a shop selling decorative pieces for Federation-style interiors. Saad purchased a few wooden items and painted them in colours similar to those she would see on cargo

ships moored in Sydney Harbour during her morning commute. At the time, it was a homage to her migrant parents who came to Australia via boat, and also heralded the beginning of a visual language she still employs today. “I regularly work with the turned wooden posts added to buildings for structural and decorative effect,” she explains. “Seen in both historic and contemporary architectural design, the post, totem or column is a universal architectural form used throughout Western, Eastern and Indigenous cultures. The post is typically a vertical element and is commonly used as a support, however, it can also be non-structural and viewed as a freestanding monument.” While the wood trims are usually destined for English inspired interiors in Australian suburbs, for Saad, these forms are reminiscent of the Middle East. “With their arabesque references, these forms resonate with my Lebanese and Australian heritage,” she says. Referencing contemporary multicultural society, through the process of joining seemingly disparate pieces together, Saad brings out “the beauty and sensuality of these forms, and their hidden stories, to question whether decoration is simply an addition or an integral part of our built environment.” In works like The Folly of Yellow, Red and Blue, 2022, a cacophony of rainbow colours are accentuated through swirling pattern and smoothly carved, r ight Nuha Saad, Ornamental Fancies III, (detail), 2020, acrylic on turned posts, 180 x 60 x 60 cm approx.

Nuha Saad, All My Colours (XOX), 2022, acrylic on wood, 15 x 65 x 15 cm.

“My explorations in colour, pattern and form become a means of making connections across cultures and histories.” — N UH A SA A D

Nuha Saad, Zig Zag Romeo IX, 2022, acrylic on wood, 14.5 x 23.5 x 10 cm.

Nuha Saad, Walking the Line IV, 2022, acrylic on wood, 56 x 79 x 8 cm.

totemic shapes. Similar to the architectural folly, a built structure often placed in gardens and fields for no other reason than to delight the viewer, Saad’s sculptures draw us in to celebrate the ornamental details of the suburbs. “It’s really important for humans to interact with something more than just functional buildings in our environment.” Inspired by the sculptural work of Eva Hesse, Louise Nevelson, Ruth Asawa, Louise Bourgeois and Anne Truitt, Saad has recently discovered an affinity with the abstract work of Lebanese artist Saloua Raouda Choucair. Working in the early 20th century, Choucair blended modern Western abstraction with traditional Islamic aesthetics and, like Saad, was known for using bold colour and interlocking modular forms throughout her multidisciplinary practice. “Colour is the site where the geometry of minimalism and the ornamental meet and intersect, both formally and intuitively,” says Saad. “I believe in its positive and transformative power. In this way, my explorations in colour, pattern and form become a means of making connections across cultures and histories.” Exhibiting since 1996, in addition to her fine art practice Saad has a strong background in public art.

Collaborating with design firms like Tilt Industrial Design and Sturt Noble Landscape Architects, Saad has created colourful elements for playgrounds, murals and sculptures for over 10 projects throughout New South Wales. These include Fun Field, 2016, at Wulaba Park and Velvet Nostalgia, 2017, in Kensington, a public installation celebrating community and the neighbourhood’s architectural heritage. Tying in with her longstanding interest in how architecture can be a symbol of cultural identity, Saad seeks to preserve the overlooked details of a place by highlighting them in her work. “The historic ornamental details found in our suburban, civic and industrial heritage architecture are what give our built environment its character, history and life, and its stories. I see this history as an essential layer of our architectural identity.”

Razzle Dazzle Nuha Saad

James Makin Gallery (Melbourne VIC) 18 June—3 July

Screen Generations From the suburbs of Brisbane to living in New York as the managing editor at Artforum, the art of Jeff Gibson is a humourous, seductive look at our obsessions with screens—from television to online shopping to Instagram. W R ITER

Andrew Stephens

A savoy cabbage, a vacuum cleaner, and a bizarre orthopaedic mask that holds a broken nose in place: these are just a few of the glossy, pristine images that emerge in the work of New York-based Australianborn artist Jeff Gibson. Hundreds of such crisply polished objects—often appropriated from advertising and stock-image libraries—are generously peppered through Gibson’s mesmerising work. A comfortable bench, Gibson says, is essential for viewing them, especially the video works he has installed as part of his exhibition Countertypes. Griffith University Art Museum (GUAM) curators have provided such seating—amid three gallery spaces showing Gibson’s 40-year-long artistic output. Gibson may have lived in New York for several decades—where he’s also managing editor at Artforum magazine—but GUAM director Angela Goddard says his upbringing amid punk and new wave in Brisbane and Toowoomba helped shape the way he has become a leading exponent of “image-based” digital art. She says Gibson’s use of mass-media imagery elevates appropriation, quotation and juxtaposition into crucial artistic strategies. “Jeff’s work has always been ahead of its time in understanding the ways we consume images,” she says. “He knew early on how pervasive image culture was going to be and how it was going to impact art, especially in the digital age. I’m intrigued by the ways his shiny, seductive stock images are playfully grouped in a personal grammar, where unexpected juxtapositions create bizarre and outlandish narratives. What does it all mean? What is he trying to sell?” Gibson says that, in one form or another, he’s always been concerned with the relationship between

art and popular culture, evident in various public poster and billboard projects he’s done—such as on the Panasonic Astrovision screen in Times Square in 2007, and occupying advertising sites on the Missouri interstate highway in 2016. Such projects, he says, were “messing artistically with pop cultural formats”. He continues, “That negotiation is perhaps the most defining characteristic of my oeuvre, as it has been for a lot of artists raised in the suburbs on a steady diet of advertising and television.” Now, he’s getting us to watch the screen: while he advises that his new video works require time, this is rewarded with visual pleasure that, “if a little icky at times”, is humorous and insightful, while being seductive and hypnotic. One consists of 50 colourful goods of various kinds, assembled on white grounds. He describes these as being akin to online shopping menus, slowly dissolving on top of each other and set to a ‘new age’ promo-style soundtrack. The other video consists of 50 texts. These, he says, are “comical, psychologistic definitions I penned over a nearly 20-year period, nailing relatable pathological conditions”. They also slowly dissolve on top of each other, and are set to super-corny elevator/ shopping mall Muzak. Part of the genesis of these interests, Gibson says, was in watching too much TV as a kid. “But for as long as I can remember, I viewed it with a deep ambivalence. I could see that most of it was idiotic, yet extremely seductive, and therein lies the problem I’ve been grappling with artistically from the beginning. “Social media has completed the feedback loop that started with television. My generation of Australians had a little distance on media cul-

Jeff Gibson, Various posts to Pictopoesis Instagram feed, 2021.

Jeff Gibson, image outtakes from You might also like …, 2018, 4K video, 14 minutes.

“I’d rather facilitate realisation via seductive friction than preach or lecture.” — J EF F GI B S ON

Jeff Gibson, Untitled (Wake in Fright), 2021, decoupage on wood panel, 61 x 61 cm.

ture because the vast majority of it came from elsewhere—but Americans, I’ve noticed, live in a feedback loop, acting out what’s being reported and reporting what’s being acted out. Social media has accelerated, intensified, and globalised this phenomenon.” What he says is most important is not to be psychologically subjugated to it all: “that we be in it, but not of it”. While he loves his Instagram accounts— one for straight-up art, the other more diaristic, but not too personal—he finds that while he can succumb to “the mesmeric quality of the self-selecting scroll” he tries to be critically aware of the “mind-numbing, attention-sucking horror of the compressed spectacle” in which Instagram and other platforms trade. “Though I occasionally tumble into their vortex of distraction, I try to keep one foot firmly planted in real life,” he says. All this manifests in the exhibition, the three sections of which cover works produced in Australia in the 1980s-90s; the two video projections, which were started in Australia in the late 90s and was completed in New York much later; and work representing his current interests. These include his attraction towards relationships between seemingly oppositional forces. “The

product-shot compositions and the old/new, high/ low collages I’m making at present are certainly poet-aesthetic in nature—yet imbued with a critical sensibility,” he says. “But I think you have to see this against the backdrop of my day job [as an editor at Artforum] where for decades now I’ve been curating and promoting critical discourse.” He says that while he was “born critical” and has always had something of an attitude (“my poor parents!”), his approach to art making has never been literal or dogmatic: “I have always favoured an attitudinal poetics that leaves space for the viewer’s/ reader’s absorption. I’d rather facilitate realisation via seductive friction than preach or lecture.”

Countertypes Jeff Gibson

Griffith University Art Museum (Brisbane QLD) 9 June—27 August

Everyone’s a Critic An adult thinks their child could paint that, then a child comments their dog could draw that—and the cycle of criticism goes around. ILLUSTR ATOR

Oslo Davis

Ends of Art Lovers for seven years, Jasper Johns and Robert Rauschenberg are said to have changed 20th century art. The National Gallery of Australia is considering their work in tandem, but what was the revolution they started? W R ITER

Rex Butler

Jasper Johns and Robert Rauschenberg met in 1954. Rauschenberg was five years older than Johns, but they had things in common. They were both born in the conservative southern states of America, Johns in Georgia and Rauschenberg in Texas. Both had served in the US Armed Forces: Rauschenberg in the Navy in World War II and Johns in the Special Forces during the Korean War. And both were gay men, although arguably in the closet, and started a relationship soon after meeting. Indeed, needing money early in their careers, they worked together as window dressers, as Andy Warhol would also later do, under the collective name Matson Jones Custom Display, fearing the potential damage to their artistic reputations. It is often suggested that Johns got his ideas from Rauschenberg, who had already been creating a series of ground-breaking performance pieces at the Black Mountain College in North Carolina from the late 1940s and was showing at the prestigious Betty Parsons Gallery. Rauschenberg apparently got jealous of Johns’s artistic success, which overshadowed his own, and they broke up, again apparently acrimoniously in the early 1960s, although there is a great photo of the two of them laughing together at the workshop run by American master printer Kenneth Tyler in 1980, at the very height of their artistic acclaim and success. Now the National Gallery of Australia (NGA) is putting on Rauschenberg and Johns: Significant Others, drawing largely on the extraordinary archive of prints Tyler made for both artists, which he

donated to the NGA, as well as a selection of works by Marcel Duchamp, Man Ray and René Magritte. Of course, with its title—which alludes to Whitney Chadwick and Isabelle De Courtivron’s well-known Significant Others: Creativity and Intimate Partnership, which recounts the stories of various famous artistic couples, needless to say mostly great male creators and their female muses—the show is first and foremost about the relationship between Johns and Rauschenberg. Indeed, the show cannot but remind us of the National Gallery of Victoria’s current Queer: Stories from the NGV Collection, which actually includes Johns’s Target, 1967, and Rauschenberg’s Pledge, 1968, hanging next to each other. For its part, Significant Others includes such Tyler prints as Johns’s The Critic Smiles, 1969, which features a weird lead toothpaste; Bent Blue, 1971, his pisstake of Picasso’s Synthetic Cubism; and a full set of his Coloured Numerals, 1969, running all the way from 0 to 9. The show also includes two of Rauschenberg’s late Publicon “combines”, 1978, which are an even more complex feat of manufaturing by Tyler, although it is a pity we don’t get one of the early ones like Gift from Apollo, 1959, which seems somehow more authentic in its grime and dirtiness. r ight Malcolm Lubliner, Robert Rauschenberg paints tusche onto a lithograph stone during the production of the 'Stoned Moon' series at Gemini GEL, Los Angeles, 1969, 1969. national gallery of austr alia, k amberri/canberr a.

Robert Rauschenberg, Gemini G.E.L., Publicon - Station IV, 1978. national gallery of austr alia, k amberri/canberr a, © robert r auschenberg. vaga/copyright agency.

Jasper Johns, Gemini G.E.L., Figure 1: from Color numeral series, 1969. national gallery of austr alia, k amberri/canberr a, © jasper johns. vaga/copyright agency.

Malcolm Lubliner, Jasper Johns at Gemini GEL, 1968, 1968. national gallery of austr alia, k amberri/canberr a.

“The big question raised is whether this is any more a painting or simply an object in the world.” — R E X BU T LER

What’s the big revolution started by Johns and Rauschenberg? Why are they both such important, indeed turning point, artists of the 20th century? Take, for example, Johns’s Flag, 1954, made the year he met Rauschenberg and arguably the work for which he is best known. It’s simply a reproduction of the classic stars and stripes over a surface made up of shredded newspaper covered with white encaustic paint. The flag sits evenly on its plywood backing without remainder, as though it were just a flag we were looking at. The big question raised is whether this is any more a painting or simply an object in the world. Decisively, it rejects someone like Clement Greenberg’s demand that painting make the medium of painting as its subject matter, somehow sublimate its physical constituents and turn them into the subject of the work. That is, as opposed to the Abstract Expressionism of the time, Johns’s Flag just is its everyday reality—that’s the black print of the newspaper we see running beneath it—and it doesn’t take place anywhere but in the here and now. Flag is not just a refusal of the dominant painterly style of the time but of art altogether. It’s not aesthet-

ic, it doesn’t appear creative, and the person who made it is not any special kind of person. After Flag, “art” can go either one of two ways: it can be aesthetic or anti-aesthetic, it can be a work of art or a thing in its world. We are still puzzling out the consequences of Johns’s intervention—yes, as the NGA reminds us, there was already Duchamp, but Duchamp wouldn’t be who he was without Johns and Rauschenberg. Every time an artist makes a work of art “about” contemporary issues and someone complains about that, saying that’s not what art should be, we go back to 1954 and Flag. It’s maybe ironic that we’re still thinking about the end of art in an art gallery, but it is this dilemma itself that is art today. And, yes, the critic might smile at all of this, as though they know better, but the joke is also on them.

Rauschenberg and Johns: Significant Others Jasper Johns and Robert Rauschenberg National Gallery of Australia (Canberra ACT) 11 June—30 October

Tracking the Pilbara Bringing together 70 artists across the Pilbara, Tracks We Share shows the manifold stories and art of the region. W R ITER

Diego Ramirez

Mining and construction dominate the Pilbara region in northern Western Australia. It’s known as the state’s “mining powerhouse”—but on the other side of this economically-driven narrative is a more poignant significance: it is vibrant territory for Aboriginal art. The intent of Tracks We Share: Contemporary Art of the Pilbara is to tell this story. Featuring 70 artists across four gallery spaces within the Art Gallery of Western Australia, lead curator Andrew Nicholls says the ambition is to “portray the region as a whole from an Aboriginal perspective” and establish the Pilbara as a national destination for arts and culture. However, there is an important caveat: “I am nonIndigenous, so it is a very rare and incredibly exciting opportunity for me to be able to work with many Aboriginal artists to help them tell the stories they want to tell.” The show brings together art centres and groups based in the Pilbara including Cheeditha Art Group, Juluwarlu Art Group, Martumili Artists, Spinifex Hill Studio and Yinjaa-Barni Art. But at the reigns is a group called FORM, a not-for-profit based in Perth that trades in professional arts services across the state. The exhibition began in 2018, when, as Nicholls explains, “We held a symposium and were invited to create a forum in Newman [a town in the Pilbara] to look at arts and culture in the region, celebrating it with the same importance as the resource industry.” This symposium motivated several art centres to collaborate with FORM, seeking to create a strong platform for Pilbara artists to show the vitality of their works, where artists guide the process foremost. The outcome is a mammoth undertaking with 200 artworks distributed across AGWA and part-

nering venues. While many of the works are acrylic paintings for which the region is known, the show also incorporates photography, sculpture, installation and video—the diversity of media unpacks more traditional notions about art made in the Western Desert. For Nicholls it’s about having this recognition on national and international levels: one may compare this pursuit to a chant, where a multitude of voices join to create a singular chorus attuned to harmony in one location. And what’s truly captivating is the work itself. Katie West’s I love you my baby, you are my first born, 2020-21, is an installation showcasing found driftwood alongside a two-channel video projection of natural landscapes. West, a Yindjibarndi woman based in Noongar Ballardong, is best known for her work with naturally dyed fabrics and a social practice that speaks to the “weaving” of histories. Here, her two video projections float above branches, which invoke a sense of shelter, belonging or homeliness. The work is the outcome of two residencies the artist undertook in Bajinhurrba (Cossack) to explore her heritage and reconnect with a familial history disrupted by the Stolen Generations. Walking on Country during the residencies, West collected branches to meditate on acts of transformation and reconnection. In the context of her practice, the title suggests that she is making history with her child on Country in a continuation of her cultural legacy. Another video, Ngundamurri, 2021, by Juluwarlu Art Group, documents a men’s Ngunda (corroboree) performed by Juluwarlu artists at the Yindjibarndi community of Ngurrawaana. The men are captured in ceremonial attire performing a ritualistic dance on Country with breathtaking landscapes. It incor-

Yindjibarndi artist Katie West with her artwork, 2021. photogr aph: sundae studio.

Wendy Warrie, Hightide, 2021, acrylic on linen, 200 x 200 cm. image courtesy of wendy warrie (cheeditha art group).

Curtis Taylor, Justice, 2021, welded steel, mulga wood, balga resin and rust, 170 x 120 x 50 cm. photogr aph: sundae studio. image courtesy of the artist.

porates striking Nhurnda gundu (corroboree masks) and astonishing jarnyjin (dancing sticks) created by the Juluwarlu Art Group under the guidance of Guruma/Yindjibarndi birlagurda (craftsman) Wayne Stevens. The film documents the first time that these traditional dances have been performed on this part of Yindjibarndi Country in living memory, making it a highly significant event. The masks alone create an otherworldly scenery by elevating the face of the wearer to fantastical status, making them a truly magical sight. Nicholls also highlights that there is “a lot of humour and ironic takes on contemporary life in the region, which hopefully will be a surprise for people who haven’t seen this work.” One of these takes is Layne Dhu-Dickie’s series of comic books Captain Hedland, named after South Hedland in Western Australia, where the artist is based. This younger artist uses a texta style to draw narratives where Captain Hedland is combating social problems in the region,

such as substance addiction. The comics have titles like Captain Hedland vs The Fisherman and Captain Hedland vs The Bush Mechanic. While there is a great sense of levity and celebration across the exhibition, many works deal with heavier themes. Curtis Taylor’s sculpture Justice, 2021, features a spear traversing a dismembered leg made from welded steel, mulga wood, belga resin and rust. The commanding work signposts the structures of justice that exist outside Western law by featuring a wooden spear. It is also strangely reminiscent of stolen cultural objects hidden in museum collections that are yet to be returned.

Tracks We Share: Contemporary Art of the Pilbara Art Gallery of Western Australia (Perth WA) 11 March—28 August

RENATA PARI-LEWIS INTERIOR 4 – 21 MAY, 2022

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12 – 14 Meagher Street

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Chippendale \ NSW \ 2008

info@nandahobbs.com

Featuring Fiona Lowry Hamishi Farah Juan Davila Kate Smith

With works by Anna Kristensen Fred Cress Gordon Hookey Jackson Slattery James Gleeson Jelena Telecki John Citizen John Young Josey Kidd-Crowe Jude Rae Julie Fragar Karen Black Kieran Seymour

Margaret Olley Marlene Gilson Mitch Cairns Natalya Hughes Nicola Smith Nigel Milsom Patrick Hartigan Pierre Mukeba Stephen Bush Tim Schultz Vanessa Inkamala Zoë M Robertson and others

17 June – 16 October 2022

Hamishi Farah Matthew (detail), 2020 Acrylic and permanent marker on linen Courtesy the artist, Maxwell Graham / Essex St, New York and Chateau Shatto, Los Angeles

mamalbury.com.au

NOW REPRESENTING

Martha Marlow Chasing Light: New Works on Paper 19 April – 14 May 2022

kingstreetgallery.com.au T: 61 2 9360 9727

art@kingstreetgallery.com

Coogee 2 2021 watercolour & graphite on paper 11x26cm Cliffs Clovelly Looking out to Sea 2021 watercolour & graphite on paper 10.5x29.5cm kingstreetgallery.com

Wanda Gillespie, A Counting Frame for Future Economies, 2021. Courtesy the artist.

7 May–9 July 2022 An Alternative Economics Five Mile Radius, Gunybi Ganambarr, Wanda Gillespie, Katie Paterson, Make or Break, Keg de Souza, and Shevaun Wright REBIRTH IS NECESSARY Jenn Nkiru

The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia.

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Institute of Modern Art 420 Brunswick St Fortitude Valley QLD ima.org.au

54 Vernon Terrace Teneriffe, QLD 4005 janmantonart.com Image credit: Karla Marchesi, Swingers, 2022, oil on canvas, 89 x 74 cm. janmantonart.com

Desire Path Karla Marchesi 8 - 26 June

SPINIFEX ARTS PROJECT 25TH ANNIVERSARY EXHIBITION

Spinifex Men’s Collaborative, Pilu Nguru 2022 (detail), 200 x 230 cm

11. O5.22 — 11.06.22

WWW . VIVIENANDERSONGALLERY. COM

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CONTEMPORARY INDIGENOUS ART vivienandersongallery.com

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CURATED BY VICTORIA LYNN

24 MARCH – 10 JULY 2022 MAJOR EXHIBITION PARTNER

PUBLICATION SPONSOR

IMAGE: David Noonan, Mnemosyne 2021, film still. Courtesy the artist and Modern Art, London.

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LAUNCH / SATURDAY

MAY / 4:30 PM 14 MAY / 26 JUNE.

DAVID RAY Four Treasons

STOCKROOM

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

Tank - (Winter), 2022, earthenware, decals, enamel, platinum. 19 x 12 x 23 cm

stockroom.space

NOONGAR COUNTRY 2022 Kaarla Koort-ak: Woonya, Moort, Boodja Hearts on Fire: Love, Family, Country

ARTIST INFORMATION BOOKLET Entries Open Tuesday 1st February – Close Sunday 6th March 2022 TOTAL PRIZE POOL of more than $10,000 OPEN TO ALL INDIGENOUS ARTISTS LIVING ON NOONGAR COUNTRY Exhibition: Saturday 28th May to Sunday 21st August 2022

Image: Rhona Wallam, Landscape. Photo credit: Paul Webster

Kaarla Koort-ak: Woonya, Moort, Boodja Hearts on Fire: Love, Family, Country Image: Rhona Wallam, Landscape. photo credit: Paul Webster

NOONGAR COUNTRY 2022 Kaarla Koort-ak: Woonya, Moort, Boodja Hearts on Fire: Love, Family, Country

We are the Wardandi People, the Saltwater People of this Country, traditional owners and caretakers of Noongar Country. We welcome you to Goomburrup, on Wardandi land. Always was always will be

NOONGAR COUNTRY 2022

Exhibition: 28th May – 21st August 2022 ARTIST INFORMATION BOOKLET

Entries Open Tuesday 1st February – Close Sunday 6th March 2022 TOTAL PRIZE POOL of more than $10,000

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OPEN TO ALL INDIGENOUS ARTISTS LIVING ON NOONGAR COUNTRY

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ANNANDALE GALLERIES

MeGAn e VA n S Megan Evans, Begging to Belong, Digital print on rag, feathers, dress pins

Examining the impact of colonisation, Evans’ diverse practice is both alluring and confronting. Traces of violence and oppression emanate from her work in an attempt to renegotiate typical colonial narratives in search of alternative modes of discussion and progress. This exhibition is part of Evans’ ongoing KELOID project 2 5 J u n e - 3 0 J u LY

Behind The BARRiCAdeS Orignal posters and photographs from the May 1968 student uprising in Paris 25 JUNE - 30 JULY ANNANDALE GALLERIES 110 Trafalgar Street Annandale Sydney NSW 2038 Australia Tel (61-2) 9552 1699 info@annandalegalleries.com.au Wed – Sat 12.00 – 4.00pm annandalegalleries.com.au

Natasha Walsh Dear... May 2022

nsmithgallery.com

N.Smith Gallery

@n.smithgallery

nsmithgallery.com NW – Art Guide ad.indd 1

4/4/2022 9:00 p

hota.com.au

Pangaea Alex Xerri 7 May—28 May Opening 7 May, 4–6pm.

Alex Xerri, Hydrogen, acrylic and stone on canvas.

Paintings Lorna Grear 4 June—25 June Opening 4 June, 4–6pm.

Lorna Grear, Bannaby Outlook, acrylic on canvas, 76 x 91 cm.

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

northsite.org.au

Riverside, 9 Pelican Street, Tewantin, Q, 4565 07 5329 6145 noosaregionalgallery.com.au

Mark Andrejevic Holly Arden Zach Blas Natalie Bookchin Anna Briers James Bridle Nicholas Carah Bronwyn Carlson Chicks on Speed Jonathan Corpus Ong Kate Crawford Madi Day Gianluca Demartini Simon Denny Xanthe Dobbie Sean Dockray Forensic Architecture Kate Geck Elisa Giardina Papa Matthew Griffin Vladan Joler Akshaya Kumar Eugenia Lim Shaka McGlotten Daniel McKewen Kenneth Macqueen Thao Phan Legacy Russell Jathan Sadowski Julianne Schultz Angela Tiatia Suzanne Treister Katie Vida Caroline Wilson-Barnao Jemima Wyman Published by The University of Queensland Art Museum and Perimeter Editions Edited by Anna Briers, Nicholas Carah and Holly Arden

UQ ART MUSEUM art-museum.uq.edu.au

All the things I should have said that I never said David Sequeira

08.05–21.08 2022

Bunjil Place Gallery

bunjilplace.com.au

2 Patrick Northeast Drive

Narre Warren VIC 3805

David Sequeira, untitled, India 2022, cotton kurtas. Courtesy of the artist. Photography: Eryca Green bunjilplace.com.au

lintonandkay.com.au

Brendon Darby A Kimberley Journey 29 April - 23 May Subiaco

Brendon Darby, ‘Kimbolton Kimberley’ 2022, Oil on acrylic on canvas, 120 x 150 cm

Leon Pericles Taming A Tumultuous Palette 27 May - 19 June Subiaco

Leon Pericles, ‘Juvenile Sweetlips Encounters at Nudibrach’ 2022, Acrylic on canvas, 100 x 130 cm

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

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

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

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

SHEPPARTON ART MUSEUM PRESENTS AN AUSTRALIAN WAR MEMORIAL TOURING EXHIBITION

Contemporary artists’ responses to conflict bring to light untold stories, reveal neglected histories and deepen our understanding of Australia’s experience of conflict, both past and present.

26 March – 31 July 2022 Government Partners

Learning & Engagement Partner

Major Partner

Ali Khadim, Transition/evacuation, 2015, gouache, ink, and gold leaf on wasli paper, ART96912 Image courtesy of the Australian War Memorial

SAM-AiC-ArtGuide.indd 1

sheppartonartmuseum.com.au Open Monday – Sunday, 10am – 4pm. 530 Wyndham St, Shepparton VIC 3630

sheppartonartmuseum.com.au

5/4/22 12:11 pm

BAYSIDE ACQUISITIVE ART PRIZE

A celebration of contemporary Australian painting

6 MAY – 26 JUNE 2022 $15,000 Acquisitive Prize $3,000 Local Art Prize $1,000 People’s Choice Award Finalists include Tia Ansell, Joel Arthur, Nick Ashby, Emma Beer, Asher Bilu, Elisabeth Bodey, Peter Burke, Echo Cai, Martin Claydon, Geoff Coleman, Brett Colquhoun, Greg Creek, Sarah crowEST, Jonathan Crowther, Claudia Damichi, Ann Debono, Katrina Dobbs, Nikolaus Dolman, Craig Easton, Betra Fraval, Helga Groves, Euan Heng, Franky Howell, Dena Kahan, Sam Martin, Natalie Mather, Ian McCallum, Elyss McCleary, Angilyiya Mitchell, Philip James Mylecharane, Tinieka Page, David Palliser, Steven Rendall, Lucy Roleff, Lisa Sewards, Robin Stewart, Georgia Szmerling, Kate Vassallo, Jake Walker, Darren Wardle, Alice Wormald.

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

@baysidegallery

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Image credit: Alec Baker, Ngura (Country) 2019, (detail) acrylic on linen, 112 x 198 cm Bayside City Council Art and Heritage Collection. Winner of Bayside Acquisitive Art Prize 2020–21.

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THE PERCIVALS 2022 PERCIVAL PORTRAIT PAINTING PRIZE PERCIVAL PHOTOGRAPHIC PORTRAIT PRIZE

23 April – 3 July 2022 Perc Tucker Regional Gallery

Cutler Footway Jack Betteridge Costumed as an Elf: Don’t F. with Me, Fellas! [detail] 2020 Acrylic on canvas, 122 x 92 cm Winner of the acquisitive Percival Portrait Painting Prize 2020. Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection

Janet Tavener Ben & Saki [detail] 2019 Digital print on Canson Baryta Prestige Paper, 120 x 87 cm Winner of the acquisitive Percival Photographic Portrait Prize 2020. Perc Tucker Regional Gallery, Townsville. City of Townsville Art Collection

Perc Tucker Regional Gallery Cnr Denham and Flinders St, Townsville QLD 4810

(07) 4727 9011

Tue–Fri: 10am–5pm

whatson.townsville.qld.gov.au

Sat–Sun: 10am–1pm

Townsville City Galleries

galleries@townsville.qld.gov.au

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\SCIENCE\ NATURE\

\ENVIRONMEN \ENVIRONMEN \SUSTAINABIL \SUSTAINABIL

\BIODIVERSITY\ HABITAT\

\CLIMATE \CLIMATE CHANGE\ CHANGE\ GLOBAL GLOBAL WARMING\ WARMING\

\BIOLOGY ECOLOGY

NATURAL SCIENCE ART PRIZE 2022

\EXHIBITION OPENS 4 JUNE 2022\ \SOUTH AUSTRALIAN MUSEUM\

samuseum.sa.gov.au/event/waterhouse

rmoa.com.au

KEN DONE

New year, 2022, oil and acrylic on linen, 152 x 122cm.

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

kendone.com

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A–Z Exhibitions

MAY/JUNE 2022

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

FATA MORGANA David Burrows 23 APR - 24 JUL

HAZELWOOD Mural and archives 2 APR - 10 JUL

FIELD OF VISIONS

Mira Gojak and Michael Prior 9 APR - 10 JUL

IN TARRA-BULGA Dean Smith 23 APR - 24 JUL

THE VALLEY

Works from the collection and local artists 1 MAY - 17 JUL IMAGE: David Burrows, Fata Morgana 2021, 19+613, Composite digital image, Dimensions variable, Courtesy of the artist.

138 Commercial Road Morwell www.latroberegionalgallery.com Open Daily: 10 am to 4 pm

latroberegionalgallery.com

VICTORIA

ACMI → Rock ‘n’ Roll 70 wallpaper, 2015 © Gillian Wearing, courtesy Maureen Paley, London.

ACMI www.acmi.net.au Fed Square, Melbourne, VIC 3000 [Map 2] 03 8663 2200 Mon to Fri 12noon–5pm, Sat and Sun 10am–5pm. 3 April—1 July HYPER//ECHO (online exhibition) Firepit Collective HYPER//ECHO points to our relationship with technology and the digital world, and how brittle and ephemeral—often by design—its infrastructure really is. This experimental new work is live and playable on ACMI’s online Gallery 5.

groundbreaking moments from over 200 years of art history, and the artists who harnessed this elemental force through painting, photography, sculpture, drawing, installation and the moving image.

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

Tiger Yaltangki, Malpa Wiru (Good Friends), 2021 (AK22566), synthetic polymer paint on linen, 152 x 198 cm. © The artist, Iwantja Arts and Alcaston Gallery, Melbourne. 15 June—8 July Let There Be Rock Tiger Yaltangki

29 April—22 May Editing Life Gillian Wearing British Artist Gillian Wearing turns the lens on herself in this exploration of memory and mortality, presented for PHOTO 2022 International Festival of Photography.

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.

Stardust particle, 2014, Olafur Eliasson. Tate: Presented by the artist in honour of Sir Nicholas Serota, 2018. © Olafur Eliasson. Photograph: Jens Ziehe.

Bugai Whyoulter, Wantili (Warntili, Canning Stock Route Well 25), 2021 (AK22561), synthetic polymer paint on linen, 122 x 91 cm. © The artist, Martumili Artists and Alcaston Gallery, Melbourne.

16 June—13 November Light: Works from Tate’s Collection

27 April—13 May Bugai Whyoulter

Curated by Tate in the UK and drawn from their prestigious collection, Light: Works from Tate’s Collection celebrates

18 May—10 June Kundu Naranyi (Standing Strong) Betty Kuntiwa Pumani

Until 7 May Peripheral Vision Alberta Whittle, Cyprien Gaillard, Haris Epaminonda, Hiwa K, James Nguyen & Victoria Pham, Sarah Morris, Yael Bartana. Until 14 May Meth Kelly Warwick Thornton 14 May—18 June Women with Fringes etc Lauren Brincat 25 June—30 July Chiharu Shiota 111

May 6-31

DHARPA (Wood) Poles, carvings & barks from Arnhem Land

June 10-July 5

DORIS BUSH NUNGARRAYI Ulumbaru (the place where I grew up)

DONNA BROWN Gumbaynggirr jeweller

Online and in the gallery 39 Cook Street, Flinders, 3929 | T: 03 5989 0496 E: info@everywhenart.com.au | Friday-Tuesday | 11-4 | everywhenart.com.au everywhenart.com.au

VICTORIA

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

the deep connections between her own practice and the surreal paintings of her late father Paul Vlcek. A Backspace Gallery exhibition.

Ararat Gallery TAMA

7 May—28 August Trevor Smith: A fanciful feast

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

Crocheted objects made in response to the objects in the Gallery’s Lindsay Family Sitting Room.

www.araratgallerytama.com.au

7 May—18 September Monochrome Black, white and grey ceramic works and paintings from the Collection.

Pamela Orr, Serene, 2021, (detail), coloured pencil and ink, 20 x 20 cm. © The artist.

Honey Long and Prue Stent, Vellum, archival pigment print, 108 x 72 cm. 27 April—4 June Land of Milk and Honey Honey Long and Prue Stent

Clarice Beckett, Misty evening, Beaumaris, circa 1930, oil on board. Maud Rowe Bequest, 1937. Collection of the Art Gallery of Ballarat. 21 May—16 October Light + Shade: Max Meldrum and his followers A celebration of the Tonalist movement of the 1920s and 1930s, including works by Max Meldrum, Clarice Beckett and Justus Jorgenson.

Until 15 May The Stan Kelly Art Group: From the Garden The Stan Kelly Art Group was founded in 1981. Stan Kelly OAM, began teaching watercolour painting at the Ararat Town Hall’s Art Craft Workshop. Kelly was a respected botanical artist renowned for his comprehensive study of eucalypts, as well as wildflowers and fungi. Many of the original participants in these weekly classes attended with the aim of learning botanical art from this master of the genre. Until 15 May Backyard Havens Taking a prompt from the Stan Kelly Art Group exhibition theme of ‘From the Garden’, we searched the TAMA Collection for artworks that evoke the tranquillity of outdoor spaces and the creatures that inhabit them.

Lyndell Brown and Charles Green, Orpheus, 2020, oil on linen, 160 x 160 cm. 8 June—16 July The Last Cool Skies Lyndell Brown and Charles Green

Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Open daily 10am–5pm. See our website for latest information. 22 January—8 May Call and Response Recent acquisitions paired with works in the collection to create conversations across time. 14 April—22 May Kate and Paul Vlcek: Beyond the never seen Different, dark, delicate and disturbing – in this deeply personal conversation between the work of two artists, Kate Vlcek has created drawings which explore

Lionel Lindsay, White fan, 1935, wood engraving, printed in black ink on paper. Donated under the Australian Government's Cultural Gifts program by Max and Nola Tegel, 2016. Collection of Maitland Regional Art Gallery. © Estate of Lionel Lindsay. By permission of the National Library of Australia. 21 May—7 August Lionel’s Place Prints and watercolours by Lionel Lindsay from the collections of the Maitland Regional Art Gallery and the Art Gallery of Ballarat. 26 May—3 July Rachel King: Terrain The new paintings in Terrain are born from real places, objects and natural forms in the Goldfields region and sit just on the edge of recognition. Backspace Gallery exhibition.

Heather Dorrough, Dusk (Wollombi Farm Series), 1978, dyed and machine-embroidered cotton pastel down on plywood, 89 x 128 cm. © The artist’s estate, Ararat Gallery TAMA, Ararat Rural City Council and MDP Photography & Video. Until 19 June Pages From a Lockdown Diary Carole Wilson and Tim Craker Stemming from studio activity during the lockdowns of 2020 and 2021, Pages From A Lockdown Diary is a collection of artworks which measure and mark the passing of time, in works built up from daily repetitive actions and activity. Carole Wilson and Tim Craker are two Ballarat based artists who utilise textile methodologies to create their work. 113

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

Art Lovers Melbourne Gallery

Arts Project Australia www.artsproject.org.au

www.artloversaustralia.com.au

Level 1, Collingwood Yards, 35 Johnston Street, Collingwood VIC 3066 [Map 3] 0477 211 699 Wed to Fri 11am–6pm, Sat & Sun 12noon–4pm. See our website for latest information.

300 Wellington Street, Collingwood, VIC 3066 [Map 3] 1800 278 568 Wed to Sat 10am–4pm or by appointment. See our website for latest information. Jonathan Homsey, Dodgeping, 2022, video still by Andrew J Liu for Pride Productions. choices regarding self-expression are magnified into the public sphere, paving the way for dialogues on diverse experiences of the self.

Alicia Cornwell, Red Gum Blossom and The Seven Seas Study, oil on canvas.

In their own lives, the artists have navigated intersections of queerness, gender, race and neurodiversity. These experiences now inform a conscious approach, developed in each of their practices, to represent the world as they encounter it. Through divergences from social norms, the artists offer alternative views and actively reframe the possible.

14 May—4 June A Room with a View

Ugly/Beautiful is an exhibition of photographic work by Melbourne artist Mark Smith; it presents a space for beauty and ugliness to coalesce. Exploring identity, difference and faith, the artwork aims to express feelings of joy; says Smith “This is me! Take it or leave it!” yet, the viewer’s experience is more confronting, with imagery depicting digital collages of body parts lurching outwards prompting feelings of disconnectedness, discomfort and unease. “After my accident, I was told I’d never walk again. I proved them wrong. I consider limitations imposed on me as motivation to fuel my determination to create and succeed. My greater intention is to break down preconceived understandings of disability. My life’s experiences are an inspiration for my artworks.” — Mark Smith, 2021.

ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.com.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm.

26 March—22 May Conscious Projections Alison Bennett, Roberta Rich, Jonathan Homsey and Diimpa Conscious Projections draws together the work of innovative Naarm/Melbourne based multi-media artists Alison Bennett, Roberta Joy Rich, Jonathan Homsey and Diimpa. Uniting these artists is a tendency to explore internal spiritual, cultural and gender identities and to present these externally through video works, projection and sound. In this way, conscious personal 114

29 April—12 June Ugly/Beautiful Mark Smith PHOTO 2022

This exhibition is a dynamic composition of the traditional and reimagined still life, interior and botanical scenes. It both acknowledges traditions as well pushes the boundaries of those traditional understandings.

Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.

Mark Smith, digital print, 2015, 50 x 60 cm. © The artist. Represented by Arts Project Australia, Melbourne.

Shane Jones, Untitled #66, oil on canvas, 2001. Maroondah City Council Art Collection. 19 April—17 June 27th Annual Mayoral Art Exhibition The 27th Annual Mayoral Art Exhibition is a fundraiser in support of the Bone Marrow Donor Institute, Croydon branch. The 2022 exhibition theme of ‘Reflection’ is explored through a range of mediums including painting, drawing, sculpture and photography. Artists have been invited to reflect on recent challenges and, in a time of recovery and transition, upon hopes for the future. The exhibition is generously sponsored by Maroondah City Council and the Ringwood East Community Bendigo Bank.

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. 2 April–19 June Frances Barrett: Meatus Presented as part of Suspended Moment: The Katthy Cavaliere Fellowship Commissioning curator: Annika Kristensen. Drawing on her background in performance, curating and collaborative models of making, Frances Barrett has

VICTORIA 10 May—28 May Recent Work Jock Clutterbuck Fred Williams Etchings with Related Paintings 1954—1968

03 9261 7111 Wed to Fri 11am–5pm, Sat and Sun 1pm–5pm. See our website for latest information.

7 June—25 June Terry Mattasoni Frances Barrett, Hayley Forward, Brian Fuata, worm divination (segmented realities), 2020. expanded the solo commissioning focus of the Katthy Cavaliere Fellowship to present new sonic compositions and live performances by multiple artists. Alongside a major sound installation by Barrett, developed in collaboration with Hayley Forward and Brian Fuata, Barrett has curated specially commissioned sound compositions by artists Nina Buchanan, Del Lumanta and Sione Teumohenga, as well as a series of incursions by Debris Facility Pty Ltd. A ‘meatus’ is an opening or passage leading to the interior of the body. Encompassing a range of sensations and functions, the plurality of meatus becomes a way for Barrett to explore the practice of listening that decentres the ear to activate the entire body, attuned to both conscious responses and unconscious intensities. Barrett has conceived of ACCA’s four galleries as an immersive environment of sound and light—a performative staging of the body, which bleeds and leaks, and into which the audience may enter to consider the physical, sensual and critical experience of listening.

Glenn Morgan The Patterning of Light: Breakaway Series II-III Pippin Drysdale Gallery East, Japanese Prints Ancient and Modern A Wandering Mind Nick Dridan

Alec Baker, Ngura (Country), 2019, acrylic on linen, 112 x 198 cm. Bayside City Council Art and Heritage Collection. Winner of Bayside Acquisitive Art Prize 2020-21.

Australian Tapestry Workshop

6 May—26 June Bayside Acquisitive Art Prize

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

The Bayside Acquisitive Art Prize is a celebration of contemporary Australian painting with an acquisitive art prize of $15,000 awarded annually. The finalist exhibition brings together a broad range of artists, both established and lesser known, whose varied approaches to the painted medium conveys the breadth and diversity of painting in Australia today. This year’s judges are, Dr David Sequeira, Director, Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne, and Bala Starr, Director, La Trobe Art Institute, alongside Joanna Bosse, Curator, Bayside Gallery.

Bendigo Art Gallery www.bendigoartgallery.com.au

Australian Galleries

42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Open daily 10am–5pm.

www.australiangalleries.com.au 28 and 35 Derby Street, Collingwood, VIC 3066 [Map 3] 03 9417 4303 Open 7 days 10am– 6pm. Elise Cakebread, swatches from the Second String Project, ongoing series, textile waste and found materials.

Featuring Australian Art from the 1850s to the present day, art from the Bendigo goldfields and 19th century European paintings, sculptures and decorative arts.

17 March—3 June Mass Reduction Eileen Braybrook, Aaron Billings, Elise Cakebread, Aphra Cheesman, Joanna Fowles, Blake Griffiths, Eloise Raap, RaasLeela, Reiko Sudo/NUNO and Lisa Waup. 14 June—26 August Material Technology: Victoria Manganiello (USA) Exploring the intersections between materiality, technology, geography and storytelling, Victoria’s works are meticulously with hand-woven textiles alongside mechanical alternatives and modern technologies.

Bayside Gallery www.bayside.vic.gov.au/gallery Fred Williams, Tumblers number 2, (state v), 1967, etching, deep etching, flat biting and mezzotint rocker on zinc, 25.5 x 17.5 cm.

Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4]

montsalvat.com.au

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VICTORIA Bendigo Art Gallery continued... 19 March–17 July Elvis: Direct from Graceland Created in partnership with Graceland, this exclusive exhibition explores the extraordinary life and style of Elvis Presley. One of the most iconic public figures of the 20th century, Elvis’s influence on music, design, art and pop culture was profound. He is arguably the single greatest influence on the history of modern men’s fashion, constantly referenced and re-mixed by designers and celebrities today. The exhibition features a wide range of costumes and ultra-cool outfits, vintage memorabilia, and treasured items from his beloved Graceland home. Fashion highlights include Elvis and Priscilla’s wedding outfits, the repurposed ’68 Special costume he wore to meet President Nixon, the diamond-encrusted Maltese cross necklace designed by Linda Thompson, and a dazzling array of Vegas jumpsuits. Personal treasures include his gold telephone, karate gi, his first-grade crayon box from Tupelo, and the bongos Priscilla gifted him on their first Christmas together in 1959.

Francis Plagne, Five Tapes, stereo audio, 2018-2020, sound, 1:59:27min. Courtesy of the artist. Anna Schwann, Jacqui Shelton, Francis Plagne and Frankie Zhang. Curated by Martina Copley.

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.

2 June—19 June A few reasons Rozalie Sherwood and Steve Tomlin Stuck in the Dollhouse: Parody of the Feminine Evangeline Clark Openings: Friday 3 June, 6pm–9pm. 22 April—19 June Impossible Dance (ii) Matto Lucas

Bus Projects www.busprojects.org.au

BLINDSIDE

35 Johnston Street, Collingwood VIC 3066 [Map 3] Wed to Fri 12–6pm, Sat 12–4pm.

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. See our website for latest information.

Jill Daniels, Ngukurr Arts.

14 April—14 May Strong I Am Ebony Hickey

Isabella Andrews, Threshold of Dreams, 2020–22, acrylic on canvas, 25 x 25 cm. 12 May—29 May Fountains & Follies Andrew Wood, Beatrice Dahllof, Billy Vanilli, Caitlin Shearer, Cassie Thring, Chantel de Latour, Giorgia Bel, Hilary Green, James Hale, James Riches, Nick Mullaly, Shanti Shea An, Stephen Brameld and Woody Mellor.

Arini Byng, Remember what you heard when you weren't even listening, 2019-21, video still. Courtesy of the artist. 28 April—4 June The Portrait Arini Byng, Nayuka Gorrie, Anne Moffat, Phebe Schmidt, Danny Cohen, Sara Tautuku Orme, Lisa Sorgini, Abigail Varney, Lucy Foster, Sam Lieblich and Timmah Ball. Curators Karl Halliday and Josephine Mead. Part of PHOTO 2022: International Festival of Photography. Online: 1 March—31 May Mobile The humblenes and the cut away

Nowhere in Particular Marlon Zarins and Joshua Andree Formation Against Finality Amy Cooper A Meditation on Material Emma Shepherd Threshold of Dreams Isabella Andrews Openings: Friday 13 May, 6pm–9pm. 2 June—19 June Our Country Artists of Elcho Island Arts, Ngukurr Arts, Tjarlirli Art, Warmun Art Centre Colonial Reveries Vedika Rampal Dreamwise Yeonjoo Park, Amy Kim and Carla Zammit

Anselma Forlano and Jorja Timms, Sad in Svalbard, 2021. 14 April—14 May Ruminations on the body (Bussy) of Christ Anselma Forlano 4 May—28 May AT ARMS LENGTH Lacey – Law – Lobwein 117

galleryelysium.com.au

VICTORIA

Bunjil Place Gallery

Buxton Contemporary

www.bunjilplace.com.au

www.buxtoncontemporary.com

2 Patrick Northeast Drive, Narre Warren, VIC 3805 [Map 4] 03 9709 9700 Tue to Sun 10am–4pm. See our website for latest information. Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia. Melbourne’s south eastern region is a melting pot of cultural influences, stories, histories, ideas and perspectives. Our gallery throws light onto how Australian artists interpret our home, the world, our experiences and existence.

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

Marisa Avano, Savour the Moment, 2021, acrylic on canvas. A visual diary of people and places missed during lockdowns. It features figurative works and landscapes that explore the experience of longing, of connections to communities, and place. Bloom Beau Scorgie Encapsulates the stirring inspiration, poetry and sheer beauty she continually discovers within the female form. elusive synthesis project Heather Fairnie Explores the intersections and synchronicities of mapping National Park Forests in regional Victoria, as a coexistence and interpretative understanding of Country. 21 May—18 June Art always comes in threes #2: Tilting Away Megan Williamson Through her multiple exposure medium format photographs Megan Williamsons captured a personal journey from anxiety and depression to artistic expression.

Susan Jacobs, Cope, 2018-2022, bronze. Courtesy of the artist and Sarah Scout Presents, Melbourne. 3 June—6 November Susan Jacobs: The ants are in the idiom

David Sequeira, untitled, India 2022, cotton kurtas. Courtesy of the artist. Photography: Eryca Green. 8 May—21 August All the things I should have said that I never said David Sequeira “I use repetition of form, colour and process to signal the rhythmic patterns of both change and continuity. I think about my work as a convergence of East and West, the spiritual and the aesthetic, the ancient and the contemporary.” – David Sequeira.

Burrinja www.burrinja.org.au cnr Glenfern Road and Matson Drive, Upwey, VIC 3158 [Map 4] 03 9754 1509 Wed to Sat 10am–4pm. See our website for latest information. 16 April—14 May Art always comes in threes #1: Wish you were here, wish I was there Marisa Avano

Brenda Page, Mourning Room, 70 x 120 cm, glass panels, fused, mirrored and screen printed. 21 May—18 June Year of Glass Andy Bevan, Mark Emmermann, Emma Emmermann, Mark Howard, Christopher John, Kirsten Laken, Kristen MacFarlane, Susi Lingeman and Brenda Page. Local glass artists present their works in the International Year of Glass. Sentinels YJ Fauzee A body of work exploring the sentinels around us. Those we sense but not see. Watchful and ancient, they dwell within forests, high upon mountains and within the depths of the ocean.

Angelica Mesiti, Over the Air and Underground, 2020, 5-channel video, 10-channel mono audio, 9 min. Commissioned by the Busan Biennale 2020. Courtesy of the artist, Galerie Allen, Paris and Anna Schwartz Gallery, Melbourne. 3 June—6 November Still Life Nick Mangan, Angelica Mesiti, Clare Milledge, Vera Möller, James Morrison, Jahnne Pasco-White, Isadora Vaughan, Mulkun Wirrpanda and John Wolseley. 119

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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.

Cummins, Maggie Brink, Jimmy Roche, Aidan Renata, Jemi Gale, Anna Varendorff, Anne-Marie May, Clare Wohlnick, Anna Fiedler and Madeline Simm. CAVES Guest Curator Program 2021.

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

29 April–12 June Queering the Frame: Community, Time, Photography Brook Andrew, J Davies, Helen Grace, Samuel Hodge, Shannon May Powell and The Huxleys. In an Australian presentation spanning across generations, from the late 70s through to now, this group of artists come together in a celebration of queer community, and consider the ways in which stories are passed down, how lives are remembered. Curated by Photo Australia presented as part of PHOTO 2022 International Festival of Photography exploring the theme: Being Human.

Arini Byng. Courtesy of the artist. 29 April—23 May Some voices carry—a part of PHOTO 2022 Arini Byng 27 May—18 June Pharmakon Stacey Chan, Masaho Anotani, Elliott Jun Wright, Tiffany Jaeyeon Shin. Curated by Elle Anastasiou—CAVES Guest Curator Program 2021.

artist Martine Gutierrez subverts conventional ideals of beauty to reveal how deeply sexism, racism, transphobia and other biases are embedded in our culture.

Charles Nodrum Gallery www.charlesnodrumgallery.com.au Paul Mpagi Sepuya, Studio (0X5A5038), 2020, 75 x 50 inches. Image courtesy of the artist, DOCUMENT, Chicago, and Vielmetter Los Angeles. 29 April–12 June Paul Mpagi Sepuya

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

Exclusive Australian solo exhibition of Paul Mpagi Sepuya (US) reveals the dynamics and mechanics of portraiture and photography, positioning queerness and Blackness at the core of the medium. 29 April–12 June Internet Immigrant Martine Gutierrez An exclusive premiere to Australia of American photographer and performance Sadie Chandler, Buildings and Infrastructure, 2022, acrylic on paper and oil on canvas. 30 April—21 May Buildings & Infrastructure Sadie Chandler 28 May—18 June Studio Archaeology Andrew Christofides

Vita Cochran, embroidery practice, 2021, 47 x 36 cm. Courtesy of the artist. 24 June—16 July text-tile Benjamin Baker, Sarah CrowEST, Kathryn Tsui, Genevieve Griffiths, Louise Weaver, Christopher Duncan, Claudia Bloxsome, Rachel Hope Peary, Tia Ansell, Jade Townsend, Sera Waters, Daegan Wells, Melanie Cobham, Emily Hartley Skudder, Arielle Walker, Alice Alva, Akira Akira, Phoebe Patcher, Anna Dunnil, Melinda Harper, Bronte Stolz, Jacqueline Stojanovic, Isabella Darcy, Kate Tucker, Janne Pasco-White, Spencer Lai, Camille Moir, Hannah Gartside, Laura Skerlj, Phoebe Millicent, Mashara Wachjudy, Angie Pai, Katie West, Matt Arbuckle, Lucina Lane, Vita Cochran, Paul Yore, Nadia Hernandez, Kate Just, Kathy Temin, Elizabeth Pulie, Amelia Downing, Jackson McLaren, Ruth

CLIMARTE Gallery www.climarte.org/gallery 120 Bridge Road, Richmond, Victoria 3121 [Map 6] 0458 447 702 Weds to Sat 12noon– 5pm. See our website for latest information.

Martine Gutierrez, Queer Rage, Swimming Lessons, p75 from Indigenous Woman, 2018. © Martine Gutierrez. Courtesy of the artist and RYAN LEE Gallery, New York.

CLIMARTE harnesses the creative power of the arts to inform, engage and inspire action on the climate crisis. Bringing together a broad alliance from across the arts, humanities and sciences, CLIMARTE advocates for immediate, effective and creative action to restore a climate capable of sustaining all life. 121

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

William Kelly. Love Song for the Millennium, 1997–1999. Charcoal, pastel, watercolour, and pencil on paper, 30 x 61 cm. Courtesy of the artist. 9 April—22 May Toward the Big Picture William Kelly

Tai Snaith, 2022 CLIMARTE Poster. 21 April—18 June P.P.P.P. - Poster Projects Past and Present Eugenia Lim, Sam Wallman, Amy Spiers, Clare McCracken, Julia Ciccarone, Jen Rae, Peter Waples-Crow, Kelly Doley, Salote Tawale, Dean Cross, Angela Brennan, Chris Bond, Jon Campbell, Kate Daw, Katherine Hattam, Siri Hayes, Martin King, Gabrielle de Vietri & Will Foster, Thornton Walker, Miles Howard-Wilks, Olga Dziemidowicz, Autumn Tansy, Gustavo Morales, Tai Snaith, Judy Kuo, Laura Wills, Donna Davis, Simon Welsh and Studio 29B. The CLIMARTE Poster Projects have visited Melbourne’s streets since 2016 provoking public dialogue and accelerating a response to climate change. With strength, optimism and urgency, these projects aim to push the conceptual possibilities of the poster, finding new ways for contemporary artists to critically engage the public on the climate crisis.

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

Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Free entry. Wed to Sat 11am–5pm, Sun 1pm–5pm. 2 April—29 May Yeki Bood, Yeki Nabood Hootan Heydari The Sky After Rain Blame the Shadows Collective 122

John Mawurndjul, b. 1952, Manburre, 2004, natural earth pigments and synthetic binder on eucalyptus bark, 184 x 69 cm. © John Mawurndjul / Copyright Agency 2022.

Hoda Afshar, A General Practitioner (Agoniste series), 2020. Image courtesy the artist.

in <<rarrk>> John Mawurndjul: Journey Through Time in Northern Australia at Tinguely Museum, Basel 2005 and John Mawurndjul: I Am the Old and the New at the MCA, Sydney 2018.

28 May—17 July Means Without End Hoda Afshar

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.

D’Lan Contemporary www.dlancontemporary.com.au 40 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9008 7212 Tues to Fri 10am–5pm, Saturday 11am–4pm (during exhibitions). 8 April—12 May John Mawurndjul: Painting The Spirit Comprising 21 works from 1997-2015, this retrospective exhibition provides a unique opportunity to view the development of this influential and celebrated artist over a period of almost 20 years. Many of the works within the exhibition featured

Uta Uta 1926-1990, Old Man Dreaming - Yina, 1972, synthetic polymer powder paint on composition board, 59.5 x 50 cm. © Uta Uta / Copyright Agency 2022. 24 June—29 July SIGNIFICANT An annual exhibition presenting exceptional modern and contemporary works of art by leading First Nations artists, this year’s SIGNIFICANT features early and important bark paintings by Yirawala, Mawalan Marika, Peter Maralwanga and John Mawurndjul, alongside works by founding masters including Tim Leura Tjapaltjarri, Uta Uta Tjangala, Shorty Lungkata and Mick Namarari Tjapaltjarri and contemporary artists, Emily Kame Kngwarreye, Rover Thomas, Doreen Reid and Boxer Milner.

VICTORIA

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

Divisions Gallery www.arts.pentridgecoburg.com. au/divisions-gallery Pentridge Shopping Centre, Level 1, opposite Pentridge Cinema [Map 4] Thu to Sun 12noon–6pm. See our website for latest information. 1 April—1 May Attention is a Kind of Love Jesse Dayan Attention is a Kind of Love is a selection of recent oil paintings from Jesse Dayan. For this solo exhibition, Dayan takes us to scenes that sit between the mythical and the domestic, the art historical and the now. Attention is a Kind of Love echoes the people and places that make up the most intimate parts of our lives.

paints and chalk pastels, defining the canvas as a home for emotional processing and dream building. Her strange figures and abstracted landscapes speak to people and places conjured from an alternate realm, and stand in as an alternative to the reality of daily life. 10 June—10 July Alter Ara Dolatian, Yuria Okamura, August Carpenter, James Murnane and Meagan Streader. What is it about an artwork that makes us draw a breath? ‘Alter’ brings together a range of artists that each use light and shadow in a way that teeters on the numinous.

Everywhen Artspace www.everywhenart.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Directors Susan McCulloch OAM and Emily McCulloch Childs. Fri to Tue 11am–4pm.

Hayley Millar Baker, I’m The Captain Now, Untitled 8, 2016, inkjet on cotton rag. © and courtesy the artist and Vivien Anderson Gallery, Melbourne. Until 13 May There we were all in one place Hayley Millar Baker A UTS Gallery touring exhibition curated by Stella Rosa McDonald. This exhibition surveys the photomedia artworks of Gunditjmara artist Hayley Millar Baker. The artist uses historical reappropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory and place. Caitlin Aloisio Shearer, Beginning, Middle and End of the Rainbow, 2021, oil on canvas, 100 x 130 cm. 6 May—5 June “I Love You” Caitlin Aloisio Shearer Caitlin works with a combination of oil

Sarah Goffman, Black and Gold, 2011, PET plastics, acrylic and enamel paint. © and courtesy of the artist. 24 May—8 July Sarah Goffman: Plastic Arts (working title) This exhibition by Sydney based artist Sarah Goffman is a collection of her painted plastic artworks spanning over fifteen years. Disposable PET bottles are carefully upcycled by Goffman through her creativity and artistic skill, transforming the throw away refuse of consumer culture into complex artistic artefacts of our time.

James Murnane, Peter’s tears, (detail), 2021, acrylic on engraved Silky Oak ply, 160 x 120 cm.

Left: Djul'djul Gurruwiwi, Dhatam (Waterlily), 2021, ochres on wood, 225 x 19 cm. Courtesy of the artist and Buku-Larrnggay Mulka. Right: Milminyina Dhamarrandji, Rulyapa (Larrakitj), 2022, ochres on wood, 189 x 15 cm. Courtesy of the artist and Buku-Larrnggay Mulka. 123

ar t g ui d e .c o m . au Everywhen Artspace continued... 6 May—31 May DHARPA (Wood) Larrakitj (poles) and carvings from Buku Larrnggay Mulka, Maningrida Arts and Injalak Arts, Arnhem Land and sculptures from the Tiwi Islands. Plus barks and works on paper. Aziz Hazara, I am looking for you like a drone, my love, (detail), 2021, digital photograph.

Nornie Gude, Ballarat – The Garden City, 1934, gouache on paper. Federation University Art Collection.

Doris Bush Nungurrayi, Pilkati, wilinyi & Tjurrpinyi at ikuntji. (Snake,hunting & swimming at Haasts Bluff), 2021, acrylic on linen, 152 x 122 cm. Courtesy of the artist and Papunya Tjupi . 10 June—5 July ULUMBARU Doris Bush Nungarrayi (the place where I grew up) Important paintings by senior artist Doris Bush Nungarrayi shown in the Tarnanthi exhibition Art Gallery of South Australia, 2021. 10 June—5 July CONTEMPORARY JEWELLERY Donna Brown Metal, enamel, feather and mixed media jewellery by Gumbaynggirr jeweller Donna Brown.

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 4 May—17 June Educating Artists Offering a glimpse into the education of artists, designers and educators early last century at the Ballarat School of Mines Technical Art School, this exhibition showcases select objects and images from Federation University’s Art and Historical Collections and the unique stories that surround them. 30 June—22 July How to Raise a Ghost Melissa Proposch 124

Created during a time of the worldwide pandemic and escalating climate crisis, Melissa Proposch’s imagined haunted memories, dreams and associations come together in a series of works and exploration of the fear of the unknown and unseen threat. A conceptual map of the artist’s haunted house and place where her personal ghosts dwell, here Proposch crafts an offering—an invitation to come and convene with her in a form of parallel play. This exhibition constitutes the visual outcomes emerging from a practice-led Masters research project at the School of Arts, Federation University, Australia. Melissa Proposch is supported by an Australian Research Training Program (RTP) Fee Offset Scholarship through Federation University.

Finkelstein Gallery www.finkelsteingallery.com Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0431 411 908 Open by appointment.

Fiona and Sidney Myer Gallery www.ml-gallery@unimelb.edu.au Victorian College of the Arts, 40 Dodds Street, Southbank, VIC 3006 [Map 2] 03 9035 9400 Tue to Sat 12noon–5pm. Free entry. See our website for latest information. 14 April—21 May I am looking for you like a drone, my love Aziz Hazara + Unknown Carpet Makers I am looking for you like a drone, my love presents new large-scale photographs by Aziz Hazara (born 1992 Wardak, Afghanistan, lives and works Berlin, Germany) and vintage carpets by unknown makers

from Afghanistan. Deeply impacted by the withdrawal of international troops from Afghanistan in 2021, Aziz Hazara has created new works that document the packaging, electronic waste, furniture and random junk left behind after two decades of foreign occupation. Combining these images with antique carpets from the region, I am looking for you like a drone, my love alludes to the complexities of being human in a landscape of change and continuity.

Jilamara artists (L to R) Timothy Cook, Raylene Miller, Pedro Wonaeamirri, Columbiere Tipungwuti, Raelene Kerinauia painted up in Jilamara (body paint design) for yoyi (dance) at Timrambu, Wulirankuwu, Melville Island. Image courtesy of the artists and Jilamara Arts and Crafts Association. Photograph: Will Heathcote. 27 May—16 July YOYI (Dance) Jilamara Arts and Crafts Association. Place, performance and the body are central to Tiwi art-making. YOYI, draws on these performative foundations, using the medium of film to bring both dance, language and vision of country into the gallery. Supported by the Australia Council, this is the first time that Jilamara artists have explored digital-based media to frame the experience of their ochre paintings, ironwood carvings and screened fabrics. This installation will immerse audiences in a multi-channel work on large opposing projection screens. Each screen will feature an artist, painted in the ochre of the landscape, sharing their individual Tiwi totem through YOYI (dance) on country. Through sound and moving image this work establishes a clear link between the iconic styles of Jilamara design and its roots in dance, body painting, family totem and country. This project is the first time that a Tiwi video installation (that incorporates artists dancing on Country) has been shown in tandem with major selection of Tiwi bark paintings.

VICTORIA

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 & Mon.

Footscray Community Arts www.footscrayarts.com 45 Moreland Street, Footscray VIC 3011 [Map 2] 03 9362 8888 Tue to Fri 9.30am–5pm, Sat and Sun 10am–4pm. See our website for latest information. Footscray Community Arts is a dynamic arts precinct that provides space for new experiences, ideas, conversations, community, and connection.

Mike Reed, Road Works Ahead (logo), 2022.

Devika Bilimoria. Courtesy the artist.

26 April—21 May Roadworks Ahead Mike Reed Photography

Kathrin Longhurst, Boss, 2021, oil on linen, 121 x 121 cm. 19 April—7 May Mind-Field Kathrin Longhurst

Indu Antony, Cecilia’ed. 12 April—26 June A Bell Rings Across the Valley

Richard Blackwell, Mode Switch, 2022, plywood, laminate and etching ink, 84 x 100 x 3 cm. 10 May—28 May Climbing the Plane Richard Blackwell 31 May—18 June Exploration 22: FLG Annual Emerging Artist Exhibition Featuring works by Eva Beltran, Brad Gunn, Melody Jones, Alicia King, Frank Mesaric, Joana Partyka, Jane Reynolds, Kirthana Selvaraj and Caroline Yuen. 21 June—16 July Turbulence Annika Romeyn

An official exhibition of PHOTO 2022 International Festival of Photography, A Bell Rings Across the Valley brings together five artists from across South Asia and its Diaspora to present newly created works - their first Australian premieres - exploring complex experiences of identity, heritage and change. Artists: Ashfika Rahman (Bangladesh), Indu Antony (India), Sheelasha Rajbhandari (Nepal), Devika Bilimoria (Australia), Shwe Wutt Hmon (Myanmar). Curated by Shivanjani Lal.

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.

Venus Virgin Tomarz, Space Monkeys, 2019-22, 91 x 122 cm, collage. 24 May—4 June Garden’s of Evil Venus Virgin Tomarz Collage 24 May—4 June Space Series Robert Earp Photographic works 24 May—4 June Everything Else David Maxwell Collage 7 June—18 June After the Fire Gavin Brown Paintings 7 June—18 June Chris Orr Solo exhibition 125

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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. Please check website for current information on access and exhibition dates prior to your visit. Cube and FAC Galleries. Free Entry. 21 April—28 May Works on Paper Mangkaja Arts Resource Agency Mangkaja artists from the Fitzroy Valley region share stories of culture and identity through vibrant images and representations of country with a distinct use of colour and uninhibited style highlighted in recent high profile fashion collaborations.

of images that examine sea level rises and our relationship to the natural world. 6 May—25 June Beneath the Canopies Kerrie Warren with collaborating artists Dr Aunty Eileen Harrison and Darryl Whitaker. A stunning tree inspired visual arts exhibition showcasing an experimental and collaborative artwork funded by Frankston City Council’s Artist Project Grants. 6 May—2 July Creature Comforts Kate Rohde Rohde presents a colour filled immersive installation of sculptural works and wallpaper inspired prints. The over-arching themes of Kate’s work is the human relationship to nature and animals, with a particular emphasis on the collecting of natural history specimens. Design and cast resin jewellery with Kate Rohde workshop. 10am—2pm, Saturday 11 June. Tickets thefac.com.au 16 June—9 July Maybe it was Just a Dream Bella Cortes Bella’s whimsical world paints the ordinary in a hyper technicolour reality. Her collection leans towards the concept of escapism which begs the question, “Was It Just A Dream? Are dreams better than reality these days?”

Richard Dunlop, Weeping Trees and Meander River Walk 5, 2022, oil on Belgian linen, 40 x 30 cm. 2 June—28 June 100% Botanical Richard Dunlop

FUTURES www.futuresgallery.com.au 21 Easey Street, Collingwood VIC 3066 [Map 3] 0449 011 404 Thu to Sat 12pm–5pm. See our website for latest information.

Fox Galleries www.foxgalleries.com.au Agata Mayes, Architecture of Inner Space 6 May—11 June Architecture of Inner Space Agata Mayes

63 Wellington Street, Collingwood, 3066 [Map 3] 03 8560 5487 Mon to Sun 10am–6pm.

An art installation that combines sculpture, sound, and video in the form of immersive projection reflecting upon human experience and the perception of reality. By mapping a multi-channel video on the grand piano form the artist explores the complexity of the human mind—our inner space.

Sam Lieblich, PHRASER: Intrusive Thoughts (digital output), 2021. Courtesy of the artist and FUTURES.

6 May—25 June The Trees are Falling into the Sea and Other Stories Rosie Weiss

28 April–21 May PHRASER: Main Dream – PHOTO 2022 Sam Lieblich

For this body of work Weiss collected plant fragments from the edges of cliffs and embankments around Port Phillip Bay, and then looked further afield from Spencer Gulf to Moreton Bay and used these as subject matter to make a series

Tim Bučković, furtherance, 2021, oil on linen, 30.5 x 56 cm. Courtesy of the artist and FUTURES. Esther Erlich, Dusk, 2022, acrylic on canvas, 168 x 107 cm. Darryl Whitaker, Bogong, (detail), photograph. 126

4 May—28 May Eye Can See Your Halo Esther Erlich

26 May–25 June Tim Bučković

VICTORIA

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 public holidays by appointment only.

Gallerysmith www.gallerysmith.com.au 170–174 Abbotsford Street, North Melbourne, VIC 3051 [Map 5] 03 9329 1860 Tue to Sat 11am–5pm. Gallerysmith presents a rotating program of contemporary art exhibitions across three spacious galleries by a hand-picked group of represented artists. We also present regular on-line exhibitions and work on off-site projects.

Geelong Art Space www.geelongartspace.com

Dianne Fogwell, Prescience (detail), 2021, linocut, woodcut, burn drawings, pigmented ink on Hanji paper; unique state. Courtesy of the artist, Australian Galleries, Melbourne & Sydney, and Beaver Galleries, Canberra. © Dianne Fogwell Dianne Fogwell’s multi-panelled installation, Prescience, presents a panoramic view of the Australian landscape, highlighting both its beauty and its precarity due to climate change.

89 Ryrie Street, Geelong, VIC 3220 [Map 1] Fri & Sat 12pm to 5pm. Other times by appointment. Closed public holidays. Basil Kouvelis, Untitled, (detail), oil on canvas, 180 x 180 cm. 7 May—28 May Chromology Basil Kouvelis

Sally Smart , The Violet Ballet, 2019, film (still). Performers: Rennie McDougall, and Lillian Steiner. Photographer: J. Busby. © Sally Smart.

Belle D'Arcy, Heads, acrylic paint on clay, 19 x 4 x 5 cm. Courtesy the artist and Geelong Art Space. 11 March—7 May the little things Belle D’Arcy, Dannye Radakovich, Heather Young, Janine Giddings, Lea Rose, Mary-Ellen Belleville, Miranda Brett, Pamela See, Romana Topic, Sandra Batten, Shirley Ploog, Sveta Chay, Te Kahuwhero Alexander-Tu’Inukuafe, Terri Pollock, Thomas Warren and Venessa Zylka.

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. 5 March—19 June Ex avibus Barbara Campbell

Bart Sanciolo, Girl at the Window, painted steel, 115 x 29 x 29 cm.

Multi-disciplinary artist Barbara Campbell takes inspiration from the journey of shorebirds that migrate every year from one end of the globe and back along ancient flyways in ex avibus.

4 June—25 June Lineage Bart Sanciolo

5 March—19 June Prescience Dianne Fogwell

19 March—3 July P.A.R.A.D.E Sally Smart P.A.R.A.D.E. is the second work in Sally Smart’s trilogy in which she explores and contemporises the historical avant-garde performances and designs of the early 20th century Ballets Russes, widely regarded as the most influential ballet company of the twentieth century. Smart creates an experiential and immersive environment, comprising textiles (costumes and curtains), sculptural components and performance (video and sound) inspired by the sets and costumes designed by Pablo Picasso for the Ballets Russes’ Parade in 1917. 19 March—3 July 500 Strong Ponch Hawkes In 2018 Ponch Hawkes embarked on a project to photograph 500 Victorian women. Calling on women from across the State over the age of 50 from all backgrounds, 432 women volunteered to be photographed in the nude to celebrate the diversity and reality of older women’s bodies. 500 Strong is full of images of older women with every right to be seen, ripping their clothes off, stepping out of public invisibility. Participants were encouraged to consider their anonymity and, if they wished, come prepared with a personalised face covering. Some women chose to show their faces. An official exhibition of PHOTO 2022 International Festival of Photography

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

Glen Eira City Council Gallery www.gleneira.vic.gov.au/gallery

5 May—5 June Confined 13 Presented by The Torch. 5 May—5 June Artifacts Denise Honan 9 June—10 July UNEARTHED An immersive installation presented by pluginHUMAN.

Gertrude Contemporary: 9 April—5 June Octopus 22: Baroquetopus Peter Waples-Crowe (Ngarigo), Gina Bundle (Yuin), Ivor Cantril, Debris Facility, Lichen Kelp, Baluk Arts, Andrew Goodman, Sebastian Weidemann (Columbia), Kate Rohde and Ani O’Neill Curated by Tessa Laird. 18 June—14 August Polyphonic Reverb Artists: Graham Fletcher, Angela Tiatia, Richard Bell, Newell Harry, Salote Tawole, Greg Semu, Brian Fuata, Eric Bridgeman, Ayesha Green. Curated by Mark Feary. Opening Friday 17 June. Gertrude Glasshouse: 22 April—21 May Being, Human Being: UFO Photography PHOTO 2022 International Festival of Photography. Curated by Mark Feary.

5 March—5 June Harbinger

Corner Glen Eira and Hawthorn roads, Caulfield, VIC 3162 [Map 4] 03 9524 3402 Mon to Fri 1pm–5pm, Sat and Sun 1pm–5pm.

Flick Chafer-Smith (Ngarrindjeri people), Tiddalick, 2022, acrylic on canvas, 90 x 118 cm. Confined 13 presented by The Torch.

Lichen Kelp, Night of the Cuttlefish (residual performance elements), 2019. Image by and courtesy of the artist.

5 March—29 May In Praise of Landscape John Borrack

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

Danny McDonald, Great Block of Coal, 2021, monotype with carbon, chalk, acrylic and marker, 90 x 70 cm. © The artist. 23 April—19 June Overburden Danny McDonald 4 June—28 August Gunnai Vibrations Richard Young Eileen Harrison 11 June—28 August Fragile Earth 1: Extinction

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

19 February—14 August The Art of Annemieke Mein 19 February—15 May Cause and Effect Kathy Luxford-Carr 5 March—5 June Gifted

Through an expanded open call process, Being, Human Being provides an open forum drawing on and consolidating unique encounters from disparate realms and from across the globe to consider the potential of life beyond our understanding, supported by the Mutual UFO Network (MUFON). 27 May—25 June Veronica Franco vs Instagram Sam George and Lisa Radford. Opening Thursday 26 May.

John Borrack, Cockburn Range Bluff, East Kimberley, 2005, watercolour on paper, 55 x 75 cm. © The artist.

Amanda Wright, It’s in Her Spirit, synthetic polymers on canvas. 129

The Stan Gallery is a newly introduced creative space centred around community values and the championing of local artists. Continuing to enhance the cultural fabric of the South-Eastern suburbs, The Stan is a small independent gallery that provides visitors with new exhibition openings every 3-4 weeks and a rotation of additional curated sometime overseas pieces for sale. The dynamic roster of art that The Stan oversees, takes on a curatorial aesthetic that proves to be both engaging and diverse in its range of disciplines. The Stan Gallery supports not only established artists, but also mid-career artists and those just emerging. Currently in its very first year, The Stan Gallery is thrilled to welcome you into a community-centred setting where artists, enthusiasts and admirers can experience the thought provoking and creative talent of art by local artists. For information on past, present and future exhibitions see our website. 49 Stanley Avenue, Mount Waverley, VIC 3149 PH: 1300 49 STAN Email: info@thestangallery.com www.thestangallery.com Opening Hours: Thurs and Fri 10am – 5pm, Sat and Sun 10am – 4pm. thestangallery.com

Herbin - Established in Paris 1670. Writing with Pen and Ink is much more than just writing, it gives body and colour to our thoughts. Jacques Herbin range now available at your local Arthouse Direct store or order online. Stores located: Victoria - Richmond, Essendon, Bendigo & Sunbury. NSW - Nowra & Thornleigh arthousedirect

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VICTORIA Hearth Galleries continued... Murnong Gallery, 100 High Street, Glen Iris VIC 3146: 6 May—31 July Portraits Amanda Wright

Horsham Regional Art Gallery www.horshamtownhall.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Open daily 10am–4pm.

Amrita Hepi, Aint no body, (detail) 2022, digital photograph, 3 x 6 m. Courtesy of the artist and Anna Schwartz Gallery.

Nguru Yurntumu-wana (Country Around Yuendumu), Cherylyn Napangardi Granites, synthetic polymers on Belgian linen.

9 May—31 July Amrita Hepi: Aint no body

Hearth Galleries, 208 Maroondah Hwy Healesville, VIC 3777: 1 April—31 June Karnta Jukurrpa - Women’s Business

Heide Museum of Modern Art www.heide.com.au 7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tues to Sun and public holidays 10am–5pm. See our website for latest information. Until 29 May Dean Cross: Sometimes I Miss the Applause Under Lamplight: Albert Tucker and Patrick Pound House of Ideas: Cynthia Reed’s Studio

Lionel Lindsay, Norman Lindsay and Rose Soady, Bond Street Studio 1909, silver gelatin print. 2007.74, Horsham Regional Art Gallery collection. 22 April—10 July Norman Lindsay: photographs to paintings In Australia during the 1930s, sexually charged nude paintings and photography were taboo, Norman Lindsay’s work was often regarded as scandalous. Born into an artistic family, he was a prolific artist, producing paintings, sculpture, watercolours and drawings. The success of Lindsay’s etchings were due to both Norman and wife Rose (née Soady) Lindsay’s combined skills. Rose Lindsay was also widely considered as a master printmaker. This exhibition will explore Lindsay’s use of techniques across media in developing his unique vision. A Horsham Regional Art Gallery exhibition. 29 April—10 July Mali marrng Mallee sky

Sidney Nolan, Ned Kelly: ‘Nobody knows anything about my case but myself’, 1945 enamel on cardboard, 64 x 76 cm. Heide Museum of Modern Art. Purchased with funds provided by the Friends of the Museum of Modern Art at Heide and the Heide Circle of Donors 1998. © Trustees of the Sidney Nolan Trust / Licensed by Copyright Agency, 2022. Until 13 June Sidney Nolan: Search for Paradise Until 31 July Listening to Music Played Backwards: Recent Acquisitions 25 June—16 October Bruce Munro: From Sunrise Road

A Horsham Regional Art Gallery exhibition. Curated by Alison Eggleton.

For some of us, the connection to nature is almost tangible, it influences who we are, how we connect to others and how we connect to ourselves. Mali marrng Mallee sky by Gail Harradine and Belinda Eckermann gives form to the invisible and unseen personal, familial, community narrative of connection to landscape. The artists’ first time collaboration merges digital photography, entomological research, electron microscopic imaging and First Nations cultural practices, to explore a shared knowledge and connection to the landscape around Lake Albacutya—Ngalukgutya in Victoria Mallee region. Their alliance manifests in new cultural ways of thinking through practice, in a desire to experiment and entangle these spheres—as they seek a greater understanding of the human experience of connection to Country.

First Nations artist Amrita Hepi presents a dynamic roadside encounter titled Aint no body. Featuring tiled images of her body in motion, the work responds to the “commercial idealisation of the black body.” Here, we see Hepi ’s body propelled by an unknown force, causing us to wonder—is she jumping or falling? The multiform images narrow in on individual frames of movement so that what we see are the moments in-between, when the body is at the whim of air and gravity. With this, Hepi suggests that rest or respite, especially for the black body, is never assured. Ain’t no body is a Horsham Regional Art Gallery exhibition presented in partnership with NETS Victoria and curated by Jenna Rain Warwick. This project has been assisted by the Victorian Government through Creative Victoria.

Hyphen – Wodonga Library Gallery www.hyphenwodonga.com.au 126 Hovell Street, Wodonga, VIC 3690 [Map 1] 02 6022 9330 Weekdays 10am–6pm, Weekends 10am—3pm. 12 February—8 May Biosphere Abi Thompson and Helen Newman.

The Art Factory exhibition at Playspace Gallery at Hyphen – Wodonga Library Gallery. 26 March—12 June The Art Factory Machines made by Graham Wright, Evie Meikle and JC Butko Engineering. Animation artworks by Pinky Wittingslow. 131

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Incinerator Gallery → Nicholas Burridge, Sitting at the Edge of Eternity, 2019 (detail), glass, gunpowder residue, timber, steel cabling.

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. 19 April—29 May Explosive Forming: Nicholas Burridge Explosive Forming is an exhibition illustrating and investigating the complex interplay between industry, ecology, and geology. Artist Nicholas Burridge takes its starting point from the local Footscray Munitions Factories, a site adject the Incinerator Gallery. Aeon Resurrection An exhibition exploring transformation, resilience and healing within unstable environments. Framed within global and local epochs of “unprecedented times”, wherein conventions, codes and structures are dissembled and dismantled, this exhibition heralds ways of co-habitation within cataclysmic moments of death and regeneration. 10 June—17 July Soiled feet rammed dirt: Mira Oosterweghel Soiled feet rammed dirt is a text and spatial installation that responds to the history and industrial architecture of Incinerator Gallery. This new project by Mira Oosterweghel is informed as a new

Mira Oosterweghel, Soiled feet rammed dirt, 2021, research image. iteration of Bone with a hole—exploring the artist’s childhood memories of spending time on her grandparents’ farm, consuming and reproducing stories of labour and landscape.

Islamic Museum of Australia www.islamicmuseum.org.au 15 Anderson Road, Thornbury, VIC 3071 [Map 5] 1300 915 171 Mon to Sat 10am–4pm. See our website for latest information. The Islamic Museum of Australia is a not-for profit foundation founded in May 2010 with the purpose of establishing the first Islamic Museum in Australia. It is the first centre of its kind in Australia and showcases a diverse range of Islamic arts including architecture, calligraphy, paintings, glass, ceramics and textiles.

Narjis Mirza, Hayakal al Noor, Bodies of Light, 2021, Blackbox theatre, AUT, Auckland. Photograph: Rumen Rachev. 24 March—15 July Hayakal al Noor (Bodies of Light) A participatory light and sound installation by artist Narjis Mirza, inspired by the medieval Islamic philosophy of illumination. Animated Arabic calligraphy, projection, textile, subtle fragrances and voices provoke the seers’ imagination beyond the visible and the apparent. The Arabic calligraphy is composed of the mysterious and isolated letters of the Quran that do not form words; they symbolise mystical and other worldly realities. The seer is invited to touch, sense, hear and feel the work, such that their body also becomes a vessel for the animated light. The haptic visual experience of Hayakal al Noor is an invitation to wonder, contemplate and return to our spiritual beginnings.

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Ivanhoe Library and Cultural Hub www.banyule.vic.gov.au/ILCH 275 Upper Heidelberg Road, Ivanhoe VIC 3095 [Map 4] 03 9490 4222 See our website for latest information. Rius Carson, Untitled II (People & City), 2022, pigment Ink on Illford Baryta paper, 56 x 90 cm. 22 June—16 July New work—Digital Drawing & Sculpture Rius Carson Emerson Zandegu, Fun Guy Exploration, still from animated short film. Against Homophobia, Biphobia, Intersexism and Transphobia (17 May). 20 May—17 July Considering the Land Peta Clancy and Jo Scicluna An exhibition bringing together artworks by Peta Clancy and Jo Scicluna, considers the land on which we all live, from a First Nation and a first-generation migrant perspective. In this space, we invite conversations to take place between the two artists, the land, First Nation Elders, and the community. Peta Clancy is a descendant of the Bangerang Nation from south-eastern Australia. She’s a senior lecturer at Monash University’s Art Design & Architecture. Awarded the inaugural Koorie Heritage Trust ‘Fostering Koorie Art and Culture grant’, she collaborated with Dja Dja Wurrung Traditional Custodians for the ‘Undercurrent’ project which was exhibited at the Koorie Heritage Trust in 2019. Jo Scicluna is a Naarm-based artist and educator across fine art and design, completing her PhD at Monash University (MADA) in 2021. The project, Where The Land Lies (Gippsland Art Gallery, 2019), developed in consultation with Gunaikurnai community representatives, established a foundational process of observing respect for Country for Scicluna’s iterative practice. We invite you to come and consider this land upon which we all live, through the works of these two artists, and join us in this space for discussion, understanding and reconciliation.

26 May—26 June 1000 make it Hayden McLean Hayden McLean is an artist and a strong self advocate. McLean is passionate and prolific with a strong daily art practice. He draws the world around him and within him. McLean uses drawing to communicate his needs and emotions. He is also a woodworker and prolific shoelace / cord maker. McLean’s creative output is strongly linked to his sensory needs. It is known that autistic people tend to protect themselves from sensory overload by stimming (behaviour consisting of repetitive actions or movements). McLean needs boundaries to feel safe. The exhibition will be a journey through McLean’s visual world .

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.

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

Helmut Newton, Elsa Peretti, New York, 1975. © Helmut Newton Estate. Courtesy Helmut Newton Foundation. 29 April—29 January 2023 Helmut Newton: In Focus

Emerson Zandegu is a local artist whose colourful and eclectic body of work explores identity, gender, and the natural world through visual storytelling.

In celebration of the International Day

www.jewishmuseum.com.au

Jacob Hoerner Galleries

5 May—19 May Polymorpha The Art of Emerson Zandegu

Using the medium of 2D animation, Emerson creates rich worlds full of vibrant characters—but it all starts with an idea and a sketch. Polymorpha (meaning “many shapes/forms”) is an exhibition showcasing his animated works and the creative process behind them, including a behind-the-scenes look at his upcoming short film, FUN GUY.

Jewish Museum of Australia

Brigita Lastauskaite, Immersed, 2022, oil on canvas, 122 x 122 cm. 25 May—18 June Water Stories Brigita Lastauskaite

A definitive exploration of the work and life of visionary German-born photographer, Helmut Newton. This exhibition delves into Newton’s early life and career, shining a light on his Jewish roots and life in Berlin, his flight from Germany at the outbreak of WWII and his eventual internment at Tatura in regional Victoria as an enemy alien. It also explores his post-war life and work in Melbourne and shares details of his relationship with his Australian-born wife, the acclaimed actress, artist and photographer June Newton, who worked under the pseudonym Alice Springs. 135

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Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300

Installation view, Off The Wall, Mandi Barton (Yorta Yorta, Barapa Barapa, Wemba Wemba), Burnt Words, 2022, paper, charcoal, ink, burnt paper. Collection of the artist. Image: Christian Capuro. 5 March—15 May Off the Wall Mandi Barton, Simone Thomson and Charlie Miller. Until 12 June 2 WORLDS Ronald Edwards Pepper

Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, Sat 12noon–5pm. Free entry. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale. Wed to Fri 9am–5pm, Sat 12noon–5pm.

Kara Baldwin, Philosophish, 2020, Big Mouth Billy Bass, audio recording (looped), Arduino Nano, Bluetooth unit, MP3 player, approx. 30 x 19 x 10 cm. Kingston Arts Centre Galleries: 8 April—7 May (Don’t Say I Never Warned You) When Your Train Gets Lost Presented by Michael Vale Artist Group. Kingston Arts Grant recipient Michael Vale presents a group exhibition featuring artists Simon Perry, Juan Ford, Gerry Bell, Kara Baldwin, Kez Hughes, Amélie Scalercio, Nicholas Ives and Michael Vale. The exhibition takes its title from the Bob

Dylan song, It Takes a Lot to Laugh, It Takes a Train to Cry (1965) as a perfect metaphor for absurdism. Through subtle humour and visual conundrums, all eight artists offer a playful meditation on the theory of absurdism, aimed to entertain rather than explain the ways of the universe.

OptiKA exhibition, 2020, photo by Shuttermain. Kingston Arts Centre Galleries: 24 June—23 July OptiKA: Kingston Photographic Award Exhibition Presented by Kingston Arts. OptiKA is an award dedicated to excellence in contemporary photography, videography and digital art. This year we invited photographers, videographers and digital artists of all ages and skill levels to respond to the creative theme of FOCUS ON 2030: Inspiring a zero emissions future. In 2022, the award has been opened to all artists living in Victoria and over $9,000 of prize money will be awarded to finalists. Now in its 13th year, OptiKA is one of Kingston Arts most popular programs. Enhanced by the accessibility of the medium—now that most people have a mobile phone, they also have a camera. Opening Thursday 23 June, 6pm–8pm. G3 Artspace: 8 April—7 May Meridians Presented by Ed Kovalev and Irina Mitin. Meridians explores the world through the lens of a travel photographer. Both Irina Mitin and Ed Kovalev travel extensively each year exploring both well-known and remote places, bringing back to Australia stunning images from many different countries and cultures. Seeking genuine observations, their work shares diverse communities from around the world and reflects on the beauty of simplicity and the unlimited potential of photography in understanding the world we inhabit.

Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Open daily 10am–4pm. 2 April—10 July Hazelwood In 2020, Engie, owners of Hazelwood Power Station and Mine, donated an 8 metre painting to Latrobe Regional Gallery. The painting from 1994, depicts

Jenardiy Zabenko, Hazelwood Power Station - Thirty years of service 1994, (detail), acrylic on board, seven panels in total measure 2.6 x 8.4 metres. Latrobe Regional Gallery Collection, 2020. Donated by Engie Power Station and Mine. the history of Hazelwood Power Station from farmland to its heyday and its imagined future at the time. 9 April—10 July Field of Visions Mira Gojak and Michael Prior Inventiveness and seeking new possibilities are central to the ideas framing this exhibition by Mira Gojak and Michael Prior.

David Burrows, Fata Morgana, 2021, 19+613, Composite digital image, dimensions variable. Courtesy of the artist. 23 April—24 July Fata Morgana David Burrow David Burrows travelled to Antarctic in the summer of 2011/2012, a trip which has inspired his interest in mirages, and representation of land. Much of his recent artwork including that in ‘Fata Morgana’ has used stereoscopes which challenge viewers’ visual depth perception. 23 April—24 July In Tarra-Bulga Dean Smith Living in Morwell, after having lived in many parts of both Australia and New Zealand, Dean Smith takes his cues from the landscape around him. 1 May—17 July The Valley Artists’ representations of the Latrobe Valley, depicting industry are a feature of the collection of Latrobe Regional Gallery. The Latrobe Valley is not all industrial however and has not always been as it is now. The industry is a part of a wider Valley story, of where people live, grow, learn and play. Aboriginal people of the Gunaikurnai nation have lived in the Valley for many thousands of years. 137

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Lauraine Diggins Fine Art www.diggins.com.au Boonwurrung Country 5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue to Fri 10am–6pm. Other times by appointment.

12 March—5 June Time Fell Asleep in the Evening Rain Cyrus Tang 12 March—5 June Yal Yuriyal Eric Bridgeman

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

Ilan El, Flash, 2017, transparent and opaque synthetic polymer resin, aluminium and LEDs 200 x 80 x 80cm. Image courtesy of the artist and Linden New Art. Photograph: Theresa Harrison Photography. Angelin Ngal, c.1947, Spring Flowers at Aharpler, 2007, synthetic polymer on linen, 200 x 136 cm. Until 14 May Aharlper Country Angelina Ngal Angelina Ngal (also known as Angelina Pwerl, after her late husband) is a leading artist from the Utopia region in central Australia, an area celebrated for significant international artists including Emily Knwarray and Gloria Petyarr. Angelina paints her grandfather’s country, Aharlper. Many of her paintings depict the Bush Plum through coloured dots flooding the canvas. Her exquisitely coloured canvases extend their meaning from the Bush Plum to translations of geography, knowledge and memories, often linked to important information relating to hunting, food gathering, or ceremony. This joint exhibition showing at Cooee Art in Sydney and Lauraine Diggins Fine Art in Melbourne features Angelina’s elegant large-scale paintings, depicting her country as ethereal landscapes, capturing an essence of culture and place and time.

12 March—5 June Colours of Light Ilan El

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

Jeremy Eaton, Untitled (Test), 2021, UV exposure dye print on canvas, wicker, 49.5 x 39.5 cm. 27 April—21 May Jeremy Eaton

Natasha Johns-Messenger, Envelop 2022, installation view, McClelland. Photo Christian Capurro 23 February—5 June A thousand different angles Fiona Abicare, Samara AdamsonPinczewski, Marion Borgelt, Consuelo Cavaniglia, Natasha Johns-Messenger, Inge King, Sanné Mestrom, Noriko Nakamura, Nabilah Nordin, Louise Paramor, Kerrie Poliness, Norma Redpath and Meredith Turnbull.

Fiona Foley, The Magna Carta Tree #2 2021, inkjet print. Courtesy the artist and Andrew Baker Art Dealer, Brisbane. Photograph: Mick Richards. 25 June—23 October Fiona Foley: Veiled Paradise Touring from QUT Art Museum.

As part of PHOTO 2022 Festival.

Meat Market’s Stables www.clairebridgeartist.com 2 Wreckyn Street, North Melbourne, VIC 3051 0417 313 623 Daily 11am–6pm

Jessie Scarvell, 1862 - 1950, Glenalvon, Murrurundi, NSW, 1895, oil on canvas, 50 x 89 cm. June—July A selection of artworks highlighting the Australian landscape.

5 May—15 May VAS HOLOS

Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tues to Sun 11am–4pm. 138

Tia Ansell, Cecile, 2021, acrylic on cotton weaving, 22 x 33 cm. 25 May—18 June Tia Ansell

Claire Bridge, Jia Jia Chen, Nina Sanadze and Katie Stackhouse explore concepts of wholeness (holos) and the vessel (vas) through rupture and embodiment, translated across sculpture, video and installation. Whether the vessel be of the body, earth, body politic or culture, each artist contemplates our complex mesh of interrelations as containers of emergent, transformative change.

VICTORIA

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

Claire Bridge, From which all emerges and returns, 2021, glazed stoneware ceramic, 2021, 50 x 50 x 11.5 cm. Opening Thursday 5 May, 6pm–8pm. This project is supported by the City of Melbourne arts grants.

Metro Gallery www.metrogallery.com.au 1214 High Street, Armadale VIC 3143 [Map 6] 03 9500 8511 Tue to Fri 10am–5pm, Sat 11am–5pm. 26 April—21 May Post Influence Fabrizio Biviano 26 April—21 May Neo-Serpentine Bettina Willner

Isabel Davies, Kitchen Creation, 1977. Mildura Arts Centre Collection, Seventh Mildura Sculpture Triennial, 1978. 8 April—22 May Assemblages Isabel Davies Mildura Arts Centre Collection. Isabel Davies is a Melbourne based artist whose association with the Mildura region goes back to the Mildura Triennial events. During that era, the direction of Isabel’s works were strongly influenced by the rise of the women’s art movement that was part of a broader socio-cultural reassessment in Western societies. Assemblages is dedicated to that pivotal period in the artist’s career. The works are all drawn from the Mildura Arts Centre Collection and include the well-known Masterpieces from the Kitchen series and the Mungo series.

Steven Rhall, Taungurung, Ideas of First Nation art practice and late capitalism, 2021, digital photograph, 8.3 m x 1.80 m. Courtesy of the artist. partnership with Mildura Arts Centre, is a bold reinterpretation of the roadside advertisement aesthetic, questioning the commodification of art and the way it can both appropriate and legitimise First Nations practice. Ideas of First Nations art practice and late capitalism is a Mildura Arts Centre exhibition with NETS Victoria, curated by Jenna Rain Warwick. This project has been assisted by the Victorian Government through Creative Victoria.

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. 2 April—15 May Develop Ali Choudhry, Madeline Crockett, Asif Hussein, Bronwyn Hutton, Joshua Kidd, Kat Stevens, Courtney Watson and Amy Wendel.

9 April—22 May Wetland and River Tasha Whitton

John Aslanidis, Sonic no. 73, 2018, oil and acrylic on canvas, 133 x 157 cm. 26 April—26 May Sonic Network no. 20 John Aslanidis

“I enjoy walking and being in nature. I like watching birds and listening to the different sounds of birds and animals. When I go to the wetlands or river it makes me feel calm and peaceful. Painting has always been my passion and it makes me feel happy and excited. I love all different colours and making shades and shapes. Learning about the wetlands and water birds around me inspires me to paint them through my eyes.” 14 April—5 June SMECC Multicultural Arts Exhibition: Our COVID experiences Sunraysia Mallee Ethnic Communities Council. The past two years of the Coivd-19 pandemic have been fraught with many challenges. This exhibition aims to highlight the hope that the ethnic communities of Sunraysia have for the future, reflecting on their experiences as a way of healing.

Donavon Christie, The Stralian Sun, 2021, oil on linen, 60 x 90 cm. 24 May—18 June The Milk Bars are on me Donovan Christie 21 June—16 July Metro Summer Group Showing

Until 5 June Ideas of First Nations art practice and late capitalism Steven Rhall Located at 52 Seventh Street East, Mildura. Taungurung artist Steven Rhall’s billboard, titled Ideas of First Nations art practice and late capitalism and delivered in

Hoda Ashfar, Untitled, from the series Speak the wind, 2015–20. Courtesy of the artist and Milani Gallery (Brisbane). 2 April—26 June Speak the wind Hoda Ashfar 2 April—26 June Old ways, new ways Tony Albert (Girramay/Kuku Yalanji), Lisa Bellear (Minjungbul/Geoernpil/Noonuccal/Kanak), Peta Clancy (Bangarang), Brenda L Croft (Gurindji/Malgnin/Mudpurra), Viva Gibb (Au), Gail Harridene (Wotjobaluk/Djubagalk/Jadawadjali), 139

Our OurCountry Country

2–19June June 2–19

Napurruŋ Napurru ŋŋ Wäŋ Wä ŋaŋa/ / Mela NganampaNgurra Ngurra/ Gamerrem / Gamerrem Napurruŋ Napurru Wäŋ Wä Mela Kantri Kantri / Nganampa Artists Buku-Larr Buku-Larrŋ gayMulka Mulka Centre, Centre, Elcho Ngukurr Arts, Artists ofof Buku-Larr Buku-Larrŋ ŋŋgay ElchoIsland IslandArts, Arts, Ngukurr Arts, Tjarlirli KaltukatjaraArt Artand and Warmun Warmun Art Tjarlirli && Kaltukatjara ArtCentre Centre Brunswick Street Gallery & Stockroom

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

www.brunswickstreetgallery.com.au

Image: Cattle in yard with Stuart Highway, Jill Daniels, acrylic paint on linen, 100x100cm.

brunswickstreetgallery.com.au

VICTORIA Monash Gallery of Art continued...

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

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—26 June Spectrum: An Exploration of Colour

Tony Albert, Optimism #7, 2008, from the series Optimism, chromogenic print 80 x 80 cm. Monash Gallery of Art, City of Monash Collection, courtesy of the artist and Sullivan + Strumpf (Sydney). Dianne Jones (Balardung/Nyoongar), Leah King-Smith (Bigambul), Michael Riley (Wiradjuri/Kamilaroi), Damien Shen (Ngarrindjeri) and James Tylor (Kaurna).

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] muma@monash.edu 03 9905 4217 Tue to Fri 10am–5pm, Sat 12noon–5pm. Free admission.

State Rivers and Water Supply Commission photographer, Dust storm, Red Cliffs, in the summer of 1938-39, Negative: glass ; 8.0 x 11.7 cm. approx., Courtesy: State Library of Victoria, Melbourne. 19 May—4 June One Vast Library: A Diachronic Wind Curated by Tim Riley Walsh.

Installation view of the 2021 NGV Architecture Commission pond[er] by Taylor Knights and James Carey at NGV International, Melbourne from 6 December 2021—28 August 2022. Photograph: Tom Ross. 5 December—28 August 2021 NGV Architecture Commission pond[er] Taylor Knights and James Carey

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.

Collective Movements. Identity by Jenna Lee. 5 May—23 July Collective Movements Ensemble Dutala, Kaiela Arts, this mob, Pitcha Makin Fellas, Koorroyarr Arts, the Possum Skin Cloak Story, Uncle Ray Thomas and The Torch, among others. Collective Movements is a wide-ranging project focusing on the work of historic and contemporary First Nations creative practitioners and community groups that recognises collectivity as integral to Indigenous knowledges and ways of being. An exhibition, publishing project, conversation and workshop platform, the project begins from a desire to make more visible a language and terminology beyond Western art concepts of ‘collaboration’ and ‘collectivism’—one that better describes and acknowledges the way Indigenous creatives work within a broader community and its inheritances.

Louise Rippert, Small Return, 2005, ceramic, plastic chrome. Collection of the artist. Photograph: Andrew Wuttke. 26 March—31 July Collection+ Louise Rippert / Steve Carr MPRG’s ambitious new Collection+ series brings together new and existing work by Melbourne based artist Louise Rippert alongside dynamic New Zealand contemporary artist Steve Carr. 26 March—31 July New Wave 22 Showcasing VCE Art and Studio Arts students from schools across the Mornington Peninsula Shire.

David McDiarmid, Q, 1994, from the Rainbow Aphorism, series 1994 computer-generated, colour laserprint , 37.4 x 28.3 cm (image), 38.4 x 29.3 cm (sheet) National Gallery of Victoria, Melbourne, Purchased, 1994. © David McDiarmid / Licensed by Copyright Agency, Australia. 10 March—21 August QUEER: Stories from the NGV Collection 9 April—28 August Transforming Worlds: Change and tradition in contemporary India 10 June—9 October The Picasso Century 10 June—9 October Making Art: Imagine Everything is Real 141

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VICTORIA

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

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.

17 March—24 July Top Arts 2022

Penelope Cato, Ardour, limited edition giclee print, 18 x 22 cm. manipulation, the delicate floral forms have been abstracted through polarization and the play of reflected light, being reimagined as enigmatic visual fantasies; a reminder that all living things are in a constant state of flux. Each print is strictly limited to an edition of eight. 2 June—16 June Signals Kohl Tyler-Dunshea Euan Heng, Untitled, 2021, paper cut collage, 38 x 28 cm. 4 May—28 May Future Perfect Euan Heng David Hockney, Self portrait IV, 25 March 2012, 2012, iPad drawing printed on paper, 94.0 x 71.0 cm (image and sheet). National Gallery of Victoria, Melbourne. A gift from David Hockney, 2019. © David Hockney.

Neil Taylor, Helical, 2020, soldered painted wire, 17 x 20.5 x 15 cm.

Kohl Tyler-Dunshea’s art practice delves into the ever-changing ecology of contemporary culture and its fraught, symbiotic relationship with the ‘natural’ world. She holds the belief that botanical specimens harbor cultural histories within them that mirror contemporary society. Other threads in Tyler-Dunshea’s practice include an interest in relational aesthetics theory and an infatuation with moments of natural phenomena. Tyler-Dunshea works in painting, ceramics, and installation. Signals is a solo exhibition of detailed watercolour paintings and hand-built stoneware sculptures. Opening night: Thursday 2 June, 5.30pm—7pm.

4 May—28 May sums done Neil Taylor

PG Gallery www.pggallery.com.au

Michael Riley, Maria, 1986; printed 2013, from the Michael Riley Portraits 1984– 1990 series, inkjet print on paper, 41.50 x 43.40 x 5.00 cm (frame) 39.10 x 40.90 cm (image). National Portrait Gallery, Canberra Purchased 2013. © Michael Riley / Copyright Agency, 2021. 25 March—21 August WHO ARE YOU: Australian Portraiture 15 April—29 January 2023 Indigenous Collection of Art and Design 13 May—11 September New Australian Printmaking

227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tue to Fri 10am–5.30pm, Sat 10am–5pm. 12 May—26 May Sunstruck8 Penelope Cato This exhibition features a series of contemporary giclee prints inspired when Penelope was taking neighborhood walks during Covid lockdown. Beguiled by the beauty of magnolia blooms bathed in afternoon sun, she took advantage of the opportunity to capture the plants in varying stages of anthesis. Applying digital

David Nixon, Untitled, 2021, linocut, 52 x 33.5 cm. 143

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1 MAY - 12 JUNE 2022 Contemporary sculpture in shop windows and sidewalks of Toorak Rd, Toorak Village

Bren

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Ta y l o r

- The Grea t Esc ap

This is a FREE event www.toorakvillage.com.au PROUDLY SUPPORTED BY...

toorakvillage.com.au

VICTORIA PG Gallery continued... 25 June—9 July Coalescence David Nixon “Coalescence culminates 17 years dedicated to creating relief etchings, linocuts and monoprints. My material engagement with these mediums enables me to develop pictorial languages based upon personal motifs. Testing the extreme limits of the medium, my detailed etchings are distinguished by their lyric intimacy and acute optical shimmer. My linocuts are drilled, enabling an expansive means by which to animate works on paper with a concentrated intensity: an expressive fluidity is imprinted in reverberant images characterised by their visual rhythm, shape and spatial structure. Working wet into wet, painting and drawing integrate in my mono prints. I identify the textural beauty of chance elements and develop these dimensionally with a focused intent. My meticulous prints are technically demanding. I continually finetune and vary my creative methods, aiming at outcomes in which a perfectionism and a poetic expression converge.”

Old Quad www.about.unimelb.edu.au/oldquad/exhibitions Building 150 (Parkville Campus) The University of Melbourne, Parkville, VIC 3053[Map 5] 03 9035 5511 Tue to Fri 10am–4pm, Sat 11am– 4pm.

QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 Thu to Sun 9am–5pm. A curated art space representing a tight collection of fine artists, chosen for their artistic virtuosity, creative thinking and sheer mastery of their practice. Qdos Fine Arts hosts 10 solo exhibitions annually, our artists launch a new body of work biennially, albeit, offer a small but exclusive range of their work which is always available for stockroom viewing.

8 April—7 August Agent Bodies Brook Andrew, Anonymous, Georgia Banks, Leigh Bowery, Cassils, Megan Cope, Juan Davila, Matthew Davis, Alicia Frankovich, Lucian Freud, The Killing, Claire Lambe, Mike Parr, Samantha Petersen, Yhonnie Scarce, Anne Wallace and Ah Xian. Curated by Mikala Dwyer and Drew Pettifer.

Shepparton Art Museum www.sheppartonartmuseum.com.au 530 Wyndham Street, Shepparton VIC [Map 15] 03 4804 5000 Daily 10am–4pm.

Veronica O’Hehir, Sunset Paddock, acrylic and oil on canvas, 122 x 198 cm. From the Stockroom or online.

RMIT Gallery www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 rmit.gallery@rmit.edu.au Facebook: RMITGallery Instagram: @rmitgallery COVIDSafe policies and restrictions.

Installation view, Emu Sky at Old Quad, The University of Melbourne 23 Nov 2021-30 Jul 2022, Uncle Badger Bates Karnka (digging sticks), 2020 and Emu Sky, 2021 (background). Photograph: Christian Capurro.

Ali Khadim, Transition/evacuation, 2015 gouache, ink, and gold leaf on wasli paper ART96912. Image courtesy of the Australian War Memorial. 26 March—31 July Art in Conflict: An Australian War Memorial Touring Exhibition 14 May—30 October Vera Möller: Liquidarium 26 March—July Nusra Latif Qureshi

Amanda Hocking, My Portrait of a Musician, 2022, Courtesy of the artist and © the artist.

15 February—30 July Emu Sky

19 March—12 June SAM Open 2022: New Horizons

Emu Sky explores Indigenous land management, knowledge, science, plant use, language and truth telling. With a strong focus on south-eastern Australia, over 30 Aboriginal community members share their stories, knowledge, and art practice.

20 November—17 July Brown Pots

Emu Sky opens conversations about what we continue to risk in failing to recognise and empower Indigenous knowledge and sustainable practice in the ongoing management of Country. Made for all ages, the exhibition offers illuminations and invites an opportunity to listen.

20 November 2021—22 May Everyday Australian Design: Functional Design from the Ian Wong Collection Louisa Bufardeci: Looking out and across, up and down, the river becomes a cloud 28 May—26 November Social Ceramics Anne Wallace, Infanta, 2022. Artworks courtesy of the artist and Darren Knight Gallery (Eora/Sydney).

20 November 2021—20 November Flow: Stories of River, Earth, and Sky in the SAM Collection 145

2022 John Leslie Art Prize. $20,000 Acquisitive Prize for Landscape Painting Entries close Friday 22 July 2022

EXHIBITION 10 September until 27 November 2022

JUDGES Dr Sheridan Palmer, Art historian, writer and curator Simon Gregg, Director, Gippsland Art Gallery Melanie Caple, Associate Curator, Gippsland Art Gallery

EXHIBITION PARTNER

GOVERNMENT PARTNERS

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

Gippsland Art Gallery Port of Sale, 70 Foster Street, Sale, VIC Phone (03) 5142 3500 artprize@wellington.vic.gov.au

Open Monday–Friday 9am–5.30pm Weekends & Public Holidays 10am–4pm Free Entry

gippslandartgallery.com.au gippslandartgallery.com.au

VICTORIA

Sofitel Melbourne on Collins

Stephen McLaughlan Gallery

www.sofitel-melbourne.com

www.stephenmclaughlangallery.com.au

Level 1, 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 Claire Ropartz, Géométrique, 2020, 90 x 63.5cm.

Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] Wed to Fri 1pm–5pm, Sat 11am–5pm and by appointment.

French photographer and Melbourne based artist Claire Ropartz presents Flânerie Parallèle. This photographic exhibition is an invitation to a voyage into the city of Melbourne—an artistic guided tour with a strong focus on local businesses in and around Collins Place and Flinders Lane capturing the artisans, the arts, architecture and that unique feel of “flânerie” (the “flâneur”). The artist features the beauty of this end of the city through her lens. She is raising awareness by representing the connectedness with France through her artwork. In the late 1970s Collins Place was built by I.M Pei who also constructed the Pyramid of the Louvre in Paris.

STATION Vasantha Yogananthan, Rama Praying for Victory, 2019, from the series Afterlife. Courtesy the artist and Jhaveri Contemporary. 29 April—30 June Sofi’s Lounge, Level One, 8am–8pm: Afterlife Vasantha Yogananthan Afterlife is the sixth chapter of Vasantha Yogananthan’s long-term project, A Myth of Two Souls, inspired by, and offering a modern retelling of the epic tale the Ramayana. Presented exclusively in Australia for PHOTO 2022, draws inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Yogananthan has retraced the legendary route from north to south India.

www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tue to Sat 10am–5pm.

Lindy Patterson, Untitled, (detail), mixed media, 80 x 60 cm. 20 April—7 May Lindy Patterson

9 April—14 May Particle Days Jon Cattapan 21 May—25 June n.e.s.t.s. Sam Martin

For this chapter—Yogananthan travelled to Rajasthan and Tamil Nadu to photograph people attending Dussehra, a Hindu festival celebrating the victory of good over evil. Afterlife explores death and reincarnation through the epic battle between Prince Rama (an incarnation of Vishnu) and the 10-headed demon king Ravana, with the characters depicted by festival goers Yogananthan encountered in costumes and painted faces. People attending Dussehra seek to reach a trance-like state and Yogananthan has created collages that mix several pictures together to put the viewer in a similar state of disorientation. Curated by Photo Australia for PHOTO 2022. Presented in partnership with Sofitel Melbourne on Collins. Supported by FINI Frames. 1 April—31 July Level 35, Atrium Gallery, open 24 hours: Flânerie Parallèle Claire Ropartz

Kendal Heyes, Two kids on the beach, pokerwork on Saunders watercolour paper, 76 x 56 cm. 11 May—28 May Kendal Heyes 1 June—18 June Tim Bass

Marian Tubbs, Lazy River, 123 x 153 cm, digital print on luster 310 gsm, framed. Courtesy of the artist and STATION.

22 June—9 July Joseph Gleeson

21 May—25 June Resort Work Marian Tubbs 147

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Swan Hill Regional Art Gallery → Changed Forever.

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

2 April—8 May Melancanny Michael Needham A Path or Track Laid Down for Walking Greg Wood Tender Sticks Talitha Kennedy Narcissus and Friends Vanessa Lucas 14 May—26 June Zootopia Kate Rohde

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. 1 April—15 May Emma Samin Using her art practice as a mindfulness tool for overcoming anxiety and depression brought about by debilitating health issues, Emma Samin explores the ancient and meditative zone of the mandala through the most intricate rendering of personalised symbols. 1 April—15 May Changed Forever

Adam Boyd, Dolsist, 2022, Ink and pencil on paper, 59 x 44 cm.

Michael Needham, Mimic, 2021, resin, hybrid fibreglass (basalt, hessian, fibreglass), steel, recycled plywood, pigments, acrylic lacquer, 310 x 190 x 3 cm. Photograph: Lakshal Perera. 148

14 May—26 June Dread and Dream Adam Boyd Four Treasons David Ray

A new exhibition from the Shrine of Remembrance, Changed Forever: Legacies of Conflict, interweaves stories of migrants from war-torn countries and recent veterans of overseas service, reflecting the range and depth of experiences of conflict. The exhibition is based on a collection of oral histories undertaken by the Shrine with Australian Defence Force veterans of recent conflicts and peacekeeping operations, and migrants to Australia who have come here because of conflict. It explores the impacts of global and civil conflict in changing lives and shaping contemporary Australia. The stories are enhanced with art, objects, photographs, audio-visuals and interactives.

VICTORIA 21 May—17 July Connections We are all connected Contemporary Aboriginal art from the Swan Hill Region. First Nations artists from the Swan Hill region of north west Victoria and southern NSW come together for this survey of contemporary Aboriginal art. Connections celebrates this rich and unique country and waterways, the plants, the fauna, the foods and the history.

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. Lara Merrett, Time after time (compendium of gestures), 2017, acrylic on canvas, dimensions variable. Installation view, Superposition of three types, 2017, curated by Talia Linz and Alexie Glass-Kantor, Artspace, Sydney. Image courtesy of the artist and Sullivan+Strumpf. Photography by Jek Maurer.

The artists—through stories, skills and techniques learnt and handed down— bring together a mix of traditional and contemporary methods along with a political currency that makes their work both compelling and enlightening. They will be complemented by works from young First Nations artists in our Studio Gallery.

TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 Tue to Sun 11am–5pm. See our website for latest information.

Danie Mellor, Redux, 2021. 29 April—21 May redux Danie Mellor Part of the PHOTO 2022 international festival of photography exhibition program.

vinyl, virtual space, and the gallery wall itself. Colour spills, splatters, pools and stretches through the gallery space, in artworks that challenge possibilities of scale, form, colour and gesture. Pigment and brushwork are combined with elements from design, sculpture, animation and textiles to create vibrant and unexpected three-dimensional, virtual and ephemeral artworks. Expanded Canvas showcases the ideas and aesthetics that characterise painting practice today, including artworks that reveal the continually evolving nature of the medium when fused with other disciplines and materials.

The Victorian Artists Society www.victorianartistssociety.com.au Elizabeth Willing, Moviprep, 2021, sherbet straw installation, 600 x 600 cm. David Noonan, Mnemosyne, 2021, film still. Courtesy the artist and Modern Art, London. 24 March—10 July David Noonan: Only when it’s cloudless Curated by Victoria Lynn. TarraWarra Museum of Art presents a major new exhibition, Only when it’s cloudless, by one of Australia’s most successful contemporary artists, David Noonan. Haunting, uncanny and enigmatic, Only when it’s cloudless presents predominantly new works including a major new sculptural installation; the artist’s first 16mm film since 2001 with a score by the acclaimed Australian musician Warren Ellis; two major new tapestries; and several new collages on linen. The exhibition also includes significant loans from the Art Gallery of South Australia, National Gallery of Victoria, Art Gallery of Ballarat, and private collections. Curated by TarraWarra Director, Victoria Lynn, in close collaboration with the artist, the exhibition is conceived as a single installation.

28 May—18 June Forced Rhubarb Elizabeth Willing

430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484 Mon to Fri 10am–4pm, Sat & Sun 1pm–4pm, during exhibitions. See our website for latest information.

Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–4pm, Saturday 12pm–4pm, Closed Sundays and public holidays. See our website for latest information. 23 April—2 July Expanded Canvas David Harley, Lara Merrett, Judy Millar, Tom Polo, Bundit Puangthong and Huseyin Sami. A major exhibition at Town Hall Gallery exploring the dynamic and innovative nature of contemporary painting. The traditional grid and two-dimensional picture planes are replaced by modern surfaces, including drop sheets, sign

Mary Hyde, The Green Boat. 26 May—7 June Five Group Exhibition Artists include L. Tam, J. Bruere, T. Dansey, M. Hyde, J. Hunt 149

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VOID Melbourne → Paul Handley, Silence, 2022, digital wallpaper print. Image courtesy of the artist.

The Victorian Artists Society continued...

style, subject and in a variety of materials including wood, bronze, steel, resin and mixed media. Opening event Saturday 5 June, 2pm–4pm.

A selection of recent works in gouache, watercolour and oil featuring landscape, floral and marine subjects by four VAS artists—Ted Dansey, Mary Hyde, Lucille Tam and Julian Bruere. The Five exhibition started in 2009 and has continued to bring quality exhibitions on a regular basis. This exhibition includes Meet the Artists events on the Weekends of 28/29 May and 4/5 June.

Protean Vistas Pauline Mathrick These works are the outcome of Pauline Mathrick’s enduring interest in the landscape of central Victoria. In these slow paintings, Mathrick explores the essence of the structure of these landscapes; it is a dichotomy between the impermeable and the transient.

1 June—14 June Life Harvest Deny Christian After a long and distinguished career in portraiture and more recently still life, Deny Christian is holding her first exhibition at the VAS to showcase a selection of lustrous still life studies and sensitive portrait sketches to demonstrate her signature passionate and sincere aesthetic. Opening event on 2 June, 6pm. 1 June—30 June Reflective Exhibition – It’s Our Society, Let’s Keep It Open Laurence Scott Pendlebury This reflective exhibition uses a selection of artist’s sketches, paintings, and archival materials to offer a glimpse of the Victorian Artists Society as it was in the early 1960s, from the perspective of then VAS President Laurence Scott Pendlebury— artist and teacher. 150

15 June—28 June Ophelia’s Garden Jocelyn Turner

Janine Clark, Who’s Listening, steel recycled nails and plaster.

Ophelia’s Garden is a series of photographic still-life artworks created underwater using flowers grown and foraged by the artist. The works were inspired by Shakespeare’s words and the classic Pre-Raphaelite paintings of Ophelia and explore themes of loss, love, beauty and freedom.

8 June—28 June The Association of Sculptors of Victoria 2022

30 June—4 July An Affair of the Art Wayne Leslie

In the Association of Sculptors Victoria Annual Awards Exhibition held at the Victorian Artists Society Gallery for the first time, more than 100 sculptures by emerging and professional sculptors will be exhibited. They will be diverse in

An exhibition of Australian Tonalist works in the style of Meldrum from the collection of Wayne Leslie.

VICTORIA

Vivien Anderson Gallery www.vivienandersongallery.com 284–290 St Kilda Road, St Kilda, VIC 3182 [Map 6] 03 8598 9657 Tue to Fri 11am–5pm, Sat 12noon–4pm. See our website for latest information.

Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. See our website for latest information. The Gallery presents a diverse visual arts program of national, state and regional exhibitions. The program includes shows by regional artists, touring exhibitions and joint ventures with the public galleries sector in Victoria and elsewhere. Established in 1987, Wangaratta’s unique regional gallery is housed in a heritage building located in the creative arts precinct, adjacent to the WPACC and a short walk from the CBD. 9 May—29 June In the Realm of Senses Ralph Bristow

Spinifex Men’s Collaborative, Pilu Nguru, 2022, synthetic polymer paint on canvas, 200 x 230 cm. 11 May—11 June SPINIFEX ARTS PROJECT 25th Anniversary Exhibition.

VOID Melbourne www.voidmelbourne.org Level 2, 190 Bourke Street, Melbourne, VIC 3000 [Map 2] 0420 783 562 Thur to Sat 12noon–5pm or by appointment. See our website for latest information. 28 April—28 May Silence Paul Handley

Dimensions are subverted, spontaneity trumps tradition and colours enter into delightfully unexpected associations. Lavish, lyrical and brazenly inclusive, Bristow’s work will charm the imagination and sear the psyche with colour. 8 March—9 May In the After Emma White This series of new work by White navigates intergenerational legacy and the cathartic process of re-emerging after the loss of a mother. Through layered and foggy abstract representations, White’s paintings show undulating brush marks and vibrant earthy pigments that speak of landscapes, memory, and the everchanging seasons of the North-East. 7 May—2 June Eternal Alun Rhys Jones Alun Rhys Jones is an Australian based artist, whose practice analyses the ingrained stereotypes of perceived LGBTQI lives still perpetuated from and by mainstream news media. Through an ongoing series of works stereotypes will be questioned, scrutinised, dissected and reclaimed as sites of strength and pride.

Kent Morris, Barkindji Blue Sky – Ancestral Connections #4, 2019, giclee print on rag paper, edition of 5 + 2AP, 110 x 160 cm. Courtesy of the artist and Vivien Anderson Gallery, Melbourne. Peoples of South East Australia and their Country, over thousands of generations. 18 June—14 August Petite Miniature Textiles Petite has become a highlight of Wangaratta Art Gallery’s program and 2022 marks the 12th anniversary since the inaugural exhibition. This exhibition presents the foremost small-scale contemporary textile artworks from practicing contemporary practitioners.

Walker Street Gallery and Arts Centre www.greaterdandenong.vic.gov. au/arts Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri 12noon–4pm. See our website for latest information. The City of Greater Dandenong is a vibrant hub for Arts and Culture. From dynamic community led initiatives to high calibre professional presentations Greater Dandenong offers a host of artistic experiences for residents and visitors alike across a range of artforms.

11 June—24 July Retrospective of David and Barbara McCabe Creative Calling is an exhibition bringing together two artists, husband and wife Barbara and David McCabe, both long term advocates for artistic endeavour in Wangaratta. This exhibition is a retrospective of their body of work, celebrating two artists who have made a lasting impact in our artistic community. Until 12 June Wilam Biik Josephine Mead, Burst of You (K), 2022, digital photograph. Image courtesy of the artist. 2 June—2 July To The Sounds Josephine Mead

A TarraWarra Museum of Art exhibition touring with NETS Victoria curated by Stacie Piper In the Woiwurrung language of the Wurundjeri people, Wilam Biik means Home Country. An exhibition of cultural consciousness and knowledge, of an unsevered connection between First

Vonda Keji, Dichotomy series, 2016, digital photograph. 5 April—17 June Seen Celebrating the local community through portraiture, Seen captures the faces and people of the City of Greater Dandenong. Join us to celebrate, through art, the people that make Greater Dandenong the vibrant place it is.

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Angelina Ngal: Aharlper Country Showing until 14 May

Angelin Ngal, c.1947, Spring Flowers at Aharpler, 2007, synthetic polymer on linen, 200 x 136 cm.

Specialists in Australian Art Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative Art. Sourcing European masterworks on request.

Boonwurrung Country 5 Malakoff Street North Caulfield VIC 3161

Tel: 03 9509 9855 Email: ausart@diggins.com.au Web: diggins.com.au diggins.com.au

FOR UP-TO-DATE EXHIBITION DETAILS sign up to our mailing list at diggins.com.au

Gallery & Exhibition Hours: Tues – Friday 10 am – 6 pm other times by appointment

VICTORIA

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

exhibition uncovers some insightful advice, wise counsel and intriguing recollections from some notable Victorian-based artists. The ‘sage advice’ on offer will captivate emerging artists and visitors alike.

Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat and Sun 11am–4pm, gallery closed on public holidays. See our website for latest information. Wyndham Art Gallery is a council owned and run gallery in the City of Wyndham. Over the last 9 years it has offered a curated program that reflects the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas.

Janet Beckhouse, Night Hunt. © The artist. 5 May—28 May Celebrating the life and work of a ceramic artist Janet Beckhouse

Its programs and projects allow the diverse community of Wyndham to see themselves reflected back, providing a safe space for people of all cultures, genders and abilities to participate in what the gallery offers. Underlying these considerations is the ongoing commitment in the gallery to centre First Nations people, culture and knowledge and expand our community’s connection to place, generating a sense of belonging in our community, learning from Indigenous ways of relating to people and place.

2 June—7 August Wyndham Art Prize Shortlisted artist exhibition Wyndham’s annual art prize has become known for its scale, inclusivity, and contemporary nature. It attracts more than 300 entries including some of the best artists across Australia exhibiting alongside local and emerging artists. All shortlisted entries are included in the Wyndham Art Prize exhibition which runs at Wyndham Art Gallery from Thursday 2 June to Sunday 7 August. Shortlisted works include sculpture, painting, drawing, printmaking, textiles, photography, installation, sound digital, video and more. We had a variety of fantastic entries last year. Past winners of the prize include Melbourne based stylist, writer, creative director, and artist Gideon Wilonja for his captivating photograph titled Soft and the Local Emerging Art Prize was awarded to local artist Xiang Li for her work The Werribee River Book. In 2022 we are pleased to have the prize judged by curator and artist Maree Clarke, artist Hayley Millar Baker, and curator, artistic director, and artist Andy Butler. Be sure not to miss the exciting opening event, where the winners of the prize will be announced and the launch of Wyndham Art Gallery’s new book, DECADE 2011-2021.

In her practice Janet Beckhouse sculpted clay, loving the tactile feeling and plastic quality of the medium.

Opening Thursday 2 June, 6.30pm– 8.30pm at Wyndham Cultural Centre.

Early in her career, Beckhouse acknowledged that she ‘made stuff’ purely ‘by whim’. Her highly accomplished work progressed to feature fantastical subject matter, with the ‘skull’ as a disquieting motif. Prior to her untimely passing in 2020, Beckhouse spoke that her artwork was a ‘joy’ to share. Discover this joy in the skilful, intricate artwork created during 18 years of consistent studio practice.

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.

Gideon Wilonja, Soft, digital photograph. 2021 WAP Winner.

2 June—16 July SAGE ADVICE: A curated exhibition of art + words of advice

24 March—15 May UNIFORM Abdul Abdullah, Maree Clarke, Gail Harradine, Lisa Hilli, Cassie Leatham, Jenna Lee, Claire McArdle, Tiffany Parbs, wāni toaishara, Simone Slee and Lisa Waup.

Discover some ‘sage advice’ established artists would say to their younger selves and to aspiring artists. This curated

UNIFORM looks at the body as architecture, a site for response, interpretation and expression. It talks

Dean Bowen, Bird on a Wire © The artist.

about how we use our bodies to express history, culture and experience through the use of external devices such as adornment and clothing. It reflects the internal and external body, the landscape of the body, protection and defence of the body and the gendered body. In UNIFORM the exhibition we are looking at the uniform within different cultures, societies, communities and stages in life that bind us, and also differentiate us. The wearable that defines us.

Our historic cellar door c. 1859 with its rustic charm, high ceilings and whitewashed brick walls operates as both a tasting room and an art gallery. We exhibit the works of both established and emerging Australian artists in all art forms. Exhibitions are located in the Main Gallery 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. Commissions from artwork sales are donated to My Room Children’s Cancer Charity. 153

A–Z Exhibitions

MAY/JUNE 2022

New South Wales

Albermarle Street, Soudan Lane,

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

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

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

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

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

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

Old South Head Road

NEW S OUTH WALES

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

Maharani Mancanagara, Unjustified justify: amicus curiae (detail), 2019, charcoal on shaped wood, 150 x 700 x 15 cm. 23 April—21 May Exhibition #9: New art from Bali and Bandung When people think of contemporary Indonesian art, Yogyakarta comes to mind. Famous as a “city of artists”, Jogja is home to leading art school Institut Seni Indonesia. But Indonesia has other fascinating art scenes. Bandung for example is home to art school ITB and many of its graduates. For decades the two schools competed, their different philosophies evident in their graduates’ work. From Bandung we feature sculptor Maharani Mancanagara, photographer Meicy Sitorus and video artist Eldwin Pradipta. Bali has a very different culture. It also has a long art tradition, which Citra Sasmita addresses in her feminist paintings. Sekarputri Sidhiawati and Agugn Prabowo contribute innovative ceramics and print-making to the local mix. This exhibition presents some of the most interesting young artists working in Indonesia.

25 June—31 July Exhibition #10: Other Possible Worlds: Contemporary art from Thailand Including work by 12 younger and midcareer artists, Other Possible Worlds presents contemporary art from Thailand to Australian audiences. Reflecting Thai art, the exhibition includes works in many media—painting, sculpture, photography, installation, neon, video, prints and works on paper—and from many parts of the country. While Thailand is a major destination for Australian tourists, few Australians engage with Thai culture. But as co-curator John Cruthers reports, “Thai art, becoming more established on the world stage, is a fantastic entry point to the country and its diverse cultures. It is creative, sophisticated and often politically engaged. While it has not been easy to see, learn about or collect Thai art outside Thailand, Other Possible Worlds brings a range of work by leading younger artists to Australia.” Part two of the exhibition is on view at Delmar Gallery, 26 June–1 August.

4A Centre for Contemporary Asian Art www.4a.com.au 181-187 Hay Street, Haymarket, Warrane/Sydney, NSW 2000 [Map 12] 02 9212 0380 See our website for latest information and opening hours. 26 March—15 May For us sinners Marikit Santiago

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, Wed until late.

Badger Bates, Barka the forgotten river and the desecration of the Menindee Lakes, 2018, Courtesy and © the artist. 12 March—13 June 23rd Biennale of Sydney — rīvus In the 23rd Biennale of Sydney — rīvus, participants from across six continents and beyond the realm of the visual arts will explore our connections, and disconnections, with water, and as a result, with each other. 14 May—28 August Archibald, Wynne and Sulman Prizes 2022 The annual Archibald, Wynne and Sulman Prizes are the most engaging art events of the year, eagerly anticipated by artists and audiences alike. The Archibald Prize for portrait painting is a who’s who of Australian culture—from politicians to celebrities, sporting heroes to artists.

Daniel Boyd, Untitled (TRISATSAG), 2020, Bendigo Art Gallery Collection © Daniel Boyd. Photo: STATION Gallery, Naarm / Melbourne. 4 June—January 2023 Daniel Boyd: Treasure Island Angie Pai, Papa DiTing One, 2019, acrylic and sand render on wood, 150 x 120 x 6 cm. Courtesy of the artist.

Sompote Ang, Untitled, 2022, oil on board, 60 x 45 cm.

4 June—24 July New Energy Kalanjay Dhir, Jonathan Kim, Audrey Newton, Lucy Nguyen-Hunt, Nathan Nhan, Angie Pai, Nadia Refaei, EJ Son, Zoe Wong

Daniel Boyd: Treasure Island is the artist’s first major exhibition to be held in an Australian public institution. Featuring more than 80 works from across his nearly two-decade career, the exhibition unpacks the ways in which Boyd holds a lens to colonial history, explores multiplicity within narratives and interrogates blackness as a form of First Nations’ resistance. 155

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

Group (SaAT). Reflecting on their lived experience and professional journey, these works express their dual identity as both art therapists and artists. 15 June—26 June Stretch Michelle Chanique, Karen Lee, Jo Nolan and Gaia Starace To ‘stretch’ is an act of drawing out or extending to the full length; to hold out, to reach for something that presents itself in an unfixed manner. Through the mediums of photography, video, sculpture and painting, these artists define feelings of being ‘stretched’, and compel their viewers to reflect and rethink their perception of the world around them.

ics Association is an ADC On Tour national touring exhibition. Including outstanding work by 22 ceramic artists: Glenn Barkley, Kirsten Coelho, Greg Daly, Pippin Drysdale, Dan Elborne, Penny Evans, Honor Freeman, Susan Frost, Shannon Garson, Patsy Hely, Alison Milyika Carroll, Jeffery Mincham, Damon Moon, David Ray, Ben Richardson, Tania Rollond, Owen Rye, Jane Sawyer, Yul Scarf, Vipoo Srivilasa, Kenji Uranishi and Gerry Wedd.

29 June—10 July Black Sky Fox Virginia Keft This show is about strength, resilience, and Keft’s Aboriginal identity as a Murrawarri woman. Using the central motif of the Flying Fox, the exhibition celebrates connections to place and community. Exploring the complex and fragile interconnections between family, Culture, Country and Language, the exhibition features drawing, painting, mixed media, textiles and weaving, sculpture and sound work.

Tristan Chant, Home (detail), 2021, jacquard woven tapestry. 27 April—29 May Human in the Wire Tully Arnot, Tristan Chant, Gary Deirmendjian, Susannah Langley with Warren Armstrong, Trinity Morris and Sean Costello, Saffron Newey, Adam Norton, Miguel Olmo, Baden Pailthorpe and Tyler Payne. Human in the Wire is a Willoughby City Council curated exhibition which contemplates the technologisation of the human. The Concourse Outdoor Area will feature sculptural installations and immersive augmented reality artworks which can be activated by your smartphone.

Anne-Maree Armstrong, Impressions, 2020, acrylic, clay and thread on canvas 1 June—12 June A view from within Sydney Area Arts Therapy Group (SaAT) This exhibition features the artistic explorations by Creative Arts Therapists from the Sydney Area Arts Therapy 156

Australian Design Centre www.australiandesigncentre.com 101–115 William Street, Darlinghurst, NSW 2010 [Map 8] 02 9361 4555 Tues to Fri 11am–5pm, Sat 11am–4pm. Free entry, donation encouraged. Australian Design Centre is an independent impact organisation connecting people with good design, contemporary making and creative experiences.

Matthew Harkness, Bioplastic Futures, 2021. Photo: courtesy of the artist. 9 June—2 July Bioplastic Futures: 3D Printing and the Maker Movement Through speculative design and critical making experiments with bioplastics, ceramics and repurposed objects, Matthew Harkness’ Bioplastic Futures: 3D Printing and the Maker Movement addresses issues of waste and exclusivity in maker practices.

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

Kirsten Coelho, Fall, 2022. Photo: Grant Hancock 31 March—25 May SIXTY: The Journal of Australian Ceramics 60th Anniversary 1962–2022 SIXTY is a celebration of ceramics and 60 years of a publication dedicated to the craft. The exhibition is curated and produced by Australian Design Centre in partnership with The Australian Ceram-

Salvatore Zofrea, Dahlias and native flowers from my garden, 2021, oil on canvas 102 x 77 cm.

NEW S OUTH WALES 24 May—12 June Midday Light Salvatore Zofrea

Luke Sciberras: Side Of The Sky Bathurst Regional Art Gallery (BRAG) in partnership with Campbelltown Arts Centre (C-A-C) presents a comprehensive survey exhibition of acclaimed artist, Luke Sciberras. A Bathurst Regional Art Gallery and Campbelltown Art Centre partnership.

24 June—10 July Garry Shead

Bank Art Museum Moree (BAMM)

Luke Sciberras: A Life in Print

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

Damian Wells, “Colours, like features, follow the changes of emotions” – Picasso, 2021, Temora High School.

Robert Hirschmann, Past night, 2021, oil on linen, 90 x 90 cm. Courtesy of the artist and King Street Gallery on William. Photo: Silversalt Photography. are explored by artist Robert Hirschmann in a suite of paintings celebrating a new chapter in his life: the move from North East Victoria, through Sydney to the Central West region, and new beginnings at Portland. Past Night explores rebirth— the trauma of loss, of mentors, of loved ones, of a home carefully crafted by hand, the dislocation of moving and more pertinently, the fire and security of love and the slow beginnings of connection to a new place. Hirschmann has been represented by King Street Gallery on William, Sydney, since 1990. A BRAG Local Artist Project.

16 April—25 June ARTEXPRESS Group exhibition featuring a selection of outstanding student artworks developed for the HSC examination in visual arts in NSW.

In 1952, artist Sidney Nolan was commissioned by The Courier Mail newspaper to photograph its deadly effects on northern Queensland’s stock routes. Nolan’s drought paintings and drawings are a direct response to this photographic series depicting the emaciated carcasses of horses and cattle. Nolan likened their plight to the inhabitants of Pompeii: trapped in time and frozen in position in the barren landscape. Drought features a selection of paintings loaned from the Geoffrey Hassall Collection, alongside evocative photographs from the Benalla Art Gallery collection. A BRAG Exhibition. 9 April—5 June Robert Hirschmann: Past Night Reflections on life, death and rejuvenation

While the huge challenges that humanity must overcome in the coming decades cannot be solved solely by artists, Daly highlights that they do possess one vital characteristic that will be crucial in turning the tide: creativity. Using the transformative power of the kiln to reclaim and reuse waste materials, the resulting works in reCLAYm are a manifesto for an innovative and environmentally aware approach to art making. A BRAG Foyer Space Exhibition.

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

www.bathurstart.com.au

9 April—5 June Sidney Nolan: Drought

John Daly: Reclaym

Blacktown Arts Centre

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

Hill End based artist Luke Sciberras has donated 64 prints to the permanent collection of Bathurst Regional Art Gallery, the largest single donation of work ever made to the collection. The artist has also confirmed his intention to donate one print from each series he makes in the future to mark his life’s journey in prints. Included in the BRAG gift are rare drypoint etchings and linocuts created on a cast-iron etching press that Sciberras has had in his studio for more than 20 years. The press was given to him in 1998 by artist Peter Wright; prior to that, it had been owned by artist John Olsen, and before him by artist Clifton Pugh. A BRAG Exhibition.

Nicola Mason, Cup full, 2021, oil on canvas, 46 x 46 cm. Image and photo courtesy of the artist. 9 April—5 June Nicola Mason: Cycle Mason references memento mori symbolism, utilising painting as a vehicle for thinking about living with the land. Her thoughts on nature and culture coalesce on the canvas, enacting contemporary storytelling within her works. Here she challenges the still-life genre where subjects are traditionally presented as binary, instead blurring the boundaries between the natural world and the manmade. Mason was the recipient of a Create NSW Small Project Grant for development of work for this exhibition. A BRAG Local Artist Project. Hui Selwood: Cubi And Other Passage Hill End-based sculptor Hui Selwood presents a collection of painted steel sculptures of an abstract nature. A BRAG Foyer Space Exhibition.

Garage Graphix: Making Art in Mt Druitt, 1986 Calendar page,1986, screenprint on paper. © the artists. Photo courtesy of Lin Mountstephen. 157

ar t g ui d e .c o m . au Blacktown Arts Centre continued...

Campbelltown Arts Centre

8 April—7 May Talking Posters: Garage Graphix 1981–1998 Talking Posters: Garage Graphix 1981–1998 presents a selection of screen-printed artworks, textiles and calendars alongside original equipment and materials from the renowned ‘Garage’ in Mt Druitt. The exhibition reveals the role of artistic collaboration in giving voice to community concerns, expressed through the unique styles and typography from a pre-digital era of poster-making. An artist-led print studio will run throughout the exhibition giving open access for visitors to create their own screen-print.

www.c-a-c.com.au 1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information. Mini Stupas, CLARA HALI, 2020-21, wood, metal and found materials, various dimensions. Courtesy of the artist. focusing on the influence of Eastern philosophies and spirituality on the artist’s practice. 23 April—22 May Inspired by Art This exhibition showcases a major body of work developed by the participants of the Inspired by Art program. Inspired by Art is an inclusive, accessible visual arts class, open to art-lovers living with disability, and other creative locals.

Luke Sciberras in his Hill End studio. Photo © Robyn Lea from Bohemian Living: Creative Homes Around the World. (Thames & Hudson, 2019). 4 June—7 August Side of the Sky Luke Sciberras A comprehensive survey exhibition of acclaimed artist, Luke Sciberras. Held concurrently across two venues and covering 25 years of practice, Luke Sciberras: Side of the Sky will focus on Sciberras’ extensive travels, and highlight his connection to Wedderburn, Hill End and the Central West region. The exhibition will also foreground Sciberras’ lesser-known drawing and print practice.

Yvette Tziallas, Lacrimo, 150 x 120 cm, pen, ink and liquid acrylic on birch. plywood, 2021. Winner, Blacktown City Art Prize 2021. Acquired Blacktown Art Collection 2021. Photo: silversalt Photography.

In partnership with Bathurst Regional Art Gallery (BRAG).

Casula Powerhouse Arts Centre

Submit online by 6 October 2022 Blacktown City Art Prize Call for Entries

www.casulapowerhouse.com

Accepted media: drawing, painting, sculpture, printmaking, ceramics, photomedia. Submit at blacktownarts.com.au/bcap/

1 Powerhouse Road, Casula, NSW 2170 [Map 11] 02 8711 7123 See our website for latest information.

Exhibition will be 27 November— 27 January 2023.

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. See our website for latest information. 26 March—22 May Clara Hali: The Circle & The Square A Blue Mountains City Art Gallery exhibition. Clara Hali: The Circle and the Square showcases new and existing works, 158

EMIKO SEITA, Tales from Another Land ink and pen, 2021 (Katoomba High School). 30 April—12 June Beginnings: HSC visual art talent from the region Beginnings showcases a selection of works from the 2021 HSC visual art cohort from the Blue Mountains and surrounds. 28 May —10 July 10 years: The Blut Mountains Cultural Centre Collection This extensive collection survey featured works collected since the opening of the Blue Mountains Cultural Centre in 2012. A Blue Mountains City Art Gallery exhibition. Ken Done ‘Me,’ 2011, Acrylic and Enamel on canvas.

NEW S OUTH WALES 4 June—14 August Paintings you probably haven’t seen Ken Done Liveable Art: Stories of Done Art and Design Stepping Into The Same River Twice Zanny Begg

Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 02 9356 3317 Tues to Sat 11am–6pm.

Peter Sedgley, Chromosphere, 1967, polyvinyl acetate emulsion paint on linen canvas, dichroic lamps with timer and dimming units. Power Collection. PW1967.22.a-b.

Debra Keenahan ‘Smashing’ (still), 2022. HD Video. 30 April—24 July BEING DIFFERENT: A Creative Happening Debra Keenahan

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

Alicia Mozqueira, Flowers, 2021, oil on canvas, 180 x 150 cm. 12 May—4 June Alicia Mozqueira, 2022

Light & Darkness is a major exhibition drawing on the University of Sydney’s Power Collection. It spans the luminal, op and kinetic works of the 1960s by major artists such as Jean Tinguely and Bridget Riley; the political and conceptual art of the 1970s with Ed Kienholtz and On Kawara; and Australian and New Zealander artists in the 1980s, including Peter Tyndall, Jenny Watson and Colin McCahon. The exhibition and accompanying book are the first projects from the University’s extensive collection of international contemporary art in its new home at the Chau Chak Wing Museum. Entry is free and no bookings are required.

Tristan Jalleh, Water Mall, 2017, video still. Image courtesy of the artist. 12 March—22 May Virtue & Virtuosity Sally Gabori, Camille Henrot, Chantal Fraser, Heather Phillipson, Tristan Jalleh, Tully Arnot, Maya Kilic, Lauren Berkowitz with Indigigrow, Troy Emery and Speaking in Colour. In spectacular displays of colour and accomplishment, the artworks in Virtue & Virtuosity draw viewers into deeper reflection on our relationships to each other, non-human species and broader colonial, capitalist and ecological systems.

Jason Phu, I can’t remember drawing these. 12 May—4 June Tara Marynowsky, Kate Mitchell, Madeleine Pfull and Jason Phu

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, Weekends 12noon–4pm.

Naomi Hobson, Rainbow Twins, 2020. 11 June—31 July Adolescent Wonderland Naomi Hobson

Until 27 November Light & Darkness This evocative theme unites 70 artworks from the Power Collection, exploring luminosity, colour, movement, race and politics across three decades of late modernism.

Lantern slide, Poinciana regis, unknown Pacific location, early-mid 20th century, Macleay Collections, HP2008.1.141. Until July Pacific Views Stunning historical photographs of Papua New Guinea, Fiji, Tonga, Nauru and the Federated States of Micronesia are brought to life through the contemporary voices, songs and poetry of Pacific peoples. The images selected for this exhibition date back to the 1870s and reveal views of fragile, flourishing and diverse ecosystems nurtured by Pacific Islander peoples during a time of colonisation. Full of promise and purpose these views are joined with Pacific Islander voices of our own time. Through audio recordings, oration and poetry, the resonating voices and songs of Pacific peoples connect contemporary culture to the histories captured in these photographs. 159

georgesriver.nsw.gov.au/hmg

NEW S OUTH WALES Chau Chak Wing Museum continued... Until 26 June Sarah Goffman: Applied Arts An immersive deep dive into the interdisciplinary art practice of Sarah Goffman. Intricate and playful, Goffman transforms recycled material, mostly plastic, into artworks that reference larger histories such as the Orientalist fascinations of Western collectors.

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. See our website for latest information.

Craig Waddell, 35 Days with You (detail), 2020, ink, watercolour, pastel and gouache on paper, 220 x 220 cm. Courtesy and © the artist. artworks across a broad range of media that acknowledges the foundational principals of drawing, while also encouraging challenging and expansive approaches to drawing. Toured by the National Art School, Sydney.

Peter Powditch, Sun Torso, XXXX, 1971, enamel on board, 35.7 x 45 cm. 7 May—28 May Peter Powditch Opening Saturday 7 May. 4 June—25 June Catherine Cassidy Opening Saturday 4 June.

Darren Knight Gallery www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm. See our website for latest information. 23 April–21 May Michelle Nikou

Tim Allen, Substance and Loss I, mixed media on paper, 80 x 110 cm. 4 June—25 June Tim Allen Opening Saturday 4 June.

Henryka Aremba, Resistance, 2016, own technique, linen, wood. (Poland/ Denmark). 15 May—19 June Baltic Mini Textiles Launched in 1993 in Gdynia, Poland, the Baltic Mini Textile Gdynia exhibition is one of Europe’s leading reviews of textile miniatures. The juried event is held every third year. It features artists from around the globe. The small scale (20 x 20 x 20cm) allows artists to experiment with complex, intricate techniques and use delicate and ephemeral materials. The election of textiles on display demonstrates a diversity of techniques and fascinating artistic solutions. Toured by Warwick Art Gallery. The Collection in Focus: Women Artists During the past decade the Gallery has collected an impressive array of works by prominent Australian women artists through donations, gifts, purchases assisted by the Friends of the Gallery and winners of the Calleen Art Award. This unique exhibition showcase highlights the artwork by Australian women artists that the gallery holds in its collection of contemporary art as well as celebrating the breadth and diversity of their work. Artists include Susan Baird, G.W.Bot, Joanna Logue, Margaret Loy Pula, Mandy Martin, Jenny Sages, Wendy Sharp, Zoe Young and more. 26 June—14 August Dobel Drawing Prize The exhibition showcases the finalists’

Flinders Street Gallery www.flindersstreetgallery.com Matlok Griffiths, The Shape Your Life’s Been Squeezed Into, (05), 2021, glazed ceramic and cork, 18.5 x 20 x 32 cm. 23 April–21 May The Natural Years Matlok Griffiths

61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment. See our website for latest information.

28 May–25 June Jon Campbell

Defiance Gallery www.defiancegallery.com 12 Mary Place, Paddington, NSW 2021 [Map 10] 02 9557 8483 Director: Campbell RobertsonSwann. Wed to Sat 11am–5pm Defiance Gallery represents a varied and innovative stable of established Australian and international artists in both painting and sculpture, as well as talented newcomers to these fields, with a particular emphasis on the abstract. The Gallery’s stalwart support for sculpture has marked it as the leading Australian exhibition space for this form.

Alex Xerri, Hydrogen, acrylic and stone on canvas. 161

PAT R I C K C A R R O L L ‘ M Y H O M E , M Y S T U D I O ’, 1 9 4 9 –2 01 9 1 1 M AY – 2 6 J U N E 2 0 2 2

Gallery Hours: Wed – Fri 10:00am – 5:30pm; Sat – Sun 10:00am – 4:00pm; Mon, Tue CLOSED

R O C H F O R T G A L L E R Y 3 1 7 P A C I F I C H I G H W AY, N O R T H S Y D N E Y N S W 2 0 6 0 0 4 3 8 7 0 0 7 1 2 | W W W . R O C H F O R T G A L L E R Y. C O M rochfortgallery.com

NEW S OUTH WALES Flinders Street Gallery continued...

A little razzle dazzle blurs my sharp outline; a venom-coloured coat deters a mouthful; eyespots on my wings confuse and confound… the magician’s misdirection diverts lascivious looks.

7 May—28 May Pangaea Alex Xerri

Deflect predacious eyes; hide in plain sight. Wear a smile, a pretty dress, or prepare to defend yourself with tooth and nail. Or even worse, justify yourself.

Opening 7 May, 4pm–6pm.

Mila Feng, There Is Only One Sun.

Under Cover features bright, textural works which layer colourful metaphors of conspicuous camouflage from the animal and insect worlds onto the complex female psyche. It includes wall hangings and soft sculptures felted from hand-dyed silk and merino wool.

19 May—30 May Our Place, 2022 Ann Lin Lorna Grear, Bannaby Outlook, acrylic on canvas, 76 x 91 cm.

Artist in residence exhibition Maria Alvarado Loukianoova

4 June—25 June Drop Shadow Lorna Grear

Rachel Feng

Opening 4 June, 4pm–6pm.

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. 5 May—16 May The Falling Ferney Caro The Seen and Unseen Anna Tierney

2 June—13 June As You Are Gracie Edwards Gracie Edwards’ forthcoming photographic exhibition, ‘Afterward’ explores the interrelationships between abstraction and hyper-fixation—an inquiry into the admiration of urban/suburban mundane localities and the banal and commonplace. Between Dreams Leanne Xiu Williams Sarah Cantania 16 June—27 June A Wicked Chapter Simon Darling Metamorposis Ashlee Pham

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 and Sun 10am–2pm. Closed public holidays. Fully wheelchair accessible. Street parking and easy public transport access.

Ann Lin, A Man Playing Snooker, 2019, acrlyic on linen canvas, 140 x 160 cm. 5 May—16 May THIS CAN’T LAST Mila Feng Cartographie Victoria Lovecchio 19 May—30 May Unfinished Business Group Show

Samantha Tannous, Under Cover. 4 May—1 June Under Cover Samantha Tannous

Natalie Fisher, Young visitor in Silk Inroads, Wagga Wagga. Image credit: Brittany Hefren. 4 June—29 June Silk Inroads Natalie Fisher Silk Inroads is a collaborative community project that explores the visual heritage of the ancient Silk Roads via contemporary needlepoint. The exhibition comes to Sydney following a period in Wagga Wagga, where needlepoint artist Natalie Fisher worked with the local community to create a body of stitched panels inspired by the beautiful tiles found in four countries along the Silk Roads: Uzbekistan, Afghanistan, Iran and India. Gallery76 will host the exhibition, as well as workshops and other events.

Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Sat 10am–4.30pm (till 14 May), 10am–2.30pm (from 18 May). 6 April—14 May Drawn by stones Dean Cross, Ray Chan See Kwong with Chuen Lung community members, Ruth Ju-shih Li.Wen-Hsi Harman with Lakaw, Dogin, Palos, Lisin and Byimu Jody Rallah Drawn by stones brings together artists who utilise the ceramic medium to interrogate contested histories, stolen land, Indigenous sovereignty, and national identity. Exhibiting artists from Australia, Hong Kong and Taiwan investigate ‘nationhood’ and ownership through ceramics and demonstrate how the ceramic form can both memorialise and tell alternative histories. 163

ar t g ui d e .c o m . au Gallery Lane Cove continued... Drawn by stones is a travelling exhibition presented in partnership with 4A Centre for Contemporary Asian Art. Curated by Bridie Moran with Assistant Curator Annette An-Jen Liu. Supported by the Ministry of Culture Taiwan and the Taipei Economic and Cultural Office in Sydney, and The Gordon Darling Foundation. 6 April—14 May Longing for Home Pamela Leung This exhibition is the culmination of the artist’s long-term residency at Gallery Lane Cove. With installation, video, sound, sculpture and painting, she explores the connection about the place where we come from or belong to,the idea of ‘home’ from an immigrant perspective. Proudly supported by Chats Accountants. 18 May—11 June He Took My Beautiful Raeleen Pfeiffer An exhibition that explores themes of domestic sexual violence and mental health through the personal lens of the artist. Supported by Create NSW’s Quick StartUp Grant and Eastern Riverina Arts. 18 May—11 June Floriana The Blue Hour: A Contemporary Photographic Collective Janet Tavener, Susan Buchanan, June Lahm, Jilly Perrin, Carolyn Pettigrew, Kirry Toose, Adrienne Watson, Carmel Wellburn In this exhibition, a collective of established and emerging photography artists mentored by renowned photographer Janet Tavener, have united to present a diverse and dynamic new series of photographic artworks capturing their personal response to the Australian flora, both native and exotic. 17 June—2 July ArtXtra Lane Cove Art Society Lane Cove Art Society’s annual members’ exhibition featuring works in oils, acrylics, pastels and watercolour.

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.

surrounded by our idyllic coastline and mountainous backdrop, draw constant inspiration from this natural environment. Some directly depict the local landscapeand people, whilst others purely celebrate their artistry amongst them.

13 May—18 June Tablelands Heath Nock

The exhibition consists of a selection of the potters’ hand-built and wheelthrown pottery producing functional and sculptural ceramics, and the artists’ portraiture, plein air sketching and painting. Through their work, both groups celebrate life to its fullest in a creative and harmonising community at the PMACC.

Nock’s oil paintings playfully bring together tenents of landscapes, still life and surrealism. Oversized, warped or blurred objects from popular culture inhabit the landscape in unexpected ways.

7 May—26 June Northern Exposure 7 By a selection of Mid North Coast artists. Northern Exposure is a biennial exhibition open to all artists on the Mid North Coast. Artists were invited to submit work whichexplores themes and subjects relevant to their current arts practice. All mediums were welcomed. The final selections have been chosen by a panel of key arts professionals from across the Mid North Coast. The Glasshouse Regional Gallery has a strong commitment to developing the creative industries within our region.

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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.

Northern Exposure 7 continues this commitment by providing accessible opportunities for regional artists to exhibit and enhance their artistic practice and careers. The Glasshouse Regional Gallery supporting regional artists. Funded by Create NSW and Port Macquarie Hastings Council.

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. 13 May—18 June 2022 Goulburn Art Award The 2022 Goulburn Art Award is open to artists living within a 120km radius of Goulburn working in any medium. The Award represents the talent and diversity of artists working within the region. Two categories are awarded: the Goulburn Art Award and the Young Artist Award for students in Years 10, 11 and 12. The 2022 Goulburn Art Award will be judged by Danny Lacy, Director, Mornington Peninsula Regional Gallery.

30 April—3 July Coastal Inspirations by Port Macquarie Art & Craft Centre (PMACC) Coastal Inspirations celebrates the artistic talents of two groups from the Port Macquarie Art & Craft Centre (PMACC); the Art group and the Pottery group.

Southern Highlands based artist Heath Nock presents his series Tablelands in Gallery 2.

Karla Dickens, Pound-for-pound #8, 2019 (detail), Aluminium, vintage mattock handle, waxed linen thread, cotton string, steel pulleys, emu feathers. 30 April—4 June Recollections Works by First Nations women artists from the collection of ARTBANK. Curated by Dennis Golding. A reflection on the significance of memory in the work of First Nations women artists. Recollections of a moment in time connecting artists with generational experiences and ways of representing across time and place, linking traditional and contemporary expressions of artistic practice. 23 June—22 July Ages Stephen Hall

Heath Nock, High wind area, 2022, oil on canvas. Image courtesy of the artist.

Survey exhibition of multimedia artworks by Stephen Hall.

NEW S OUTH WALES

Hazelhurst Arts Centre → Francine Geronimo, Santa Sabina College, Still Live (detail), 2021, Photomedia.

Granville Centre Art Gallery www.cumberland.nsw.gov.au/arts 1 Memorial Drive, Granville, NSW 2142 [Map 7] 02 8757 9029 Tues to Fri 10am–4pm, Sat and Sun 11am to 4pm.

24 May—31 July Over the Fence A partnership with Parramatta Artists’ Studios. Cumberland City Council and City of Parramatta are neighbouring local government areas in Western Sydney, all that separates is an arbitrary border. Granville Centre Art Gallery, which resides within Cumberland, has partnered with Parramatta Artists’ Studios to celebrate what a neighbourhood can mean, what makes it special, why do we live where we do and then how we do connect. Artists Marian Abboud, Heath Franco, Rebecca Gallo, Tarik Ahlip & Linda Brescia, Gillian Kayrooz, Venessa Possum and Kalanjay Dhir have created new works that explore their own neighbourhoods and communities, shining a light on why Western Sydney is so special.

Hazelhurst Arts Centre 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. Gillian Kayrooz, Argile Hat Wedding Cake Rock.

9 April—13 June ZOOMERS Outstanding HSC Artworks

Featuring over 50 exceptional HSC 2021 artworks selected from students across New South Wales, this exhibition is the visual voice of Generation Z. Works include painting, drawing, graphic design, sculpture, digital art forms, wearable art and more. 25 June—28 August Terminus Jess Johnson and Simon Ward A virtual reality installation where visitors can explore a mysterious universe of alien architecture populated by humanoid clones and a network of gateways. This is a National Gallery Touring Exhibition. 25 June—28 August Bulu – Shadow of a Tree Alison Clouston and Boyd An exhibition that extends the artists’ decades long enquiry into trees, the urgent threats they face, and their co-evolution with other organisms.

Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Fri 10am—4pm, Sat 10am—4pm, Sun 2pm—5pm. See our website for latest information. 165

Ross Harvey Intimate Moments

Ross Harvey, Delft Vase, Cup and Mandarins, oil on Board, 15 x 15 cm.

2 Moncur Street, Woollahra NSW, 2025. 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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NEW S OUTH WALES Hurtsville Museum & Gallery continued...

30 April—24 July Our Journeys | Our Stories

Fitzgerald, Nicola McClelland, Ro Murray and Lisa Pang Responding directly to the Incinerator’s architecture as a site of diverse legacies, Architecture and Beyond playfully explores Marion Mahony’s and Walter Burley Griffin’s enduring impact through the discourse of contemporary visual arts. An exhibition of installation, assemblage, printmaking and sculpture, the artists focus on the Griffins’ influence in relation to the issues and challenges of the twenty-first century.

Our Journeys | Our Stories explores the Chinese migration history of the Georges River area, interweaving social and cultural history with the work of contemporary Chinese-Australian artists Cindy YuenZhe Chen, Guo Jian, Lindy Lee, Xiao Lu, Jason Phu and Guan Wei. This exhibition aims to highlight and celebrate the significance of local Chinese migration from the 19th century through to the 2000s and the ongoing contribution of the Chinese community to the Georges River area.

Ample Projects, film still from Life Blood, 2021. Japan, curated by Deborah Szapiro and Honami Yano, advised by Koji Yamamura. Featuring over 15 animations and process works, the exhibition engages in the concept of continuum and the universal human experience.

Incinerator Art Space www.willoughby.nsw.gov.au/arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information. 4 May—22 May Time Will Tell Carol Bogard, Lynley George, Susan Grant, Anne Levitch, Prue Robson, Angela Shacklady and Mary Simmonds Time Will Tell explores time as a multidimensional fabric, challenging the concept of a linear continuum. The seven artists work within disciplines such as ceramics, printmaking, painting, sculpture, poetry, sound, kinetic and interactive works. Through their different mediums, these artists engage with definitions and expand perceptions through processes of layering, capturing, measuring and conflating moments in various structural frameworks of perception, anchored by particular events, but waving in the breeze of time.

The Ken Done Gallery Deirdre Hart, Mangrove Track, 2022, acrylic on board. 15 June—3 July Tracks and Traces Deirdre Hart This exhibition is inspired by the Australian environment, particularly Sydney’s bushland reserves. Deirdre Hart is drawn to these places which provide a portal into a natural, almost unchanged, timeless world. Hart’s abstract style paintings record her impressions of the landscape; observing the textures, shapes, colours and light, the confluence of land and water, tracks etched by natural forces, traces and fragments which remain untouched.

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

The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information. 18 February—2 July continuum: Independent animation from Japan and Australia

Ro Murray, Reflected in Glass, 2021, lino print. 25 May—12 June Architecture and Beyond Mandy Burgess, Michelle Le Dain, Sarah

Our humanity is a continuum of consciousness. Of Being-Time. Of being. In space and time. It is the only perception that changes and it is this wondrous complexity of th is perception that is at the heart of this curation of Australian and Japanese animation. continuum showcases the next generation of animators across Australia and

Ken Done, New year, 2022, oil and acrylic on linen, 152 x 122 cm. 14 April—15 June Recent Work Ken Done

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Visit us at the Affordable Art Fair Stand C06 2 – 5 June Royal Randwick Racecourse, Winx Pavillion

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

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NEW S OUTH WALES Sancintya Mohini Simpson, Evelyn Malgil, Leyla Stevens, Brett McMahon, Ryan Andrew Lee, Sara Morawetz, Vicky Browne and Isha Ram Das Simpson. Curated by Meryl Ryan and Naomi Riddle.

King Street Gallery on William www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat 10am–6pm.

Lavendar Bay Society www.royalart.com.au The Mackenzie sisters greet old friends after arriving in Busan, 1952. Image courtesy of the Kyonggi University’s So-sung Museum, South Korea.

Lucy Culliton, Second Pool in Moores, Winter, 183 x 183 cm. 19 April—14 May Cambalong Creek Lucy Culliton Chasing Light: New Works on Paper Martha Marlow

Australian Mackenzie Family’s Journey in Korea explores the invaluable friendship formed between Australia and Korea by showcasing the stories of the Australian missionary family. The Kyonggi University’s So-sung Museum has carried out continuous research on more than 10,000 photographs and records left by the Mackenzie family, which has led to this special exhibition featuring an array of images and stories in chronological order. Marking the 60th anniversary of diplomatic relations between the two countries last year, this exhibition reminds us of Australia’s devotion and dedication made to Korea 130 years ago, contributing to the development of strong bonds that have lasted ever since. In partnership with the So-sung Museum, the KCC is delighted to present this amazing journey commemorating the important milestone between the two nations.

25-27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 Mon to Fri 10am–4pm, Sat and Sun 11am–4pm. Closed public holidays. See our website for latest information. The Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts. It has been established since 1880.

The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. John Bartley, Norman, 2021, acrylic on wood, 60 x 60 cm. 17 May—11 June Something but Nothing John Bartley 14 June—9 July Somehow Connected Peter O’Doherty

Peter Griffen.

26 March—15 May Radical Slowness Akil Ahamat, Emma Fielden, Dean Cross, Izabela Pluta, Aude Parichot and Tané Andrews. Curated by Anna May Kirk and Tai Mitsuji. 20 May—12 June COLLECT Annual fundraising exhibition featuring over 100 Hunter based artists.

Korean Cultural Centre Australia www.koreanculture.org.au Ground floor, 255 Elizabeth Street, Sydney, NSW 2000 [Map 8] 02 8267 3400 Mon to Fri 10am–6pm. See our website for latest information. 8 April—8 July Australian Mackenzie Family’s Journey in Korea

Denis Lithgow. Leyla Stevens, Witness (still) 2016, single channel video projection, stereo sound, 6:52 minutes. 18 June—31 July Promise The Earth

6 May—19 June Imagination and Abstraction Exhibition Guest openers: Peter Griffen and Denis Lithgow.

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APPLICATIONS OPEN

A.M.E. Bale Travelling Scholarship and Art Prize 2022 Applications are open for this national art prize which is awarded biennially to emerging Australian artists who have demonstrated talent and achievement in traditional styles. MAJOR AWARD FOR A TRAVELLING SCHOLARSHIP – $50,000 A.M.E. BALE ART PRIZE IN THE MEDIUM OF OILS AND/OR ACRYLICS – $5,000 A.M.E. BALE ART PRIZE FOR WORKS ON PAPER – $5,000

ONLINE APPLICATIONS CLOSE TUESDAY, 4 OCTOBER 2022.

For more information visit www.gleneira.vic.gov.au/Bale Shortlisted works will be exhibited in Melbourne at the Glen Eira City Council Gallery from 25 November to 18 December 2022.

gleneira.vic.gov.au/bale

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Macquarie University Art Gallery

26 February—5 June Of This Place Alysha Fewster

www.artgallery.mq.edu.au

www.magam.com.au

The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 10am–4pm. Open every Wednesday until 6.30pm during the month of May. Group bookings must be made in advance. See our website for latest information.

Salvatore Zofrea, The watertrap, 1979, oil on canvas, 152 x 334 cm. Donated through the Australian Government’s Cultural Gifts Program by Jenny Hillman, 2021, Macquarie University Art Collection. Photograph: Effy Alexakis, Photowrite. 4 March—25 May Luminosity: Salvatore Zofrea Retrospective

West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. See our website for latest information.

Troy Emery, Park Creature, 2020 polyester, polyurethane, pins, adhesive. Maitland Regional Art Gallery Collection. 30 April—12 June Dog Days Sami Bayly, Gillian Benke, Nicola Bolton, Jen Denzin, Jake Henzler, Jordan Lucky and Troy Emery.

Macquarie University Art Gallery Curated by Rhonda Davis.

By playfully examining popular iconography and histories related to Manly’s cultural identity, this exhibition of ceramics and paintings seeks to unsettle colonial narratives of masculinity. As an Indigenous man, Billy Bain aims to reclaim self-agency in how he identifies with the Manly area where he was born and raised and to reference the continued presence of the traditional custodians of the land.

Wednesday 4 May, 1pm–2pm In Conversation Kon Gouriotis and Salvatore Zofrea. Wednesday 12 May, 10am–1pm Natural Dyes Workshop Melissa Whidjaya Wednesday 18 May, 1pm–2pm In Conversation Rhonda Davis and Salvatore Zofrea discuss the curation of the exhibition.

www.mrag.org.au 230 High Street, Maitland, NSW 2320 [Map 12] Gallery & Shop Tue to Sun 10am–5pm. Café 8am–3pm. Free entry, donations always welcomed. See our website for latest information. 19 March—15 May Maitland Cultural Resurgence Speaking in Colour

Billy Bain, Manly Man, 2022, ceramic, 122 x 53 x 35 cm. Until 19 June Being Manly Billy Bain

Events at Macquarie University Art Gallery:

Maitland Regional Art Gallery

Manly Art Gallery & Museum

Noŋgirrŋa Marawili, Baratjala, (detail) 2020, earth pigments and recycled print toner on stringybark. 19 February—14 August Daughter of the Lightning Snake Noŋgirrŋa Marawili 28 May—28 August Female Drivers Curated by Madeleine K. Snow Various 21 May—4 September Connected to Nature Mai-Wel Creative Arts

5 March—15 May Wonnarua Elders Wonnarua Elders Painting Group

4 June—4 September Sleepwalking From the Maitland Regional Art Gallery Collection Various

5 March—29 May Oh, Canola! Dani Marti

18 June—11 September See You In The Soup | Soft Stories Cat Rabbit and Isobel Knowles

Katthy Cavaliere, Nest 1, 2010/16, chromogenic colour print on silver based paper, 88 x 120 cm. 6 May—19 June Suspended Moment Frances Barrett, Katthy Cavaliere, Giselle Stanborough, Sally Rees A Carriageworks and Museums & Galleries NSW touring exhibition, curated by Daniel Mudie Cunningham, bringing together current and past works by the three recipients of The Katthy Cavaliere Fellowship and formative work by Katthy Cavaliere loaned from her estate. 171

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Martin Browne Contemporary

14 May—12 June 2022 Mosman Youth Art Prize Judged by Rosie Deacon.

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.

A new exhibition of photographs by Otis Burian Hodge. The exhibition is comprised by both 35mm and medium format images that explore family relationships and memories, represented through the documentation of places, objects and repetitive habits. These habits can change over time as relationships change and develop and the places and sites that are documented change and evolve. This is a project that has developed out of Hodge’s childhood journeys on the Hume Highway, between Sydney and his grandmother’s Albury home. 28 January—31 July Karla Dickens

Salote Tawale, Mangroves, 2020, oil on canvas, 95 x 77 cm. Mosman Art Collection. Image courtesy the artist and Mosman Art Gallery © the artist. Photo by Tim Connolly.

Tim Maguire, Untitled 20220301, 2022, oil on canvas, 168 x 153 cm. 28 April—22 May Regeneration Tim Maguire 26 May—19 June Adrienne Gaha 26 May—19 June Andy Pye

Mosman Art Gallery

18 June—7 August 75 years of the Mosman Art Prize: From Margaret Olley to Salote Tawale

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.

www.mosmanartgallery.org.au

New works by acclaimed Wiradjuri artist Karla Dickens have been commissioned for the museum’s five Wonder Cupboards, small installation spaces curated especially for children. These new works speak to her experience as an Aboriginal woman, mother and activist. They invite young museum visitors to reflect on important ideas and issues from new perspectives, using playful techniques and images. 29 April—17 July Don’t be bashful, wear the flower behind your ear Talia Smith The first institutional solo exhibition by photo and moving image artist Talia Smith. Smith explores the ebb and flow of how one connects to their culture and the ties that bind by situating her lived experience of the Pacific or Moana diaspora within the Samoan concept of the va—the space between, a space in which separate times, relationships, things and entities are held outside of Westernised constructs. Within this exhibition there is no final answer but rather many possibilities, future imaginings, and an acknowledgement that culture is never one defined thing.

Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–4pm, closed public holidays.

Dean Cross, thinkingbeinglaughingcryinglivingdying, 2021, face mounted archival print. Image courtesy the artist. Finalist in the National Photography Prize 2022. 25 February—5 June National Photography Prize 2022 Taloi Havini, Hyena Lullaby, (still) 2019. HD single channel, colour, stereo sound, 3.21 mins. Taloi Havini (camera/editing), Michael Toisuta (sound design), Miriana Marusic (editing/graphics), Sana Balai (vocals). Hyena Lullaby was commissioned by TBA21–Academy with the support of Institut Kunst HGK FHNW in Basel for the online collection of the Ocean-Archive.org. Image courtesy and © the artist.

The biennial National Photography Prize offers an opportunity to consider the vital role of photography in contemporary art, bringing together artists from across Australia who are developing and challenging photographic language and techniques. Including Amos Gebhardt, Caitlin E. Littlewood, Dean Cross, Dennis Golding, Guy Grabowski, Janet Laurence, Kate Mitchell, Kiron Robinson, Luke Parker, Robert Fielding, Sara Oscar, Tiyan Baker.

2 April—3 July Hyena Lullaby Taloi Havini

8 April—22 May The Last Jar of Rosehip Jam Otis Burian Hodge

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James Gleeson, The Surfers (Bellerophon), c.1960, oil on board, 11 x 15 cm. Murray Art Museum Albury Collection, Bequest of Mr Justice J.F. Nagle AO, QC, 2010. © Gleeson O’Keefe Foundation. 17 June—16 October Zombie Eaters A sprawling exhibition of contemporary and late 20th Century Australian representational painting. Over 40 works have been drawn from the Murray Art Museum Albury collection, institutional and private collections and from artists’ studios. A select number of artists have been supported to present focussed presentations of work, integrated into the wider exhibition. Featuring Fiona Lowry, Hamishi Farah, Juan Davila and Kate Smith along-

NEW S OUTH WALES side artists including Anna Kristensen, Daniel Boyd, Fred Cress, Gordon Bennett, James Gleeson, Jude Rae, Julie Fragar, Karen Black, Margaret Olley, Marlene Gilson, Mitch Cairns, Nigel Milsom, Patrick Hartigan and Pierre Mekuba.

and finalists. Art Tracks V: Recollection explores the past’s influence on the present, and the ways the present makes us reimagine the past. Sally Stokes’ work, Somewhere Deep Within, simplifies this notion. Painting entirely from memory some parts forgotten, other parts remembered in full colour.

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. Ongoing MCA Collection: Perspectives on place Bringing together artworks that explore the social and physical aspects of place. It has been imagined as an expanded map, which weaves together a picture of the world made from rituals, memories, metaphors, imprints and repurposed materials.

Milton Becerra, Sinfonia del Universo, 2018. Installation view, Museum of Contemporary Art, Lima, Peru. Stone and nylon fibres. Supported by Museum of Contemporary Art, Lima, Peru. Image courtesy and © the artist, photograph: Milton Becerra. links between earthbound and watery beings and cosmic and terrestrial waterways. Tensions between systems of nature and culture flow through the rīvus exhibition, as do themes of fluidity and interdependence, and the precarious relationship all life on earth has to water.

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. 14 March—7 May Muswellbrook Art Prize 2022

Hannah Gartside, installation view, Primavera 2021: Young Australian Artists’, Museum of Contemporary Art Australia, Sydney. Image courtesy the artist and Museum of Contemporary Art Australia. © the artist. Photograph: Anna Kučera. Until 13 June Primavera 2021: Young Australian Artists

The Muswellbrook Art Prize finalist exhibition captures the current themes and practices of contemporary Australian artists. Now totalling in $70,000, the Muswellbrook Art Prize has been supported by the Muswellbrook Shire Council since 1958 and Bengalla Mining Company who has generously sponsored the Prize for close to three decades.

Elisa Jane Carmichael (QLD), Dean Cross (NSW), Hannah Gartside (VIC), Sam Gold (SA), and Justine Youssef (NSW) Young Australian Artists is the Museum of Contemporary Art Australia’s annual exhibition showcasing the work of Australian artists aged 35 years and under. In its 30th year, Primavera 2021: Young Australian Artists will be delivered by guest curator Hannah Presley. Participating artists Elisa Jane Carmichael, Dean Cross, Hannah Gartside, Sam Gold, and Justine Youssef explore materials that hold stories of the past and engage with techniques shared across generations, inviting new interpretations of the world around us. 12 March—12 June 23rd Biennale of Sydney: rīvus rīvus at the Museum of Contemporary Art Australia is imagined as a passage through deep time, vibrant matter, and dark psychological waters. Its 22 participants explore connections between human and non-human worlds, making

Zoe Lonergan, The House Where Nobody Lives, 2021, digital photograph. 14 March—2 July Vestige Zoe Lonergan Vestige is a photographic journey through the abandoned farmhouses of Dorset Road, Kayuga. It traverses time and space through the decomposition of built structures set against a shifting landscape. 14 March—7 May Paintings and Drawings Max Watters Max Watters was known not only for his artistic talent, but also his generous philanthropic nature. In March 2004, Watters signed over his collection to the Muswellbrook Shire Council so that residents and visitors alike could enjoy in perpetuity his vision; to provide art education for generations to come, to inspire visual awareness and curiosity, and promote culture as a tool for tourism in the region. In his continued generosity to the Arts and the gallery, Max gave 60 of his own paintings and drawings to the Muswellbrook Regional Arts Centre on the condition that all proceeds from the sales be directed to the acquisition of new work for the Collections. 16 May—2 July Viewpoints: Wollemi National Park Travis De Vries, Mark Dober Marie Mansfield, Michelle Earl and Rebecca Rath

Sally Stokes, Somewhere Deep Within, 2020, oil on linen, 153 x 153 cm. Muswellbrook Shire Art Collection. Winner, Muswellbrook Art Prize 2021, painting. 14 March—2 July Art Tracks V: Recollection The Art Tracks exhibition series coincides with the Muswellbrook Art Prize, showcasing works acquired from previous winners

This exhibition presents the work of five diverse artists as they explored the World Heritage-listed Wollemi National Park as part of a collaborative and intensive artist in residency project. The Wollemi Artist in Residence Project was made possible by the Muswellbrook Regional Arts Centre in partnership with Singleton Arts and Cultural Centre, and with the support of the NSW Government 173

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NEW S OUTH WALES Muswellbrook Regional Arts Centre continued... Resources for Regions Program and the NSW National Parks and Wildlife Service. 16 May—2 July The Blue Hour Rebecca Solnit The Blue Hour celebrates the artist’s ongoing love affair with blue. Despite its abundance in the ocean and in the sky, the colour once eluded replication in art. Fortunately, in the last 200 hundred years, blue pigment has become easily accessible. Its use now expansive, often applied to show distance and depth in landscapes or depict deep and distant emotions such as pain, desolation, and solitude.

N.Smith Gallery www.nsmithgallery.com 6 Napier Street, Paddington, NSW 2021 [Map 10] 0431 252 265 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

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

13 May—26 June Interconnected Interconnected is a diverse showcase of the best contemporary artists from around the Australia working across a broad range of mediums and styles. A collaboration with Beautiful Bizarre magazine, a publication internationally renowned for its unique perspective of contemporary art and photography.

Soren Solkær, Black Sun #75, 2020, archival pigment print on Hahnemühle Baryta paper, edition of 5 + 2 A/P’s, 140 x 210 cm. 4 May—21 May Interior Renata Pari-Lewis 25 May—11 June Black Sun Soren Solkaer

Winner Packing Room Prize 2021, Kathrin Longhurst, Kate, 2021, oil on linen, 122 x 122 cm. © the artist. Photograph: AGNSW, Jenni Carter. Sitter: Kate Ceberano. 13 May—26 June The Archibald Prize 2021 marked 100 years of Australia’s oldest and most-loved portrait award, the Archibald Prize. First awarded in 1921, it is the country’s favourite art award, and one of its most prestigious. Awarded to the best portrait painting, it’s a who’s who of Australian culture―from politicians to celebrities, sporting heroes to artists.

Natasha Walsh, Dear Vincent (a prelude in B-Flat Major for the Yellow House), 2021, oil on copper, 30 x 22.5 cm. 4 May—28 May Dear… Natasha Walsh

Loribelle Spirovski, A Foreign Father, 2021, oil and acrylic on canvas, 200 x 122 cm.

Glenn Porter, Squadron Corellas— Aberdeen, 2021. Photograph © the artist.

15 June—2 July A Foreign Father and a Child in the Dark Loribelle Spirovski

13 May—12 June The Holga Experiment Glenn Porter

New England Regional Art Museum www.neram.com.au Joshua Charadia, Nocturne 6 & Nocturne 8, 2022, oil on board, 40 x 30 cm. 8 June—25 June Nocturnes Joshua Charadia

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

The Holga Experiment is an exercise by UNE academic and photographer Glenn Porter in applying visual concepts involving the Japanese philosophies of ikigai and wabi sabi within a Japanese aesthetic in combination with the aesthetic popularised by the inexpensive Holga toy camera in the 1980s. 13 May—26 June Contenders: Archibald finalists in the collection H.A. Hanke, Clif Peir, John Rowell and Nigel Thomson 175

aquisitive prize

scan to

Enter Now artgallery.muswellbrook.nsw.gov.au e. artscentre@muswellbrook.nsw.gov.au ph. 02 6549 3800

muswellbrook.nsw.gov.au

NEW S OUTH WALES New England Regional Art Museum continued... Contenders presents a selection of portraits from the NERAM collections that were finalists in the Archibald Prize over the decades, including Nigel Thomson’s 1983 winning portrait of NERAM’s benefactor, Chandler Coventry.

National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 Mon to Sun 11am–5pm, Thur 11am–10pm. 12 March—13 June rīvus 23rd Biennale of Sydney National Art School in partnership with Artspace NAS Gallery, Drawing Gallery and Chapel Jumana Emil Abboud (Palestine), Dineo Seshee Bopape (South Africa), Boral River (Bangladesh), Carolina Caycedo (Colombia / USA), Erin Coates (Australia), Cian Dayrit (Philippines) Jessie French (Australia), Joey Holder (England), Pushpa Kumari (India), Latent Community (Greece/Albania), Myall Creek Gathering Cloak, Wura-Natasha Ogunji (Nigeria / USA), Teho Ropeyarn (Angkamuthi and Yadhaykana, Australia). Rivers, wetlands and other salt and freshwater ecosystems feature in the 23rd Biennale of Sydney (2022), titled rīvus, as dynamic living systems with varying degrees of political agency. Indigenous knowledges have long understood non-human entities as living ancestral beings with a right to life that must be protected. But only recently have animals, plants, mountains and bodies of water

been granted legal personhood. If we can recognise them as individual beings, what might they say? rīvus invites several aqueous beings into a dialogue with artists, architects, designers, scientists, and communities, entangling multiple voices and other modes of communication to ask unlikely questions. Considering the water ecology’s perspective entails a fundamental shift in understanding our relationship with the rest of the natural world as a porous chronicle of interwoven fates.

11 May—28 May Sophie Cape 1 June—18 June Matthew Johnson 1 June—18 June Peter Gardiner 22 June—16 July Ken Sisters

OLSEN www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annexe: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Tue to Sat 10am–5pm. Closed Sun and Mon.

Claudia Damichi, Charades and Anagrams, acrylic on canvas, 137 x 102 cm. OLSEN Annexe: 27 April—14 May And Patterns Claudia Damichi and Emily Galicek.

John Young, Naïve and Sentimental Painting XXVI, 2022, oil on Belgian linen 203 x 270 cm. OLSEN Gallery: 13 April—7 May Naive and Sentimental Paintings John Young

18 May—5 June Alan Jones 8 June—25 June Matt Bromhead 29 June—23 July Ginger Wilkilyiri

National Art School Gallery → Installation view, 23rdBiennale of Sydney, rīvus, 2022, National Art School. Carolina Caycedo, Yuma, or the Land of Friends, 2021. Courtesy of the artist. Presentation at the 23rd Biennale of Sydney was made possible with generous assistance from the UK/Australia Season Patrons Board, the British Council and the Australian Government as part of the UK/ Australia Season. Photography: Document Photography. 177

Merrick Fry

In the Shadow of the Moon

7 June to 26 June

ARO GALLERY 51 William Street, Darlinghurst, NSW 2010 enquiries via: www.merrickfry.com

Ocean, 2022, mixed media assemblage in cigar box, 22 x16 cm.

merrickfry.com

Western Plains Cultural Centre 2 July – 18 September 2022

Presented by:

Western Plains Cultural Centre 76 Wingewarra Street Dubbo NSW 2830

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Supported by:

Open 7 Days 10am – 4pm, until 6pm Friday

westernplainsculturalcentre.org

NEW S OUTH WALES

PIERMARQ* www.piermarq.com.au 23 Foster Street, Surry Hills, NSW 2010 [Map 10] 02 9660 7799 Mon to Wed 10am–5pm, Thur to Sat 11am–7pm.

Roslyn Oxley9 Gallery

Queanbeyan-Palerang Regional Council.

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.

Founded in 2012, PIERMARQ* is a commercial art gallery located in Surry Hills, Sydney, exhibiting the forefront of international and Australian contemporary art. PIERMARQ* takes pride in fostering a global network of artists who support each other with practical advice and creative opportunities.

Bradley Santos, Tyrano Action Figure (cardback), 2021, digital collage, 21 x 29.7 cm. Fever Ward Gallery:

Del Kathryn Barton, take yr feelings and set them on the road, 2022, acrylic on linen with hand painted timber frame. 6 May—28 May Del Kathryn Barton

Yvonne Robert, Untitled 10/22, 2022, acrylic on canvas, 200 x 170 cm. 5 May—22 May A Touch of Lemon Yvonne Robert

6 May—28 May T[each] Sueanne Matthews and Bradley Santos. T[each] acknowledges the diversity of practice of local high school visual arts teachers, Sueanne Matthews and Bradley Santos. The conceptual premise for this exhibition is demonstrating the range of skills and expertise a Visual Arts teacher brings to the development of young people’s learning, whilst maintaining their own individual practice. You will see in this exhibition a range of material practices— drawing, painting, printmaking, sculpture and ceramics—exploring a range of subject matters: people, places and spaces, animals and abstraction.

Dale Frank, Zac ‘Ginger’ and Roberto, 2022, colour pigments in epoxyglass, epoxyglass, on perspex, 200 x 200 cm. 3 June—25 June Dale Frank

Rusten House Art Centre qprc.nsw.gov.au/Community/ Culture-and-Arts/Rusten-House Ben Crase, Pink Hat Club at The Finlen, oil and oil stick on canvas, 2022, 91 x 122 cm. 26 May—12 June Upcoming Bel Fullana, Cosimo Casoni, Ben Crase and Michael Swaney. 16 June—3 July Fade to Red Henrik Godsk

87 Collett Street, Queanbeyan, NSW 2620 [Map 12] 02 6285 6356 Wed to Sat 10am–4pm. 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

Jodie Zutt, Blue Pieces of Paper to Get Food, digital print on metal. 3 June—25 July 3% 2022 Mandy Ord, Jodie Zutt and Dennis Mortimer An exhibition by three artists working in a 179

cccsydney.org

Environmental Art & Design Prize Northern Beaches 2022 Call out for entries Share your work and innovative ideas for a better and greener future. Entries open Australia-wide, across nine categories with a $40,000 prize pool. Judging panel Environmental artist Janet Laurence Designer and founder KITX Kit Willow Architect and USYD lecturer Dr Michael Mossman Entries now open Closing 11 May 2022, 5pm

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northernbeaches.nsw.gov.au

NEW S OUTH WALES Rusten House Art Centre continued...

Scrap Dolye Max Dolye

variety of media; Mandy Ord, Jodie Ohm Zutt and Dennis Mortimer who attended Canberra School of Art during the early 1990s. The exhibition title 3% refers to a statement made by the Art School director Dr David Williams from his welcome to 1st-year students’ speech.

8 June—19 June ONE Indivi Sutton

‘…five years after graduating, only 3% of graduates will have an art practice & only 1% of the 3% will be living wholly off their art practice.’ Steve Lopes, Exposed wood, Mont St Quentin, oil on canvas, 140 x 160 cm. Collection: Gallipoli Club.

Saint Cloche www.saintcloche.com 37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. See our website for latest information. 27 March—8 May. Calm and Chaos Libby Haines 11 May—15 May Coast to Coast A Major Fundraising Group Exhibition In aid of the recent Northern river flood communities and the Ukraine crisis.

Sophie Sachs, Three Glasses, 76 x 61 cm. 22 June—3 July Half Full / Long Past Hayley West and Sophie Sachs

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.

25 May—5 June

26 March—8 May Encountered Steve Lopes A survey exhibition of over eighty paintings, from 1997 to 2021, which also includes rarely seen drawings, prints and collages, together with the artist’s diaries and drawing books. Opening at the S.H. Ervin Gallery, the exhibition will also be presented at the Orange Regional Gallery from May. Steve Lopes is a Sydney based painter known for his figurative landscapes. He often works en plein air, painting vignettes of places which are used as references for large-scale studio works. Curated by Kon Gouriotis, editor Artist Profile magazine, the exhibition considers how the artist, through thematic narratives of migration and place, of the

Saint Cloche → Libby Haines, The Birthday Party, 120 x 90 cm. 181

Recollections 30 April to 4 June 2022

Works by First Nations women artists from the collection of ARTBANK Curated by Dennis Golding A reflection on the significance of memory in the work of First Nations women artists. Recollections of a moment in time connecting artists with generational experiences and ways of representing across time and place, linking traditional and contemporary expressions of artistic practice.

Karla Dickens Pound-for-pound #8, 2019 Aluminium, vintage mattock handle, waxed linen thread, cotton string, steel pulleys, emu feathers, 41w x 170h x 41d

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

NEW S OUTH WALES S.H.Ervin Gallery continued... body on the land and the land without body, reflects on our age of complexity, volatility, crisis. Closed Good Friday & ANZAC Day.

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

Agus Wijaya, Homecoming, 2021, archival pigment printing on art canvas, 124.5 x 68.13 cm. Photograph: COTA. Sally Robinson, Veena Sahajwalla (professor, scientist, engineer and inventor), synthetic polymer paint on canvas, 122 x 122 cm. 14 May—24 July Salon des Refusés: The alternative Archibald and Wynne Prize selection

27 April—21 May Tata Reka Agus Wijaya

Paul Davis, Tea Jar, Kohiki type, ash glaze. Image by Greg Piper. Paul Davis celebrates his remarkable 50 year journey in ceramics and the Japanese artists who have influenced his practice.

The Salon des Refusés was initiated by the S.H. Ervin Gallery in 1992 in response to the large number of works entered into the Archibald Prize which were not selected for display in the official exhibition. Each year our panel is invited to go behind the scenes of the judging process for the annual Archibald Prize for portraiture and Wynne Prize for landscape painting and figure sculpture at the Art Gallery of New South Wales to select an exhibition from the many hundreds of works entered in both prizes but not chosen for the official award exhibition. Principal Sponsor: Holding Redlich.

STATION www.stationgallery. com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Tue to Sat 10am–5pm.

Jen Atherton, Stelly G, André Shannon, Memoriabilia: Day for Night, 2022, Inkjet print on Ilford Metallic Pearl paper, 59.4 x 84.1 cm. COTA. 25 May—18 June A Place Where We Can Be Together Francesca Zak, Garden Reflexxx & Stelly G, Lily Golightly, Lottie Braun, Maria Wang, Mika Benesh, Paula do Prado, Samantha Jade and Serwah Attafuah.

Sally Blake, Sacred Thought, 2022, ink on paper. 29 May—17 July Web Sally Blake and Nikki Mann. Sally Blake and Nikki Mann explore the complex interconnectedness of all things in unexpected ways through textiles, sculpture and glass.

Curated by Claire de Carteret.

Sullivan+Strumpf Sturt Gallery & Studios www.sturt.nsw.edu.au

Isadora Vaughan, Treasure, 2021, ceramic (Ariel view). Courtesy of the artist and STATION. 7 May—11 June Residues Isadora Vaughan

Cnr Range Road and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm. 10 April—22 May Paul Davis – Under the Influence Paul Davis, Hiroe Swen, Saka Yuta, Yoshino Tetsuro, Makino Isamu, Maeda Kazu, Umeda Kentaro, Yasuo Terada.

www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm, or by appointment. See our website for latest information. 21 April—14 May Seth Birchall 28 April—14 May Dane Lovett 183

Orange Regional Gallery 26 March – 26 June 2022 An Art Gallery of New South Wales touring exhibition

FRIENDS OF THE ORANGE REGIONAL GALLERY

William Kentridge I am not me, the horse is not mine 2008 (still, detail), Art Gallery of New South Wales, gift of Anita Belgiorno-Nettis AM and Luca Belgiorno-Nettis AM 2017, donated through the Australian Government’s Cultural Gifts Program © William Kentridge

orange.nsw.gov.au/gallery

www.orange.nsw.gov.au/gallery

NEW S OUTH WALES Sullivan+Strumpf continued...

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

Twenty Twenty Six Gallery www.twentytwentysix.gallery 17 O’Brien Street, Bondi Beach, NSW 2026 [Map 7] 0415 152 026 Tues to Sat 11am–6pm, Sun 11am–5pm. See our website for latest information.

eX de Medici, I Can’t Breathe, 2021, watercolour on paper, 114 x 124 cm.

Meg Walters, When I Close My Eyes I See You, 2022, oil on linen, 100 x 150 cm. Courtesy of the artist.

19 May—11 June Double Double Crossed eX de Medici

22 April—10 July Multiverse Meg Walters

Tweed Regional Gallery www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Wed to Sun 10am–5pm. See our website for latest information.

Deb Mostert, Single Use Soy Shark, 2020, oil on canvas, 138 x 72 cm. Image courtesy the artist and Lorraine Pilgrim Gallery, Gold Coast. 6 May—16 October Animals as Object: Deb Mostert Based on years of observation and research within the bird and mammal collections at the Queensland Museum, this body of work seeks to explore the paradoxical ‘objectness’ of animals in nature through taxidermy and in culture through the souvenir. This work seeks a redemptive lens to view this paradox towards a perspective of flourishing for all. We have and are creating facsimiles and profiting from these copies despite the real risk of losing the originals. A Tweed Regional Gallery initiative. 29 April—10 July Pattern and Print: Easton Pearson Archive A celebration of the internationally acclaimed fashion house Easton Pearson. Pattern and Print: Easton Pearson Archive highlights Easton Pearson’s collaborative approach, featuring a selection of vibrant garments that highlight the technical innovations, bespoke fabric, bold prints and embellishment choices of the fashion house over its remarkable 28-year history. An exhibition by Museum of Brisbane (MoB), toured by Museums & Galleries

Walters is an emerging artist who uses painting as a tool to explore psychological narratives. She has found escapism fundamental to how she connects to nature, and ultimately herself. She makes landscape paintings from a memory of a feeling of a place. This has led her to create highly emotive works with a bold, yet sensitive use of colour and mark making. Time Peace Alter Kath Egan Egan’s subtle interventions with nostalgic objects invite the viewer to consider alternative views to our commonly accepted narratives about time. Presenting assemblages, photography, video works and installation, this exhibition includes new work that explores how Archetypes and Universal Spiritual Traditions interact with the timeless realm by piercing the veil of reality with story, ritual and reverence. 18 March—31 July This Our Machine Arash Chehelnabi In 2021 Sydney-based artist Arash Chehelnabi undertook a residency in the Gallery’s Nancy Fairfax Artist in Residence Studio to develop new work for his solo exhibition This Our Machine. This exhibition is an outcome of the Tweed Regional Gallery—National Art School Masters of Fine Art Residency Award. The partnership between the Gallery and NAS aims to showcase emerging artists in celebration of Margaret Olley’s legacy as a NAS alumna and a supporter of emerging artists. 25 February—28 August An artist’s view Margaret Olley and contemporaries An artist’s view brings together interiors and still life paintings by Margaret Olley and works by contemporary artists who have taken inspiration from Margaret Olley, her practice and her famous Duxford Street home studio. Artists exhibiting alongside Margaret Olley in this exhibition include Steven Alderton, Danelle Bergstrom, Cressida Campbell, Christine Druitt-Preston, Nicholas Harding, John Honeywill, Lewis Miller, Adam Pyett, Greg Weight and William Yang. This exhibition is drawn entirely from the Tweed Regional Gallery collection.

Martine Emdur, Verdant Pearl, oil on canvas 198 x 198 cm. 22 June—10 July New Works Martine Emdur

UNSW Galleries wwww.artdesign.unsw.edu.au/ unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Wed to Fri 10am–5pm, Sat–Sun 12–5pm. Closed public holidays.

Janet Fieldhouse, Memory Series 2, 2014. Image courtesy of the artist and Vivien Anderson Gallery, Melbourne. 29 April—17 July Pliable Planes: Expanded Textiles & Fibre Practices Akira Akira, Sarah Contos, Lucia Dohrmann, Mikala Dwyer, Janet Fieldhouse, Teelah George, Paul Knight, Anne-Marie May, John Nixon, Kate Scardifield, Jacqueline Stojanović and Katie West. A major exhibition drawing together twelve practitioners who reimagine practices in textiles and fibre art. Through expanded painting, assemblage, 185

ar t g ui d e .c o m . au UNSW Galleries continued... performative gesture, sound, and installation, ‘Pliable Planes’ presents contemporary Australian textiles and fibre art in expansive and plural forms.

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

Jacobus Capone, Forewarning (Act 1), 2018. Image courtesy of the artist and Moore Contemporary, Perth. 12 March—12 June ‘Orisons’ brings together recent works by Western Australian artist Jacobus Capone that reflect on human and ecological fragility. 18 June—14 August Liz Williamson: Weaving Eucalypts Project This collaborative project by Australian weaver Liz Williamson explores local colour, cultural connections, and shared weaving traditions. 18 June—14 August Bic Tieu: Objects In-between Informed by Bic Tieu’s experience negotiating multiple cultures, this project explores notions of hybridity as a third cultural space, and how objects can shape and reflect identity. 18 June—14 August Inoka Samarasekara: The Tangled Jewelled Maze This exhibition project aims to preserve, renew, and reimagine Sri Lankan jewellery forms impacted by colonisation and globalisation.

61 Phillip Street, Sydney: 12 May—19 May Saints JP Jones 26 May—30 May Editions Launch Gav Barbey

www.waggaartgallery.com.au

8 February—8 May Face to Face - The New Normal Vic McEwan Face to Face: The New Normal is a major, new exhibition by Vic McEwan developed during three years of creative research exploring medical science and contemporary arts practice. While being in residence at the Sydney Facial Nerve Service, Vic has worked on the front lines of clinical treatment with patients experiencing facial nerve paralysis and examining what impact a contemporary artist might have within the clinical environment. 186

Curated by senior curator, Dr Penny Stannard and curator, Bonnie Wildie, The Queen’s Album explores the unique story of an album of photographs gifted to Queen Victoria at Windsor Castle in 1882 on behalf of the people of NSW. The album contained 64 photographic images of sites and scenes in Sydney and regional NSW that were constructed to promote NSW as a progressive and desirable place and to consolidate its position within the British Empire. At the time, the album was described as a “graceful tribute of loyalty” to Queen Victoria. Today, its whereabouts are unknown. In 2018 NSW State Archives rediscovered most of the original photographic glass plate negatives in the State Archives Collection which were conserved, digitised and reproduced for the exhibition project.

JP Jones, Untitled, 120 x 120 cm, acrylic and aerosol on canvas.

Wagga Wagga Art Gallery Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission.

12 February—29 May The Queen’s Album

Harold David, Captive of the Sun, 2022, mixed media on canvas, 92 x 122 cm. 16 June—22 June Australian Abstraction Group Show featuring Harold David, Conchita Carambano, Rob Forlani, Rowdy Warren and Shannyn Price

Western Plains Cultural Centre www.westernplainsculturalcentre.org Dubbo Regional Gallery Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo, NSW 2830 [Map 12] 02 6801 4444 Open daily 10am–4pm.

Tayla Martin, Checking the Dam level, 2020, photographic print. Image © artist. 7 May—3 July Tayla Martin: Flood to Dust Flood to Dust and Everything in Between is an exhibition by Wagga Wagga based artist, Tayla Martin featuring a series of photographic and video works documenting the ever changing landscapes across regional NSW. Martin adopts a documentary style approach highlighting the major environmental challenges that have swept across the region over the past several years and the social impacts that these brought with them. Martin’s body of work focuses on embodying the true essence of human resilience and spirit within communities affected by these events. Curated by Mariam Abboud. This is a HomeGround exhibition, produced by WPCC and supported by Orana Arts. HomeGround is sponsored by Wingewarra Dental. 7 May—26 June Waste to Art: Soft Plastics Waste to Art is an annual community art exhibition and competition that features artworks created by community members using recycled and unwanted materials. The results are always imaginative and thought provoking with the collected artworks celebrating recycling and sustainable living. With this imaginative use of waste materials, Waste to Art also provides an innovative approach to waste education. Schools and community groups take up the challenge and create artworks out of materials that might otherwise be thrown away.

NEW S OUTH WALES The theme for this year’s exhibition is Soft Plastics. This includes but isn’t limited to single use soft plastics. Curated by Phil Aitken, WPCC.

cal narratives and contemplations of what oceans mean to the world, and what the world means to oceans.

Xu Zhen®, “Hello”, 2018-19, robotic mechanisms, styrofoam, polyurethane foam, silicone, pain, sensors, electronic controls, 390 x 750 x 800 cm. practices that have the power to move this population en masse.

Eveline Syme, The Factory, 1933, colour linocut, National Gallery of Australia, Canberra, purchased 1979. © Estate of Eveline Syme. 26 February—26 June Spowers & Syme Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers & Syme will present the changing face of Inter-war Australia through the perspective of two pioneering, modern women artists.

White Rabbit’s next exhibition opens late June 2022. Check Gallery website for details.

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

The exhibition offers rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia—where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ‘40s.

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. 11 December 2021—22 May Big in China What does it mean to make it Big in China? It is no easy feat to captivate the attention of over a billion wandering eyes and minds. How do we draw the focus of so many unique individuals and make them move in unison? The 12 artists in the exhibition show us that it is not simply brute force that drives a nation and its people. Rather, it is the grand and overarching narratives, outstanding creativity and unique art

4 June—28 August There’s a Crack in Everything Liam Benson and Caitlin Kozman, David Capra and Katrina O’Brien, Tina Havelock Stevens and Betsy, Daniel Mudie Cunningham and Wart. A group exhibition curated by local mental health and suicide prevention advocate and visual art curator Carrie Lumby. It pairs leading contemporary artists with people with lived experience of the distress, trauma, grief and loss associated with suicide to make a work that creatively translates and transforms these deeply personal experiences. Until 29 May Illawarra Pavilion Gary Carsley and Renjie Teoh (the ArtHitects) The Illawarra Pavilion can be experienced as part stage set, part multi-perspectival illusion and part Hortus Conclusus, combining some of the natural and cultural treasures of the Illawarra most notably the distinctive and iconic Flame Tree and selected furniture elements from Wollongong Art Gallery’s Mann-Tatlow Collection into a spectacular, immersive visitor experience.

Spowers & Syme is a National Gallery of Australia Touring Exhibition supported by Visions of Australia, Major Patron David Thomas AM and the Gordon Darling Foundation. Spowers & Syme is a Know My Name project.

White Rabbit Contemporary Chinese Art Collection

Daniel Mudie Cunningham and Wart, Rustle 1, 2021. Photograph: Katie Vajda. Courtesy of the artists.

19 March—5 June Postcodes From The Edge Gavin Coote, Cash, climate and suburban dads, 2021, acrylic on canvas, 50 x 61 cm. 7 May—14 August Reassess Progress Elosie Cleary, Gavin Coote, Fabric and Flora, Dakota Feirer (and Anthony Smith) and Lucia Hayes. Curated by Xanthe Barker this third iteration of Here+ Now seeks to dust-off the notion of “progress”, examine it and reconsider if it is still bringing humanity closer to Utopia. 7 May—14 August Deep Sounding Friederike Krishnabhakdi-Vasilakis and Leon Vasilakis. This multi-arts exhibition combines moving visuals of coastal ocean-scapes overlaid with a soundscape of modulated sound of underwater animals and their environment. Textual meanderings into tales and history allude to greater ecologi-

An art prize and exhibition featuring small-format contemporary artworks that reflect the Illawarra region through people, places, or events. A Wollongong Art Gallery Friends event. 19 March—5 June Transition Brook Andrew, Claire Healy and Sean Cordeiro, Tracey Moffatt, Selina Ou and Patricia Piccinini. Recent gifts of contemporary prints and photographs from Ferrier Hodgson, 1976-2018 (now KPMG), acquired through Amanda Love, LoveArt. The works explore the precarious position artists occupy, the mysteries of human evolution, displacement and isolation, and reference popular culture, capitalism and corporations.

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NEW EXHIBITION

EPOCHA

daniel weber 2022 24 Wellington Street, Waterloo NSW 2017

Previous Exhibition

panaxea paintings

ESSE: essential nature or essence

panaxeapaintings.com

@danielweber_paintings

Tel. 02 9557 7609 Email: EPOCHA@panaxeapaintings.com

Daniel calls his work abstract deconstructivism, which is the visual expression of the human narrative. We need to see outside the boundaries of convention, the current meme, to imagine unboundedness.

“

@danielweber_paintings

Turmoil in Blue by Daniel Weber YUPO Medium 300 gsm 94 x 64 cm | Ink on paper

Detail of Turmoil in Blue

A–Z Exhibitions

MAY/JUNE 2022

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

QUEENSLAND

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 and Sun 10am–3pm. Free entry. 15 April—22 June Undulations Tamika Grant-Iramu

Art Lovers Gold Coast Gallery www.artloversaustralia.com.au Unit 14, Brickworks Annex, 19 Warehouse Road, Southport, QLD 4215 [Map 13] 1800 278 568 Tues to Sat 10am–4pm. See our website for latest information.

Rex Backhaus-Smith 1 July—21 August Veiled Histories: Works by leading First Nations artists Jennifer Herd (MBarbarum) and Joanne Currie Nalingu (Gungurri)

Fireworks Gallery www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information.

Sam Suttie, Hide and Seek, oil on canvas. 14 May—4 June A Room with a View Barbara Hanrahan, Winter, 1977/82, screenprint on paper, edition 10/30, 39.7 x 28.5 cm. Mackay Regional Council Art Collection, purchased 1989. 2 April—19 June Focus on the Collection: Barbara Hanrahan

Caloundra Regional Gallery

6 May—11 June Ian Waldron: The tower of blue horses

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. See our website for latest information. Ida Rentoul Outhwaite, Elves and fairies have thee in their keeping, 1916, watercolour and ink. Mitchell Library, State Library of New South Wales and courtesy Stella Palmer and Vanessa Martin. 2 April—19 June The Art of Ida Rentoul Outhwaite Ida Rentoul Outhwaite 9 April—19 June 2022 Libris Awards: The Australian Artists’ Book Prize

Rex Backhaus-Smith, Reflections On A Country Town, 2004. Image courtesy of the artist. Photo by Christine Hall. 13 May—26 June Feeling of the Place: from here to there and back again

Walala Tjapaltjarri, Tingari field, 2001, ink on paper, 90 x 70 cm. 6 May—11 June Walala Tjapaltjarri: Tingari Arrangements 17 June—23 July Travelling stories: A tribute to Michael 191

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

29 April—27 May Balmy - A Group Show

Gallery 48

Giorgia Bel, Adele Bevacqua, Michele Burder, Casey Burrill, Chloe Caday, Caroline Cameron, Helle Cook, Emma Creasey, Imbi Davidson, Tamami Davidson, Liss Finney, Alizon Gray, Aaron John Gray, Jordy Hewitt, Nick Horan, Megan Hounslow, Loralee Jade, Skye Jamieson, Melissa Ladkin, Hannah Lange, Ben Liney, Darcy McCrae, Julia Mechielsen, Beth Moffat, Cieran Murphy, Francesca Owen, Rebeccah Power, Tim Reed, Tiel Seivl-Keevers, Chanel Sohier, Fleur Stevenson, Phoebe Stone, Sam Thies, Tanya Wales, Tym Yee and Courtney Young.

www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 [Map 14] Wed and Sat 12noon–5pm, and Fridays by appointment. See our website for latest information.

16 April—29 May Wildflowering by Design (Wild/flower Women IV) An exploration into the interconnectedness of life on earth—between human, animal, and plant beings. This exhibition featuring Angela Valamanesh is part of the Jam Factory’s Icon series. 16 April—29 May About being here Angela Valamanesh An exploration into the interconnectedness of life on earth—between human, animal, and plant beings, this exhibition featuring Angela Valamanesh is part of the Jam Factory’s Icon series.

Reinterpreting iterations of ‘Balmy’, this group show celebrates a shared searching for a sense of calm.

Brenda L Croft, Self-portraits on country, Wave Hill, 2014, pigment print on archival paper.

Anneke Silver, Lagioglossum, 2021, timber, ink, paper, gouache, 24 c gold leaf, 15 x 9.5 cm.

11 June—21 August Still in My Mind: Gurindji location, experience and visuality

1 May—30 June Autumn Anneke Silver

Liss Finney, Bright Heat, oil on board, 22.5 x 22.5 cm.

Gallery Raye

1 May—30 June From the Sidelines Liss Finney

www.galleryraye.com Brisbane based. Presently online only. See our website for latest information.

A series of still lifes which recall the nostalgia of an Australian summer and reflect the artist’s current state of being. Rigid pastel chairs that fuse to skin on hot days, positioned between the bold, hard lines of tennis courts. The works suggest an absence of action and a presence of spectatorship; the reassuring yet uncomfortable feeling of watching on from the sidelines.

Hervey Bay Regional Gallery www.hbrg.ourfrasercoast.com.au 166 Old Maryborough Road, Hervey Bay, Queensland 4655 (07) 4197 4206 [Map 13] See our website for latest information and opening hours. See our website for latest information.

Tim Reed, Australian Sands 11, Australian Sands Series, archival pigment print, five sizes, limited edition of 15 + 1 artist’s proof. 192

Inspired by the words of revered Indigenous leader and Gurindji elder Vincent Lingiari, ‘that land … I still got it on my mind’, Still in my mind: Gurindji location, experience and visuality is a national touring exhibition reflecting on events preceding and following the Walk-Off at Wave Hill cattle station in protest over poor wages and living conditions. 11 June—21 August Land, Sea and Sky Land, Sea and Sky is a survey of works by Aboriginal artists living in the Fraser Coast region. The exhibition’s title refers to the country that belongs to the Butchulla people, the traditional owners of the land of this region. Featuring works by artists from several nations who have a connection with this country, this exhibition celebrates contemporary expressions of culture, stories and identity through creative practice.

HOTA www.hota.com.au 135 Bundall Road, Surfers Paradise, QLD 4217 07 5588 4000 [Map 13] Sat to Thu 10am–5pm, Fri 10am–8pm. See our website for latest information. 9 April—7 August Bricktionary: The Interactive LEGO® brick Exhibition Ryan ‘Brickman’ McNaught

Marni Stuart, The Paths. The Women, 2021, pattern design.

QUEENSLAND

Jan Murphy Gallery www.janmurphygallery.com.au

From life-sized animals to fashion and fantasy discover the biggest and best LEGO® creations at the world premiere of Bricktionary: The Interactive LEGO® brick Exhibition. Inspired by Ryan ‘Brickman’ McNaught’s latest book, The Bricktionary: The Ultimate A-Z of LEGO®, and premiering exclusively on the Gold Coast, this fun-filled journey for families, kids and adults shows you how to turn your LEGO brick® dreams into amazing creations.

Institute of Modern Art www.ima.org.au Judith Wright Centre of Contemporary Arts, 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 10am–5pm.

486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat 10am–5pm, or by appointment. 12 April—7 May The delight of future eyes Juz Kitson

Jayanto Tan, Ritual Ceng Beng, Phoenix Rises from the Ashes, 2021. Image by Greg Piper.

12 April—7 May No entry but through the sky Lottie Consalvo

This unique site-specific installation questions identity, migration, society, superstition, familial narratives and solidarity. Through mundane materials, the work is rendered as a moving “still-life soft soul food” and offered as everyday ritual. It is an offering from culture past to the present, from trauma to healing, to a diverse future of togetherness in our multicultural Australia.

10 May—28 May The consolations James Guppy 31 May—18 June Guido Maestri 21 June—9 July Celia Gullett 21 June—9 July India Mark

Metro Arts www.metroarts.com.au Metro Arts @ West Village 97 Boundary Street, West End, QLD 4101 [Map 15] 07 3002 7100 Mon to Fri 9am–5pm, Sat 10am–10pm. See our website for latest information.

#FLOWERS_v3 Daniel Sherington #FLOWERS_v3 considers the implications of art existing as commodity. Using a program that algorithmically collages images of flowers taken from Instagram over hand drawn still life imagery, these works are printed in the gallery space every 28 seconds, referencing the average viewing time of an artwork in a museum; yet also creating a supply that meets no actual demand.

Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. Over 40 artists on permanent display. See our website for latest information.

Wanda Gillespie, A Counting Frame for Future Economies, 2021. Courtesy the artist. 7 May–9 July An Alternative Economicsv Five Mile Radius, Gunybi Ganambarr, Wanda Gillespie, Katie Paterson, Make or Break, Keg de Souza and Shevaun Wright. An Alternative Economics brings together a group of Australian and international artists who each use their artmaking to explore and expand on the creation of value. Guided by the idea of the circular economy and its compelling counter-narrative to the untenable model of eternal growth, each work in this exhibition offers a provocation to make us reconsider what is “counted” in our society and why. Artists in this exhibition each offer propositions for artmaking in a “postgrowth” world; utilising materials of place, critiquing extractive systems, sharing cultural knowledge, promoting the rights of nature, and meditating on the role of art practice to promote change.

Sophie Penkethman-Young, Woolworths Orchid, Installation view, 2019. Airspace Projects Sydney. Photograph: Zan Wimberley. 7 May–4 June Devil’s Ivy Jordan Azcune, Christopher Bassi, Merinda Davies, Kai Wasikowski and Sophie Penkethman-Young, Curated by Sarah Thomson. Devil’s Ivy interrogates the use of plants as material in domestic and urban environments. Within the social context of the pandemic, which created an increased collective focus on the home and garden as an expression of identity, this exhibition looks at our desire to feel kinship with the natural world, albeit through highly mediated forms. 11 June—2 July Ritual Ceng Beng, Phoenix Rises from the Ashes Jayanto Tan

De Gillett Cox, Wattle Bouquet. Featured artist for May De Gillett Cox The exuberant De uses acrylics and washes to create a world of transparent colour and movement. Working on linen canvases, she orchestrates compositionand colour, building up many layers of colour and tone to produce impactful artworks that are filled with Australian flora. De’s works are available to view on our website, and on show in the gallery at Montville. 193

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

26 March—1 October 2023 Making Place: 100 Views of Brisbane Judy Watson, Richard Randall, Noel McKenna, William Bustard, Vida Lahey, Jane Grealy, Danie Mellor, Kenneth Jack, Sam Fulbrook, Charles Lancaster, Robert Brownhall, Margaret Olley, Stephen Nothling, Margaret Cilento, Lloyd Rees, Paul Davies, Mia Boe and more. Become immersed in a newly commissioned sound artwork by Artist in Residence Lawrence English, Site Listening: Brisbane, that captures the city’s many soundscapes and surround yourself in the textures and nuance of Jenna Lee’s installation, Growing Place, illustrating her insightful reflection on “place”.

Julie Lucht de Freibruch, The Sun Lounger Awaits. Featured artist for June Julie Lucht de Freibruch Julie’s work is inspired by her local environment, exploring Queensland’s vibrant tropical landscapes, its nature and distinctive buildings. The contrast between man-made and natural forms is a popular theme in her work. Julie uses fluid acrylics in her paintings, her style inspired by the strong graphic design elements of printmaking, and atmospheric details of illustration.

www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.

Making Place features audio descriptions and Auslan translations which can be accessed on your device via Museum of Brisbane’s website. MoB’s Artist in Residence program is supported by Tim Fairfax AC.

Evelyn Marina, A Break In The Clouds (detail), acrylic, pastel oil stick on canvas, 46.x 46 cm. 30 April—19 June PAINT A group exhibition of young and emerging Sunshine Coast artists including Ebony Busk, Evelyn Marina, June Sartracom, Lauren Jones, Mitchell Cheesman and Odessa Mahony-de Vries..

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. Housed within iconic Brisbane City Hall, MoB celebrates the creatives and history makers to deepen an understanding of place. We reflect Brisbane’s people and passions and its ever-evolving cultures. Museum of Brisbane is Brisbane City Council’s leading history and art museum, where you can experience our city’s vibrant culture.

Noosa Regional Gallery

NorthSite Contemporary Arts www.northsite.org.au

Margot McKinney wearing Arco Iris necklace and earring set. Photograph: Nina Ottolino. Courtesy Nina Ottolino and Margot McKinney.

Bulmba-ja, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm.

16 June—6 November World of Wonder: Margot McKinney With a lifetime dedicated to luxury, Australian jewellery designer Margot McKinney is one of the world’s boldest talents. The very definition of timeless elegance and bespoke excellence, Margot’s extraordinary pieces are a celebration of the world’s rarest gems.

Paul Davies, Centenary Pool Brisbane, Yellow/Grey, 2008, acrylic on canvas. Donated through the Australian Government’s Cultural Gifts Program, 2021, Museum of Brisbane Collection. 194

From the coral reef in our own backyard to the rich palette of colours found on safari in Tanzania, this exhibition will be a mesmerising celebration of the complex and profoundly beautiful environments and materials that have inspired her designs. Here you’ll find opulent opals, lustrous pearls and rare, exotic gems like the intensely blue tanzanite, lilac amethyst and pink tourmalines. Journey to a treasure trove of memories and mastery and let Margot’s designs and inspiration transport you to a world of wonder.

Ross Manning, Pixel Points, (detail), 2018, Material Sound, installation view, Murray Art Museum Albury, 2018. Photograph: Tyler Grace. 23 April—11 June Material Sound Vicky Browne, Pia van Gelder, Caitlin Franzmann, Peter Blamey, Vincent and Vaughan Wozniak-O’Connor and Ross Manning. Curated by Caleb Kelly. 26 April—18 June Wish You Were Here Kellie O’Dempsey

QUEENSLAND

Onespace Gallery www.onespacegallery.com.au

Kellie O’Dempsey, Wish You Were Here, installation shot at Redlands Gallery, 2021, mixed media collage and projection, variable. Courtesy of the artist. Photograph: Louis Lim. 9 May—25 June WOW Cairns Women’s Show Janet Koongoteema, Jean Walmbeng, Julie Poulsen, Margaret Upton, Maharlina Gorospe-Lockie, Hannah Murray, Anne Nunn, Betty Sykes, Lenore Howard, Agnes Wotton, Claudine Marzik, Netta Loogatha, Nickeema Williams, Kim Marsden, Bernice Burke, Hannah Parker, Philomena Yeatman, Paula Savage, Laurel McKenzie, Fiona Elisala-Mosby, Matilda Aidan, India Collins, Tia Adoberg, Matilda Nona, Caroline Mudge, Tamika Grant-Iramu, DOULA, Margaret Mara, Rhonda Woolla, Melissa Waters, Delissa Walker, Mersene Loban and more. A celebration of female painters from across North Queensland curated by NorthSite for Women of the World Festival, Cairns. 6 May—18 June Gathering Elverina Johnson and Francoise Lane.

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. 12 March—8 May 2022 John Villiers Outback Art Prize Finalist Exhibition

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.

Across June and July, Onespace will showcase the exciting new work by two prominent practitioners from Moa Arts in the Torres Strait, Fiona Elisala Mosby and Paula Savage. Both artists have made important contributions to the development of Torres Strait art in recent years, pushing the boundaries between traditional and contemporary art practice. Their colour lino cuts and pochoir prints, paintings and woven works explore the materiality of their lived experience; a world of tropical gardens and island reefs, of wind and currents, deep water and calm, elements woven together as colour, form and light.

Perc Tucker Regional Gallery www.townsville.qld.gov.au Samuel Tupou, 1998, 2021, Serigraph and acrylic on board, 120 x 180 cm. Photograph: Joe Ruckli. Courtesy of the artist and Onespace Gallery. 29 April—4 June LOW RESOLUTION DREAMZ Samuel Tupou Onespace is pleased to present Samuel Tupou’s latest solo exhibition, LOW RESOLUTION DREAMZ. Tupou derives traditional patterns and colours from his Tongan and Polynesian heritage, to create vivid yet nostalgic works on canvas and board. Starting with ‘found photographs’ as his initial inspiration, Tupou obscures the selected imagery by pixelating and binding together grid-like patterns based on Pacific Island Tapa cloth design. The resulting images are strikingly abstracted. A close viewing of the works satisfies with a vibrant energy of geometry and colour. However, the essence of the original “moment captured in time” remains embedded within the paintings, and with a slightly more distant viewing, the precious found memory can be revealed. These new works retain Tupou’s signature screen-printing technique while nostalgically exploring human memory and image recall.

Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Tue to Fri 10am–5pm, Sat and Sun 10am–1pm. See our website for latest information.

Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. Philip Bacon Galleries is one of Australia’s leading art galleries. It plays a pivotal commercial and educational role in the thriving Brisbane art scene. The gallery is renowned for the depth of its stockroom and for exhibiting many of the country’s most collectable, twentieth century and contemporary artists.

This exhibition is generously sponsored by The John Villiers Trust.

Vera Möller, fayalette, 2022, oil on linen, 153.5 x 138 cm. David Rosetzky, Jessica Mauboy, 2018. Commissioned with funds provided by Sony Music Entertainment Australia. 2018. © David Rosetzky. 21 May—19 June Beforehand: The Private Life of a Portrait, a National Portrait Gallery Exhibition

Fiona Mosby with freshly printed work, 2022. Photograph: Moa Arts. Courtesy of the artists, Moa Arts and Onespace Gallery. 10 June—16 July Fiona Elisala Mosby and Paula Savage

3 May—28 May Vera Möller 31 May—25 June Wendy Sharpe 28 June—23 July Ralph Wilson 195

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

QUT Art Museum and William Robinson Gallery www.artmuseum.qut.edu.au www.wrgallery.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–4pm, Sun 10am–2pm. Closed Mondays, Saturdays and public holidays. See our website for latest information.

William Robinson Gallery: 17 September 2021—11 September William Robinson: Nocturne The passage of time is a major theme in William Robinson’s practice and many of his paintings from the mid-1980s onwards incorporate both day and night simultaneously. In several of these works, the night sky is depicted as a reflection: in rivers of stars or pools mirroring the moon. This exhibition of nocturnal works illuminates the artist’s fascination with the shimmering night sky and the sparkling landscape sprawling below, highlighting his signature multi-point perspective from the vantage point of the twilight hours.

Pamela See, For tomorrow’s ancestors… cotton, 2019, (detail), Arches paper. Redland Art Gallery Collection. Acquired in 2021 with Redland Art Gallery Acquisition Funds. Photography by Carl Warner. 13 March—17 May Reuse and Repeat: Works from the Redland Art Gallery Collection

Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm.

Mei Mei Liu, I can feel the beat, (detail) 2021, ink and synthetic polymer paint on paper. Courtesy of the artist. 23 May—12 July Mei Mei Liu: Impressions of Mangroves Judy Watson, standing stone, kangaroo grass, red and yellow ochre, 2020, acrylic and graphite on canvas, 250 x 181.5 cm. Courtesy of the artist and Milani Gallery, Brisbane. Photo: Carl Warner. 15 March—19 June Looking Glass: Judy Watson and Yhonnie Scarce Looking Glass is an important and timely exhibition which brings together two of Australia’s most acclaimed contemporary artists—Waanyi artist, Judy Watson and Kokatha and Nukunu artist, Yhonnie Scarce. At its heart, the exhibition is both a love song and a lament for Country; a fantastical alchemy of the elemental forces of earth, water, fire and air. Looking Glass is developed by TarraWarra Museum of Art and Ikon Gallery with Curator Hetti Perkins. Touring nationally with NETS Victoria.

Chiharu Shiota, Japan b.1972, Uncertain Journey 2016-2019, metal frame, red wool. Dimensions variable Installation view: Shiota Chiharu: The Soul Trembles, Mori Art Museum, Tokyo, 2019. Photograph: Sunhi Mang. 18 June—3 October Chiharu Shiota: The Soul Trembles The Soul Trembles highlights twenty-five years of Chiharu Shiota’s practice across large-scale installation, sculpture, video performance, photography and drawing.

Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free.

Shiota is renowned internationally for her transformative installations constructed from millions of fine threads and works that express the intangible: memories, anxiety, dreams and silence. Curated by Mami Kataoka, Director of Mori Art Museum, Tokyo. GOMA | Ticketed.

Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899

William Robinson, Out of the dawn, 1987, oil on linen. Collection of Martin and Jan Jorgensen, Brisbane. 196

Redland Art Gallery exhibitions and events feature local, Queensland, nationally and internationally recognised artists. Our exhibition program is showcased in six exhibition spaces over two locations at Cleveland and Capalaba and supports the representation of Redlands Coast’s diverse culture and heritage.

Megan Cope, Water is life (Circle— Dabilyil), 2020–21. Installation view at Canberra Glassworks. Photo by Brenton McGeachie. Courtesy of the artist and Milani Gallery, Brisbane. 20 March—8 May Megan Cope: Unbroken Connections

QUEENSLAND 25 February—29 May Here We Meet Karen Stephens, Belynda Waugh, Veronika Zeil. An exhibition that celebrates the region’s artistic connectedness. Made possible by Australian Government’s Regional Arts Fund, provided through Regional Arts Australia, administered in Queensland by Flying Arts Alliance. 25 February—23 October Welcome Home RMOA’s inaugural exhibition celebrates our rich and vibrant collection. Kyra Mancktelow, Untitled, 2021, natural fibres and unique relief print on paper. Courtesy of the artist and N.Smith Gallery, Sydney. 20 March—8 May Kyra Mancktelow: Sequence 15 May—19 June Living Memory: National Photographic Portrait Prize

11 June—7 August Soft Notes to the Future The Stitchery Collective An interactive project focusing on textiles and clothing as elements of human interconnectedness and community.

Toowoomba Regional Art Gallery www.tr.qld.gov.au/trag

Rockhampton Museum of Art www.rmoa.com.au 220 Quay Street, Rockhampton, QLD 4700 [Map 14] 07 4936 8248 Mon to Sun 9am–4pm. Admission free. See our website for latest information.

531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 See our website for latest information.

22 April—5 June My Mother, Blessed and Cursed with Sons Jonathan McBurnie Jonathan McBurnie’s latest body of drawings and mixed-media work draws parallels between the constructed worlds of art and pro-wrestling. The two ostensibly disparate idioms share the willing mental or physical sacrifice of one’s own self as fuel for the artistic act and the presentation of constructed versions of the self, and both present a massive index of jargon and industry-specific terms. Over 200 amassed works will explore the paradoxes, nuances and humour of wrestling in McBurnie’s signature style. Rejigged Sheree Kinlyside and Alan Carpenter. Rejigged demonstrates the power of collaboration to discover unique forms of visual expression. This exhibition links 3D mixed media works of repurposed metal, timber, plastic and textiles to 2D wall works abstracted from and inspired by the 3D material. Through their shared love of architecture and machines, Sheree Kinlyside and Alan Carpenter have developed an opportunistic and evolving practice which combines decades of diverse skill development with the tools and accumulated materials necessary to deliver surprising outcomes.

Umbrella Studio Contemporary Arts www.umbrella.org.au 408 Flinders Street, Townsville, QLD 4810 [Map 14] 07 4772 7109 Tues to Fri 9am–5pm, Sat and Sun 9am–1pm. See our website for latest information. Warren Ogden, Pot 25, Stoneware, 17 x 17 x 10 cm. Photograph: Catherine Ogden. 10 June—10 July Presence Catherine and Warren Ogden Catherine and Warren Ogden’s latest body of functional and figurative ceramic works engage viewers with a sense of time, process, history and alchemy. The quietude of the exhibition commands the space, carrying the histories of the works’ creation and materiality.

Wendy Sharpe, Self Portrait as Circus Banner in Purple Skirt, 2021, acrylic and oil on linen, 183 x 148 cm. Winner, The Gold Award 2022. Photograph: John Fotiadis. Courtesy the artist and Rockhampton Museum of Art. 25 February—15 May The Gold Award 2022 Robert Andrew, Gordon Hookey, Euan Macleod, Noŋgirrŋa Marawili, Ramesh Mario Nithiyendran, Wendy Sharpe, Ian Smith and Guan Wei. Queensland’s richest art prize showcases the best in contemporary Australian painting.

Mabel Edmund, Darumbal and Australian South Sea Islander (1930-2009), On Jowalbina, 1990, gouache and acrylic on woven paper, 60 x 41 cm. Purchased from the Rockhampton City Art Prize 1990. Courtesy Rockhampton Museum of Art.

Barbara Pierce, Line, 2021, acrylic paint, indian ink and pencil on watercolour paper, 14.5 x 21 cm. Photograph: Barbara Pierce. 197

Ritual Ceng Beng, Phoenix Rises from the Ashes By Jayanto Tan Expanding on the everyday ritual of eating and sharing food, Tan’s latest installation uses mundane materials to create a place of spiritual gathering. Showcasing his signature blend of Eastern and Western mythologies with the reality of current events, Ritual Ceng Beng, Phoenix Rises From The Ashes is an offering from culture past to the present, from trauma to healing, to a diverse future of togetherness in our multicultural Australia.

11 JUNE - 2 JULY Image: Ritual Ceng Beng, Phoenix Rises from the Ashes by Jayanto Tan. Image by Greg Piper, 2021.

97 Boundary Street, West Village, West End, Brisbane

metroarts.com.au

Jeff Gibson: Countertypes Griffith University Art Museum 9 June – 27 August 2022 226 Grey Street South Bank Brisbane Q 4101 Ph: 07 37357414 artmuseum@griffith.edu.au www.griffith.edu.au/art-museum Jeff Gibson VACUUM CLEANERS 2018. Image outtake from ‘You might also like …’ 2018, 4K video, 14 minutes. Courtesy the artist

198 JEFF_GIBSON ARTGUIDE.indd 1

griffith.edu.au/art-museum

31/3/22 4:17 pm

QUEENSLAND Umbrella Studio continued... 10 June—10 July Landscapes Barbara Pierce Barbara Pierce’s latest paintings, collages and sketches explore emotive and architectural aspects of natural and human-intervened landscapes. This exhibition examines the characteristics of such environments—contrasting landscapes as sanctuaries with landscapes more troubled or threatening. This exploration is further contextualised by the expected dramatic and far-reaching effects of climate change on landscapes and their inhabitants.

UMI Arts Gallery www.umiarts.com.au Shop 4/1 Jensen Street, Manoora, QLD 4870 07 4041 6152 Mon to Fri 10am–4pm.

case their diverse and unique talents. The exhibition will exhibit paintings and photographic works exploring what culture means and how the artists view their own engagement with culture. 24 June—24 August Freshwater Saltwater UMI Art’s signature exhibition in our visual arts calendar, showcasing midcareer and professional UMI member artists. Freshwater represents the Aboriginal nations of Far North Queensland, with rivers flowing all across the land and through the rainforest, from coastal Cardwell to the tip of the Cape York Peninsula. Saltwater represents the Island nations and peoples of the Torres Strait, surrounded always by the ocean. Expressions of interest open to UMI members until 30 May 2022.

UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Tue to Fri 10am–4pm, Sat 11am–3pm. Closed Monday, Sunday and public holidays.

Arryn Snowball, Steadily expanding editions of time, 2020, tempera on canvas, 190 x 190 cm. Courtesy of the artist and Jan Manton Gallery. 18 February—7 May Sandra Selig: exploring giant molecules Exploring giant molecules is the largest solo exhibition of Australian artist Sandra Selig, bringing together key examples of her interdisciplinary projects from the past two decades. Arryn Snowball: Slack Water Slack Water is a collaboration about the Pacific Ocean between artist, Arryn Snowball and poet, Nathan Shepherdson. At the end of 2017, Shepherdson made 77 poems in response to the ‘fisherman’s bible’, Grant’s Guide to Fishes.

UMI Arts Market stall at UMI Arts annual Big Talk One Fire Festival, 2021. Image courtesy Blueclick Photography.

Superflex, Dive—In, 2019. Dive–In was originally commissioned by Desert X in collaboration TBA21–Academy with music composed by Dark Morph (Jónsi and Carl Michael von Hausswolff). Photograph: Lance Gerber, courtesy of Desert X.

Michael Boiyool Anning, Gindaja Dingal Valma (Cassowary eggs design cross boomerang), 2021, natural ochres and charcoal with PVA on wood with lawyer cane. Image courtesy Lovegreen Photography. 16 May—20 June Culture Through Our Eyes A new program and exhibition for UMI Arts, Culture Through Our Eyes has been designed to introduce First Nations high school-aged students to the local art industry, and to encourage individual artistic endeavor and creativity. The program has been developed as an opportunity for our young First Nations creators to show-

19 February—25 June Oceanic Thinking SUPERFLEX, Sancintya Mohini Simpson, Isha Ram Das, Elise Rasmussen, Léuli Eshrāghi, Izabela Pluta, Monira Al Qadiri, Tabita Rezaire, Stephanie Comilang, Alicia Mersy, Birrmuyingathi Maali Netta Loogatha, Kuruwarriyingathi Bijarrb Paula Paul, Salote Tawale, Benjamin Armstrong and Charles Callins.

USC Art Gallery

Hayley Millar Baker, I’m The Captain Now, Untitled 8, 2016, inkjet on cotton rag, 20 x 20 cm. © and courtesy the artist and Vivien Anderson Gallery, Melbourne. 6 June—6 August There we were all in one place Hayley Millar Baker A UTS Gallery touring exhibition curated by Stella Rosa McDonald. This exhibition surveys the photomedia artworks of Gunditjmara artist Hayley Millar Baker. The artist uses historical reappropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory and place.

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 latest information. 199

A–Z Exhibitions

MAY/JUNE 2022

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] 0499 107 887 Daily 10am–4.30pm and by appointment in the evening. See our website for latest information. We are glad to be part of the cultural fabric of Canberra for over 22 years. We describe our collection as rich and eclectic. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of stunning contemporary works which sit alongside exquisite works from our indigenous artists. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best of which Australia has to offer in art.

Margaret’s fine paintings,including some Gallipoli Series which have been on display in France, Netherlands and Turkey. Also showing local artist’s works and ‘Shed Artists’ are on display in this unique art space which is a teaching place as well as art supply store. Glass artist Carole Griffith has a studio and creates her glass beads from the Artists Shed.

Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sat 10am–5pm.

16 June—9 July Miyalk buku-manapanmirri Bula’Bula Arts Weavings. 16 June—9 July Every time you walk on by I gotta sigh Rona Green Prints, drawings and mixed media.

Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 Wed to Sun 12noon–5pm. See our website for latest information.

20 May—5 June Solo Exhibition Ted Lewis

Sue Pedley, Sylvia Griffin, Penny Coss, Material Language, 2022. L–R: Sue Pedley, Rope Work (series) 202; 1.5 m x 90 cm, pastel and ink on paper. Sylvia Griffin, Rupture, 2021, Cararra marble, charcoal, timber stand, 112 x 43 x 48 cm. Penny Coss, Meteorite (soft fall), 2020, graphite on aluminium 240 x 63 cm.

Artists Shed

27 April—22 May Material Language Sylvia Griffin, Sue Pedly, Penny Coss

Ted Lewis, Across the Finke River, oil on canvas, 120 x 92 cm.

www.artistshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Tues to Sat 9am–5pm, Sun 10am–4pm.

GW Bot, Ocean and Grassland Glyphs, linocut on tapa cloth, 122.5 x 55 cm. (irreg), unique in series.

This exhibition features the work of three artists whose research-based practices have a strong focus on material experimentation. Their material language speaks generally to the idea of impermanence, bodily traces, memory, and loss. This often involves references to geological evolution, deep time and the effects of transformation over time. For each artist, the physical engagement of ‘making’ is an important aspect of this work.

5 May—21 May Glyphs – Return of the poet GW Bot Paintings, works on paper and sculpture. 5 May—21 May Sculpture Yarrenyty Arltere Artists 26 May—11 June Walking the Murray – in the steps of Blandowski Nicola Dicks.on Paintings Carole Griffith, Glass. A privately run gallery by award winning artist Margaret Hadfield. On display is

26 May—11 June Inside stories Madeleine Winch

Stefanie Schulte, Beneath the Blazing Sun’s Relentless Heat, 2021, acrylic on canvas, 76.2 x 121.9 cm. 25 May—19 June Vivaldi’s Seasons Stefanie Schulte

Paintings and works on paper. 201

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Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information.

Blair has received support from artsACT and the Australia Council for the Arts for this exhibition.

5 May—25 May Glitch Naomi Ullman and Naomi Oliver.

Kate Nixon

5 May—25 May From My Notebook Kirsten Biven

Sydney based artist Kate Nixon has been invited to create an installation in the Smokestack Gallery in 2022. This new work is a continuation of Nixon’s series For Collection and will respond to the dramatic space and scale of the Smokestack. Nixon’s work is playful and painstaking. She is fascinated by the physical experience and repetitive nature of mosaic. Unlike traditional mosaic, Nixon does not rely on pattern and colour, instead she considers the three-dimensional form and utilises the transformative properties of glass, mirror and light. The act of covering every visible surface of garbage bins with mirror mosaic challenges our preconceived notions of preciousness, domestic obligations and arts and crafts in the home. It also celebrates the hidden but essential routines in our daily lives. Once modified, the humble rubbish bin becomes a symbol of domestic idealism.

M16 Artspace www.m16artspace.com.au Harriet Schwarzrock, balanced between: indivisible, 2021, blown glass, neon element, electronics, energy. Photograph courtesy of Sam Cooper. 14 April—5 June Upending Expectations (Group exhibition) Gabriella Bisetto, Cobi Cockburn, Nadege Desgenetez, Mel Douglas, Rose-Mary Faulkner, Nicholas Folland, Jonathan Jones, Kirstie Rea, Harriet Schwarzrock, Brendan Van Hek and Annie Cattrell .

Blaxland Centre, 21 Blaxland Crescent, Griffith, ACT 2603 [Map 16] 02 6295 9438 Wed to Sun 12noon–5pm.

26 May—12 June A Journal of the Plague 26 May—12 June The Night Side of Nature Nick Offer 26 May—12 June The Face of Others Sarah Liu 27 May—12 June A Journal of the Plague Year Susan Banks, Susan Chancellor and Phil Page 16 June—3 July Profile Canberra Art Workshop 16 June—3 July Resistance! Paintings as Provisional Realities. Ruth Waller, Derek O’Connor, Stephen Pleban and Paul Uhlmann. 16 June—3 July Glyph Claire Martin

National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm. See our website for latest information.

Curated by Frances Lindsay AM. As the title Upending Expectations implies, the focus of this exhibition is on artists whose experimental, innovative and at times cross-disciplinary practice, utilises glass and its properties of light, transparency and reflection, through a diverse range of approaches. The exhibition is scheduled to tour from 2022 to 2024 supported by the Australian Council for the Arts through the Contemporary Touring Initiative. 15 June—14 August Annette Blair Artist Annette Blair explores our perception and relationship with everyday objects and how they can hold memories and meaning beyond their function. A highly skilled glass blower and sculptor, Blair works with hot glass and enamels to recreate familiar everyday things; hand tools, used spray cans, knitting needles and paintbrushes. Assembled into complex installations, she encourages us to look closely at each object amongst the mass and to think about the things we collect and keep and the stories they tell. This exhibition is a visual story that shares a profound sense of nostalgia which looks at how objects can hold meaning while often appearing meaningless. Annette 202

Sharon Peoples, Garden Shovel Series. Photograph courtesy of the artist. 5 May—25 May Propagate Nellie Peoples and Sharon Peoples. 5 May—25 May The Scorpion’s Tail Dr. Greg Pritchard Anne Wallace, She is, 2001, National Gallery of Australia, Canberra. purchased 2002. Until 26 June Know My Name: Australian Women Artists 1900 to Now: Part Two

Naomi Ullmann, Disruption, 2020, oil on linen, 71 x 61 cm. Photograph courtesy of the artist.

Drawn from the National Gallery’s collection and with loans from across Australia, Know My Name: Australian Women Artists 1900 to Now is one of the most comprehensive presentations of art by women assembled in this country. Know My Name: Australian Women Artists 1900 to Now is part of the National Gallery’s vision to increase representation of all women in our artistic program, in our permanent collection and within the organisation

AUSTRALIAN CAPITAL TERRITORY itself. Curated by Deborah Hart, Henry Dalrymple Head of Australian Art and Elspeth Pitt, Curator of Australian Art.

Tuggeranong Arts Centre www.tuggeranongarts.com

National Portrait Gallery www.portrait.gov.au King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.

Natasha Fijn, Destroyed Shed, Plumwood Mountain, 2020, digital image. 21 April—21 May Between Hope and Despair Natasha Fijn Exploring the possibilities of inter-generational communication in the aftermath of crisis, Fijn juxtaposes her observations of temperate Australian forest recovering from the devastating 2020 bushfires with her grandfather’s record of the American liberation of Nazi-occupied Maastricht in 1945.

137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information. 9 April—21 May I have arrived at Yellow Natalie Quan Yau Tso Featuring new work from Natalie Quan Yau Tso in her first solo show since graduating honours. She investigates yellow as the layered colour of anti-erasure within the contexts of both racial identity in Australia and cultural-political tensions in Hong Kong. The installations, sculptures and performances disrupt bodily boundaries to evoke slippages between political and personal trauma. 9 April—21 May VENTRE LUCA’s Daughters 19 April—21 May More Than Meets the Eye Karri McPherson

Shirin Neshat, Malala Yousafzai, 2018, National Portrait Gallery, London. Commissioned with support from Scott Collins and Lotta Ashdown, in partnership with Outset Contemporary Art Fund, 2018. © National Portrait Gallery, London. 12 March—17 July Shakespeare to Winehouse: Icons from the National Portrait Gallery, London. From Shakespeare to Winehouse, Darwin to Dickens, the Beatles, Brontë sisters and Beckham, the National Portrait Gallery London holds the world’s most extensive collection of portraits. While they undergo the largest renovation of their building in 125 years, we’re thrilled to say that over 80 treasures from their collection have travelled to Australia for an exclusive exhibition with us. Visit famous faces from the sixteenth century to today. Think Mandela, Malala, Churchill, Diana, Bowie, Sheeran, Westwood and more! And iconic artists like Warhol, Hockney, Emin, van Dyck, Rubens and Freud. There’ll be fame, power, love, loss, innovation and the downright inspirational – portrait.gov.au/icons

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.

Alex Flannery, Laddermen and Mao, 2019, silver gelatin print. 21 April—21 May Eating Wild Weeds Alex Flannery A collaboration between Alex Flannery and Chinese born Australian poet Ouyang Yu, Eating Wild Weeds considers the complexities of cross-cultural understanding. Images and words investigate seeing, knowing and experiencing life in another country, engaging questions of visitation, migration, communication and being part of a multi-national family.

Jessika Spencer, Raffia, 2021, emu feather, 50 x 50 cm. 28 May—July Nginha Ngurambang Marunbunmilgirridyu Jessika Spencer 28 May—July Ngadhu bandali ngurambang gu Rechelle Turner

Archive Apparitions Elisa deCourcy Emerging from extensive research into the character and significance of nineteenth century photographic portraits, this series of contemporary daguerreotypes draws attention to the changing resonances of forms of visual culture. Featuring luminaries of contemporary Australian photographic practice and scholarship, these works meditate on colonisation, migration, environmentalism, separation and identity.

Aidan Hartshorn, They (Ancestor) #3. 28 May—July Nganygulia Murunwiginya Aidan Hartshorn

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A–Z Exhibitions

MAY/JUNE 2022

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

TASMANIA

Bett Gallery www.bettgallery.com.au

26 April—11 May Upon the Stairs Tony Woods

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. See our website for latest information.

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.

Richard Dunlop, In Search of Thylacine in the Great Western Tiers, oil on Belgium linen, 170 x 160 cm. 24 May—13 June Short Walks in North Tasmania Richard Dunlop

June. Evening light and hard work, 2021, oil on linen, 122 x 122 cm. 13 May—4 June Transit Patrick Grieve

Gabby O’Toole, ‘A Promise to Me’– Don College, acrylic and oil on wooden board, dimensions varied, 2021. Part of This is Us, 2022 – Devonport Highschool and College exhibition.

13 May—4 June Once Rosie Hastie

30 April—28 May This Is Us 2022 Various Devonport High School and College Students.

Paul Gundry, Hartz Mountains, oil on linen, 80 x 80 cm. 14 July—4 July Seeing the Landscape Paul Gundry

WearEver, 2022, oil on canvas, 127 x 168 cm. 10 June—2 July Uncanny Megan Walch 10 June—2 July Platform I: University of Tasmania Bett Gallery Graduate Award Holly Greaves, Kirsty Riddle, Indy Blackmore and Richard Langley.

Colville Gallery www.colvillegallery.com.au 15 Castray Esplanade, Battery Point, TAS 7004 [Map 17] 03 6224 4088 Daily 10am–5pm. Presenting works by contemporary Tasmanian and Australian artists featuring paintings, works on paper, photography and sculpture in an annual program of curated exhibitions.

Contemporary Art Tasmania

Devonport’s local young people respond to the theme of Emotion in the 2022 exhibition—This Is Us. The exhibition gives these talented emerging artists an opportunity to investigate moods, feelings, and relationships within their private, public, and environmental circumstances, through multidisciplinary approaches. The exhibition reveals the depth, and sentiments held by youth in ever changing times.

www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information. Contemporary Art Tasmania is Tasmania’s professional level, public presentation platform dedicated to contemporary and experimental art. Its provenance is traceable from the foundation of Chameleon contemporary art space in 1982, through 20 years operating as Contemporary Art Services Tasmania (CAST) and, from 2013, as Contemporary Art Tasmania. 8 June—17 July BioGym Mary Maggic and Grace Gamage

George Kennedy, Mr. Sus, 2022, acrylic on canvas, 97 x 97 cm. 30 April—28 May A Place in Flux: Queering the North Coast George Kennedy The Hobart based artist, George Kennedy has for the last few years spent much time travelling Tasmania, to explore and get a feeling for places, communities, and their 205

ar t g ui d e .c o m . au Devonport Regional Gallery continued... unique landscapes. His current practice focuses on sites of curated beauty, at the expense of other places, contextualising them within a queer framework. He creates from a lived transgender experience, challenging Eurocentric aesthetics and ideals of hierarchy and colonialism. For his exhibition, A Place in Flux: Queering the North Coast, George’s explorations focused on the landscape surrounding Devonport. This exhibition is presented under the Little Gallery Emerging Artist Program.

Handmark www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am—5pm, Sat 10am—4pm, Sun 12noon–4pm. See our website for latest information.

Melissa Smith, Lake Whispers#2, 2021, intaglio collagraph and stencil, 45 x 38 cm. Image credit-Scott Cunningha. 13 May—30 May Melissa Smith

The videos tell stories, but they also challenge the politics of storytelling itself. Drawing on ancient literary traditions, non-linear timeframes, and computer-generated randomisation, Zanny Begg invites you to see the world differently.

23 June—30 July Paper on Skin First held in 2012, Paper on Skin is a biennial wearable art award. The award is open to international artists who embrace the challenge of designing a wearable garment made from at least 80% paper. Paper on Skin connects North-West Tasmania’s papermaking heritage to a community of paper-art lovers from throughout Australia. The exhibition is now open to international entrants. The Gala Event and Award Evening will be held on 17 June at the paranaple convention centre. Time and ticket prices to be advised.

Paul Zika, Stellar. Photograph by Simon Cuthbert.

John Lendis, Stars on the Gordon River, oil on canvas. 120 x 150 cm.

27 May—14 June Starlight Paul Zika

3 June—25 June John Lendis

Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Fri to Mon 10am—5pm. 17 December 2021—9 May Jean-Luc Moulène and teams Prototypes of Speculative Engineering James Capper Deep underground: a red landscape transforms the gallery. There you will find a pair of insect-like ‘mobile sculptures’ going about their mechanical choreography,

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www.pennycontemporary.com.au

We offer exhibition representation and curatorial opportunities to local, national and international artists at all career stages. Our exhibitions and events comprise of a broad range of art and community collaborations that aim to invigorate the audience’s experience of contemporary art and culture.

4 June—9 July These Stories Will be Different Zanny Begg

A UNSW Galleries and Museums & Galleries of NSW touring exhibition. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body and the NSW Government through Create NSW.

Penny Contemporary 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 Wed to Sat 11am–4pm, or by appointment. See our website for latest information.

7 May—4 June North West Art Circle: Annual Community Art Exhibition & Awards 2022 The annual North West Art Circle Exhibition and Awards is an event open to members, who are passionate about sharing their love of art with the wider community.

Zanny Begg is an Australian artist and filmmaker interested in contested histories. These Stories Will be Different brings together three of the artist’s most significant video installations, including The City of Ladies (with Elise McLeod) 2017, The Beehive 2018, and Stories of Kannagi 2019. Between them, these works reimagine a medieval feminist utopia, probe the unsolved murder of a highprofile anti-gentrification campaigner and explore the connections between love, loss, and language in diasporic communities in Australia.

digging and marking the earth. Inspired by the movement of insects and evolution of vertebrae in walking species, Capper uses his ability as a steel fabricator and mobile hydraulics engineer to make sculptures that walk across landscapes.

Katie Eraser and Mia Boe. Photograph by Michael Danischewski. 17 June—12 July A collaboration of new works with Katie Eraser and Mia Boe.

TASMANIA

Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 Daily 10am–4pm.

creates a compelling journey of abstract landscapes through works featured within this exhibition. Queen Victoria Art Gallery, Royal Park: Permanent Guan Di Temple The Guan Di Temple at the Art Gallery at Royal Park holds the contents of a number of Chinese temples from north-eastern Tasmanian mining towns. As these temples gradually closed down, their contents were kept and eventually donated to the Queen Victoria Museum and Art Gallery.

Tasmanian artist Lucienne Rickard returns to the Tasmanian Museum and Art Gallery (TMAG) to continue her longterm durational performance Extinction Studies. First on show at TMAG from September 2019 until January 2021, Extinction Studies seeks to bring attention to the critical issue of species extinction through the act of drawing and erasure. Extinction Studies is commissioned by Detached Cultural Organisation and presented by TMAG.

The Guan Di Temple is still a working temple at the Art Gallery at Royal Park and offers a unique window into Chinese religious practice in Tasmania during the 1880s through this permanent exhibition. Queen Victoria Art Gallery, Royal Park: Permanent The First Tasmanians: our story Stella Blackwell, The Invisibility, 2022, (detail). Image: QVMAG. Queen Victoria Museum, Inveresk: 12 March—3 July Grounded: Place is Space Grounded: Place is Space explores the theme of Place for our Northern Tasmanian LGBTIQA+ and ally community including what this means to artists as experiential, as performative, and as sanctuary. Historically, queer communities have passed through public spaces, borrowing, or claiming places to gather as an opportunity to share experiences, create a sense of safety, and express individual and communal identities. This exhibition provides an opportunity for queer culture to be shared throughout our community, while discussing the limits of the LGBTIQA+ and ally community’s past, alongside perceptions of the future. Community exhibition, curated by Amy Bartlett, Natasha Beattie and Craig Hislop.

Explore the history and culture of the Tasmanian Aboriginal people . Highlights include rarely-seen original objects and Tasmanian Aboriginal perspectives on climate change, astronomy, stories of creation, craft, technology and architecture.

Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Tue to Sun 10am–4pm Free entry. See our website for latest information. Tasmanian Museum and Art Gallery (TMAG) is Tasmania’s leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania’s natural and cultural heritage, and the cultural identity of Tasmanians. TMAG is Australia’s second-oldest museum and has its origins in the collections of Australia’s oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block.

Tasmanian artist, Tony Smibert in his studio. Image: Carmencita Palermo. Queen Victoria Art Gallery, Royal Park: 4 December 2021—6 November Tao Sublime Tony Smibert Built from refined skill and dedication to landscape painting spanning a career of 40-years, this exhibition showcases a collection of emotive and striking works by Tony Smibert; many of which are on display to the public for the first time. Inspired by the skill of 19th-century English watercolourist JMW Turner, and eastern painting traditions, Tao Sublime

Gay Hawkes (b. 1942), The singing cupboard, 2014–15, recycled pallets and plywood. Photographer: Peter Whyte. 18 March—28 August Gay Hawkes: The House of Longing Hawkes is a nationally respected furniture maker, sculptor and artist who lives in Tasmania. She is particularly well known for pioneering the use of found materials such as horizontal scrub and driftwood in her furniture. In January 2013, her house and boat-shed studio were destroyed in the Dunalley bush fire, along with an irreplaceable collection of her life’s work. The House of Longing recognises Hawkes’s commitment to her practice as an artist and teacher over forty years, as well as her resilience and passion. 18 March—15 May Made/Worn: Australian Contemporary Jewellery TMAG presents the Australian Design Centre touring exhibition Made/Worn: Australian Contemporary Jewellery, which features the work of 22 outstanding contemporary jewellers working in Australia now. From intimate pieces to large scale works, the contemporary jewellery in the exhibition explores the act of making and how jewellery is worn on the body, telling stories that start with the artist and continue through the life of the object worn or experienced, creating new resonances with owners into the future.

Lucienne Rickard (b. 1981), Extinction Studies, 2019, graphite on paper. From 18 February Extinction Studies 207

A–Z Exhibitions

MAY/JUNE 2022

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

S OUTH AUSTRALIA

ACE Open

Sebastian Goldspink, Free/State features the work of 25 artists throughout AGSA.

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.

Installation view: Yayoi Kusama, THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS, 2017, National Gallery of Australia, Canberra; © Yayoi Kusama, courtesy of Ota Fine Arts, Tokyo/Singapore/Shanghai.

Giselle Stanborough, Cinopticon. 9 April—14 May Metaverse A group exhibition that considers what it means on a human-level to be shaped and governed through the advent of the Internet. This group exhibition curated by Patrice Sharkey brings together a select number of works by Roy Ananda, Britt d’Argaville, Harun Farocki and Giselle Stanborough that foretell dystopian visions in response to our increasingly inescapable relationship to technology.

Art Gallery of South Australia www.agsa.sa.gov.au Kaurna Country North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry. See our website for latest information.

1 April—30 April 2023 THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS Yayoi Kusama Described as ‘the world’s most popular artist’, Yayoi Kusama is best known for her immersive polka-dot and mirror installations. Described as ‘the world’s most popular artist’, Yayoi Kusama is best known for her immersive polka-dot and mirror installations. See THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS and experience a sensation of infinite space and colour in AGSA’s Melrose Wing.

Lola Greeno, Born 1946, Palawa people; lives and works in Launceston, lutruwita Tasmania, Green Maireener Necklace (detail) 2017, green maireener shells, cotton thread. Private collection, Courtesy of the artist. Goddard, Katherine Moline, Amanda Hayman & Troy Casey (Blaklash Creative), and Beck Davis. Featuring Robert Andrew; Silvio Carta; Andrew Gall; Interaction Research Studio; Lola Greeno; Geoff Hinchcliffe & Mitchell Whitelaw; Jenna Lee; Joana Moll; Patrick Pound; Countess.Report; Aidan Rowlingson; Judy Watson; Warraba Weatherall; and Tali Weinberg.

GAGPROJECTS www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway GAGPROJECTS is currently presenting virtual exhibitions online. Gallery & stockroom open by appointment only.

Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5245 08 8388 7250 Open 7 days a week 10am–5pm. See our website for latest information.

Flinders University Museum of Art www.flinders.edu.au/museum-of-art

Dennis Golding, Kamilaroi/Gamilaraay, New South Wales, born 1989, Sydney, Untitled Botany Bay, 2018, photograph, 155 x 87 cm. Courtesy of the artist; photo: Jack Cook. 4 March—5 June FREE/STATE 2022 Adelaide Biennial of Australian Art Don’t miss the country’s longest-standing survey of contemporary Australian art. The 2022 Adelaide Biennial of Australian Art: Free/State explores ideas of transcending states, from the spiritual and artistic to the psychological, and embraces notions of freedom in expression, creation and collaboration. Curated by

Flinders University, Sturt Road, Bedford Park, SA 5042 [Map 18] 08 8201 2695 Mon to Fri 10am–5pm or by appt. Thurs until 7pm. Closed weekends and public holidays. Free entry. FUMA is wheelchair accessible, please contact us for further information. Located ground floor Social Sciences North building Humanities Road adjacent carpark 5. See our website for latest information. 26 April—8 July The Data Imaginary: Fears and Fantasies An exhibition from Griffith University Art Museum, Brisbane. Curated by Angela

The artist in the studio with Nomenclature (Cape Bauer), 2021,work-in-progress, (detail). Photo: Mark Fuller. 9 April–31 May Nomenklatur Hahndorf Troy-Anthony Baylis A large-scale installation of bold textile ‘landscape ‘utilising synthetic materials, the artist paints the German and non-German names for Australian places onto new and recycled Holland blinds, 209

AUTUMN SEASON 2022

— FRIDAY 27 MAY

Image: Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

FRIDAY 4 MARCH

Presented with the Adelaide Festival Isaac Julien (UK) / A Samstag & John Curtin Gallery Installation Helen Fuller (AUS) / Ceramics Daniel Jaber (AUS) / Performance

unisa.edu.au/samstagmuseum

Samstag Museum of Art University of South Australia 55 North Terrace, Adelaide 08 8302 0870 unisa.edu.au/samstagmuseum

S OUTH AUSTRALIA Hahndorf Academy continued... cuts them into strips and weaves them back together in ‘suspended tension’, holding them in place with embroidered names of Aboriginal nations whose Country, named or not, was never ceded. 11 April–31 May Slippery Bits Eleanor Zecchin These are the bits in between; where the real and imagined twist and turn to reveal and conceal ponderings caught in paint. 9 April–31 May Antics Mark Rech, Cherrie Almond, Greg Bennett

JamFactory www.jamfactory.com.au 19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open Daily 10am—5pm. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open Daily 11am—5pm. See our website for latest information.

Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am–4pm. Closed Mon and public holidays. See our website for latest information.

Mark, Cherrie and Greg are all longtime participants of Broughton Art disability art sessions. All three are dedicated artists with their own unique approach to art, coloured by lives experienced and influenced by acquired brain injury or autism. 4 June–26 July Time Over - Restart Jenn Brazier, Rachel Harris, Ervin Janek, Mimi Kelly, Raheleh Mohammad, Matthew Schiavello, Beverley Southcott. This exhibition is on poetic expressions of photography that broadly fit within socio-political, environmental, and humanist (including human and non-human) narratives of the world today. These works show re-imagined artistic expressions of hope and inclusivity apart from neo-liberalism, recessive/redundant ways of thinking. 4 June–26 July Forever Drawing Nora Heysen

David McCourt, Chambers Gorge, Flinders Ranges, oil on canvas. Winner of the 2021 Murray Bridge Rotary Art Show 2D category. 23 April—15 May Rotary Art Show Bronwyn Sargeson, Circularene, 2022. Photograph: Brenton McGeachie. 13 May—3 July FUSE Glass Prize

Nora Heysen was a trailblazer in Australian art in the 20th century. Heysen was the first woman to win the Archibald Prize and the first female Australian war artist. Her work is held in major public and regional galleries, and many private collections, around Australia.

This popular annual community-driven event provides an opportunity for emerging and hobbyist artists to exhibit, sell and be in the running to win a prize for their work. Prize categories include 2D, 3D, and Photography.

Newmarch Gallery www.newmarchgallery.com.au

4 June–26 July Marli Milyika Macumba Anangu, Pitjantjatjara, Yankunytjatjara People.

‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery Mon, Tues, Wed, Fri 9am–5pm, Thurs 9am–7pm, Sat 9am–4pm, Sun Closed.

Born Iwantja (Indulkana), South Australia 1978 and now based in Port Augusta, Marli is from Pitjantjatjara, Yankunytjatjara, Arrernte, Gurindji and Warlpiri peoples. Marli uses traditional storytelling techniques to create new ways of sharing her cultural knowledge. Her unique style brings elements of nature into imaginative, vibrant, contemporary work.

Hugo Michell Gallery www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.

Helen Earl, Banksia Serrata, 2021. Image: the artist. 19 February—15 May JamFactory at Seppeltsfield: Australiana Local Schools Art Exhibition 2021. 211

ar t g ui d e .c o m . au Newmarch Gallery continued... 13 May—11 June Local Schools Art Exhibition Featuring the work of students from our local primary and priory schools. This exhibition celebrates City of Prospect’s 150th anniversary with a futuristic look at what Prospect could look like in 2172.

on Indigenous Australian lives and explores how connections to Country are being maintained through cultural practice. Supported by Arts South Australia, this is the inaugural In_Site: First Nations Emerging Curator Program, a partnership between Nexus Arts and Flinders University Museum of Art.

praxis ARTSPACE

Riddoch Arts & Cultural Centre www.theriddoch.com.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm.

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.

The taxi driver model from Passenger. Parklands Project, Rosina Possingham and Laura Wills, mural. Photography Rosina Possingham. Billie Justice Thomson, Ukrainian Urn, acrylic on Perspex, 40 x 60 cm. 17 June—18 July Much Appreciated Billie Justice Thomson A new series of paintings and drawings where the artist reimagines artefacts and objects found in South Australian institutions in her illustrative and ebullient style.

5 May—27 May The Patch World Rosina Possingham When Observations Become Form Lee Salomone 2 June—24 June Interstellar Return Chantelle Mitchell (VIC) and Jaxon Waterhouse (WA) [Ecological Gyre]

Nexus Arts www.nexusarts.org.au Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm.

Interstellar Return considers shared cosmic futures and pasts through the co-opting of technologies of death and memorial.

21 May—17 July Take me with you Isobel Knowles and Van Sowerwine Artist collaborators Isobel Knowles and Van Sowerwine are bringing the profoundly touching 360 degree stop-motion VR film Passenger to The Riddoch as part of their new exhibition, Take me with you. Passenger is a 360 degree stop-motion virtual reality film that brings the story of arriving in a new country to life. Your taxi driver, himself a migrant to Australia, navigates the new terrain with you, acting as your guide while also revealing small parts of his own story. Passenger recreates and investigates the geographic and visual dislocation of arriving somewhere unfamiliar, and beginning the journey of finding a new home in a foreign land. Charming characters, sets and behindthe-scenes footage will offer a rare insight into Isobel and Van’s practice. In addition, the stop-motion short films Clara and Out in the Open will also be on display.

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.

Dameeli Coates, I carry Country, 2021. 21 April—3 June internally disPLACEd: borders and belonging Featuring works from Dameeli Coates, James Tylor, Maria Randall, Elizabeth Flynn and the Flinders University Museum of Art Collections. Curated by Dameeli Coates. This exhibition considers the effects of dispersal, displacement and dispossession 212

Tom Maguire, Old Mates Place, 2021, printed image on acrylic, oil on pine frame, 15 x 10 x 7 cm. 2 June—24 June Turn Right Tom Maguire

7 May—18 June [GRAFTd] Exhibitions Connected Threads: The Apron Project Maureen Neville and Julia Boros Through personal storytelling, Connected Threads: The Apron Project seeks to share the collective experiences of the extended Onkaparinga community by

S OUTH AUSTRALIA focusing on the fashion, form and function of the ubiquitous apron.

See our website for latest information. Bold, creative and responsive to developments in contemporary visual art, the Samstag Museum of Art is one of Australia’s leading university art museums. Samstag is located on North Terrace in Tarntanya (Adelaide), at the University of South Australia’s City West campus, an easy 15-minute walk from the city centre. Find us on the corner of Fenn Place and North Terrace. Entry is on the ground floor of the Hawke Building. Samstag is committed to ensuring its programs and activities are accessible to everyone. We welcome guide dogs and assistance dogs. All areas of Samstag are accessible by wheelchair and pram. For groups with hearing impairment the Museum can provide an Auslan interpreter.

Kylie Blackley and Jordan Wood, Kathleen, 2021, ink drawing on paper, digital print on silk, 30 x 20 cm. Image courtesy of the artists.

Virginia Barratt and Em König [Sadworm] 17 June–18 June VERS: On Pleasures, Embodiment, Kinships, Fugitivity and Re/Organising Two-day, live event centred on conversation and creative practice. 18 June–19 June Rot Daniel Jaber

South Australian Museum www.samuseum.sa.gov.au North Terrace, Adelaide SA 5000 [Map 18] 08 8207 7500 Open daily 10am–5pm. See our website for latest information. The South Australian Museum has a vibrant calendar of changing exhibitions which reference and interpret our research to aid our understanding of human cultures and the natural world.

7 May—18 June Will ‘o’ the Wisp Jordan Woods and Kylie Blackely Exploring the many gaps in the records of Kathleen Sauerbier’s art practice, this exhibition is dedicated to the multiplicities of an enigmatic muse.

15 June One day performance: Exosmosis

Isaac Julien, Green Screen Goddess (Ten Thousand Waves), 2010, Endura Ultra photograph. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. 4 March 2021–27 May Isaac Julien

Joe Felber, Poster based on A short view of a vast landscape over time, (2019), 2021. Image courtesy of the artist. 25 June—30 July Artist in residence exhibitions Illumination Joe Felber In asking ‘What is the most important object you would save from a natural disaster?’, Felber hopes that through considering the act of saving something special, the community as co-collaborators, are able to creatively reflect on our current global environment whilst representing their own hopes to change the world.

Samstag Museum of Art 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.

An exhibition of works by Isaac Julien, an internationally acclaimed UK artist and filmmaker with career links to Australia, presented concurrently for the 2022 Adelaide and Perth Festivals. Julien is world-renowned for arresting works that bring together baroque pageantry and metaphor. Based in London and California, Isaac Julien (CBE RA) is recognised for his screen film installations and photographs incorporating different artistic disciplines, including dance, photography, drawing and sculpture. Informed by his film background, Julien’s art installations form fractured narratives that critically reflect on themes such as identity, history, globalisation and social representation. 4 March 2021–27 May Helen Fuller Samstag is proud to present new work by Helen Fuller with the ambitious exhibition design of Khai Liew. Over a long and extensive career, Fuller has established an accomplished multidisciplinary practice encompassing painting, sculpture, installation and in recent years, ceramics. Materially driven, she approaches ceramics in a manner she likens to painting, centred about characteristics of form rather than the function of the vessel. Developed for the Adelaide Festival, Fuller’s new body of work will see a series of hand-built terracotta objects exploring connections to geological and social time, and the object as a cultural and anthropological artefact.

Grayson Cooke and Emma Walker, Open Air, video. 4 June—7 August Waterhouse Natural Science Art Prize 2022 Art and science blend in the Waterhouse Natural Science Art Prize exhibition. This biennial prize provides an opportunity for artists to investigate the world around them and present their perspectives on natural science. The Waterhouse Natural Science Art Prize commemorates the South Australian Museum’s first curator, Frederick George Waterhouse. It encourages artists to make a statement about the scientific issues facing our planet and offers a valuable platform for them to contribute to the environmental debate. Over the years the competition has become a much-loved fixture on the arts calendar, allowing artists and audiences to explore natural science through a range of creative outlets.

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A–Z Exhibitions

MAY/JUNE 2022

Western Australia

Elder Place, Perth Cultural Centre,

Wittenoom Street, High Street,

Finnerty Street, Aberdeen Street,

Glyde Street, Bussell Highway, Kent Street , Stirling Highway,

St Georges Terrace, Railway Road, Henry Street, Colin Street,

Captains Lane, James Street

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.

Morris explores painting in its complexity, in a new series in which each work can be positioned through 360 degrees. He skillfully overlaps literal, figurative and metaphorical conversations, alluding to oscillating relationships and informing a methodology for decision-making.

16 April—14 May Giotto’s Joy Adam Derums Adam Derums upholds the primacy of subjective experience in new paintings that are purposefully developed and revealed through slow and meditative studio processes. The works help to explore nuances of personal experience in a time where our knowledge of the world is mediated through a digital prism of rapid-fire information. Eclipsing Chris Hopewell A new painting series by Chris Hopewell provokes an imagined presence through absence, alluding to notations of recorded time and history. Highly reflective resin surfaces obscure and engulf, providing focal points that combine with layers of paint to constantly reinvent the composition; echoing the randomness that is ever-present around us.

artworks across four gallery spaces. This extraordinary body of work features the most exciting contemporary art and practice coming out of the region while paying homage to the legacy that has informed it, offering a rare and broad-reaching insight into the region’s artistic output over the years. This exhibition is a collaboration between FORM, The Art Gallery of Western Australia; and Aboriginal art centres Cheeditha art Group, Juluwarlu Art Group, Martumili Artists, Spinifex Hill Studio and Yinjaa-Barni Art; alongside independent artists. Until 3 July Michael Jalaru Torres | Jurru

Cathy Blanchflower, Lithic V, 2021, oil on canvas, 152 x 168 cm. 25 June—23 July Paintings 2021–2022 Cathy Blanchflower Organic abstract paintings which explore colour, light and movement to create shifting and intangible spaces. They search for a feeling or presence which cannot be painted directly, but rather revealed within layers and visible structures of paint.

Djugun and Yawaru photographic artist Michael Jalaru Torres explores social history and the political and cultural identities of community members from the Kimberley region of Western Australia, with his innovative portraiture and abstracted landscape photography. The artist’s own story is woven throughout the works in the gallery space, interlinked by Torres’ imperative to map and understand not only himself but others through the lens of his camera.

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.

Noa Williams Animals, Animals, We Are All Animals 2021 (detail). Aerosol, permeant marker, manipulated Perspex, found object, reso print, ink jet print, animation, 65 x 180 x 1 cm. St Mary MacKillop College. Until 24 July The West Australian Pulse Michele Theunissen, Reflections on the Edge 3, 2021, acrylic and oil paint and pigments on canvas, 150 x 117 cm. 21 May—18 June Reflections on the Edge Michele Theunisssen New works by Michele Theunissen utilise a simple painting technique to draw attention to two states colliding – sometimes with force, sometimes unravelling, sometimes coalescing. One entity meets another, one state of awareness meets the unknown: an unformed unfathomable certainty. At the edge is a threshold, perhaps a precipice, perhaps a sliding into grace, or a transition to opaque formlessness. Rock, Paper, Scissors and Sigh Frank Morris

Corban Clause Williams Kaalpa (Kalypa, Canning Stock Route 23), 2020, acrylic on linen, 150 x 150 cm. Image courtesy of Corban Clause Williams (Martumili Artists). Until 28 August Tracks We Share: Contemporary Art of the Pilbara Celebrating the Aboriginal artists and artwork of Western Australia’s Pilbara region, this landmark exhibition brings together more than 70 artists and over 190

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. This year’s exhibition celebrates 30 years, featuring 49 works by 2021 Year 12 Visual Arts graduates from 32 schools across WA. In another landmark celebration, 2022 sees The West Australian come on board as the exhibition’s major sponsor and a renaming to The West Australian Pulse. 14 May—23 October Collective Ground Yamaji/Noongar curator Tui Raven has brought together 60 works from First Nations artists across Western Australia, in Collective Ground — the first exhibition of Aboriginal and Torres Strait 215

ar t g ui d e .c o m . au 11 June—14 August Playing the Man An Art on the Move travelling exhibition.

Art Gallery of Western Australia continued... Islander works acquired through AGWA’s COVID-19 stimulus package. It explores deep time and the stories that flow through the land on which we all live — as told through the artworks of First Nations peoples across the state. The pandemic has forced us to consider the way we live and how. Many of us have had to adjust from being in wide-open spaces to being contained in small spaces. It has been a time to reflect on the places we occupy, and the spaces we inhabit, internally and externally. Collective Ground asks the viewer to consider the ground on which they walk.

Rhona Wallam, Landscape, 2021, water colour on Arches Paper. 28 May—21 August Noongar Countr - Kaarla Koort-ak: Woonya, Moort, Boodja.

4 June—31 July Tom Malone Prize 2022 The Tom Malone Prize is 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 in this medium. As an acquisitive prize, each year’s winning entrant is awarded $15,000 while their work becomes a part of the WA State Art Collection. 2022 marks the 20th year of the Prize.

Artitja Fine Art Gallery www.artitja.com.au 0418 900 954 See our website for latest information.

Thecla Bernadette Puruntatameri, Yikwani, ochre on canvas, 180 x 120 cm. Earlywork, 330 South Terrace, South Fremantle: 3 June—26 June MUNUPI | BULA BULA Group exhibition An exhibition of paintings, weaves and objects from Munupi Arts at Pirlingimpi in Melville Island, Tiwi Islands and the artists from Bula’Bula Arts from the community of Ramingining, NT.

Hearts on Fire: Love, Family, Country Group exhibition

DADAA Gallery www.dadaa.org.au 92 Adelaide Street, Fremantle WA 6160 [Map 20] 08 9430 6616 Tues to Sat 10am–4pm. See our website for latest information.

Bunbury Regional Art Gallery www.brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. Follow us on Facebook to keep upto-date with our latest information. 4 June—21 August Wonders of the World Tony Windberg

Fayen d’Evie with Anna Seymour, Vincent Chan, and Trent Walter, Care is a cognate to grief, 2021, screenprint and tactile UV prints, (detail). 5 February—7 May Our Language Presented by Perth Festival in association with DADAA. What languages do you speak? Do you speak the language of your parents? Your grandparents?

Julie Sadly, Yikaki, Dhawurrbatjbarra fish trap, Gunga (Pandanus Spiralis) and natural dies, 100 x 35 cm. 216

Graham Miller, Bunbury Regional, Choppy Les Fong (1981–2019).

Language encompasses words, symbols, non-verbal sounds, and actions. Where language expresses cultural hierarchies and values, translation becomes a process of transferring these cultural meanings from one language to another, mediating between cultures and negotiating

WESTERN AUSTRALIA difference. Featuring video, soft sculpture, zines, and print works, artists Alter Boy, Fayen d’Evie, Nastaran Ghadiri, Zou Mat Je, and Josh Ophel navigate between languages with empathy and creativity, exploring what language can tell us about the world and our place in it.

DOVA Collective

Fremantle Arts Centre www.fac.org.au

in the intellectual and cultural development of the vocational sector, community and general public.

1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information.

www.dovacollective.com.au Level 8, 125 Murray Street, Perth, WA 6000 [Map 19] 0419 614 004 By appointment. See our website for latest information. Michelle Cangiano, Welcome. Photograph: Fred Kroh. Dora Parker, Pukara (detail), 2021, acrylic on canvas, 110 x 85cm. Image courtesy the artist and Spinifex Arts Project. 7 May—24 July Revealed Exhibition: New & Emerging WA Aboriginal Artists

Sherylle Dovaston, All This and More.

The Revealed Exhibition returns in 2022, celebrating the creativity, ambition, and diversity of contemporary Aboriginal Art practice in Western Australia. The annual Revealed program – encompassing the exhibition as well as an online Art Market, artist talks, demonstrations, workshops and an opening weekend celebration – provides a unique opportunity for Perth arts lovers to meet artists from all over this vast state, hear rich stories of culture and community, and support the next generation of artists by buying artwork to take home and cherish. Explore works which range from highly traditional to cutting edge in a range of mediums including painting, installation, textiles, photography, print, video, weaving and sculpture.

2 May—21 May Island Welcome Contemporary jewellers & artists make gestures of welcome in response to Australian immigration policy. Curated by Belinda Newick Island Welcome a nationally touring group exhibition exploring contemporary jewellery as a gesture of welcome seeks to bring attention to asylum seeker issues and to extend the dialogue beyond art and craft audiences via expressions of Australian values through craft practice.

Gallery Central www.gallerycentral.com.au Sherylle Dovaston, Mendacium. 27 May—30 May Encounters Sherylle Dovaston Encounters features a collection of paintings by Perth-based Artist Sherylle Dovaston, showcasing her fascination with human relationships and visual language. Dovaston’s work contemplates the opportunities that exist in the space of random encounters in our daily lives, and asks viewers to reconsider these as opportunities for enrichment. The exhibition is hosted in partnership with BlueSky Co.Lab in their exciting collaborative space in the Perth CBD, marking an innovative re-imagining of the intersection between art and business.

North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri 11am–4.30pm, Sat varies. Closed public holidays and Easter Saturday. See our website for latest information. North Metropolitan TAFE aims to build and maintain a permanent collection of works of visual art and craft for the cultural enrichment of its student body, staff and wider community and as a resource for teaching, learning, research, enjoyment and place-making. The Art Collection reflects the College as a place of learning, creativity and imagination. Through its collection and display of artworks, NMT seeks to play a leading role

Marian Giles / Marina Kailis, The Geographer, 2022 and Marina Kailis, Stringman, 2022. Photograph: Marcia Espinosa. 7 June—24 June MMMerge For this particular exhibition—Marcia Espinosa, Marian Giles and Marina Kailis— in addition to creating their own individual pieces, have sought to collaboratively explore and respond to each other’s work. The three artists have exploited the iterative qualities inherent in the ceramic process and intervened in each other’s work at various stages—from the unfired stage, through bisque fired work, to altering glazed work. This fluid ownership fosters non-attachment and non-preciousness has been liberating and fun for the artists. The results may surprise and even provoke. 217

artitja.com.au

WESTERN AUSTRALIA 1 May—30 July Seams Racquel Cavallaro

Gallery 152 www.gallery152.com.au 152 Avon Terrace, York, WA 6302 0419 707 755 Daily 10am—3pm. See our website for latest information.

Tim Burns, Rocks Blocking Sacred Sight, Giclee print, 2022. 4 June—3 July Spaced: Quarry in the Wheatbelt Tim Burns Rural Utopias is a multi-year program of residencies and socially engaged art in regional and remote Western Australian communities. The program focuses on the idea of “Rural Utopias” and includes 12 artists from across Australia. As part of this program artist Tim Burns is working in the community of York in the Wheatbelt of Western Australia. Over the course of his residency, the artist has been drawing on community interactions, histories, print techniques, experimental and collaborative working methodologies to develop a collection of stories with the York community. The resulting work will be shared with the York community at Gallery 152, and in a series of walks at the Gwambygine quarry. Tim Burns has had long and productive associations with artist-led groups and organisations since 1970. With an experimental practice that has seen his work placed internationally including New York, London, Tokyo, Adelaide, Melbourne, and Fremantle. Now based in York, he represents artists that battle through a calling where one will often sacrifice a lot in life to stay true to the rigours of one’s practice.

Lindy Lee, Buddhas and Matriarchs, 2020, installation view, Lindy Lee: Moon in a Dew Drop, Museum of Contemporary Art Australia, Sydney, 2020, flung bronze, image courtesy the artist and Museum of Contemporary Art Australia, Sydney. © the artist, photograph: Anna Kučera. spirituality and our relationship to the cosmos. She creates meditative works using light, shadow and scale across many artforms. Moon in a Dew Drop takes an in-depth look at four decades of extraordinary practice. Working across a range of disciplines including painting, sculpture, installation and public art, 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. Take in shimmering, meditative and thought-provoking works in her major survey exhibition which draws on her experience of living between two cultures.

KAMILĖ GALLERY www.kamilegallery.com Cathedral Square, 3 Pier Street, Perth, WA 6000 [Map 19] 0414 210 209

www.uwa.edu.au/lwag The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 Tues to Sat, 12noon–5pm. See our website for latest information. Lawrence Wilson Art Gallery will be closed for renovations from Sunday 24 April reopening Saturday 25 June.

Jody Quackenbush, The butcher shop, Northbridge, 2013, giclée print on archival paper, ed.1/10, 42 x 59.4 cm. Cruthers Collection of Women’s Art, The University of Western Australia. Courtesy and copyright of the artist

There are countless intangible networks of supporters, communities and friendships that sustain a creative practice. This project draws on works from the Cruthers Collection of Women’s Art to reveal these connective threads via the exhibition, publication, website and associated programs.

www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 Mon to Fri 11am–5pm, Sat & Sun 12pm—4pm, Sun 12pm—4pm (May). Closed public holidays. Free admission.

Lindy Lee is one of the most respected contemporary artists working in Australia today. Influential Australian Chinese artist Lindy Lee explores identity, history,

Lawrence Wilson Art Gallery & Berndt Museum

25 June—20 August Sustaining the art of practice

John Curtin Gallery Curtin University

3 June–28 August Moon in a Dew Drop Lindy Lee

Our Journeys | Our Stories explores the Chinese migration history of the Georges River area, interweaving social and cultural history with the work of contemporary Chinese-Australian artists Cindy YuenZhe Chen, Guo Jian, Lindy Lee, Xiao Lu, Jason Phu and Guan Wei. This exhibition aims to highlight and celebrate the significance of local Chinese migration form the 19th century through to the 2000s and the ongoing contribution of the Chinese community to the Georges River area.

12 February—10 December Cristina Asquith Baker, Gemma Ben-Ary, Dorothy Braund, Lina Bryans, Mary Edwards, Linda Fardoe, Margaret Francis, Adrienne Gaha, Bessie Gibson, Melissa Mcdougall, Clare Mcfarlane, Gina Moore, Margaret Morgan, Maisie Newbold, Susan Norrie, Kathleen O’connor, Jean Sutherland, Eveline Syme, Yvette Watt, Julie Wilson-Foster, Sue Wyatt – from the Cruthers Collection of Women’s Art. Racquel Cavallaro, THEY SAID THEY WERE LOOKING FOR THE LIGHT THAT FELL INTO THE SEA, oil on marine ply support, Tasmanian oak frame, 64 x 64 cm.

This exhibition draws upon two of the strengths of the Cruthers Collection of Women’s Art – portraiture and the work of respected Australian artist, Susan Norrie. Norrie’s dark and weighty 219

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24/2/22 3:38 pm

WESTERN AUSTRALIA Lawrence Wilson Art Gallery continued...

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.

Sue Wyatt, Laverton girls, 2003, oil on canvas, 120 x 177 cm. Cruthers Collection of Women's Art, The University of Western Australia. Copyright and courtesy of the artist. paintings are placed directly opposite a chronological run of portraits from the collection.

Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Mon to Sun 10am–4pm. West Perth Gallery: 11 Old Aberdeen Place, West Perth, WA 6005 08 9388 3300 Mon to Sat 10am–4pm. Mandoon Estate Gallery: 10 Harris Road, Caversham, WA 6055 08 9388 3300 Fri to Sun & public holidays, 10am–4pm. Cherubino Wines: 3642 Caves Road Willyabrup WA 6280 08 9388 3300 Thu to Sun 10am–4pm. 29 April—23 May Subiaco: A Kimberley Journey Brendon Darby “In July 21, I went back to the Kimberley Coast. One of the most wonderful landscapes on this planet. Forever changing through weather conditions, time of day and the resulting reflections. It’s an endless source of inspiration. “Of course, one of the most amazing aspects of this coastline is the effect time has had on it. “Millions of years of erosion has created bent and twisted layers of stone, that often look quite abstracted. I’m taking that observation and pushing it further, by abstracting this landscape even more and sitting it above realistic reflections of it. “This is a journey within a journey, from representational through to abstraction. “It’s a journey I love.” Brendon Darby 2022. 1 May—29 May Mandoon Estate Gallery:

Brett Canet-Gibson, Heath, photograph, 90 x 60 cm. Light Enters Upside Down Brett Canet-Gibson Canét-Gibson’s urban vignettes express both his alertness to beauty that others may overlook, and his sensitivity to the shape and meaning of words of many languages. His juxtaposed images are subtly affecting expressions of visual wit. For portraits, Canét-Gibson has a national reputation. His portraits are made using natural light, a portable backdrop and people he has just met on the street. Canét-Gibson uses the city as his casting agency and the sidewalk as his studio. The artist’s own integrity enables him to present the almost-unbearable truth of the protracted human gaze.

Antony Muia, The Garden (Mimesis 1), detail, 2021, etching, edition 1 of 9, 80 x 60 cm. 7 May—16 July Upper Reach Antony Muia Developed during an artist residency at Midland Junction Arts Centre, this body of work is inspired by the unique flora and fauna found in Perth’s eastern suburbs and hills. Muia explores a synergy between figuration and the natural world and considers the history and traditions of the printmaking genre, including its strong ties to illustration and storytelling. These experimental etchings reflect both the representational qualities of our surroundings and the relationships of people with the environment.

Leon Pericles, Supply Vessel for the Isolated Widji Lighthouse, 2022, acrylic on canvas. 27 May—19 June Subiaco: Taming A Tumultuous Palette Leon Pericles The starting point for this collection is translucency, an exploration of layers and colours. Translucence balances off the brushes. In one painting the red is vicious, the blue tenacious, yellow untrustworthy, purple a pleasure, green luxurious and orange is hot and flamboyant. In the next this all changes. The exhibition will reveal Pericles’ newest etching: Seconds Before Goff & Sue’s Life Changed Forever. This masterful creation features an overload of detail and wit. Also showing is a series of intricate mixed-media works filled with colour, texture and iconic Pericles patterning.

Simon Marchment, Artist works in succession, (detail), 2021, indian ink on paper. 7 May—16 July In Focus 2022: Portraiture Featuring a diverse selection of artists from DADAA art studios, this year their annual In Focus exhibition is thematically based on ‘portraits’ and presents work in a variety of media. The exhibition explores social values of identity and disability, through individual perspectives, stories and experiences. 221

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

Mundaring Arts Centre

Zig Zag Gallery www.zzcc.com.au

www.mundaringartscentre.com.au

50 Railway Road, Kalamunda, WA 6076 08 9257 9998

7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm.

7 May—22 May Art is in the Air Alfred Cove Art Society. Art is in the Air is an exhibition by the members of the Alfred Cove Art Society exhibiting a diverse selection of works in oil, acrylic, watercolour, pastel and printmaking.

Tjyllyungoo Lance Chadd, Returning, (detail), acrylic on canvas, 92.5 x 56 cm. 9 April—19 June Country Connections Shire of Mundaring Open Art Acquisition Exhibition. Curated by Sharyn Egan and André Lipscombe The 2022 Shire of Mundaring Open Art Acquisition Exhibition invites artists with a continuing connection to Mundaring to reflect on their relationship with the natural world. Mundaring is recognised for its forest reserves and waterways, which provide sanctuary to a diversity of native flora and fauna. Those who maintain a connection with the region have an enduring enthusiasm for its conservation and cultivation. 2 July—11 September Extricate Through transformative processes, this group of emerging artists take the printmaker’s craft beyond tradition. While maintaining the physical presence of the artist’s hand in the work, the artists reveal outcomes using non-traditional materials, scale and form, following chance revelations and surprising serendipities into an expanded practice.

Danielle Freakley, Be My Friend, 2018, polyurethane, ink, rock. Image courtesy the artist and MOORE CONTEMPORARY. solo project at MOORE CONTEMPORARY, following her major installation, Equal Opportunity to be a Dictator, at the relaunch of the Art Gallery of Western Australia. Freakley creates new objectbased works across diverse media, accompnied by a performative activation within the space.

Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information.

Fern Bhuttoo, Studio View, 2014, oil paint on handmade paper, 54cm x 36 cm. 28 May—12 June Women Water Seeds Fern Bhuttoo An exhibition of paintings, ceramics and calligraphy by Artist Fern Bhuttoo (née York). This exhibition features strong female figures of empowerment and survival. Women Water Seeds is a statement for Women and Mother Earth in the face of exploitation.

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. 21 May—25 June “On Your Behalf” Danielle Freakley Danielle Freakley presents her inaugural 222

Ilona McGuire, Smoothing The Pillow, 2021. Photograph: Bo Wong. 14 May—17 July Hatched National Graduate Show 2022

George Hayward, 542, 2021, acrylic on canvas, 71 x 71 cm.

Presenting the work of leading emerging artists recently graduated from art schools across the nation. Hatched presents a tantalising glimpse into the diverse and exciting practices of emerging Australian artists, whose unique visions of the future are both urgent and compelling.

17 June—3 July Unspoken George Hayward This solo exhibition by George Hayward showcases abstract paintings that explore the connection to the natural environment to transform inner emotion into artistic expression.

A–Z Exhibitions

MAY/JUNE 2022

Northern Territory

Lapinta Drive, McMinn Street,

Casuarina Campus, Melville Island, Darwin Convention Centre,

Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,

Vimy Lane, George Crescent

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ar t g ui d e .c o m . au 29 April—28 May Can you hear my voice? Gramart Project, Huma Mulji, Mubashir Niyaz, Moonis Ahmad Shah and Bushra Mir.

Araluen Arts Centre, Mparntwe www.araluenartscentre.nt.gov.au 61 Larapinta Drive, Alice Springs, NT 0870 08 8951 1122 Daily 10am–4pm. Collection Lab installation view. Courtesy of the Museum and Art Gallery of the Northern Territory. Photo: Mark Sherwood. manner, the exhibition reveals surprising connections between different artists and artworks from the Museum’s Aboriginal, Southeast Asian and Australian art collections. Ongoing Cyclone Tracy Cyclone Tracy was a defining moment in Darwin’s history. Hear the devastating roar of the category four cyclone as it hits the town and learn about the day that changed the urban landscape and the lives of Darwin’s residents forever. Ongoing Cyclone Tracy

Thea Anamara Perkins, Tent Embassy, 2019, acrylic on clayboard, 40.5 x 30.5 cm. Araluen Art Collection. Winner of the 41st Alice Prize. 9 April—5 June The Alice Prize An acquisitive national contemporary art prize, welcoming entries from around Australia, in any medium or theme. Significant among regional art prizes, The Alice Prize contributes to one of the largest regional collections of Australian art, with works by leading artists from across its near 50 year history. Coordinated by the Alice Springs Art Foundation, The Alice Prize is judged by an expert selection panel and judge of national standing, with national exposure for exhibiting artists and the opportunity to show in Mparntwe/Alice Springs, the cultural heart of Australia.

Museum and Art Gallery of the Northern Territory www.magnt.net.au

Cyclone Tracy was a defining moment in Darwin’s history. Hear the devastating roar of the category four. 12 March—26 June Exit Art Contemporary art from 2021 NT Year 12 Students

Franca Barraclough, Crowned Land, 2019, digital print on archival paper, 150 x 400 cm. 10 June—23 July The Visitors Franca Barraclough

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.

A celebration of the talents and creativity of the next generation of NT artists and designers.

NCCA – Northern Centre for Contemporary Art www.nccart.com.au 3 Vimy Lane, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm. The Northern Centre for Contemporary Art (NCCA) remains the only independent public gallery in the Northern Territory dedicated to contemporary art. This unique mantle and mandate manifests through a diverse and dynamic annual exhibition and public program which supports both artists and other cultural programs within Darwin.

Carbiene McDonald, Four Dreamings, 2022. 29 April—21 May Solo Carbiene McDonald

19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 Open daily 10am–4pm. See our website for latest information. On Now Collection Lab Presenting a behind the scenes insight into how museums store works of art, Collection Lab provides an experience of an art storeroom where rarely seen works hang alongside popular favourites. Arranged in a seemingly random 224

Huma Mujli, National Dry Cleaners, 2015, inkjet print on Hahnemühle photo rag, 76.2 x 112 cm.

raftartspace.com.au raftartspace.com.au

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Ararat Gallery TAMA Art Gallery of Ballarat Arts Space Wodonga The Art Vault Benalla Art Gallery Bendigo Art Gallery Black Gallery Boom Gallery Castlemaine Art Gallery Central Goldfields Art Gallery The Distorted Frame East Gippsland Art Gallery Everywhen Artspace

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The Foundry Arts Space Geelong Art Space Geelong Gallery Gippsland Art Gallery Hamilton Art Gallery Horsham Regional Gallery Latrobe Regional Gallery La Trobe Art Institute Maffra Exhibition Space Mildura Arts Centre National Wool Museum QDOS Art Gallery Queenscliff Gallery

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MORWELL

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Post Office Gallery Art Academy Red Tree Gallery Rutherglen Art Gallery Salt Contemporary Art Shepparton Art Museum Silver Leaf Art Box Stockroom Gallery Swan Hill Regional Gallery Switchback Gallery Town & Country Gallery Wangaratta Art Gallery Warrnambool Art Gallery Wyndham Art Gallery 225

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Alcaston Gallery Australian Centre for Contemporary Art (ACCA) Arts Centre Melbourne Australian Centre for the Moving Image (ACMI) Anna Schwartz Gallery ARC ONE Gallery Blindside ARI Buxton Contemporary CAVES City Gallery Craft Victoria Deakin Downtown Gallery

13 14 15 16 17 18 19 20 21 22 23 24 25

Discordia Flinders Lane Gallery fortyfivedownstairs Gallery @ City Library Harvey Galleries Immigration Museum Kings ARI Koorie Heritage Trust LUME Melbourne Margaret Lawrence Gallery Missing Persons Museum of Chinese Australian History National Gallery of Victoria – The Ian Potter Centre

26 National Gallery of Victoria – 27 28 29 30 31 32 33 34 35 36 37 38

NGV International Neon Parc No Vacancy Gallery The Old Treasury Building ReadingRoom RMIT First Site Gallery RMIT Gallery Sarah Scout Presents Sofitel Melbourne on Collins State Library of Victoria Stephen Mclaughlan Gallery Tolarno Galleries Void_Melbourne

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ACAE Gallery @14 Art Lovers Melbourne Gallery Australian Galleries Australian Print Workshop Artbank Arts Project Australia Brunswick Street Gallery BUS Projects

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Centre for Contemporary Photography Daine Singer Fox Galleries FUTURES James Makin Gallery Lamington Drive Modern Times Melbourne Museum Nicholas Thompson Gallery

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PG Printmaker Gallery Seventh Gallery Slow Clay Centre Sutton Gallery This Is No Fantasy + Dianne Tanzer Gallery 24 West Space 25 Yarra Sculpture Gallery

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ArtSpace Realm Bundoora Homestead Bunjil Place Burrinja Cultural Centre Colour Factory Deakin University Art Gallery Frankston Arts Centre Footscray Community Arts Centre Bayside Gallery Gallery Elysium

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Glen Eira City Council Gallery Heide Museum of Modern Art Hearth Galleries Incinerator Gallery Ivanhoe Library and Cultural Hub Kingston Arts Centre Maroondah Federation Estate Manningham Art Gallery McClelland Sculpture Park & Gallery Monash Gallery of Art

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Monash University Museum of Art Mornington Peninsula Regional Gallery TarraWarra Museum of Art The Substation Town Hall Gallery Walker Street Gallery Whitehorse Arts Centre Yering Station Art Gallery

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Alliance Française de Melbourne Arts Centre Melbourne Australian Tapestry Workshop Brightspace Charles Nodrum Gallery Climarte Gallery CRITERIA D’Lan Contemporary Eastgate Jarman Finkelstein Gallery Firestation Print Studio Jewish Museum of Australia Justin Art House Museum (JAHM) Lauraine Diggins Fine Art Leonard Joel Linden New Art LON Gallery Lynn Jaanz at York Street Lyon House Museum LUMAS Galleries Margaret Lawrence Gallery MARS Gallery Metro Gallery Niagara Galleries Sophie Gannon Gallery STATION gallery Vivien Anderson Gallery

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Cooee Art Gallery Defiance Gallery Frances Keevil Gallery Gallery 76 Gallery Lane Cove Grace Cossington Smith Gallery Granville Centre Art Gallery Harvey Galleries Seaforth Harvey Galleries Mosman Incinerator Art Space Interlude Gallery Kate Owen Gallery Kerrie Lowe Gallery

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Lavender Bay Gallery Macquarie University Art Gallery Making Time Gallery Manly Art Gallery & Museum Mosman Art Gallery Rochfort Gallery SOHO Galleries SOHO Galleries Sullivan & Strumpf Sydney College of the Arts Gallery Sydney Road Gallery Twenty Twenty Six Gallery Wallarobba Arts and Cultural Centre

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Australian Design Centre Art Gallery of New South Wales Artspace The Cross Art Projects Firstdraft Gaffa Gallery Harvey Galleries Hyde Park Barracks The Ken Done Gallery Korean Cultural Centre Museum of Contemporary Art Australia (MCA)

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Eden and the Willow Flinders Street Gallery Gallery 9 Home@735 Art Gallery The Japan Foundation King Street Gallery Liverpool Street Gallery m2 Gallery Nanda/Hobbs National Art School Powerhouse Museum

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Leo Kelly Blacktown Arts Centre Blue Mountains City Art Gallery Campbelltown Arts Centre Casula Powerhouse Arts Centre Creative Space Fairfield City Museum & Gallery Gang Gang Gallery Harvey House Gallery and Sculpture Park 9 Hawkesbury Regional Gallery 10 Hazelhurst Regional Gallery & Arts Centre 11 Hurstville Museum & Gallery 12 Parramatta Artists Studios 13 Peacock Gallery and Auburn Arts Studio 14 Penrith Regional Gallery 15 Rex-Livingston Gallery 16 Steel Reid Studio 17 Sturt Gallery 18 UWS Art Gallery 19 Wallarobba Arts and Cultural Centre 20 Wollongong Art Gallery

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Bank Art Museum Moree Bathurst Regional Art Gallery Bega Valley Regional Gallery Broken Hill Regional Art Gallery Coffs Harbour Regional Gallery Cowra Regional Art Gallery Fyre Gallery Glasshouse Port Macquarie Goulburn Regional Art Gallery Grafton Regional Gallery Griffith Regional Art Gallery Lismore Regional Gallery The Lock-Up Maitland Regional Art Gallery Manning Regional Art Gallery Murray Art Museum Albury (MAMA) Museum of Art and Culture, Lake Macquarie Muswellbrook Regional Arts Centre Newcastle Art Gallery New England Regional Art Museum Ngununggula 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

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19 Karen Contemporary Artspace Art Lovers Australia Gallery 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

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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 UMI Arts

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Andrew Baker Art Dealer Artisan Gallery Art from the Margins Brisbane Powerhouse Edwina Corlette Gallery Fireworks Gallery Griffith University Art Gallery Institute of Modern Art Jan Manton Art Jan Murphy Gallery Lethbridge Gallery

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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

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State Library of Queensland Suzanne O’Connell Gallery TW Fine Art UQ Art Museum

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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

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Art Collective WA Art Gallery of Western Australia DOVA Collective FORM Gallery Gallery 152 Gallery Central John Curtin Gallery KAMILĖ Gallery Lawrence Wilson Art Gallery Linton & Kay Gallery @ Fridays Studio Linton & Kay Subiaco Moore Contemporary Perth Centre for Photography Perth Institute of Contemporary Arts STALA Contemporary Turner Galleries

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“It’s maybe ironic that we’re still thinking about the end of art in an art gallery, but it is this dilemma itself that is art today.” — R E X B U T L E R , W R I T E R , P. 10 3

“I’m not just interested in what art looks like—I’m way more interested in the possibility of art.” — DAV I D S E Q U E I R A , A R T I S T, P. 8 3

“It’s a big concern actually with all the latest catastrophes in the world, how it’ll affect women. So that’s why structurally there has to be change . . .” — S A L LY S M A R T, A R T I S T, P. 73

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Brook Andrew; Trent Walter (printer) Marcia Langton 2009 (detail) National Portrait Gallery, Canberra. Commissioned with funds provided by Marilyn Darling AC 2009 © Brook Andrew